sign in sign up
<<
Home , Ain Anger, Alice Chalifoux, Andreas Schager, Chronochromie, Daphne (opera), Elektra (wrestling)

Lincoln Center Festival lead support is provided by American Express

July 15 –18 Avery Fisher Hall The Cleveland Music Director and Conductor Franz Welser-Möst

July 15 and 18 Regine Hangler Norbert Ernst Andreas Schager Ain Anger Nancy Maultsby

Concert Chorale of

July 16 Hymne Chronochromie

Antonín Dv oˇrák Symphony No. 5 in F major

July 17 Ludwig van Beethoven Symphony No. 6 in F major (“Pastoral ”)

Richard Strauss

Major support for Lincoln Center Festival 2015 is provided by The Andrew W. Mellon Foundation. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. The Lincoln Center Festival 2015 presentation of the is made possible in part by generous support from the National Endowment for the Arts. Lincoln Center Festival 2015 is made possible in part with public funds from the Department of Cultural Affairs, New York State Council on the Arts, and the National Endowment for the Arts. LINCOLN CENTER FESTIVAL 2015 THE CLEVELAND ORCHESTRA

A Conversation With Q: How is Daphne different from other Strauss and why does it fall into the Franz Welser-Möst “rarely performed yet much-discussed work” category? Question: What do you like most about is different from other Daphne FW-M: Daphne Strauss’s ? What are the musical Strauss operas because it is equally a challenges and rewards of this ? challenge for the orchestra and for the What I like most Franz Welser-Möst: singers, and also in how it must be acted out. about is that it is ancient Greek Daphne This is why, in part, it is so rarely performed. mythology, but turned into a musical Stylistically, Strauss was a huge fan of the dream—especially the conclusion when history and the legends of ancient Greek Daphne turns into a tree. The transformation culture. He read all of the philosophers, and scene includes some of the most beautiful knew their work inside and out. For him, music written by Strauss. In this moment this opera was a piece that communicates of the opera, in the musical writing and in everything humanity is about, both the how it echoes the emotions of the characters, good and the bad. Strauss was an atheist, it is on the same level of beauty as the final but he had very strong beliefs in humanity. sections of and . Hellenistic culture was important to him as the root and source of Western culture. He The challenge with Daphne is that it is so hellishly difficult. This is one of the most supposedly complained to the school his technically complex scores that Strauss grandson attended because he felt that the ever wrote. The roles of Daphne and young boy was not getting a solid education are extraordinarily demanding vocally, and in ancient Greek learning and philosophy. require great stamina. In fact, these lead This shows us that Daphne was more than roles are virtually impossible to sing. It is so just a legend for him. Daphne was important rare to find singers who can perform to Strauss because of all that it represents. them—in recent history, or even looking back all the way since it was written, aside Q: How do the works that make up these from the great American heldentenor three concerts relate to one other? How do , there have been very few you view the aspects of the natural world and able to sing Apollo. Yet we have human nature within them and across them? assembled a cast that can make this opera FW-M: When you look at Daphne , nature soar. The technical demands for all the and the forces of nature are represented by singers across the opera are almost inhuman, the ancient Greek gods: Gaea as mother but this can make them even more godlike earth and Peneios as god of the sea. The in the way they must approach each role. other two programs we are playing reflect LINCOLN CENTER FESTIVAL 2015 THE CLEVELAND ORCHESTRA patterns and ideas along this same Orchestra, and we are excited to share theme—of the forces of nature coming with New York audiences the opportunity together to create and to inspire, to affect to experience Daphne in concert. humanity and to reflect truths from within. We look at Dvo ˇrák, who always found The Cleveland Orchestra is an ensemble inspiration from nature for his compositions, that really enjoys challenges. The musicians and at Messiaen, who listened to nature don’t want to do the same thing over and for new ideas. We continue with over. They are always excited to play a Beethoven’s “Pastoral” Symphony and work like Daphne , and the works we are Strauss’s Symphonia domestica . Through presenting alongside it by Strauss, all of these works, nature is received and Messiaen, Beethoven, and Dvo rˇák—to interpreted in unique ways by a group of tackle things that are uncommon, or to great composers. perform standards with fresh perspectives. Taken together, the works we are presenting Q: Why are you excited for The Cleveland at Lincoln Center Festival are incredibly Orchestra to perform these works in New challenging, both musically and thematically. York at the Lincoln Center Festival? When we were at FW-M: We suggested Daphne for this Lincoln Center Festival summer’s Festival because it is rarely per - performing works by John Adams and formed and the festival is always looking for Bruckner in 2011, it was a huge challenge to something different, for programming that present all of those works within just a few challenges the audience and the boundaries days. All of us were really excited about it, of traditional performance. This score is a and gave every note our full attention—and fantastic opportunity for The Cleveland were genuinely and happily tired afterwards! The Cleveland Orchestra Music Director and Conductor Franz Welser-Möst

Wednesday, July 15, 2015, at 7:30 p.m. Saturday, July 18, 2015, at 7:30 p.m.

Daphne OPERA IN CONCERT Bucolic Tragedy in One Act, Op. 82 Music Richard Strauss (1864-1949) (1888-1960)

Daphne Regine Hangler Leukippos, a shepherd Norbert Ernst Apollo, the sun god Andreas Schager Peneios, Daphne’s father, a fisherman Ain Anger Gaea, wife to Peneios Nancy Maultsby Shepherds Christopher Feigum, Matthew Plenk, Ryan Speedo Green, Nikola Budimir Maids Lauren Snouffer, Anya Matanovic

Concert Chorale of New York

Approximate performance time: 1 hour 35 minutes, with no intermission

These performances of Strauss’s Daphne are made possible in part by a generous grant to The Cleveland Orchestra from The Andrew W. Mellon Foundation. LINCOLN CENTER FESTIVAL 2015 THE CLEVELAND ORCHESTRA

Synopsis It is the eve of the summer Festival of Dionysos. Near Peneios’s hut on the shore of the river bearing his name. Upon instructions from Daphne’s father, Peneios, and her mother Gaea, Shepherds are preparing for the annual feast in celebration of the god. As the twilight emerges from the setting sun, Daphne praises the beauty and peace of the natural world and the natural warmth of sunlight. She laments the clumsy ways of men, who spoil nature’s simplicity.

The shepherd Leukippos, Daphne’s childhood friend and playmate, reminisces with her about the past. He tries to embrace her lovingly, but she rejects both him and the coming festivities of wine and human pleasures. She refuses to wear the special clothes that have been made for her. Two maidens persuade Leukippos to wear the clothes instead.

Apollo arrives disguised as a cowherd. Daphne’s father Peneios orders her to make the stranger feel welcome. Apollo is passionately drawn to Daphne. She is intrigued by his poetic visions of the sun, but will not surrender to him fully.

