The Cleveland Orchestra February 13-16 Concerts

S E V E R A N C E H A L L

February 13, 15, 16MAHLER, SCHOENBERG AND BRAHMS

February 14 CELEBRITY SERIES: CASABLANCA

Metamorphosis, an Hermès story

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TA B L E O F C O N T E N T S

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

7 In the News

From the Executive Director . . . . . . . . . . . . . . . . . . 7

Orchestra News . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Distinguished Service Award . . . . . . . . . . . . . . . . 32

8 About the Orchestra

Musical Arts Association . . . . . . . . . . . . . . . . . . . . . 11

Music Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . 22

Education and Community . . . . . . . . . . . . . . . . . . 65

Severance Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Guest Information . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

35 Concert — Week 12

Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Program: February 13, 15, 16 . . . . . . . . . . . . . . 35

Introducing the Concerts . . . . . . . . . . . . . . . . . . . . 37

MAHLER

Blumine, Symphonic Movement . . . . . . . . . . . 38

MAHLER

Songs of a Wayfarer . . . . . . . . . . . . . . . . . . . . . . . 40

BRAHMS/SCHOENBERG

Quartet in G minor . . . . . . . . . . . . . . . . . . . . . . . . 51

Conductor: Marc Albrecht . . . . . . . . . . . . . . . . . . . 55

Soloist: Sasha Cooke . . . . . . . . . . . . . . . . . . . . . . . . 57

61 Celebrity Concert — Casablanca

Program: Casablanca . . . . . . . . . . . . . . . . . . . . . . 61

The Story . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Conductor: William Eddins . . . . . . . . . . . . . . . . . . . 63

48 Support

Sound for the Centennial . . . . . . . . . . . . . . . . . . . . 48

Endowed Funds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Corporate Annual Support . . . . . . . . . . . . . . . . . . . 73

Foundation / Government Annual Support . . . 75

Individual Annual Support . . . . . . . . . . . . . . . . . . 76

90 Future Concerts

Concert Calendar . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Upcoming Concerts . . . . . . . . . . . . . . . . . . . . . . . . 94

This program book isprinted on paper thatincludes 50% recycled post-consumer content.

All unused books are recycled as part of theOrchestra’s regular busi-ness recycling program.

These books are printed with EcoSmart certifi ed inks, containing twice the vegetable-based material and one-tenth the petroleum oil content of standard inks, and producing 10% of the volatile organic compounds.

WEEK 12COVER PHOTOGRAPHY BY ROGER MASTROIANNI

Eric Sellen, Program Book Editor E-MAIL: esellen@clevelandorchestra.com

Program books for Cleveland Orchestra concerts are produced by The Cleveland Orchestra and are distributed free to attending audience members.

Program book advertising is sold through Live Publishing Company at 216-721-1800

The Cleveland Orchestra is grateful to the following organizations for their ongoing generous support of The Cleveland Orchestra: National Endowment for the Arts, the State of Ohio and Ohio Arts Council, and to the residents of Cuyahoga County through Cuyahoga Arts and Culture.

The Cleveland Orchestra is proud of its long-term partnership with Kent State University, made possible in part through generous funding from the State of Ohio.

The Cleveland Orchestra is proud to have its home, Severance Hall, located on the campus of Case Western Reserve University, with whom it has a long history of collaboration and partnership.

NATIONAL ENDOWMENTFOR THE ARTS

4 The Cleveland OrchestraTable of Contents

We are proud to partner with

The Cleveland Orchestrato build audiences for the future through anannual series of BakerHostetler Guest Artists.

Chicago Cincinnati Cleveland Columbus Costa Mesa Denver Houston Los Angeles New York Orlando Washington, DC

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The Cleveland Orchestra is an extraordinary engine of promotion and a tremendous source of great civic pride. Every year The Cleveland Orchestra draws a local, national and international audience to Severance Hall to hear

“the sound the world is talking about.”

We invite you to be a part of this amazing experience by advertising in the Severance Hall printed programs. It’s a smart way to put yourself in front of 150,000+ of northeast Ohio’s most influential consumers and business

decision-makers.

Call 216-721-4300 or email jmoore@livepub.com

WHY ISN’T YOUR AD HERE?ADVERTISE IN THE CLEVELAND ORCHESTRA SEVERANCE HALL PROGRAM BOOKS

PLACE YOUR AD:HERE,HERE,HERE,HERE,HERE,HERE,HERE,HERE,HERE,& HERE

photo: Roger Mastroianni

Perspectives from the Executive Director

7Severance Hall 2013-14 7

February 2014

This month, we salute conductor Pierre Boulez for his half-century

of service to The Cleveland Orchestra. It is with great pleasure that

we look back on his fi ve decades with this institution, to his contri-

butions toward this Orchestra’s musical excellence and innovation,

and proudly announce him as the recipient of this season’s Distin-

guished Service Award (see pages 32-33).

The Cleveland Orchestra will always honor the traditions and history that have brought us

to today. Yet, with our unwavering dedication to musical excellence, we are also committed

to embracing changing times and changing circumstances, to approach each new decade

in its newness, complexity, and opportunity. With your input, we are exploring new pro-

grams to better serve and engage the great people of Northeast Ohio, including:

Young Professionals. In January, we launched The Circle, a new opportunity for young

professionals to strengthen their relationship with The Cleveland Orchestra. The pro-

gram brings music lovers aged 21 to 40 together for concerts and networking events,

enabling them to connect with musicians, the music, and colleagues in the arts and

business communities. The enthusiasm of these young people represents the future,

and we are pleased to welcome them and host this new social forum.

Severance Hall Facelift. In recognition of changing times and changing needs, this

past fall the Orchestra’s Board of Trustees assembled a taskforce to take an intensive

look at options for enhancing the concert experience for Cleveland Orchestra attendees.

The world has changed since Severance Hall’s renovation in 2000, and we want to ensure

that we are supporting world-class performances with a world-class venue and services.

After surveying audience members and making an assessment in comparison to other

local facilities and national concert halls, we are now creating a roadmap for improve-

ments with the biggest positive impacts for our patrons. I look forward to sharing rec-

ommendations, and asking for your further counsel and advice, in the coming year.

Open Dialog. Also this season, we began a series of “Coff ee and Conversation” gather-

ings to bring long-term supporters and concertgoers to Severance Hall and give them

a transparent look at — and opportunity to ask candid questions about — the Orches-

tra’s ideas for change. The dialogue between donors, board members, musicians, and

ticket buyers, and the feedback that has emerged from these events, is helping to shape

the Orchestra’s plans for a second century of service to the people of Northeast Ohio.

Young Audiences. Alongside these newest initiatives, we continue to pursue our goal

of building the youngest audience of any orchestra. Under 18s Free — which off ers a

free ticket to select concerts for a young person with every paying adult — has been so

successful at attracting families to Orch estra performances in Northeast Ohio that we

have expanded it to Miami during this season’s four-week residency in Florida. Young

people make up 20% of Orchestra audiences this season, the result of the continued

popularity of Under 18s Free, along with the Orchestra’s Student Advantage program

and Frequent Fan Card. Their passion for music represents our future and our ongoing

commitment to serve Northeast Ohio.

