These performances are made possible in part by:The P. J. McMyler Musical Endowment Fund The Ernest L. and Louise M. Gartner Fund The Anton and Rose Zverina Music Fund

The Frank and Margaret Hyncik Memorial Fund

The Adolph Benedict and Ila Roberts Schneider Fund

The Arthur, Asenath, and Walter H. Blodgett Memorial Fund

The Dorothy Humel Hovorka Endowment Fund

The Albertha T. Jennings Musical Arts Fund

DEPARTMENT OF PERFORMING ARTS, MUSIC, AND FILMThe Cleveland Museum of Art 11150 East Boulevard Cleveland, Ohio 44106–1797

performingarts@clevelandart.org cma.org/performingarts

#CMAperformingarts

Programs are subject to change.

Series sponsors:

TICKETS 1–888–CMA–0033 cma.org/performingarts

Photography and audio/video recording in the performance hall are prohibited.

Please turn off all electronic devices before entering the performance hall.

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Wednesday, May 10, 2017

Brandee Younger& Courtney Bryan

Brandee Younger, harp Courtney Bryan, pianoWith

Dezron Douglas, bass Kassa Overall, drums

Wednesday, May 10, 2017, 7:30 p.m.Gartner Auditorium, the Cleveland Museum of Art

PROGRAM

Tonight’s program will be announced from stage,

presented without intermission,

and will be approximately 90 minutes in duration.

Welcome to the Cleveland Museum of ArtThe Cleveland Museum of Art’s performing arts series brings together thoughtful, fascinating, and beautiful experiences, comprising a concert calendar notable for its boundless multiplicity. This year we look forward to visits from old friends and new, bringing us music from around the globe and spanning many centuries. Here is the place where performance is intended to explore connections of cultures, the heart, the human spirit.

In the GalleriesAfrican Master Carvers: Known and FamousThrough July 16

Black in America: Louis Draper and Leonard Freed Through July 30

Opulent Fashion in the ChurchThrough September 24

Cutting Edge: Modern Prints from Atelier 17 Through August 13

Brand-New & Terrific: Alex Katz in the 1950s Through August 6

cma.org/performingarts #CMAperformingarts

CIM/CWRU Joint Music ProgramWednesday, October 5, 6:00

FretworkWednesday, October 12, 7:30

Vijay Iyer with International Contemporary EnsembleWednesday, October 19, 7:30

CIM/CWRU Joint Music ProgramWednesday, November 2, 6:00

Oberlin Contemporary Music EnsembleSaturday, November 5, 2:00

Jean-Baptiste MonnotSunday, November 13, 2:00

Oberlin Contemporary Music EnsembleSunday, December 4, 2:00

CIM/CWRU Joint Music ProgramWednesday, December 7, 6:00

Francesco D’OrazioFriday, December 9, 7:30

The Crossing: David Lang’s LifespanFriday–Sunday, January 6–8

The “Qatsi” TrilogyFriday–Sunday, January 27–29

CIM/CWRU Joint Music ProgramWednesday, February 1, 6:00

Emmanuel ArakélianSunday, February 19, 2:00

Oberlin Contemporary Music EnsembleSunday, February 26, 2:00

CIM/CWRU Joint Music ProgramWednesday, March 1, 6:00

CIM Organ StudioSunday, March 12, 2:00

QuinceWednesday, March 22, 7:30

Frode Haltli & Emilia AmperWednesday, March 29, 7:30

CIM/CWRU Joint Music ProgramWednesday, April 5, 6:00

Oberlin Contemporary Music EnsembleSunday, April 9, 2:00

Zakir Hussain & Rahul SharmaWednesday, April 12, 7:30

Jeffrey ZeiglerWednesday, April 26, 7:30

CIM/CWRU Joint Music ProgramWednesday, May 3, 6:00

Brandee Younger & Courtney BryanWednesday, May 10, 7:30

Performing Arts

Please turn off all electronic devices before entering the performance hall.

Photography and audio/video recording in the performance hall are prohibited.

ABOUT THE ARTISTS

Brandee Younger

A fearless and versatile talent, harpist Brandee Younger moves far afield of genre as a classically-trained musician playing in the avant-garde tradition of her sonically forward forebears Dorothy Ashby and Alice Coltrane. Ms. Younger delivers a consistently fresh take on the ancient instrument as an educator, event curator, performer, and leader of the Brandee Younger Jazz Harp Quartet. Flanked by drummer E.J. Strickland, bassist Dezron Douglas, and tenor saxophonists Stacy Dillard and Chelsea Baratz, Ms. Younger has produced an impressive body of work since the 2011 debut of her seminal Prelude EP, including Brandee Younger Live @ The Breeding Ground, a breakthrough performance on Revive Music’s 2015 Supreme Sonacy Vol. 1 LP, and the more recent release of her critically-acclaimed 2016 Wax & Wane LP.