The celebration of Dionysos begins, and the disguised Leukippos offers Daphne a taste of wine. She accepts, believing it to be just a ritual for women. But Apollo becomes jealous and causes the sky to explode in thunder.

Apollo says that Leukippos is not who he appears to be, forcing Daphne’s friend to reveal himself. Leukippos, in turn, challenges Apollo to reveal his true identity.

Apollo and Leukippos argue for Daphne’s attention and affections. Leukippos calls the god a liar, and Apollo angers. Daphne is conflicted in her heart and cannot protect her childhood friend. Apollo kills him.

Daphne acknowledges her responsibility for the tragedy that has unfolded.

Apollo begs forgiveness, asking to love Daphne in the ennobled form of a laurel tree. She tries to move, but is unable to as her transformation begins, until her silvery disembodied voice is heard above her shimmering laurel leaves. LINCOLN CENTER FESTIVAL 2015 THE CLEVELAND ORCHESTRA

About the Program book Strauss admired titled History of the Theater . In July 1935, Gregor stayed for several weeks at Strauss’s villa in Richard Strauss Garmisch while the two worked on an Daphne , Op. 82 (1935 –37) operatic double bill: the Zweig-inspired The death in 1929 of poet and dramatist and another one-act based on threatened to bring Gregor’s own version of the Greek myth the entire Richard Strauss opera enterprise of Daphne. to a halt. During their first collaboration, on The latter subject must have appealed to in 1906, Strauss had pronounced himself and Hofmannsthal “made for each Strauss’s competitive side, since the story other”—and subsequently proved it in of the maiden wooed by gods and mortals and rescued from them by being transformed operas including Der Rosenkavalier , into a laurel tree had inspired the first , and Die Frau ohne opera ever performed, Jacopo Peri’s Schatten . The librettist’s death left the composer bereft, working fitfully on the of 1597, as well as subsequent operas by Heinrich Schütz, Alessandro Scarlatti, and last project they began together, , and wondering about his own future in the many others. Perhaps he also remembered opera house. Hofmannsthal’s words in a letter to him: “Let us make mythological operas, that’s Then, in 1931, Strauss became acquainted the truest of all the forms.” with another distinguished man of letters, the novelist and biographer , In hindsight we see that Strauss also was and soon the two were eagerly at work on ready to take an old story and use it to strike out in a new artistic direction. One a new comic opera, . As this piece was nearing completion, the chapter of his life’s work, in which he had Nazis came to power in Germany, and evoked blood and thunder from the myth artistic work by Jews such as Zweig was of Electra, had come to an end, but new suddenly unwelcome. Only Strauss’s ground was on the horizon. prestige and friendships with leading Nazis—including Goebbels and Goering— Daphne —completed on Christmas Eve in persuaded Hitler to allow performances of 1937, dedicated to the young conductor Die schweigsame Frau . From his new Karl Böhm, and premiered in Dresden the base in London, Zweig wrote to Strauss following October 15 with Böhm on the declining any more “special privileges” podium—also (quite literally) contained with the German regime, advising against blood and thunder, enough for Strauss to open collaborations between the two of subtitle it a “bucolic tragedy.” The story is them, and chiding Strauss for not standing tragic, yes, but the emphasis in the drama up to the Nazis. is definitely on the bucolic, a celebration of humanity’s relationship to nature—and a From London’s safety, Zweig proposed musical and literary sensibility that heralded other librettists to Strauss who were the simplicity and classicism of later acceptably Aryan and willing to accept Strauss works such as the Concerto Zweig’s guidance from afar—in effect, to and the . front for him. Strauss agreed, with little enthusiasm, to work with one of them, That said, the old showman Strauss must Joseph Gregor, who at least had written a have relished the prospect of composing LINCOLN CENTER FESTIVAL 2015 THE CLEVELAND ORCHESTRA music for a cattle stampede, Apollo’s chariot playing only the black keys on a piano. crossing the sky, and a wine-soaked orgy. Other passages deal mainly in the familiar He sent the libretto back repeatedly to the major and minor (“diatonic”) scales and ever-obliging Gregor, demanding less chords. Richard Strauss, known earlier as a poetic rumination and “more action.” chord-smasher and wielder of hair-raising dissonances, has left the building, replaced The idea of a primitive civilization, in which by a humorous and occasionally extravagant humans and gods mingle freely in a pastoral painter of pastoral scenes. landscape, remains the foundation of the opera’s story. Daphne is the daughter of The design of Daphne unfolds in a single, the river god Peneios, who now lives leisurely arc, its episodes springing up easily among mortals as a simple fisherman, and and adding meaning to the simple story. the earth goddess Gaea. Daphne’s affinity The serene orchestral prelude is interrupted is with everything in nature, not with the by the yawp of an alp horn, a very large and lustful and murderous passions of human unrefined instrument heralding the disruptive beings. Leukippos, known in mythology as arrival of followers of the god Dionysos. a prince who dressed as a woman in order Reveling shepherds celebrate the coming to spend time in Daphne’s presence of night, but Daphne begs the light to stay. (Strauss did not overlook the comic potential Leukippos appears from behind the tree here), appears in the opera as a simple with his ; both he and earth-mother shepherd who was Daphne’s playmate in Gaea try to persuade Daphne to embrace childhood and now desires a more intimate her human destiny as a woman, but relationship with her. Daphne is having none of it. Two pert maids bring out her party clothes, but in a Leukippos’s rivalry with Apollo for droll scene it’s Leukippos who ends up Daphne’s affections does not go well for dressed in them. him, ending as it does with an arrow from the god’s bow. Gregor has given Apollo a Peneios’s prediction that gods will be present double role, first as Daphne’s pursuer, and at the festival comes true when a cowherd then, chastened at the end, as her rescuer enters with his cattle; Strauss’s score from the lust of man and god alike. The leaves little doubt that this figure is Apollo librettist also neatly dovetailed two ancient in disguise. The cattle run away, the festivals—the midsummer mating ritual cowherd is mocked for being unable to (celebrated in Shakespeare’s A Midsummer control them, and he responds ruefully. Night’s Dream and Strauss’s early opera However, the arrival of Daphne to wait on ) and the autumn harvest festival the guest rouses him, and a tense dialogue of the wine god Dionysos. follows, leading to Daphne’s discovery that he is a god—and her brother. They The primitive setting and his heroine’s embrace as their themes intertwine in chaste nature called forth from Strauss an Strauss’s score, but Daphne breaks away entirely different harmonic language from from his forbidden kiss as the dance to those of his murderous princesses Dionysos begins. and Elektra. Daphne’s warbling melodies are written mostly in the pentatonic scale, Amid the revelry, the disguised Leukippos the basic scale of folk music around the entices Daphne to dance with him/her. The world (including, perhaps most familiarly, jealous Apollo exposes Leukippos as an Chinese music) and the scale produced by impostor, then throws off his own disguise LINCOLN CENTER FESTIVAL 2015 THE CLEVELAND ORCHESTRA with a spectacular aria, “Jeden heiligen grams, including a series of “At Home” Morgen” (“Every sacred morning”), neighborhood residencies and concerts in depicting the sun-god’s daily progress Cleveland to bring the Orchestra and citizens across the heavens. Leukippos defies the together in new ways. god, who strikes him dead with an arrow. Franz Welser-Möst has led annual opera The dramatic arc now descends to its performances throughout his tenure in conclusion, beginning with Daphne’s Cleveland, reestablishing the Orchestra as Love-Death aria over the dead Leukippos, an operatic ensemble. He brought fully followed by Apollo’s prayer to Zeus to staged opera back to Severance Hall with a transform Daphne into a sacred laurel tree, three-season cycle of Zurich Opera pro - its leaves fit to be worn only by the greatest ductions of the Mozart-Da Ponte operas. heroes. Then, in music that curls organically He also led a made-for-Cleveland production heavenward, Daphne takes leave of the of Jan áˇcek’s The Cunning Little Vixen at human world in an ecstatic metamorphosis. Severance Hall in 2014.