Gary Hanson

I N P E R F O R M A N C E S A T H O M E and around the globe, Th e Cleveland Orch-

estra remains Northeast Ohio’s most visible international ambassador and one

of the most sought-aft er performing ensembles in the world. In concerts at its

winter home at Severance Hall and at each summer’s Blossom Music Festi-

val, in residencies from Miami to Vienna, and on tour around the world, Th e

Cleveland Orchestra sets standards of artistic excellence, creative program-

ming, and active community engagement. With the 2013-14 season, Franz

Welser-Möst enters his twelft h year leading the ensemble, with a commitment

extending to the Orchestra’s centennial in 2018. Th is artistic partnership con-

tinues to move the ensemble forward through a series of new and ongoing ini-

tiatives, including:

expansion of education and community programs in Northeast Ohio to fea-

ture music as an integral and regular part of everyday life for more people, in-

cluding the launch this past spring of an “At Home” neighborhood residency

program that brings Th e Cleveland Orchestra to a single neighborhood or town

About the Orchestra8 The Cleveland Orchestra

IN JAPAN — Principal guest conductor Pierre Boulez and music director

George Szell discuss musical matters in Japan in a traditional tea house

setting during The Cleveland Orchestra’s tour to Japan and Korea, May 1970.

PHOTO OF THE WEEK follow the Orchestra on Facebook for more archival photos

for an intensive week of special activities and performances, as well as the broaden-

ing of the Orchestra’s ongoing education and community engagement initiatives to

include Make Music!, a program of active and participatory experience and learning;

the establishment of residencies around the world, fostering creative artistic

growth and an expanded fi nancial base — including ongoing residencies

at the Vienna Musik verein (the fi rst of its kind by an American orchestra)

and in Florida under the name Cleveland Orch estra Miami (featuring an

annual series of concerts and community activities, coupled with educational

presentations and collaborations based on successful programs pioneered at home

in Cleveland);

creative new artistic collaborations with arts institutions in Northeast Ohio,

including staged works, concerts, and chamber music performances;

a concentrated and successful eff ort to develop future generations of audiences

for Cleveland Orchestra concerts in Northeast Ohio, through research, targeted

discounts, social media promotion, and student ticket programs, with demonstrat-

ed results at Severance Hall and Blossom;

a variety of new concert off erings (including KeyBank Fridays@7 and Celebri-

ty Series at Severance Hall as well as movie, themed, and family presentations at

Blossom) to play more music for more people;

the return of ballet as a regular part of the Orchestra’s presentations, featuring on-

going collaborations with Chicago’s Joff rey Ballet;

continuing and expanded educational partnerships with schools, colleges, and

universities across Northeast Ohio and beyond;

concert tours from coast to coast in the United States, including regular appear-

ances at Carnegie Hall;

ongoing recording activities, including new releases under the direction of Franz

Welser-Möst, Mitsuko Uchida, and Pierre Boulez, as well as a series of acclaimed

DVD concert presentations of symphonies by Anton Bruckner led by Welser-Möst.

Th e Cleveland Orchestra was founded in 1918 by a group of local citizens intent

on creating an ensemble worthy of joining America’s ranks of major symphony or-

chestras. Over the ensuing decades, the Orchestra quickly grew from a fi ne regional

organization to being one of the most admired symphony orchestras in the world.

Th e opening in 1931 of Severance Hall as the Orchestra’s home brought a special

pride to the ensemble and its hometown, as well as providing an enviable and inti-

mate acoustic environment in which to develop and refi ne the Orchestra’s artistry.

Year-round performances became a reality in 1968 with the opening of Blossom Mu-

sic Center, one of the most beautiful and acoustically admired outdoor concert facili-

ties in the United States.

The Orchestra Today 9Severance Hall 2013-14

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Richard C. Gridley (SC) Loren W. Hershey (DC) Herbert Kloiber (Germany)

Ludwig Scharinger (Austria)

TRUSTEES EX-OFFICIO Faye A. Heston, President, Volunteer Council of Th e Cleveland Orchestra

Shirley B. Dawson, President, Women’s Committee of Th e Cleveland Orchestra

Claire Frattare, President, Blossom Women’s Committee

Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee

Dr. Lester Lefton, President, Kent State University

Barbara R. Snyder, President, Case Western Reserve University

PAST PRESIDENTS D. Z. Norton 1915-21

John L. Severance 1921-36

Dudley S. Blossom 1936-38

Thomas L. Sidlo 1939-53

Percy W. Brown 1953-55

Frank E. Taplin, Jr. 1955-57

Frank E. Joseph 1957-68

Alfred M. Rankin 1968-83

Ward Smith 1983-95

Richard J. Bogomolny 1995-2002, 2008-09

James D. Ireland III 2002-08

HONORARY TRUSTEES FOR LIFE Gay Cull Addicott Oliver F. Emerson Allen H. Ford

Robert W. GillespieDorothy Humel HovorkaRobert F. Meyerson

TRUSTEES EMERITI Clifford J. Isroff Samuel H. Miller David L. Simon

RESIDENT TRUSTEES George N. Aronoff Dr. Ronald H. Bell Richard J. Bogomolny Charles P. Bolton Jeanette Grasselli Brown Helen Rankin Butler Scott Chaikin Paul G. Clark Owen M. Colligan Robert D. Conrad Matthew V. Crawford Alexander M. Cutler Hiroyuki Fujita Paul G. Greig Robert K. Gudbranson Iris Harvie Jeffrey A. Healy Stephen H. Hoffman David J. Hooker Michael J. Horvitz Marguerite B. Humphrey David P. Hunt Christopher Hyland James D. Ireland III

Trevor O. Jones Betsy Juliano Jean C. Kalberer Nancy F. Keithley Christopher M. Kelly Douglas A. Kern John D. Koch S. Lee Kohrman Charlotte R. Kramer Dennis W. LaBarre Norma Lerner Virginia M. Lindseth Alex Machaskee Robert P. Madison Milton S. Maltz Nancy W. McCann Thomas F. McKee Beth E. Mooney John C. Morley Donald W. Morrison Meg Fulton Mueller Gary A. Oatey Katherine T. O’Neill The Honorable John D. Ong

Larry Pollock Alfred M. Rankin, Jr. Clara T. RankinAudrey Gilbert Ratner Charles A. RatnerJames S. Reid, Jr.Barbara S. Robinson Paul RoseSteven M. RossRaymond T. SawyerLuci ScheyHewitt B. Shaw, Jr. Richard K. SmuckerR. Thomas StantonDaniel P. WalshThomas A. WaltermireGeraldine B. WarnerJeffrey M. WeissNorman E. WellsPaul E. Westlake Jr.David A. Wolfort

OFFICERS AND EXECUTIVE COMMITTEE Dennis W. LaBarre, President

Richard J. Bogomolny, Chairman

The Honorable John D. Ong, Vice President

Norma Lerner, Honorary Chair

Hewitt B. Shaw, Jr., Secretary

Beth E. Mooney, Treasurer

Jeanette Grasselli Brown Alexander M. Cutler Matthew V. Crawford David J. Hooker Michael J. Horvitz

Douglas A. Kern Virginia M. Lindseth Alex Machaskee Nancy W. McCann John C. Morley

Larry PollockAlfred M. Rankin, Jr.Audrey Gilbert RatnerBarbara S. RobinsonRaymond T. Sawyer

THE MUSICAL ARTS ASSOCIATION as of December 2013

operating Th e Cleveland Orchestra, Severance Hall, and Blossom Music Festival

THE CLEVELAND ORCHESTRA Franz Welser-Möst, Music Director Gary Hanson, Executive Director