Known for expressive interpretations of traditional harp repertoire as well as her continued work with a diverse cross-section of musical talents, Ms. Younger is widely recognized as a creative linchpin whose nuanced presence and willingness to push boundaries have made her irreplaceable on record and in performance. The same protean ability has found her sharing stages with jazz leaders and popular hip-hop and r&b titans including Ravi Coltrane, Pharoah Sanders, Jack Dejohnette, Reggie Workman, Common, John Legend, and Lauryn Hill.

As well versed in performance art as she is the art of creative risk-taking, Brandee Younger challenges commonly-held notions in her quest to “make the harp a more relevant force in today’s music.” Ms. Younger’s ability to seamlessly inject the harp into arrangements and venues where it has historically been overlooked is a testament

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to her deep love for and exemplary command of the instrument.

“Somewhere beyond the fairy forests and angel wings that harp music traditionally evokes lies Brandee Younger’s rebellion. She’s classically trained, but a typical week for her is more likely to include a jazz jam session one night and a hip-hop studio recording the next afternoon. There’s no room for coyness in her music, although her eyes betray a glimmer of mischief when she plays...” —Rajul Punjabi/Village Voice

A native of Long Island, New York, Ms. Younger spent her formative years in Hempstead and Uniondale where she began harp studies as a teen under the tutelage of Karen Strauss. She received further instruction from harpists Rebecca Flannery, Susan Jolles, and Emily Mitchell and bassist Nat Reeves. Ms. Younger went on to earn undergraduate degrees in Harp Performance and Music Business from The Hartt School of the University of Hartford. While there, she was mentored by the faculty of the Jackie McLean Institute of Jazz and African American Studies. An immersive experience detailed in an article by Nate Chinen of the New York Times.

“Ms. Younger quickly found a kinship with Hartt’s jazz program, run at the time by the august alto saxophonist Jackie McLean. He told her to drop by whenever she wanted. ‘So I did,’ she said. ‘Even though I was studying classical music, I would show up to the master classes, the ensemble classes. I would never bring my instrument; I would just sit there. Four years of that.’ Though intimidated by the prospect of improvising, she gradually began to branch out, with encouragement.”

Upon graduating from Hartt, Reeves introduced Ms. Younger to saxophonist Kenny Garrett, with whom she would sharpen her skills in both ensemble playing and

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instruments are melded to a haunting universe centered around Niia’s celestial voice. Beguiling musical subtlety in these times of loudness.”

Brandee Younger’s versatility has been her passport to an array of venues and the source of musical synthesis at the core of her work. As a classical musician, she has been a featured soloist with the Harlem Chamber Players as well as the Impulse Artist Series. She has also performed with an array of ensembles including the Eastern Connecticut Symphony, Waterbury Symphony, Soulful Symphony, Ensemble Du Monde, Camerata New York, and the Red Bull Artsehcro, a “non-conformist” orchestra. As well, Ms. Younger has worked and recorded with a number of jazz luminaries including Jack DeJohnette, Pharoah Sanders, Christian McBride, Ravi Coltrane, Wycliffe Gordon, Charlie Haden, Rashied Ali, Butch Morris, Jeff “Tain” Watts, Kenny Garrett, and Bill Lee. Her work in r&b and hip-hop has found her sharing studios and stages with the likes of John Legend, Common, Drake, Salaam Remi, and Ms. Lauryn Hill.

Deftly fusing elements of each genre, Ms. Younger released her critically-acclaimed Wax & Wane LP in 2016. Her latest formal release is an ode to preservation and the art of pushing the envelope that finds her planting her flag as arguably one of the most fearless leaders at the fore of the latest revolution in music.