As a guest conductor, Mr. Welser-Möst —David Wright © 2015 enjoys a close and productive relationship with the Philharmonic. Recent David Wright writes about music for performances with the Philharmonic and festivals in North America and Europe. include a critically-acclaimed production of Strauss’s Der Rosenkavalier at the 2014 About the Artists , an upcoming 2015 production of also at Salzburg, as (Music Director and Franz Welser-Möst well as appearances at Carnegie Hall and Conductor) enters into his 14th year as the Lucerne Festival. He served as general music director of The Cleveland music director of the Orchestra at the beginning of the from 2010 to 2014. 2015 –16 season, with the future of this acclaimed partnership now extending into Mr. Welser- Möst maintains relationships the next decade. Under Welser-Möst’s with a number of other European orches - leadership, The Cleveland Orchestra offers tras, and the 2015 –16 season includes annual series at home in the acoustically return engagements to Munich’s Bavarian outstanding Severance Hall and at the Radio Symphony Orchestra and Zurich’s ensemble’s summer home at Blossom Tonhalle Orchestra. He also makes his Music Center. Through a series of ongoing long-anticipated debut with Amsterdam’s residencies, the Orchestra also performs Royal Concertgebouw Orchestra for two regularly in Miami, Vienna, and Lucerne, in weeks of concerts, and conducts the addition to annual international tours. Filarmonica of Milan’s in a tele - vised Christmas concert. He will conduct With a strong commitment to music the in two weeks of education, Franz Welser-Möst has taken The subscription concerts, leads the Stockholm Cleveland Orchestra back into public schools Philharmonic in the Nobel Prize concert in at home and inaugurated partnerships with Stockholm, and conducts a new produc - the University of Miami and Indiana tion of Strauss’s at University. He has championed new pro - the 2016 Salzburg Festival. LINCOLN CENTER FESTIVAL 2015 THE CLEVELAND ORCHESTRA

For his talents and dedication, Mr. Welser- 2002 through 2005, he has sung works by Möst has received honors that include Donizetti, Mozart, Strauss, and Wagner at recognition from the Western Law Center venues including Munich’s Bavarian State for Disability Rights, honorary membership Opera, Berlin’s Deutsche Staatsoper, in the Vienna Sing verein, appointment as Geneva’s Grand Théâtre, Barcelona’s Gran an Academician of the European Academy Teatre del Liceu, the Netherlands Opera, of Yuste, a Gold Medal from the Upper Opéra de Monte Carlo, and the Paris Opera. Austrian government for his work as a From 2004 to 2011 he was a permanent cultural ambassador, a Decoration of guest at the . He has also Honor from the Republic of Austria for his appeared with the Cincinnati Opera, and at artistic achievements, and the Kilenyi Medal Finland’s Savonlinna Festival, and the from the Bruckner Society of America. Salzburg Festival. In recital, he has performed in Amsterdam, Berlin, Düsseldorf, Linz, Regine Hangler (Daphne) is an ensemble Munich, New York, Paris, and Vienna. member of the Vienna State Opera whose musical studies began with the . Andreas Schager (Apollo) studied in his While continuing on at the Bruckner native Austria at the Universität für Musik Conservatory in Linz, she sang with the in Vienna. While still in school, the Jeunesse and Mozart choruses, under made his debut in Così fan tutte at the conductors including Franz Welser-Möst. Schlosstheater Schönbrunn. Since then, While also studying engineering, she he has performed in theaters and festivals completed her voice studies at the in Amsterdam, Bologna, Cologne, Frankfurt, Carinthian State Conservatorium and Vienna’s Toronto, and Vienna. He sang in University of Music and Performing Götterdämmerung at the 2013 BBC Arts. She was a finalist in Italy’s AsLiCo Proms, Deutsche Staatsoper Berlin, and at competition and second prize winner in La Scala, and Tristan in the international Birgit Nilsson competition. in Antwerp, Seville, and Tokyo. He has also She has performed at national and interna - performed at Berlin’s Deutsche Oper, tional festivals and concerts throughout Hamburg State Opera, Rome Opera, and Europe, and in Israel and Japan. Since Madrid’s Teatro Real. At the Théâtre du 2010 she has been a soloist at St. Capitole Toulouse, he sang Apollo in Stephens Cathedral in Vienna, and became Daphne . Upcoming engagements include a Vienna State Opera ensemble member in at the Bayreuth Festival and 2012. Her repertoire includes works by Deutsche Staatsoper, Strauss’s Die Beethoven, Donizetti, Mozart, Strauss, and Ägyptische Helena at the Frankfurt Opera, Wagner. She is making her New York and Tannhäuser at the Vlaamse Opera. debut with these performances of the title role of Daphne , which she sang in Ain Anger (Peneios) was born in Cleveland and Berlin last May. and has sung leading Wagnerian roles across Europe. He is equally in demand in Norbert Ernst (Leukippos) has been an the roles of Italian and Russian ensemble member of the Vienna State repertoire. During his music studies at the Opera since 2010. The tenor studied in his Estonian Academy of Music and Theatre, native Vienna at the Josef Matthias Hauer he sang at the Estonian National Opera. Conservatoire and at the University of From 2001 to 2004, he was a soloist with Music and the Performing Arts. A member the Leipzig Opera. Since joining the roster of the German Opera on the Rhine from of the Vienna State Opera in 2004, he has LINCOLN CENTER FESTIVAL 2015 THE CLEVELAND ORCHESTRA