Musical Arts Association 11Severance Hall 2013-14 11

Your Role . . . in The Cleveland Orchestra’s Future Genera ons of Clevelanders have supported the Orchestra and enjoyed its concerts. Tens of thousands have learned to love music through its educa on programs, celebrated im-portant events with its music, and shared in its musicmaking — at school, at Severance Hall, at Blossom, downtown at Public Square, on the radio, and with family and friends. Ticket sales cover less than half the cost of presen ng The Cleveland Orchestra’s season each year. To sustain its ac vi es here in Northeast Ohio, the Orchestra has undertaken the most ambi ous fundraising campaign in our history: the Sound for the Centennial Cam-paign. By making a dona on, you can make a crucial diff erence in helping to ensure that future genera ons will con nue to enjoy the Orchestra’s performances, educa on pro-grams, and community ac vi es and partnerships. To make a gi to The Cleveland Orches-tra, please visit us online, or call 216-231-7562.

clevelandorchestra.com

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

T H E 2 01 3 -1 4 S E A S O N marks Franz Welser-Möst’s

twelft h year as music director of Th e Cleveland Or-

chestra, with a long-term commitment extending

to the Orchestra’s centennial in 2018. Under his di-

rection, the Orchestra is acclaimed for its continu-

ing artistic excellence, is extending and enhancing

its community programming at home in Northeast

Ohio, is presented in a series of ongoing residencies

in the United States and Europe, continues its his-

toric championship of new composers through com-

missions and premieres, and has re-established itself

as an important operatic ensemble. Concurrently with his post in Cleveland, Mr.

Welser-Möst is general music director of the Vienna State Opera.

With a committed focus on music education in Northeast Ohio, Franz

Welser-Möst has taken Th e Cleveland Orchestra back into public schools with per-

formances in collaboration with the Cleveland Metropolitan School District. Mr.

Welser-Möst’s championship of community music-making expands upon his active

participation in educational programs and collaborative programming, including

the Cleveland Orchestra Youth Orchestra and partnerships with music conservato-

ries, universities, and other arts institutions across Northeast Ohio.

Under Mr. Welser-Möst’s leadership, Th e Cleveland Orchestra has established

an ongoing biennial residency in Vienna at the famed Musikverein concert hall and

another at Switzerland’s Lucerne Festival. Together, they have appeared in residence

at Suntory Hall in Tokyo, Japan, and at the Salzburg Festival, where a 2008 residency

included fi ve sold-out performances of a staged production of Dvořák’s opera Rusalka.

In the United States, Mr. Welser-Möst has established an annual multi-week Cleveland

Orch estra residency in Florida under the name Cleveland Orchestra Miami and, in

2011, launched a regular new residency at New York’s Lincoln Center Festival.

To the start of this season, Th e Cleveland Orchestra has performed fourteen

world and fi ft een United States premieres under Franz Welser-Möst’s direction.

Th rough the Roche Commissions project, he and the Orchestra have premiered

works by Harrison Birtwistle, Chen Yi, Hanspeter Kyburz, George Benjamin,

Toshio Hosokawa, and Matthias Pintscher in partnership with the Lucerne Festi-

val and Carnegie Hall. In addition, the Daniel R. Lewis Young Composer Fellow

program has brought new voices to the repertoire, including Pintscher, Marc-An-

dré Dalbavie, Susan Botti, Julian Anderson, Johannes Maria Staud, Jörg Widmann,

Sean Shepherd, and Ryan Wigglesworth.

Franz Welser-Möst has led a series of opera performances during his tenure

Music Director 15Severance Hall 2013-14 15

Music Director

in Cleveland, re-establishing the Orchestra as an important oper-

atic ensemble. Following six seasons of opera-in-concert presen-

tations, he brought fully staged opera back to Severance Hall with

a three-season cycle of Zurich Opera productions of the Mozart-

Da Ponte operas. He led concert performances of Strauss’s Sa-

lome at Severance Hall and at Carnegie Hall in May 2012 and in

May 2014 brings an innovative made-for-Cleveland production of

Leoš Janáček’s Th e Cunning Little Vixen to Northeast Ohio.

Franz Welser-Möst became general music director of the

Vienna State Opera in 2010. His long partnership with the com-

pany has included acclaimed performances of Tristan and Isol-

de, a new production of Wagner’s Ring cycle with stage director

Sven-Eric Bechtolf, and critically praised new productions of Hindemith’s Cardillac

and Janáček’s Katya Kabanova and From the House of the Dead. During the 2013-

14 season, his Vienna schedule includes a new production of Puccini’s Th e Girl of

the Golden West, as well as performances of Tristan and Isolde, Verdi’s Don Carlo,

Beethoven’s Fidelio, and Richard Strauss’s Ariadne auf Naxos and Der Rosenkavalier.

Mr. Welser-Möst also maintains an ongoing relationship with the Vienna Phil-

harmonic. Recent performances with the Philharmonic include appearances in con-

cert at La Scala Milan, at New York’s Carnegie Hall, and in opera presentations at the

Salzburg Festival. He also led the Philharmonic’s New Year’s Day concert, viewed by

telecast in seventy countries worldwide in 2011 and again in 2013. Across a decade-

long tenure with the Zurich Opera, culminating in three seasons as general music di-

rector (2005-08), Mr. Welser-Möst led the company in more than 40 new productions.

Franz Welser-Möst’s recordings and videos have won major awards, including

the Gramophone Award, Diapason d’Or, Japanese Record Academy Award, and

two Grammy nominations. With Th e Cleveland Orchestra, he has created DVD re-

cordings of live performances of fi ve of Bruckner’s symphonies, presented in three

acoustically distinctive venues (the Abbey of St. Florian in Austria, Vienna’s Musik-

verein, and Severance Hall). With Cleveland, he has also released a recording of

Beethoven’s Ninth Symphony as well as an all-Wagner album featuring soprano

Measha Brueggergosman. DVD releases on the EMI label have included Mr. Wels-

er-Möst leading Zurich Opera productions of Th e Marriage of Figaro, Così fan tutte,

Don Giovanni, Der Rosenkavalier, Fierrabras, and Peter Grimes.

For his talents and dedication, Mr. Welser-Möst has received honors that

include recognition from the Western Law Center for Disability Rights, honor-

ary membership in the Vienna Singverein, appointment as an Academician of the

European Academy of Yuste, a Gold Medal from the Upper Austrian government

for his work as a cultural ambassador, a Decoration of Honor from the Republic of

Austria for his artistic achievements, and the Kilenyi Medal from the Bruckner So-

ciety of America. He is the co-author of Cadences: Observations and Conversations,

published in a German edition in 2007.

16 The Cleveland Orchestra

Gifts to University Hospitals

continue the legacy of giving from

generation to generation – by enabling us

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To Heal – enhancing patient care,

experience and access

To Teach – training future generationns

of physicians and scientists

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And with your support, we’ll continue to proovvideee the

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Your legacy helps create a healthier community.

T H EC L E V E L A N DO R C H E S T R A

Franz Welser-Möst M U S I C D I R E C T O R

“The Cleveland Orchestra proved

that they are still one of the world’s

great musical beasts. With Franz

Welser-Möst conducting, this music

. . . reverberated in the souls of the

audience.” —Wall Street Journal

“Cleveland’s reputation as one of the

world’s great ensembles is richly deserved.”

—The Guardian (London)

James W. WertA. Chace Anderson

John Paul BattAileen P. Bost

Thomas V. DavidDeborah C. Jira

John E. KohlCynthia G. KouryKevin J. McGinty

Marcy W. RobbinsDouglas J. Smorag

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Franz Welser-Möst and The Cleveland Orchestra,

performing Bruckner’s Fourth Symphony in concert

at Severance Hall in April 2012.