“The new album came about after Ms. Younger performed a tribute to Ms. Ashby commissioned by the Revive Music Group. She connected with Casey Benjamin of the Robert Glasper Experiment, who produced “Wax & Wane” with a contemporary flair. “Afro-Harping,” which in Ms. Ashby’s original 1968 version feels dialed in to hippie frequencies, sounds on the new album like a post-Dilla instrumental, a remix in real time.” —Nate Chinen/New York Times

Described as “an altered universe where the fluttering polyphonic exchange of the harp and flute expand and

improvisation. Entering New York University for graduate school six months later, she had already established an impressive résumé, having joined the harp faculty at the Hartt School Community Division, opened for Slide Hampton as a member of Hartford-based collective the New Jazz Workshop, and developed a working relationship with Grammy-nominated producer and artist Ryan Leslie and Grammy Award-winning producer Omen.

Building upon that foundation, Ms. Younger began working with saxophonist Ravi Coltrane on a series of concerts honoring the music of the late pianist, organist, and harpist Alice Coltrane. The study of Coltrane’s music, along with the work of harpist Dorothy Ashby, would ultimately help Ms. Younger develop her own approach to the instrument—a style that is at once striking and singular in performance.

“Coltrane asked her to play at a memorial service for his mother. Her performance ‘moved me and everyone in attendance from the first glissando,’ Mr. Coltrane recalled. ‘No harpist thus far has been more capable of combining all of the modern harp traditions—from Salzedo, through Dorothy Ashby, through Alice Coltrane—with such strength, grace, and commitment.’ This was effectively Ms. Younger’s public debut, and it set the terms for a spiritual succession.” —Nate Chinen/New York Times

After years of playing as a sideman in various ensembles, Brandee Younger released her debut Prelude EP, which was originally intended for use as a demo. Released in 2011, the acclaimed indie project was recorded in an analog studio with Dezron Douglas, E.J. Strickland, and vocalist Niia. The original standout track, “So Alive,” was later featured in a Mercedes-Benz Mixed Tape compilation; Younger’s expansive and emphatically beautiful contribution subsequently lauded by Mercedes-Benz as “...a compelling soul jazz composition, in which all

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ensembles in the new music and jazz idioms, film scores, and collaborations with dancers, visual artists, writers, and actors, and is in conversation with various musical genres, including jazz and other types of experimental music, as well as traditional gospel, spirituals, and hymns. Focusing on bridging the sacred and the secular, Bryan’s compositions explore human emotions through sound, confronting the challenge of notating the feeling of improvisation. Bryan has academic degrees from Oberlin Conservatory (BM), Rutgers University (MM), and a DMA in music composition from Columbia University of New York, with advisor George Lewis. She has been an instructor at Columbia University and Oberlin Conservatory, and a Postdoctoral Research Associate in the Department for African American Studies at Princeton University. Bryan is currently an Assistant Professor of Music in the Newcomb Department of Music at Tulane University. She has two independent recordings, Quest for Freedom (2007) and This Little Light of Mine (2010).

Bryan’s work has been presented in a wide range of venues, including Lincoln Center, Miller Theatre, Symphony Space, the Stone, Roulette Intermedium, La MaMa Experimental Theatre, the Museum of Modern Art, National Gallery of Art, Blue Note Jazz Club, Jazz Gallery, Bethany and Abyssinian Baptist Churches, and the New Orleans Jazz & Heritage Festival. Recent premieres include White Gleam of Our Bright Star for orchestra commissioned by the Colorado Springs Philharmonic, Soli Deo Gloria for guitar duo commissioned by Duo Noire, Yet Unheard for chorus, orchestra, and Helga Davis, a collaboration with Sharan Strange, commissioned by the Dream Unfinished, an Activist Orchestra, and His Love Endures for jazz orchestra commissioned by the New York Jazzharmonic. Other compositions include, Sanctum for orchestra and recorded sound commissioned by the American Composers Orchestra, Prophetika: an Oratorio, a collaboration with director Charlotte Brathwaite and artist Abigail DeVille, Steffani Jemison’s Promise Machine, Shedding Skin for orchestra, performed by the American Composers

contract against a dense rhythmic display,” the album is the unlikely intersection where modern American cool collides with antiquity and the result does not feel contrived.