performed more than 40 roles with that Music (in Philip Glass’s CIVIL warS , John company. In addition, he has appeared at Adams’s Nixon in China and The Death of the , Bayreuth Klinghoffer , and in productions of the Mark Festival, Berlin’s Deutsche Oper, Dutch Morris Dance Company), the Performing National Opera, , La Scala, Arts Center at Purchase, and in the Salute and Washington National Opera. He also to the American Musical as seen on Live has sung with the orchestras of Frankfurt, From Lincoln Center . New York, , Saint Louis, San Francisco, Stockholm, and Tokyo, and at The Chorale has also performed with the the Bergen, Helsinki, Lucerne, and American Symphony Orchestra, Chicago Savonlinna music festivals. In 2013 he was Symphony Orchestra, and in the New York awarded the Order of the White Star for premiere of Paul McCartney’s Ecce Cor his services to the Estonian state. Meum . The chorale performs regularly with Mostly Mozart and was recently Nancy Maultsby (Gaea) was born in the heard in Beethoven’s Symphony No. 9 and U.S. and has sung with opera companies the Mozart . The Concert Chorale and orchestras around the world, in repertoire of New York appeared at Lincoln Center from Monteverdi to John Adams. After Festival in 2006 in Julie Taymor’s Grendel , graduating from Westminster Choir and last week in Danny Elfman’s Music College, the mezzo-soprano studied at from the Films of Tim Burton . Indiana University School of Music. She is a graduate of the Lyric Opera of Chicago’s James Bassi (Music Director, Concert Center for American Artists, is a winner of Chorale of New York) is a music director, the Marian Anderson and Martin E. Segal composer and pianist. He has worked awards, and is currently a member of the extensively with the voice faculty at Baldwin Wallace University. playing rehearsals with many distinguished She regularly performs as heroines of 19th- conductors. He has served as Music century French, Italian, and German opera Director for many operatic and music-the - with companies and in venues including ater productions in New York and in the Boston Lyric Opera, Dutch National regional venues; and has appeared as Opera, Covent Garden, San Francisco pianist in concerts with Deborah Opera, Santa Fe Opera, Seattle Opera, Voigt, Ute Lemper, and Jessye Norman. Buenos Aires’ Teatro Colón, and Washington His compositions have been performed in National Opera. She has appeared with the all the major halls in New York and his music orchestras of Atlanta, Boston, Chicago, is published by . Cleveland, Los Angeles, New York, Philadelphia, Saint Louis, San Francisco, Daphne Credits and Toronto, among many others. English Supertitles Cori Ellison Répétiteur Milos Repicky Concert Chorale of New York The Concert Chorale of New York is made Acknowledgements up of professional singers performing with Daphne , by Richard Strauss, is performed various conductors and presenters. They by arrangement with Boosey & Hawkes, have appeared at Carnegie Hall, the Inc., publisher and copyright holder. Caramoor Festival, Academy of The Cleveland Orchestra Music Director and Conductor Franz Welser-Möst

Thursday, July 16, 2015, at 7:30 p.m.

Olivier Messiaen (1908 –92) Hymne (1932, reconstructed 1947)

Chronochromie (1959 –60) Introduction Strophe I Antistrophe I Strophe II Antistrophe II Épôde Coda

Intermission

Antonín Dvo rˇák (1841-1904) Symphony No. 5 in F major, Op. 76 (1875) I. Allegro ma non tanto II. Andante con moto III. Scherzo: Allegro scherzando IV. Finale: Allegro molto

Approximate performance time: 1 hour 45 minutes, including one intermission LINCOLN CENTER FESTIVAL 2015 THE CLEVELAND ORCHESTRA

Olivier Messiaen About the Program Hymne

This concert pairs two composers of quite Hymne is one of the less frequently per - different musical sensibilities—the 20th- formed of Messiaen’s orchestral works. It century Frenchman Olivier Messiaen, was the last of three works for orchestra who very much created his own musical on sacred subjects composed soon after voice, and the 19th-century Bohemian he completed his Conservatoire studies Antonín Dvo rˇ ák, who wrote in a strongly and then became organist at Paris’s Trinité Germanic style. church (a position he held for over 40 years).

Dvo rˇák’s Fifth Symphony came along in Les Offrandes oubliées (1930) and Le 1875 just as the composer was gaining Tombeau resplendissant (1931) were widespread recognition. He had been “dis - followed by Hymne au Saint-Sacrement in covered” by Brahms through a competition, 1932. This latter piece was performed the and the strengths of his musical learning following year and again in 1936 when it and understanding propelled him forward as was included in a concert at the Salle the next great symphonist following in the Gaveau that brought together the four line of Central Europeans from Beethoven, composers in the group named “La Jeune Schubert, Mendelssohn, and Schumann to France” (Young France). The group’s aim was Brahms himself. Dvo ˇrák was always to reestablish the dignity and seriousness of inspired by the natural world, and, like music, in protest against the frivolity and Beethoven, relaxed on walks in the woods. nihilism that they saw in the music of Erik Although it is sometimes referred to as Satie and “Les Six” (including Milhaud, his own pastoral symphony, the Fifth is Poulenc, and Honegger). Messiaen’s contemplative only in part, and in feeling commitment to elevated spiritual concerns more than any specific soundpainting in was a clear signal in this campaign. the score. In 1944 the score and parts of the Hymne The connection between nature and au Saint-Sacrement were lost, perhaps in the Messiaen’s music is much more apparent upheaval of the liberation of Paris. Messiaen and direct. Chronochromie from 1961 therefore had to reconstruct it from memory, represents a study in time and sound which he did for a performance by colors— and incorporates actual birdsongs Leopold Stokowski in New York in 1947, from a variety of countries directly into the under the shorter title Hymne . How far score. Also like nature, it at times piles the new version differed from the original sounds on top of one another without is impossible to know. regard to any traditional sense of musical flow. Hymne , created in 1932 and The opening, according to Messiaen, is like “remembered onto paper” in 1947, offers a gust of wind, ushering in a passage of a more nuanced view of music as a language “impassioned melancholy.” The section through which Messiaen could express his where a solo violin is supported by muted strong Catholic faith and belief in good strings is a serene contemplation of the (and God). gift of the Eucharist, succeeded by a LINCOLN CENTER FESTIVAL 2015 THE CLEVELAND ORCHESTRA