FIRST VIOLINSWilliam PreucilCONCERTMASTER

Blossom-Lee Chair

Yoko MooreASSISTANT CONCERTMASTER

Clara G. and George P. Bickford Chair

Peter OttoFIRST ASSOCIATE CONCERTMASTER

Jung-Min Amy LeeASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith Chair

Alexandra PreucilASSISTANT CONCERTMASTER

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

Takako MasamePaul and Lucille Jones Chair

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

Kim GomezElizabeth and Leslie Kondorossy Chair

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

Miho HashizumeTh eodore Rautenberg Chair

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

Alicia KoelzOswald and Phyllis Lerner Gilroy Chair

Yu YuanPatty and John Collinson Chair

Isabel TrautweinTrevor and Jennie Jones Chair

Mark DummGladys B. Goetz Chair

Katherine Bormann

SECOND VIOLINSStephen Rose*

Alfred M. and Clara T. Rankin Chair

Emilio Llinas 2

James and Donna Reid Chair

Eli Matthews 1

Patricia M. Kozerefski and Richard J. Bogomolny Chair

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

Yun-Ting Lee

VIOLASRobert Vernon*

Chaillé H. and Richard B. Tullis Chair

Lynne Ramsey1

Charles M. and Janet G. Kimball Chair

Stanley Konopka 2

Mark JackobsJean Wall Bennett Chair

Arthur KlimaRichard WaughLisa BoykoLembi VeskimetsEliesha NelsonJoanna Patterson ZakanyPatrick Connolly

CELLOSMark Kosower*

Louis D. Beaumont Chair

Richard Weiss1

Th e GAR Foundation Chair

Charles Bernard2

Helen Weil Ross Chair

Bryan Dumm Muriel and Noah Butkin Chair

Tanya EllRalph CurryBrian ThorntonDavid Alan HarrellPaul KushiousMartha BaldwinThomas Mansbacher

BASSESMaximilian Dimoff *

Clarence T. Reinberger Chair

Kevin Switalski 2

Scott Haigh1

Mary E. and F. Joseph Callahan Chair

Mark AthertonThomas SperlHenry Peyrebrune

Charles Barr Memorial Chair

Charles CarletonScott DixonDerek Zadinsky

HARPTrina Struble*

Alice Chalifoux Chair

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

The Orchestra

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

FLUTESJoshua Smith*

Elizabeth M. andWilliam C. Treuhaft Chair

Saeran St. ChristopherMarisela Sager 2

Austin B. and Ellen W. Chinn Chair

Mary Kay Fink

PICCOLOMary Kay Fink

Anne M. and M. Roger Clapp Chair

OBOESFrank Rosenwein*

Edith S. Taplin Chair

Mary LynchJeffrey Rathbun 2

Everett D. and Eugenia S. McCurdy Chair

Robert Walters

ENGLISH HORNRobert Walters

Samuel C. and Bernette K. Jaff e Chair

CLARINETSFranklin Cohen*

Robert Marcellus Chair

Robert WoolfreyDaniel McKelway 2

Robert R. and Vilma L. Kohn Chair

Linnea Nereim

E-FLAT CLARINETDaniel McKelway

Stanley L. and Eloise M. Morgan Chair

BASS CLARINETLinnea Nereim

BASSOONSJohn Clouser *

Louise Harkness Ingalls Chair

Barrick Stees2

Sandra L. Haslinger Chair

Jonathan Sherwin

CONTRABASSOONJonathan Sherwin

HORNSRichard King *

George Szell Memorial Chair

Michael Mayhew §

Knight Foundation Chair

Jesse McCormickHans ClebschAlan DeMattia

TRUMPETSMichael Sachs*

Robert and Eunice Podis Weiskopf Chair

Jack SutteLyle Steelman2

James P. and Dolores D. Storer Chair

Michael Miller

CORNETSMichael Sachs*

Mary Elizabeth and G. Robert Klein Chair

Michael Miller

TROMBONESMassimo La Rosa*

Gilbert W. and Louise I. Humphrey Chair

Richard StoutAlexander andMarianna C. McAfee Chair

Shachar Israel2

BASS TROMBONEThomas Klaber

EUPHONIUM AND BASS TRUMPETRichard Stout

TUBAYasuhito Sugiyama*

Nathalie C. Spence and Nathalie S. Boswell Chair

TIMPANIPaul Yancich*

Otto G. and Corinne T. Voss Chair

Tom Freer 2

PERCUSSIONMarc Damoulakis°

Margaret Allen Ireland Chair

Donald MillerTom Freer

KEYBOARD INSTRUMENTSJoela Jones*

Rudolf Serkin Chair

Carolyn Gadiel WarnerMarjory and Marc L. Swartzbaugh Chair

LIBRARIANSRobert O’BrienDonald Miller

ORCHESTRA PERSONNELKaryn GarvinDIRECTOR

Christine HonolkeMANAGER

ENDOWED CHAIRS CURRENTLY UNOCCUPIEDSidney and Doris Dworkin Chair

Sunshine Chair

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

CONDUCTORSChristoph von DohnányiMUSIC DIRECTOR LAUREATE

Giancarlo GuerreroPRINCIPAL GUEST CONDUCTOR,CLEVELAND ORCHESTRA MIAMI

Brett MitchellASSISTANT CONDUCTOR

Elizabeth Ring and William Gwinn Mather Chair

Robert PorcoDIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

The Orchestra

O R C H E S T R A

East meets west.Come see the new west wing galleries featuring Chinese and Southeast Asian art.

Come see amazing. www.clevelandart.org

Cleveland Orchestra News

2013 European Festivals Tour draws praise for Welser-Möst, Cleveland Orchestra, and Chorus The following are excerpted from press commentary about the Orchestra’s per-

formances during its European Tour and Vienna Residency, November 8-22:

DDDOOO

“The handshakes from Franz Welser-Möst said it all. In acknowledging

the principals of the Cleveland Orchestra Friday night at Vienna’s Musik-

verein, the music director did what most in attendance probably wished

they could do themselves: personally thank the group for three superb

performances in a row. Not once in their concerts Wednesday through

Friday was it apparent that the group had been traveling abroad

nearly three weeks. No, here at the end of their 2013 European Tour,

the artists played with new focus and energy, and made sure Vienna

enjoyed the fruits of their long musical labor. The main thing appar-

ent, frankly, was that the orchestra had been playing Beethoven and

Shostakovich nonstop for weeks, and knew their six scores inside

and out. Here as nowhere else, the artists transcended the numer-

ous pages on their stands, and simply took advantage of the Musikverein’s leg-

endary acoustics. No less clear was that the audience recognized expertise, and liked what

it heard. . . . The response each night was hugely enthusiastic, giving Welser-Möst cause

to repeatedly acknowledge individual players and the ensemble as a whole. On Friday, he

even went so far as to jog into the bass section.”

—The Plain Dealer, November 23, 2013

“Franz Welser-Möst’s interpretations are anything but sober, yet clear

in their formal articulation. It is not the conceited omniscience of

someone who pretends to understand the world. His concerts reveal

an earth-bound assurance, free from spectacle, aff ectation, and senti-

mentality. He reads the score and interprets what’s there. Self-denial

in favor of the message of the artwork — this penchant for directness

is benefi cial, even if it is certainly not always successful. Franz Welser-

Möst has long been able to concentrate on works that really suit him,

working on pieces he likes to say are ‘close to his heart’.”