Brandee Younger has taught at Adelphi University, Nassau Community College, the Hartt School Community Division at the University of Hartford, and currently maintains a rigorous schedule as a private instructor and teacher at Greenwich House Music School. Ms. Younger has lectured and conducted masterclasses at The Royal Conservatory of Music (Toronto), Howard University, Trinity College, the Hartt School, Elyrica Summer Music Program, Connecticut Valley Harp Intensive, NOLA Jazz & Pop Festival, and she also serves as Symphonic and Jazz Harp Artist in Residence at the Cicely L. Tyson Community School of Performing and Fine Arts. In addition, she boasts a handful of bylines for Revive Music and Harp Column Magazine and holds several leadership positions as a member of the Apollo Young Patrons Steering Committee, the advisory board of the Wilbur Ware Foundation, and Vice President of the Metro NYC and Long Island Chapters of the American Harp Society. Stepping away from traditional venues to bring live performance to alternative spaces, Ms. Younger recently served as curator of the weekly Harp On Park lunchtime concert series “highlighting the diversity of the harp and the contemporary importance of an ancient instrument” for Arts Brookfield.

“I want listeners to walk away with a different perspective on the harp’s place in music. For people to know that the instrument can play a fully functioning role in many settings. That it is not limited to any style or genre. In order for that to happen, expectations have to change. I will continue to do all that I can to help change them.”

Courtney BryanCourtney Bryan, a native of New Orleans, Louisiana, is “a pianist and composer of panoramic interests” (New York Times). Her music ranges from solo works to large

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Institute for Religion, Culture, and Public Life. She has given talks at the Institute for Research in African-American Studies (IRAAS) Conversation Series and the Jazz Studies Center at Columbia University, at the Harlem Jazz Shrines Festival, and was featured in the Columbia University Institute for Religion, Culture, and Public Life radio documentary “The Harlem Renaissance: Music, Religion, and the Politics of Race.” She was the featured composer at the Callaloo Conference 2014 at Emory University, and traveled with Jazz at Lincoln Center’s Horns to Havana program as an instructor with the New Orleans Louis “Satchmo” Armstrong Jazz Camp to Havana, Cuba, and is a subject in a documentary by Geoffrey Poister, entitled “Jazz Dreams II,” which documents fourteen years in the lives of musicians, Courtney Bryan, Jason Marsalis, and Irvin Mayfield.

Dezron DouglasKnown for his musical versatility, bassist Dezron Douglas is one of the most in-demand young bassists in jazz today. Composer, bandleader, sideman and educator, Dezron has established himself as a musician’s musician, respected not only for his talent but also for his dedication to the authenticity of the music.

Born and raised in Hartford, Connecticut, Dezron grew up surrounded by music. His first musical influences weren’t actually jazz, even though he is the nephew of the legendary drummer and composer, Walter Bolden (Nancy Wilson). The sounds that filled his home were of Stevie Wonder, George Benson, Minnie Ripperton, Diana Ross, Gregory Isaacs, Peter Tosh, The Clark Sisters, Mahalia Jackson, Commissioned, and the list goes on. As he explains, “Jazz was always around, but not at my house.” He was influenced by the music, moved by the way sound expressed emotion. At the age of 12, he was determined to harness that ability.

Orchestra at Miller Theatre as part of the Jazz Composers Orchestra Institute, saved for three gospel choirs, as part of artist Kara Lynch’s sound installation invisible :: meet me in okemah :: saved, performed by Bethany, First Corinthians, and Convent Ave Baptist Church Choirs, and IMPACT Repertory Theatre at Harlem River Park, and Songs of Laughing, Smiling, and Crying for solo improvised piano and recorded sound, including re-crafted YouTube sound recordings based on the title theme, including popular songs by Placido Domingo, Louis Armstrong, Screamin’ Jay Hawkins, and others. Upcoming commissions include Do Your Thing for Carnegie Hall’s Link Up “Orchestra Swings” program, The Bremen Town Band, a collaboration with Lake Simons commissioned by Miller Theatre, Blooming for wind ensemble commissioned by Imani Winds and UChigago Presents, and the chamber version of Yet Unheard for the Ojai Festival, conducted by Steven Schick.

Recent performances include solo performances at Fromm Players at Harvard University, Jazz at the Rat at Tulane University, and WWOZ Piano Night; collaborations with Brandee Younger featuring the music of Alice Coltrane and originals at the MET Breuer, Drexel University, CUNY IRADAC, the Graduate Center, the Schomburg Center for Research on Black Culture, and the Cell Theatre; HER (in honor of): a performance and discussion at Princeton University; the premiere of Spooky Interaction (2014) by George Lewis, a telematic collective improvisation between two human pianists and two computer pianists performing on Disklaviers along with Paul Grabowsky in Melbourne, Australia; and Mary Lou Williams Tribute: The Next Generation at Harlem Stage.