passionate representation of the ensuing The listener might be put off by the barrage state of grace. The music in effect enacts of mathematical complexity governing the Catholic ritual of Holy Communion, and Messiaen’s choice of notes, but the resulting ends in brilliant orchestral sound, like so sound, though certainly complex, is directly many of Messiaen’s pieces. Messiaen’s appealing and strongly characteristic. His view of the world was wholly optimistic, in harmony, for example, is dense but not keeping with his profound faith in the random, and it contributes to the prevalence comforts of Heaven. of sound color that Messiaen always regarded as a source of spiritual insight. Olivier Messiaen The color is also, he argues, a product of Chronochromie (“Time Color”) the mixture of durations, a phenomenon he embodied in an earlier composition Unlike Hymne , Messiaen’s Chronochromie called Timbres-durées . has been performed with great frequency by the world’s great orchestras, and is A yet more distinctive coloring is contributed considered by some to be the composer’s throughout the work by birdsong, an element orchestral masterpiece. The work’s formal not embodied in the title, but a pervasive framework is taken from Greek poetry. presence in nearly all his music from the An ode was constructed as a “Strophe” 1950s on. As an ornithologist, he ranked followed by an “Antistrophe,” which was with professionals, and he devoted long supposed to balance or counter the weeks to studying the world’s birds in field Strophe. These were followed by an and forest. On his travels between 1952 Epode as closure. Messiaen has two and 1991 (the year before his death), he Strophes and Antistrophes with their filled over 200 notebooks with notations of Epode, and wraps them all with an birdsongs from all over the world. Introduction and a final Coda. Chronochromie includes the songs of birds from Sweden, France, Mexico, and Japan, Unlike Hymne and almost all his other each labeled in the score. compositions, Chronochromie makes no explicit reference to spiritual or Catholic Although Messiaen made no direct allusion concerns. Its basis is, instead, the interaction in this work to Catholic theology, we are of time (chronos) and color (chroma). not to suppose that it was not in his mind. The miracles of nature, like the infinite Time is represented by the 32 different musical possibilities offered by timbre and possible durations (note-values) between a pitch, were for him manifestations of the 32nd note and a whole note. The composer glory of God’s creation. His music is complex, selects the order in which these durations richly overlaid with meaning, and very occur, and then creates different orders by difficult to perform. Yet audiences have little further procedures of the same kind difficulty grasping the individuality of its applied to the preceding order. This produces sonority, the sincerity of its faith, and 36 permutations, or “interversions,” as the the high craft that we demand of all composer calls them. great artists. LINCOLN CENTER FESTIVAL 2015 THE CLEVELAND ORCHESTRA

Antonín Dv orák F major was traditionally a pastoral key, as Symphony Nˇo. 5 in F major, Op. 76 in Beethoven’s Sixth Symphony, and for a while at the start of the first movement of The half-dozen years surrounding the Dvo ˇrák ’s Fifth Symphony a sense of the composition of the Fifth Symphony in the open country may be felt, with summer of 1875 saw Dvo rˇák’s standing and then warbling over still, tranquil grow from that of an obscure Bohemian harmony. But the mood does not last, and composer known only in Prague to a figure a vigorous, muscular theme soon puts a of international eminence, performed and stop to all this relaxation. published in Germany as well as Prague, and praised by Johannes Brahms and the The second movement is an critic Eduard Hanslick, the two most powerful that or Robert personalities in Vienna’s music. His Schumann might have offered, charming international fame started in 1874, when and melodious, and the middle section he won an Austrian state prize (Brahms moves a little faster in the major key. was one of the judges), and by 1879 his music, especially the Slavonic Dances , was Dvo ˇrák directs that the third movement played and enjoyed throughout Europe. Scherzo should follow quickly on, for its opening bars are a continuation and an The Fifth Symphony may thus be seen as echo of the close of the preceding the work of a young man (he was 33) who movement, an interesting application of sensed that things were turning in his the belief (again from Mendelssohn and favor and that he had found a style that Schumann) that continuity between was quintessentially his own. He had movements was an important goal. Once already composed four symphonies, three the Scherzo starts, its lilting momentum operas (one of them twice, which is to say might come from the Slavonic Dances two separate settings of the same libretto), with which he was about to make all six string quartets, a concerto, and Europe tap their feet. a number of songs. Only one of the symphonies and one of the operas had The fourth movement Finale dispels all been performed, and there were as yet thoughts that this symphony was intended only embryonic traces of the style that we to induce a mood of relaxation. Its aggressive recognize as that of the mature master. opening in the and basses is a warning of things to come. Violence gives way to The Fifth Symphony, however, breaks new an elegant, melodious second section, but ground with striking boldness in the handling the nearer the movement gets to its long of keys and themes and with a confident coda, the greater the tension—but of course approach to the idea of a symphony, laying with the home key inevitably triumphant. down the path that he was to follow in the four great symphonies still to come. To —Hugh Macdonald © 2015 take a single example of his departures from tradition: a classical symphony in the Hugh Macdonald is Avis H. Blewett Professor key of F major would give great prominence Emeritus of Music at Washington University in St. to the related dominant key of C major. But Louis. He has written books on Beethoven, that key is hardly to be heard anywhere in Berlioz, Bizet, and Scriabin. Dvo rˇák’s F-major symphony. Here, he chose to go his own way, at least in some details. The Cleveland Orchestra Music Director and Conductor Franz Welser-Möst

Friday, July 17, at 7:30 p.m.

Ludwig van Beethoven (1770 –1827) Symphony No. 6 in F major, Opus 68 (“Pastoral”) (1806 –08) I. Awakening of cheerful feelings upon arriving in the country: Allegro ma non troppo II. Scene by the brookside: Andante molto mosso III. Jolly gathering of country-folk: Allegro IV. Thunderstorm, Tempest: Allegro V. Shepherd’s Song: Gladsome and thankful feelings after the storm: Allegretto

Intermission

Richard Strauss (1864 –1949) Symphonia domestica, Opus 53 (1902 –03) I. Introduction and Development of the Main Themes The Husband’s Themes: Easy-going, Dreamy, Fiery The Wife’s Themes: Lively and Free-spirited, Grazioso The Child’s Theme: Tranquil II. Scherzo Happiness of the Parents Childish Games Cradle Song (Lullaby) The Clock Strikes Seven in the Evening III. Adagio Doing and Thinking Love Scene Dreams and Worries The Clock Strikes Seven in the Morning IV. Finale Awakening and Merry Dispute (Double Fugue) Joyous Confusion

Approximate performance time: 1 hour 45 minutes, including one intermission LINCOLN CENTER FESTIVAL 2015 THE CLEVELAND ORCHESTRA