—Concerti, November 2013

“The second evening of their visit to Frankfurt started luxuriously:

The Cleveland Orchestra’s own chorus performed Beethoven’s Mass in

C major at the Alte Oper, joined of course by the orchestra itself from

Northeast Ohio, which was the focus of two concerts in the city. The

Cleveland Orchestra . . . juxtaposed works by Beethoven with the Sixth

and Tenth Symphonies by Dmitri Shostakovich. The symbiosis between the orchestra and

the chorus was unsurpassable. Under Austrian conductor Franz Welser-Möst, who has

been music director in the city on Lake Erie since 2002, Beethoven’s lyrical, literal setting

of the Latin Mass came across lean, subtle, and transparent, despite all the opulence in the

performing forces. The balance between singers and instrumentalists was perfect in the

soft and mild passages.” —Allgemeine Zeitung, November 12, 2013

NewsNewsNews

Orchestra News

Orchestra announces “At Home” neighborhood residency in Lakewood for May 2014

The Cleveland Orches-

tra and Lakewood have an-

nounced a new partnership

to present the Orchestra’s

next “At Home” neighborhood residency in

May 2014. The centerpiece of this week of ac-

tivities, education programs, and public per-

formances will be a free Cleveland Orchestra

concert at the Civic Auditorium in Lakewood

on Saturday evening, May 24. The concert

will be recorded for a delayed broadcast on

WVIZ/PBS ideastream, and a radio broadcast

on WCLV 104.9. The television broadcast will

also feature a segment about the Orchestra’s

performances, collaborations, and events in

Lakewood.

“ Creating a grassroots opportunity for

Lakewood to experience perhaps the greatest

orchestra in the world at a very personal level

is a cultural experience that we will remember

for years to come,” commented Lakewood

Mayor Michael P. Summers in announcing the

collaboration. “Our increasingly vibrant com-

mercial corridors and neighborhoods will be

made ever-more-so by the music and the musi-

cians.” Ian Andrews, executive director of Lake-

woodAlive, Lakewood’s nonprofi t economic

development organization, added, “Lakewood

is known for its commitment to the arts. The Or-

chestra’s events will strengthen this commitment

and showcase the city’s great quality of life, local

organizations, restaurants, schools, and business-

es that make our community special.”

The Cleveland Orchestra introduced its

“At Home” neighborhood residency program

in May 2013 with a week of performances and

activities in the Gordon Square community

of Cleveland. Events include free perfor-

mances by Orchestra musicians and educa-

tion programs for children, students, and

families. Details of The Cleveland Orchestra’s

Lakewood neighborhood residency will be

announced in March 2014, along with infor-

mation about acquiring tickets for the free

Cleveland Orchestra concerts.

Post-concert

performers chosen

for spring concerts in

KeyBank Fridays@7 series

The Cleveland Orchestra’s Fridays@7 series

continues in 2014 with three popular concert

off erings, pairing orchestral favorites with an

array of post-concert world music presenta-

tions. The three spring concerts (March 7, April

11, and May 2) feature popular works for piano

and orchestra by Rachmaninoff , plus Mozart’s

Requiem. The one-hour concerts include the

early 7 p.m. start time, plus extra music both

before and after. The post-concert presenta-

tions in the spring will be:

March 7 — New York Gypsy All-Stars.

Back by popular demand to Fridays@7, the

New York Gypsy All-Stars jump the turnstiles of

Balkanalia, Turkish roots, and gypsy soul with

funky refi nement.

April 11 — The Medicine Show reaches

people in hard-to-get places. The international

group made up of players from Brazil, America,

Japan, and Germany who are inspired by the

intersection of their collective desire to play

music that is a passport into another dimension.

May 2 — Requiem to Resurrection.

Gospel legend Theresa Thomason and the Mt.

Zion Congregational Church gospel choir will

lift the rafters in a musical journey for the soul.

Let the spirit move you!

Special three-concert series packages are

available for the spring KeyBank Fridays@7 per-

formances. Contact Severance Hall Ticket Ser-

vices for complete details, or purchase online

at clevelandorchestra.com.

Save the Date

The volunteers of the Women’s Commit-

tee of The Cleveland Orchestra are holding

their spring benefi t evening on Friday, April 25,

at Shaker Heights Country Club.

7@FRIDAYS

Orchestra NewsNews

at home

Baldwin Wallace University Opera presents Englebert Humperdinck’s classic fairytale

Hansel & Gretelsung in English Dean Williamson, guest conductorBenjamin Wayne Smith, director Thursday-Saturday, February 20-22, 7:30 pmSunday, February 23, 2:00 pm* Bring your whole family to this timeless story of self-discovery and scary surprises.

*Free backstage tour for families one hour before the Sunday performance; meet in the Kleist lobby at 1:00 pm to participate.

Baldwin Wallace University does not discriminate on the basis of race, creed, age, disability, national origin, gender or sexual orientation in the administration of any policies or programs.

Conservatory of Music

John Patrick TheatreKleist Center for Art and Drama95 East Bagley Road, Berea

Adults: $15; Seniors & Students: $10; free tickets for children ages 8 to 18 with the purchase of an adult ticket and the code “BWTCO.”Call 440/826-2240 for tickets

Collecting for clients is music to our ears.

Call Alan Weinberg, Managing Partner, at 216-685-1100.Weltman, Weinberg & Reis Co., LPA

Call Scott Weltman, Managing Partner, at 216-685-1032. Weltman, Weinberg & Reis Co., LPA

Orchestra NewsNews

New album being released by Orchestra musician; featuring trombone hits and transcriptions

Massimo La Rosa, principal trombone of

The Cleveland Orchestra, released a new al-

bum in October titled Sempre Espressivo. The

album features works for trombone, includ-

ing J.S. Bach’s Suite No. 1 in G major for solo

cello (performed on trombone) and a new

arrangement of the

Intermezzo from

Puccini’s opera

Manon Lescaut.

The CD is

available for pur-

chase through the

Cleveland Orches-

tra Store at Sever-

ance Hall.

Silence is golden

As a courtesy to the performers onstage

and the audience around you, all patrons are

reminded to turn off cell phones and to dis-

engage electronic watch alarms prior to each

concert.

Comings and goings

As a courtesy to the performers onstage

and the entire audience, late-arriving patrons

cannot be seated until the fi rst break in the

musical program.

Committed to Accessibility

Severance Hall is committed to making

performances and facilities accessible to all

patrons. For information about accessibility

or for assistance, call the House Manager

at 216-231-7425.

2516 Market Avenue, Cleveland, OH 44113

216-771-4404 • greatlakesbrewing.com

So delicious, you’ll

demand an encore.

Where people with disabilities thrive216.662.1880 ncch.org

Ronald J. Lang 440.720.1102Diane M. Stack 440.720.1105Daniel J. Dreiling 440.720.1104

n o r t h p o i n tportfolio managersc o r p o r a t i o n

Mahler, in a photograph taken in 1909 in New York

The point is not

to take the world’s

opinion as a guiding

star, but to go one’s

way in life and to work

unfalteringly, neither

depressed by failure

nor seduced by

applause.

—Gustav Mahler

WCLV…now also heard on 90.3 WCPN HD2WCLV.org

Committed to classicalaround the clock.

Concert Previews Cleveland Orchestra Concert Previews are

presented before every regular subscription con-

cert, and are free to all ticketholders to that day’s

performance. Previews are designed to enrich the

concert-going experience for audience members

of all levels of musical knowledge through a vari-

ety of interviews and through talks by local and

national experts.

Concert Previews are made possible

by a generous endowment gift from

Dorothy Humel Hovorka.