Bryan was recently featured as a speaker at the Tulane University Newcomb College Institute, the National Jazz Museum of Harlem, and the Institute of Women & Ethnic Studies of New Orleans, and has curated performances and discussions on women in jazz at Princeton University and Drexel University, and on music and spirituality at Bethany Baptist Church of Newark and the Columbia University

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Eubanks, Eric Reed, Tomasz Stanko, Vincent Herring, Papo Vazquez, and the Marsalis Family.

His talent for music is not limited to the stage, or the recording studio. As a teacher, he encourages his students to embody the music. Technique can be perfected with practice, but it is important that the student understand the emotion behind the music, and is able to replicate that in the song. Dezron has taught at the Artists Collective in Hartford, and Martocchio Music in Simsbury. He also gives workshops at various institutions.

Dezron is currently a member of Louis Hayes Jazz Communicators, Ravi Coltrane Quartet, Papo Vazquez Mighty Pirates, and he is also a long-standing member of the Cyrus Chestnut Trio, amongst many other associations within the music scene. He has recorded four albums as a leader: two on the VENUS music label, one on the SMALLSLIVE label, and one independent.

Kassa OverallKassa Overall, drummer, producer and recording artist, is a rising star on today’s music scene. Encompassing all styles and traditions of music, he works with artists ranging from jazz to hip-hop, indie-pop to avante-garde. As a drummer, Overall has been an integral part of Geri Allen’s Timeline band which has toured extensively throughout the U.S. and Europe for the past three years. You can hear their latest work on Geri Allen’s latest release entitled Timeline Live. Being an extremely versatile drummer that can shine in any situation, he has also been making an impact on the indie-pop scene touring with artists such as Francis and the Lights, Gordon Voidwell, TECLA, and Mayer Hawthorne.

Utilizing the capabilities of laptops and samplers on stage is a key element to Overall’s signature sound. He has also toured extensively with his own band, fusing his jazz and instrumental training with his contemporary electronic passion. Overall received his Bachelor of Music from the Oberlin Conservatory of Music where he studied under jazz

With the encouragement of his mentor, the late saxophonist, composer, and educator Jackie Mclean, he enrolled in the Jackie McLean Institute of African American Music at the Hartt School of Music. Studying at Hartt offered him the opportunity to learn from and work with such notable jazz musicians such as Nat Reeves, Steve Davis, and of course Jackie McLean.

Transcribing music into emotion was an effortless process for the young bassist. The years at Hartt helped Dezron to form his own technical approach to the bass, further developing his versatility. Natural talent combined with his ability to swing made Dezron one of the most sought after young bassists. While still in school he routinely performed with Rene McLean, Steve Davis, Jimmy Greene, Alan Jay Palmer, Abraham Burton and Eric McPherson, Nita Zarif, and Montenia Shider.

While in college, he co-founded the New Jazz Workshop of Hartford, a group of like-minded young musicians dedicated to preserving the heart of Jazz. The group offered him an opportunity to showcase his talents as a composer and bandleader. Still while in college, the group received the Evelyn Preston Grant and also had the privilege of opening for Slide Hampton. The group performed collectively across the Tri-State area and selectively with notable jazz musicians across the world. Their debut album Underground was released in July of 2012.

Dezron began recording in 2005 on the album Marsalis Music Honors Michael Carvin, produced by Branford Marsalis, and featuring master drummer Michael Carvin. This experience opened up a flood gate of other opportunities. Over the years, he has continued to perform and record with Michael Carvin, Pharoah Sanders, Cyrus Chestnut, Louis Hayes, George Cables, Abraham Burton/Eric McPherson, Rene McLean, Al Foster, Ravi Coltrane, Billy Drummond, Steve Davis, Victor Lewis, Winard Harper, Mulgrew Miller, Lewis Nash, Kevin Mahogany, Carla Cook, Kenny Garrett, Steve Coleman, Willie Jones III, Duane

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drum legend Billy Hart. His mentors have also included the late Elvin Jones, Billy Higgins, and Tutti Heath. Overall has also performed or recorded with Vijay Iyer, Das Racist, Francis and the Lights, Mayer Hawthorne and the County, Wallace Roney, Ravi Coltrane, Geri Allen, Billy Hart, Gary Bartz, Iron Solomon, Gordon Voidwell, TECLA, and many more.