About the Program Ludwig van Beethoven Symphony No. 6 ( “Pastoral ”) in F major, Op. 68 (1806 –08) The two great works on tonight’s program represent the alpha and omega of 19th- The “Pastoral” Symphony caused Hector century —music that tells a Berlioz to declare that music, in Beethoven’s story. Here we have two samples, hands, had come of age and had finally superbly contrasted and paired. reached the point where the power of Beethoven’s “Pastoral” Symphony— poets such as Virgil and Theocritus to depicting life in the countryside melded evoke landscape had been conquered by with the composer’s own feelings of walk - the power of sound. ing within an idyllic natural setting—was regarded as the perfect for descrip - Composed in 1806 –08, it was recognized tive music, embraced by all Romantic by all Beethoven’s successors as a signpost composers. Richard Strauss’s tone to the future and the father of a whole poems, a hundred years later, took pro - genre of music. It gave them the license to gram music to the brink, both in the vast - depict not just the natural world but all ness of his orchestra and in the detail his manner of physical and extra-musical music was supposed to convey. Narrative concepts in symphonic language, to the and feeling are not mutually exclusive, as point where program music thereafter Beethoven insisted, nor was it a sin to rep - dominated the orchestral repertoire cen - resent the sounds of nature—nightingales tral to concert life for the last 200 years. and thunderstorms for Beethoven, a cry - Beethoven’s evocation of country life in ing baby and lovemaking for Strauss—in sound has many times been emulated but music. Many classical and modern works scarcely ever surpassed. are “about” nothing in particular, but the Pastoral and Domestic symphonies are As in so many of Beethoven’s mighty mid - unarguably about things familiar to each dle -period works, Symphony No. 6 is both one of us. Nature—the world of the out - conventional and wholly new. The desire doors and the one inside, of the internal to convey people, places, and things in mind—is written here within the music, music was almost an obsession in the with wonderful effect. previous century, whose composers were no strangers to program music. Think of Vivaldi’s The Four Seasons . Or the animals that color the pages of Rameau and Haydn. Similarly, the intensely human emotions expressed by Mozart and Gluck are examples of the recurrent belief that instruments can convey the shape, sound, and impressions of the real world beyond any doubt. Beethoven inherited that belief and applied it almost mechan - ically when he came to compose the “Pastoral” Symphony. LINCOLN CENTER FESTIVAL 2015 THE CLEVELAND ORCHESTRA

At the same time, he gave the genre two of consuming importance, permanent, profoundly original dimensions by conveying and inescapable. They are usually also these sights and sounds as “feelings” private, personal matters, and the source (shown specifically in the headings of the of happiness or misery, or both. Painters first and last movements) and by casting the and novelists have explored domestic whole episode as an orchestral symphony. subjects for centuries, and the self-portrait The world of the “Pastoral” is not just any is an honored form of art. Why, then, was landscape; it is the landscape of the Richard Strauss regularly ridiculed for composer’s experience, real or imagined. portraying himself and his family in his music? How can the subject of domestic Beethoven frequented and loved the life be deemed unworthy of a composer’s countryside around Vienna, but he is not creative efforts, condemned as in bad simply depicting Austrian village life, he is taste, when other artists and art forms transferring his own response to the country have plumbed its secrets and intimacy and and making something extraordinary out of emotional depth to the fullest? something ordinary, “more feeling than painting,” as he explained it himself. Horace and Shakespeare boasted that their verse would outlive the ages. Strauss To fashion it as a symphony required boasted that his life was a hero’s life in his Beethoven to step across its familiar limits. tone poem (literally “A Most obviously, he depicts five scenes Hero’s Life”), reviewing his work and penning when a symphony normally permitted four, his own musical memoir at the age of 34, with the storm occurring between the with obvious self-satisfaction. If a symphony scherzo and the finale, and leading to the can be pastoral, or fantastique, or Italian, or mood of contentment and optimism in which Rhenish, or pathétique, why not domestic? Beethoven always ended his symphonies. This was what the composer was thinking The famous passage at the end of the slow when he attempted to portray—and cele - movement—the most perfect evocation of brate—the everyday private world he serenity ever composed—when three bird - shared with his wife and child. He had calls are heard (in turn nightingale, quail, married his wife Pauline in 1894 and their and cuckoo), gives an astonishing jolt to son Franz was born in 1897. Their Domestic the reverie and falls perilously close to Symphony was composed six years later. bathos, yet it aptly serves Beethoven’s This work belongs to the series of tone almost humorous purpose. The style of the poems Strauss had been composing symphony is not dramatic and knotty, like steadily since the stunningly successful the famous Symphony No. 5, but expansive, in 1889, each more ambitious in a plain diatonic language that avoids the than the last. The new one was to be abrupt dynamics and uneven rhythms of called a “symphonic” poem, not a “tone” much of his earlier music. poem (and it has recognizable scherzo and adagio sections, not unlike symphonic Richard Strauss movements). Yet it is far from being a Symphonia domestica, Op. 53 symphony and is much more of a narrative with three principal characters, each with The paradox at the heart of this great work their own themes. Two of them, his wife is this—marriage, parenthood, and the and himself, featured prominently in the intimacies of family life, for most of us, are previous tone poem, Ein Heldenleben . LINCOLN CENTER FESTIVAL 2015 THE CLEVELAND ORCHESTRA

They are now joined by the baby, known as her husband’s life easy and even sometimes “Bubi,” whose squeals and tantrums are sneered at his music. One of their rows represented in the music as well as his became the basis of his opera Intermezzo heavenly repose. in 1924. Nevertheless, he remained devoted to her and recognized that he The listener may prefer to know no more needed her, as the closing pages of the than that and let each section suggest Symphonia domestica celebrate. Their mar - what it will. Strauss originally explained riage lasted more than half a century, until events in considerable detail within the his death in 1949; she died ten months later. work’s movement titles (included on this concert’s program page), but then later A folksy passage suggests bourgeois removed most of the tags and cues from comforts (interrupted of course by passionate the score, sensing the embarrassment exchanges) before a sudden hush introduces that over-descriptive music can cause. the baby. He is represented by an important Suffice it to draw attention to the neatness theme played by the oboe d’amore, an of giving himself and his wife basic instrument familiar to Bach but not otherwise themes that are a reflection of each other found in Strauss’s time. The baby is, of in diametrically opposing keys, F and B: course, sweet when quiet but capable of screams too, and for his playtime his theme is transformed into a gentle scherzo somewhat in Mahler’s manner.

The storyline through the extensive remainder of the work can be followed in the movement titles—as playtime with baby turns to a lullaby, papa sits down at Each of these shows only the opening his desk after dinner, bedtime and marital notes of the first of many themes, but they sex, morning light, an argument, and then reappear constantly—his not always a grand drawing together in the realization gently, hers not always angrily, although of life’s happiness among family and Strauss lays his cards on the table early on. home. Music can transform the trivial into His own themes at the opening are in the sublime, and the Sinfonia domestica turn “comfortable” (cellos), “dreamy” (oboe), proves it quite admirably. “morose” (clarinets), “fiery” (), “joyful” (), and “fresh” (rushing scales). —Hugh Macdonald © 2015

Her themes follow immediately, but without Hugh Macdonald is Avis H. Blewett Professor labels. Pauline was a shrewish woman (in Emeritus of Music at Washington University in St. an era when one could say that without Louis. He has written books on Beethoven, repercussions) who did not always make Berlioz, Bizet, and Scriabin. LINCOLN CENTER FESTIVAL 2015 THE CLEVELAND ORCHESTRA