February 6, 8“Musical Depictions:

Barking Dogs and Sunny Perfection” with Rabbi Roger Klein,

The Temple – Tifereth Israel

February 7“Music from Form to Pictures” with Rose Breckenridge, Cleveland Orchestra Music Study Groups administrator and lecturer

February 13, 15, 16“From Wayfaring to Wayfi nding” with Eric Charnofsky,

professor of musicology,

Case Western Reserve University

March 6, 8“Voices of Reawakening” with Meaghan Heinrich

education and community programs advisor,

The Cleveland Orchestra

March 27, 29, 30“Schumann the Symphonist” with Jason Harris,

assistant professor of choral conducting,

Oberlin College Conservatory of Music

LEARNING MORE ABOUT THE MUSIC

The Cleveland Orchestra off ers a vari-

ety of options for learning more about

the music before each concert begins.

For each concert, the program book

includes program notes commenting

on and providing background about

the composer and his or her work

being performed that week, along

with biographies of the guest artists

and other information. You can read

these before the concert, at intermis-

sion, or afterward. (Program notes

are also posted ahead of time online

at clevelandorchestra.com, usually by

the Monday directly preceding the

concert.)

The Orchestra’s Music Study

Groups also provide a way of explor-

ing the music in more depth. These

classes, professionally led by Dr. Rose

Breckenridge, meet weekly in locations

around Cleveland to explore the music

being played each week and the sto-

ries behind the composers’ lives.

Free Concert Previews are pre-

sented one hour before most subscrip-

tion concerts throughout the season

at Severance Hall. The previews (see

listing at right) feature a variety of

speakers and guest artists speaking

or conversing about that weekend’s

program, and often include the op-

portunity for audience members to ask

questions.

Concert Previews

32 The Cleveland OrchestraDistinguished Service Award

Distinguished Service Award Committee

Marguerite B. Humphrey, Chair

Ambassador John D. Ong, Vice Chair

Richard J. Bogomolny

Dr. Jeanette Grasselli Brown

Robert Conrad

Gary Hanson

Carol Lee Iott

Dennis W. LaBarre

Robert P. Madison

Clara Taplin Rankin

PREVIOUS RECIPIENTS

Milton and Tamar Maltz 2012-13

Richard Weiner 2011-12

Robert Conrad 2010-11

Clara Taplin Rankin 2009-10

Louis Lane 2008-09

Gerald Hughes 2007-08

John D. Ong 2006-07

Klaus G. Roy 2005-06

Alex Machaskee 2004-05

Thomas W. Morris 2003-04

Richard J. Bogomolny 2002-03

John Mack 2001-02

Gary Hanson 2000-01

Christoph von Dohnányi 1999-2000

Ward Smith 1998-99

David Zauder 1997-98

Dorothy Humel Hovorka 1996-97

DistinguishedService AwardThe Musical Arts Association is proud to honor Pierre Boulez as the 2013-14 recipient of the Distinguished Service Award, recognizing extraordinary service to The Cleveland Orchestra.

February 2014

In recognition: Pierre BoulezPIE RRE BOULE Z — conductor, composer, teacher, and author — is among the most

distinguished musicians active in the world today. Over the course of nearly fi ft y years,

he has led Th e Cleveland Orchestra in over 220 performances at home and on tour. He

has been invited — and has chosen — to return to Cleveland again and again, for re-

cordings and concerts, and in friendship. In half a century of service to Cleveland, he

has created a peerless legacy of great music, new music, and unrivalled music-making.

Pierre Boulez fi rst led Th e Cleveland Orchestra in 1965 at the invitation of mu-

sic director George Szell, making his American professional conducting debut at

Severance Hall. He was appointed the Orchestra’s fi rst principal guest conductor in

1969, and served as musical advisor during the two seasons following Szell’s death.

He has returned regularly to lead performances with the Orchestra, and in fi ve de-

cades of concerts here has presented works spanning six centuries — by composers

as varied as Gabrieli, Rameau, J. S. Bach, and Schubert to Debussy, Janáček, Dalbavie,

and Kyburz. Beyond Northeast Ohio, he has conducted Th e Cleveland Orchestra on

tour in Tokyo and Paris, and at New York’s Carnegie Hall.

Mr. Boulez has earned widespread respect as a champion of contemporary mu-

sic. Beginning with the American premiere of his own Figures, Doubles, Prismes in

1965, Boulez has conducted more than thirty Cleveland premieres with Th e Cleve-

land Orchestra, including the world premiere, in 2000, of Marc-André Dalbavie’s

Concertate il suono. In 1986, he conducted the Orchestra in a special two-week series

of “Great Composers of Our Time” concerts featuring his own music. Th e presenta-

tion of the 2009 Kyoto Prize to Boulez reaffi rmed the importance of his compositions

and activities as teacher, conductor, and advocate of new music.

Pierre Boulez’s recordings with Th e Cleveland Orchestra present a brilliant

and clearly focused vision of his role as a conductor. Th ese recordings have won

fi ve Grammy Awards (with works by Berlioz, Debussy, and Stravinsky). Th e Cleve-

land Orchestra can also be heard within Boulez’s recorded cycle of Mahler’s nine

symphonies, performing Nos. 4 and 7. And most recently, Boulez recorded the Ada-

gio from Mahler’s Symphony No. 10 and Mahler’s Des Knaben Wunderhorn with

Cleveland, as well as performances of both Ravel piano concertos, at Severance Hall.

Born in France in 1925, Pierre Boulez studied mathematics before turning full-

time to music as his life’s vocation. During the ensuing decades of his distinguished

career, he has held important positions with performing ensembles and teaching

institutions in North America and Europe. In 2010, he was invited to celebrate his

eighty-fi ft h birthday with a series of concerts with the orchestras of Cleveland, Chi-

cago, and New York. In 2012, he was inducted into the Gramophone Hall of Fame.

With heartfelt thanks for his long and devoted work with this Orchestra, for

his ongoing contributions to contemporary classical music, and for his dedication to

the highest standards of artistic excellence, the Musical Arts Association is pleased to

present Pierre Boulez with its highest award for distinguished service.

Distinguished Service Award

Exquisite

We are proud to sponsor

The Cleveland Orchestrain helping to build audiences for the future through an annual series of BakerHostetler Guest Artists.

Mark Albrecht

tesy o

Atlanta Chicago Cincinnati Cleveland Columbus Costa Mesa DenverHouston Los Angeles New York Orlando Philadelphia Seattle Washington, DCwww.bakerlaw.com

tesy o

35Severance Hall 2013-14

T H E C L E V E L A N D O R C H E S T R A F R A N Z W E L S E R - M Ö S T M U S I C D I R E C T O R

Concert Program — Week 12

Severance HallThursday evening, February 13, 2014, at 7:30 p.m.Saturday evening, February 15, 2014, at 8:00 p.m. Sunday afternoon, February 16, 2014, at 3:00 p.m.

Marc Albrecht, conductor

gustav mahler Blumine, Symphonic Movement(1860-1911)

gustav mahler Songs of a Wayfarer 1. When My Darling Is Married [Wenn mein Schatz Hochzeit macht] 2. I Went This Morning Across the Fields [Ging heut’ Morgen übers Feld] 3. I Have a Gleaming Knife [Ich hab’ ein glühend Messer] 4. The Two Blue Eyes of My Beloved [Die zwei blauen Augen von meinem Schatz]

SASHA COOKE, mezzo-soprano

INTERMISSION johannes brahms Quartet in G minor, Opus 25(1833-1897) (transcribed for orchestra by Arnold Schoenberg) 1. Allegro 2. Intermezzo: Allegro, ma non troppo 3. Andante con moto 4. Rondo alla zingarese: Presto

This weekend’s concerts are supported through the generosity of the

BakerHostetler Guest Artists series sponsorship.