He is currently focused on his own projects as a producer, rapper, and singer. His credits as a producer and rapper can be found on the projects of Das Racist (Sit Down, Man; Shut Up, Dude), TECLA (Strangers in Masks), and Iron Solomon (Monster). With a passion for growth, development, and persistence, Kassa Overall is definitely one to watch as the music evolves. Also be on the lookout for Kassa’s debut self-produced project entitled Coffee and Cigarettes, his collaboration album with Kool A.D. of Das Racist, and The Stargate Mixtape.

COMING SOON

Ohio City Stages 2017

Wednesdays in July outside the Transformer Station

The city’s premier summer global music series returns! Now in its fifth year, Ohio City Stages is the museum’s free, outdoor concert series running Wednesday evenings in July at the Transformer Station. Celebrate summer in the city with an evening in Hingetown, featuring the very best of musical artists from around the world. These upbeat concerts are fun for all. Stay tuned for complete artist line up to be announced online. cma.org/ohiocitystages

Welcome to the Cleveland Museum of ArtThe Cleveland Museum of Art’s performing arts series brings together thoughtful, fascinating, and beautiful experiences, comprising a concert calendar notable for its boundless multiplicity. This year we look forward to visits from old friends and new, bringing us music from around the globe and spanning many centuries. Here is the place where performance is intended to explore connections of cultures, the heart, the human spirit.

In the GalleriesMyth and Mystique: Cleveland’s Gothic Table Fountain Through February 26

Albert Oehlen: Woods near Oehle Through March 12

Pure Color: Pastels from the Cleveland Museum of Art Through March 19

Basquiat: The Unknown Notebooks Through April 23

Black in America: Louis Draper and Leonard Freed February 26–July 30

Opulent Fashion in the Church Through September 24

cma.org/performingarts #CMAperformingarts

CIM/CWRU Joint Music ProgramWednesday, October 5, 6:00

FretworkWednesday, October 12, 7:30

Vijay Iyer with International Contemporary EnsembleWednesday, October 19, 7:30

CIM/CWRU Joint Music ProgramWednesday, November 2, 6:00

Oberlin Contemporary Music EnsembleSaturday, November 5, 2:00

Jean-Baptiste MonnotSunday, November 13, 2:00

Oberlin Contemporary Music EnsembleSunday, December 4, 2:00

CIM/CWRU Joint Music ProgramWednesday, December 7, 6:00

Francesco D’OrazioFriday, December 9, 7:30

The Crossing: David Lang’s LifespanFriday–Sunday, January 6–8

The “Qatsi” TrilogyFriday–Sunday, January 27–29

CIM/CWRU Joint Music ProgramWednesday, February 1, 6:00

Emmanuel ArakélianSunday, February 19, 2:00

Oberlin Contemporary Music EnsembleSunday, February 26, 2:00

CIM/CWRU Joint Music ProgramWednesday, March 1, 6:00

CIM Organ StudioSunday, March 12, 2:00

QuinceWednesday, March 22, 7:30

Frode Haltli & Emilia AmperWednesday, March 29, 7:30

CIM/CWRU Joint Music ProgramWednesday, April 5, 6:00

Oberlin Contemporary Music EnsembleSunday, April 9, 2:00

Zakir Hussain & Rahul SharmaWednesday, April 12, 7:30

Jeffrey ZeiglerWednesday, April 26, 7:30

CIM/CWRU Joint Music ProgramWednesday, May 3, 6:00

Brandee Younger & Courtney BryanWednesday, May 10, 7:30

Performing Arts

Please turn off all electronic devices before entering the performance hall.

Photography and audio/video recording in the performance hall are prohibited.

These performances are made possible in part by:The P. J. McMyler Musical Endowment Fund The Ernest L. and Louise M. Gartner Fund The Anton and Rose Zverina Music Fund

The Frank and Margaret Hyncik Memorial Fund

The Adolph Benedict and Ila Roberts Schneider Fund

The Arthur, Asenath, and Walter H. Blodgett Memorial Fund

The Dorothy Humel Hovorka Endowment Fund

The Albertha T. Jennings Musical Arts Fund

DEPARTMENT OF PERFORMING ARTS, MUSIC, AND FILMThe Cleveland Museum of Art 11150 East Boulevard Cleveland, Ohio 44106–1797

performingarts@clevelandart.org cma.org/performingarts

#CMAperformingarts

Programs are subject to change.

Series sponsors:

TICKETS 1–888–CMA–0033 cma.org/performingarts

Photography and audio/video recording in the performance hall are prohibited.

Please turn off all electronic devices before entering the performance hall.

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Sunday, February 19, 2017

Emmanuel Arakélian