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

FIRST VIOLINS Ioana Missits Mark Atherton William Preucil Carolyn Gadiel Warner Thomas Sperl CONCERTMASTER Stephen Warner Henry Peyrebrune Blossom-Lee Chair Sae Shiragami Charles Barr Memorial Chair Yoko Moore Vladimir Deninzon Charles Carleton ASSISTANT CONCERTMASTER Sonja Braaten Molloy Scott Dixon Clara G. and George P. Bickford Scott Weber Derek Zadinsky Chair Kathleen Collins Peter Otto Beth Woodside HARP FIRST ASSOCIATE CONCERT- Emma Shook Trina Struble* MASTER Jeffrey Zehngut Alice Chalifoux Chair Jung-Min Amy Lee Yun-Ting Lee ASSOCIATE CONCERTMASTER FLUTES Gretchen D. and Ward Smith Joshua Smith* Chair Robert Vernon* Elizabeth M. and William C. Alexandra Preucil Chaillé H. and Richard B. Tullis Treuhaft Chair ASSISTANT CONCERTMASTER Saeran St. Christopher Chair 1 2 Dr. Jeanette Grasselli Brown Lynne Ramsey Marisela Sager and Dr. Glenn R. Brown Chair Charles M. and Janet G. Kimball Austin B. and Ellen W. Chinn Takako Masame Chair 2 Chair Paul and Lucille Jones Chair Stanley Konopka Mary Kay Fink Wei-Fang Gu Mark Jackobs Drs. Paul M. and Renate H. Jean Wall Bennett Chair PICCOLO Duchesneau Chair Arthur Klima Mary Kay Fink Kim Gomez Richard Waugh Anne M. and M. Roger Clapp Elizabeth and Leslie Lisa Boyko Chair Kondorossy Chair Lembi Veskimets Chul-In Park Eliesha Nelson Harriet T. and David L.Simon Joanna Patterson Zakany Frank Rosenwein* Chair Patrick Connolly Edith S. Taplin Chair Miho Hashizume Corbin Stair 2 Theodore Rautenberg Chair CELLOS Jeffrey Rathbun Jeanne Preucil Rose Mark Kosower* Everett D. and Eugenia S. Dr. Larry J.B. and Barbara S. Louis D. Beau1mont Chair McCurdy Chair Robinson Chair Richard Weiss Robert Walters Alicia Koelz The GAR Foun2dation Chair Oswald and Phyllis Lerner Charles Bernard ENGLISH HORN Gilroy Chair Helen Weil Ross Chair Robert Walters Yu Yuan Bryan Dumm Samuel C. and Bernette K. Patty and John Collinson Chair Muriel and Noah Butkin Chair Jaffe Chair Isabel Trautwein Tanya Ell Trevor and Jennie Jones Chair Thomas J. and Judith Fay CLARINETS Mark Dumm Gruber Chair Franklin Cohen* Gladys B. Goetz Chair Ralph Curry Robert Marcellus Chair Katherine Bormann Brian Thornton Robert Woolfrey 2 Analisé Denise Kukelhan William P. Blair III Chair Daniel McKelway David Alan Harrell Robert R. and Vilma L. Kohn SECOND VIOLINS Paul Kushious Chair Stephen Rose* Martha Baldwin Linnea Nereim Alfred M. and Clara T. Rankin Chair BASSES E-FLAT Emilio Llinas 2 Maximilian Dimoff* Daniel McKelway James and Donna Reid Chair Clarence T. Reinberger Chair Stanley L. and Eloise M. Eli Matthews 1 Kevin Switalski 2 1 Morgan Chair Patricia M. Kozerefski and Scott Haigh Richard J. Bogomolny Chair Mary E. and F. Joseph Callahan Elayna Duitman Chair Linnea Nereim LINCOLN CENTER FESTIVAL 2015 THE CLEVELAND ORCHESTRA

BASSOONS KEYBOARD John Clouser* Massimo La Rosa* INSTRUMENTS Louise Harkness Ingalls Chair Gilbert W. and Louise I. Joela Jones* Gareth Thomas Humphrey Chair Rudolf Serkin Chair Barrick Stees 2 Richard Stout Carolyn Gadiel Warner Sandra L. Haslinger Chair Alexander and Marianna C. Marjory and Marc L. Jonathan Sherwin McAfee Chair Swartzbaugh Chair Shachar Israel 2 LIBRARIANS Jonathan Sherwin BASS Robert O’Brien Thomas Klaber Joe and Marlene Toot Chair HORNS Donald Miller Richard King* EUPHONIUM AND Memorial Chair BASS TRUMPET ENDOWED CHAIRS Michael Mayhew § Richard Stout CURRENTLY UNOCCUPIED Knight Foundation Chair Sidney and Doris Dworkin Chair Jesse McCormick Sunshine Chair Robert B. Benyo Chair Yasuhito Sugiyama* Hans Clebsch Nathalie C. Spence and Alan DeMattia Nathalie S. Boswell Chair * Principal 1§ Associate Principal 2 First Assistant Principal Michael Sachs* Paul Yancich* Assistant Principal Robert and Eunice Podis Otto G. and Corinne T. Voss Weiskopf Chair Chair CONDUCTING STAFF Jack Sutte Tom Freer 2 Brett Mitchell Lyle Steelman 2 ASSISTANT CONDUCTOR James P. and Dolores D. Storer PERCUSSION Elizabeth Ring and William Chair Marc Damoulakis* Gwinn Mather Chair Michael Miller Margaret Allen Ireland Chair Donald Miller Robert Porco CORNETS Tom Freer DIRECTOR OF CHORUSES Michael Sachs* Frances P. and Chester C. Mary Elizabeth and G. Robert Bolton Chair Klein Chair Michael Miller

Concert Chorale of New York

TENORS Nate Widelitz Mark Rehnstrom James Bassi Nicholas Wilson Jonathan Rohr David Bryan James Archie Worley Christopher Roselli Michael Denos Victor Ziccardi Daniel Shigo Keith Dixon Daniel Spratlan Martin Doner BASSES Charles Sprawls Brian Dougherty Daniel Alexander Peter Stewart James Fredericks Frank Barr Scott Wheatley Walker Jackson Dennis Blackwell Lewis White John Kawa Clinton Curtis Matthew Kreger Clyde Crewey Adam MacDonald Peter Fischer James Bassi Drew Martin Mischa Frusztajer MUSIC DIRECTOR Jack Pierce Dominic Inferrera Steven Rosser Conor McDonald Jacqueline Pierce Joshua Simka Steven Moore ARTISTIC ADMINISTRATOR John Tiranno Joseph Neal LINCOLN CENTER FESTIVAL 2015 THE CLEVELAND ORCHESTRA