The concerts run about 95 minutes, including intermission. CLEVELAND ORCHESTRA RADIO BROADCASTS Current and past Cleveland Orchestra concerts are broadcast as part of regular weekly programming on WCLV (104.9 FM), Saturday evenings at 8:00 p.m. and Sunday afternoons at 4:00 p.m.

Mezzo-soprano Alice Coote is, with great regret, unable to travel to perform this week

with The Cleveland Orchestra as originally scheduled, due to an illness in her family.

Sasha Cooke has graciously agreed to sing Mahler’s Songs of a Wayfarer in her place.

T H I S W E E K E N D ’ S C O N C E R T S present works by two titans of classical

music — Gustav Mahler and Johannes Brahms. Written when each com-

poser was still young, their mature musical styles are nevertheless clearly

earmarked and already on display.

Th e program begins with a discarded movement from Mahler’s fi rst

symphony. Named for blooms of the fl owery

sort, its nearly static quality reminds us of

some of Mahler’s dazzling later adagios.

Mahler’s early Songs of a Wayfarer tell

a diff erent sort of story, of love’s journey

through jealousy and misery to peace. Cre-

ated in response to a youthful romance, these

songs showcase Mahler’s great capacity for

encapsulating emotions into, and articulating

texts within, music.

Aft er intermission, we come to Brahms.

Here, the composer’s own work — original-

ly for piano quartet from 1861 — has been

somewhat magically transformed, nearly

eight decades later. As orchestrated by Ar-

nold Schoenberg, it is sometimes jokingly

(but aptly) called Brahms’s Fift h Symphony.

Filled with Brahmsian melody and har-

monies, there is here instrumentation that

surprises in unexpected and warm-hearted

ways. Schoenberg, one of the 20th century’s great avant garde composers,

was also one of its master orchestrators. Showing the wisdom of fully un-

derstanding rules before you break them, Schoenberg’s own modern music

was fi rmly rooted in the classics. His refurbishment of Brahms’s youthful

quartet is masterful. —Eric Sellen

Introducing the Concerts

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

Mahler&Brahms-ish

With great regret, Pierre Boulez, who was to have led this week’s concerts,

is unable to come to Cleveland to conduct his planned concerts this month

due to health issues. Conductor Marc Albrecht has graciously agreed to step

in with the program being presented this weekend.

Mahler at age 31,in 1891.

Blumine, Symphonic Movementcomposed 1884-1888

M A H L E R ’ S F I R S T S Y M P H O N Y is well established today

as a regular item in the symphonic repertoire, but in its early

incarnations it was not well received and not oft en performed.

It took Mahler a long time to fi nd its fi nal form and it took the

public a long time to recognize its originality and power.

Composition of this work was spread over a period of four

years, 1884-1888, during which Mahler was leading a hectic life

as opera conductor fi rst in Kassel, then in Prague, with little

time for composition. Blumine was originally part of this vast

fi ve-movement symphonic poem, fi rst performed aft er Mahler

had taken up a position as opera conductor in Budapest in 1889.

Response was cool. He did not repeat it there, and aft er two years

he moved on from Budapest to Hamburg, where he gave it a

second performance in October 1893. Th is time it was billed

as “Titan, tone poem in symphonic form,” with an extensive

program that divided the work into two sections. Part One

(three movements) was “From the days of youth: fl ower, fruit,

and thorn pieces.” Part Two (two movements) was “Commedia

humana,” covering an immense emotional range, in Mahler’s

very personal fashion.

Blumine was the second movement in this scheme, a fan-

ciful title derived from Blume, the German word for “fl ower.”

It originated in the incidental music he had written in 1884 for

a play, Th e Trumpeter from Säkkingen, adapted from a popular

humorous poem by Joseph von Scheff el. It was a straightfor-

ward and simple slow movement placed between the big open-

ing movement and the scherzo, and making a contrast with the

much more complex slow movement based on a funeral march

in the second half.

By the time that Mahler found a publisher for the sym-

phony in 1899, it was reduced to four movements, bereft of its

elaborate program, and titled simply Symphony No. 1. Th e

Blumine movement disappeared, to be discovered by Donald

Mitchell in the Osborn Collection at Yale University in 1966.

It was part of a copy of the fi ve-movement score bought by

Mrs. James M. Osborn from the family of Jenny Feld, a friend

of Mahler from his student days in Vienna.

Most conductors perform the First Symphony without the

Blumine movement, although many writers have argued that

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

diedMay 18, 1911Vienna

About the Music

39Severance Hall 2013-14 About the Music

its inclusion enhances the structural balance of the work. (No

one expects a Mahler symphony to be short, in any case.)

Th e music is, for Mahler, lightly scored and thinly textured,

perhaps because of its origin as music for an undersized theater

orchestra. Th e main tune, disarmingly naïve in character, is

given to the Säkkingen trumpeter, with barely a hint of chro-

matic infl exion. Th e movement’s tempo is marked andante,

and its pulse and clear rhythmic outlines remain unchanged

throughout. A certain prominence is given to the harp, espe-

cially at the end. Flowers, for Mahler, are apparently free of

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

Mahler’s fi rst sketches of

what was to become his First

Symphony date to 1884, al-

though much of the detailed

composition occurred in the

fi rst half of 1888. The fi rst per-

formance of the completed

fi ve-movement work, under

the name “Symphonic Poem

in Two Parts,” took place in

November 1889 in Budapest

under the composer’s direc-

tion. A second performance

took place in October 1893

in Hamburg, titled “Titan,

Tone-Poem in the Form of a

Symphony.” At these initial

performances, what is now

known as the “Blumine”

movement was the second,

or middle movement, in the

symphony’s fi rst half. In 1896,

Mahler discarded this move-

ment and performed the

remaining four movements

as his “Symphony No. 1.” The

symphony was published

in 1907-08. The “Blumine”

movement was unpublished

and largely unknown until

1966, when a manuscript was

discovered at the Yale Univer-

sity Library. Its fi rst modern

performance was given in

June 1967 at the Aldeburgh

Festival in England, conduct-

ed by Benjamin Britten.

“Blumine” runs just over

5 minutes in performance.

Mahler scored it for 2 fl utes, 2

oboes, 2 clarinets, 2 bassoons,

4 horns, trumpet, timpani,

harp, and strings.

has performed this movement

only a few times. Eugene

Ormandy led the fi rst such

performances in November

1971. It was last presented in

November 1999, conducted

by Jahja Ling.

At a Glance

Songs of a Wayfarercomposed 1884-1885

M A H L E R S P E N T the greater part of his working life as a con-

ductor of opera, yet he never composed an opera himself, and

he concentrated instead on songs and symphonies, virtually to

the exclusion of everything else. Furthermore, his songs and

symphonies overlap, many of the songs being orchestrated and

symphonic in construction, many of his symphonic movements

being settings of words.

In 1884, when he began the four Lieder eines fahrenden

Gesellen [“Songs of a Wayfarer”], he was 24, and his only sub-

stantial work to date was the cantata Das klagende Lied [“Song of

Lamentation”], in which we recognize the fi rst signs of a mature

individual style. He had not yet embarked on any symphonies,

although the First, which borrowed some substantial material

from these songs, was evidently taking shape in his mind.