The Cleveland Orchestra music directors. In addition, Cleveland Under the leadership of Music Director Orchestra concerts are heard in syndication Franz Welser-Möst, The Cleveland each season on radio stations throughout Orchestra has become one of the most North America and Europe. sought after performing ensembles in the world, setting standards of artistic excellence, Seven music directors—Nikolai Sokoloff, creative programming, and community Artur Rodzinski, , George engagement. The strong and ongoing Szell, , Christoph von Dohnányi, financial support of the ensemble’s home and Franz Welser-Möst—have guided and region is driving the Orchestra forward shaped the ensemble’s growth and sound with renewed energy and focus, increasing since its founding in 1918. Through tours, the number of young people attending residencies, radio broadcasts, and recordings, concerts, and bringing fresh attention to The Cleveland Orchestra is heard today by the Orchestra’s legendary sound and a broad and loyal constituency around committed programming. the world. For more information visit clevelandorchestra.com. The Cleveland Orchestra last appeared at Lincoln Center Festival in 2011 with a series Lincoln Center Festival of four concerts, Bruckner (R)evolution , Now in its 20th season, Lincoln Center pairing the music of Anton Bruckner with Festival has received worldwide attention John Adams, and at Lincoln Center’s for presenting some of the broadest and White Light Festival in 2013. most original performing arts programs in Lincoln Center’s history. The Festival has The partnership with Franz Welser-Möst, presented over 1,300 performances of opera, begun in 2002 and entering its 14th year music, dance, theater, and interdisciplinar y with the 2015-16 season, has earned forms by internationally acclaimed artists The Cleveland Orchestra unprecedented from more than 50 countries. To date, the residencies in the U.S. and around the Festival has commissioned more than 42 world, including one at the Musikverein in new works and offered some 142 world, Vienna, the first of its kind by an American U.S., and New York premieres. It places orchestra. The Orchestra’s annual residency particular emphasis on showcasing contem - in Miami, Florida, presented under the name porary artistic viewpoints and multidisciplinary Cleveland Orchestra Miami, is entering its works that challenge the boundaries of tradi - tenth year in 2015-16, and involves four tional performance. weeks of full programming in South Florida, including concerts, community Lincoln Center for the Performing Arts presentations, education programs, and Lincoln Center for the Performing Arts collaborative partnerships. (LCPA) serves three primary roles: presenter of artistic programming, national leader in The Cleveland Orchestra has a long and arts and education and community relations, distinguished recording and broadcast history. and manager of the Lincoln Center campus. A series of DVD and CD recordings under A presenter of more than 3,000 free and the direction of Mr. Welser-Möst continues ticketed events, performances, tours, and to add to an extensive and widely praised educational activities annually, LCPA offers catalog of audio recordings made during 15 series, festivals, and programs including the tenures of the ensemble’s earlier American Songbook , Avery Fisher Artist LINCOLN CENTER FESTIVAL 2015 THE CLEVELAND ORCHESTRA

Program, Great Performers , Lincoln Center winning Live From Lincoln Center , which Books, Lincoln Center Festival , Lincoln airs nationally on PBS. As manager of the Center Out of Doors , Lincoln Center Vera Lincoln Center campus, LCPA provides List Art Project, Midsummer Night Swing , support and services for the Lincoln Center Martin E. Segal Awards, Meet the Artist, complex and the 11 resident organizations. Mostly Mozart Festival , and the White In addition, LCPA led a $1.2 billion campus Light Festival , as well as the Emmy Award- renovation, completed in October 2012. July 18 Stanley H. Kaplan Penthouse

Fantastic with the Cleveland Orchestra

Horn Hans Clebsch Keyboard Joela Jones Host Dianne Palmer Kids ages six and up enjoy an up-close demonstration of the modern French horn before traveling back in time to the instrument’s prehistoric origins. Participants will then be invited to try various brass, string, and woodwind instruments during Instrument Discovery.

Hans Clebsch (Horn) joined The Cleveland Orchestra in 1996 and made his solo debut with the Orchestra in Schumann’s Konzertstück for Four Horns in 1997. Before joining the Orchestra, he served as acting principal horn with the Houston Ballet and Houston Grand Opera orchestras, as acting associate principal horn of the Houston Symphony, and principal horn of the Mexico City Philharmonic. He has also performed with the Grand Teton Music Festival Orchestra, Spoleto’s Festival of Two Worlds, the Seville Symphony Orchestra, and Mexico’s Mineria Symphony Orchestra.

Joela Jones (Keyboard) plays piano, organ, harpsichord, celesta, synthesizer, and accordion with The Cleveland Orchestra. As a soloist with the Orchestra, she has performed more than 50 concertos in more than 200 performances. Recent appearances as a piano soloist include Stravinsky’s Movements , Messiaen’s Sept Haï-Kaï , and Bernstein’s The Age of Anxiety . She has also performed works for organ and orchestra by Barber, Poulenc, Saint-Saëns, Janá cˇ ek, MacMillan, and Ives.

Dianne Palmer (Host) is a vocalist whose live stage performances explore a diverse range of musical compositions from the 1930s through today. She also works as a voiceover talent for radio and television commercials, live MC performances, web narrations, and audiobooks.

The Stanley H. Kaplan Penthouse is located within the Rose Building at 165 West 65th Street, 10th Floor. For ticketing information visit kids.lincolncenter.org.

For more information about additional ancillary events during Lincoln Center Festival visit LincolnCenterFestival.org. Looking At Festival h p l o d u R

s u a l K

Harry Partch’s Delusion of the Fury

incoln Center Festival isn’t only vocalist David Moss. Or at the Druid L about the nearly 60 exciting Theatre Company symposium, ask performances by companies from one of the creative geniuses behind around the world, it also offers DruidShakespeare: The History Plays opportunities for audiences and that nagging question about The Bard families to peek behind the curtain you’ve always wanted to pose. And with a variety of ancillary events—artist most importantly, help create the talks, lectures, a symposium, and next generation of great musicians! special programs for children. Introduce aspiring young virtuosos to instruments in the symphonic Care to learn more about the stunning orchestra, and help them discover puppetry in Rezo Gabriadze’s Ramona? their inner musician, when Cleveland In conjunction with the performances Orchestra members, horn player Hans of the show, LC Kids offers a hands- Clebsch and keyboardist Joela Jones, on puppet-building workshop led by lead . Who award-winning puppeteer Erin Orr. If Fantastic French Horn knows? It could be your young one’s Delusion of the Fury doesn’t completely first step toward taking the stage at satisfy your cravings for the daring Avery Fisher Hall one day! and original music of maverick composer Harry Partch, then come to For more information, and complete New York City Center to experience schedule of Lincoln Center Festival a hybrid lecture-performance of his and corresponding ancillary events, personal journal, Bitter Music, by visit LincolnCenterFestival.org.