Th ese four songs commemorate the joy and pain of a

love aff air with Johanna Richter, a singer at the Kassel court

opera where Mahler was then assistant conductor. He wrote

the poems himself, with a number of ideas borrowed from Des

Knaben Wunderhorn [“Th e Youth’s Magic Horn”], the famous

anthology of real and faked German folk poetry published in

1805 to which Mahler turned many times for inspiration. Th e

romantic imagery of fl owers, fi elds, birdsong, linden trees, and

lost love, familiar from Schubert and the whole tradition of Ger-

man artsongs or Lieder, is here sharpened by the compulsive,

neurotic edge in Mahler’s personality.

Th e sparse scoring and bare lines are already characteris-

tic, a far cry from the Wagnerian sounds that were everywhere

fashionable at the time. Th e freedom of form and tonality in

these four songs is also very bold — none of them ends in the

key in which it begins.

Wenn mein Schatz Hochzeit macht [“When My Darling

Is Married”]. Th e fi rst song fi nds the wayfarer despondent at

the impending marriage of his (or her) beloved to someone

else. Birds are heard welcoming the spring, but despondency

returns in a morbid fascination in self-consumed misery.

Ging heut’ Morgen übers Feld [“I Went Th is Morning

Across the Fields”]. Th e second song introduces the transpar-

ently innocent theme of the First Symphony’s opening move-

ment. Th e world is bright, happiness is all around. Only at the

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

diedMay 18, 1911Vienna

About the Music

very end, in a phrase of haunting beauty, does the wayfarer admit

that the poem’s author cannot share it.

Ich hab’ ein glühend Messer [“I Have a Gleaming Knife”].

Th e third song is a nightmare. Th e brass instruments batter on

the wayfarer’s skull as the poet dreams of a knife plunged deep as

a mortal wound. Sometimes the dream brightens and to a vision of

the beloved’s blue eyes and blonde hair, only to be startled awake by

the beloved’s mocking laughter; the poem ends longing for death.

Die zwei blauen Augen von meinem Schatz [“Th e Two Blue

Eyes of my Beloved”]. Finally, against the solemn tread of a funeral

march constantly distorted by an extra beat, the wayfarer realizes

that the blue eyes are lost and gone, and that only grief remains.

Th en over the harp’s gentle accompaniment, the words sing of the

linden tree, under which the poet last found repose. But the fi nal

bars turn to the minor, a touch of irony more telling than any words.

Mahler composed his Songs

of a Wayfarer mostly in 1884,

with a few revisions in 1885.

He wrote his own texts, though

one of the songs was based

on a poem from Des Knaben

Wunderhorn [“The Youth’s

Magic Horn”], a collection of

German folk poems. The songs

were originally for voice and pi-

ano; it is not exactly clear when

Mahler orchestrated them. The

fi rst public performance was

given in Berlin in March 1896,

with baritone Anton Sistermans

as the soloist; Mahler con-

ducted the Berlin Philharmonic

Orchestra.

These four songs together

run about 15 minutes in perfor-

mance. Mahler scored them for

an orchestra of 3 fl utes (third

doubling piccolo), 2 oboes

(second doubling english horn),

2 clarinets and bass clarinet, 2

bassoons, 4 horns, 2 trum-

pets, 3 trombones, timpani,

percussion (triangle, cymbals,

glockenspiel, tam-tam, bass

drum), harp, and strings, plus

vocal soloist.

fi rst presented the four songs of

Mahler’s Songs of a Wayfarer

as a complete cycle in 1958, at

concerts conducted by George

Szell and with Dietrich Fischer-

Dieskau as the soloist. More

recently, Bo Skovhus sang them

at Blossom in 2001 under the

direction of Andrew Davis.

At a Glance

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About the Music

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1. Wenn mein Schatz Hochzeit macht [When My Sweetheart is Married]

Wenn mein Schatz Hochzeit macht,

Fröhliche Hochzeit macht,

Hab’ ich meinen traurigen Tag!

Geh’ ich in mein Kämmerlein,

Dunkles Kämmerlein,

Weine, wein’ um meinen Schatz,

Um meinen lieben Schatz!

Blümlein blau! Verdorre nicht!

Vöglein süss!

Du singst auf grüner Heide.

Ach, wie ist die Welt so schön!

Ziküth! Ziküth!

Singet nicht! Blühet nicht!

Lenz ist ja vorbei!

Alles Singen ist nun aus!

Des Abends, wenn ich schlafen geh’,

Denk’ ich an mein Leide!

An mein Leide!

Songs of a Wayfarertexts and music by Gustav Mahler

When my darling is married,

joyous wedding day,

I will have my day of sadness!

I will withdraw to my room,

my dark little room,

weeping, weeping for my darling,

for my dear darling!

Little blue fl owers! Do not wither!

Sweet little bird!

You sing on the green heath.

Alas, how beautiful is the world!

Chirp! Chirp!

Do not sing! Do not bloom!

Spring is over!

All singing is now ended!

At night when I go to sleep,

I think only of my sorrow —

Of my sorrow!

Mahler: Sung Texts

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2. Ging heut’ Morgen übers Feld [I Went This Morning Across the Fields]

Ging heut’ Morgen übers Feld,

Tau noch auf den Gräsern hing;

Sprach zu mir der lust’ge Fink:

“Ei du! Gelt? Guten Morgen! Ei gelt

Du! Wird’s nicht eine schöne Welt?

Zink! Zink! Schön und fl ink!

Wie mir doch die Welt gefällt!”

Auch die Glockenblum’ am Feld

Hat mir lustig, guter Ding’,

Mit den Glöckchen, klinge, kling,

Ihren Morgengruss geschellt:

“Wird’s nicht eine schöne Welt?

Kling, kling! Schönes Ding!

Wie mir doch die Welt gefällt! Heia!”

Und da fi ng im Sonnenschein

Gleich die Welt zu funkeln an;

Alles Ton und Farbe gewann

Im Sonnenschein!

Blum’ und Vogel, gross und Klein!

“Guten Tag,

ist’s nicht eine schöne Welt?

Ei du, gelt? Schöne Welt!”

Nun fängt auch mein Glück wohl an?

Nein, nein, das ich mein’,

Mir nimmer blühen kann!

Mahler: Sung Texts

I went this morning across the fi elds,

dew still hung on the grass;

the happy fi nch sang out to me:

“Oh you! Isn’t it a great morning?! It is!

Hey, you! Isn’t it a beautiful world?

Chirp! chirp! Nice and sharp!

How I love the world!”

Also the bluebells in the fi eld

merrily blowing, good sounds,

their bells, clanging, sounding,

singing out their morning greeting:

“Is it not a beautiful world?!

Dong, ding! Beautiful ringing!

How I love the world! Hey-ha!”

And then, with the sunshine

the world began to glitter;

all around fl ashed sound and color

in the sunshine!

Flower and bird, big and small!

“Good day,

is it not a beautiful world?!

Hey, you, isn’t it?! A beautiful World!”

Now will my happiness also begin?

No, no, for what I want,

can never bloom for me!

P L E A S E T U R N PA G E Q U I E T LY

3. Ich hab’ ein glühend Messer [I Have a Gleaming Knife]

Ich hab’ ein glühend Messer,

Ein Messer in meiner Brust,

O weh! Das schneid’t so tief

in jede Freud’

und jede Lust.

Ach, was ist das für ein böser Gast!

Nimmer hält er Ruh’,

nimmer hält er Rast,

Nicht bei Tag, noch bei Nacht,

wenn ich schlief!

O weh!

Wenn ich den Himmel seh’,

Seh’ ich zwei blaue Augen stehn!

O weh! Wenn ich im gelben Felde geh’,

Seh’ ich von fern das blonde Haar

Im Winde weh’n!

O weh!

Wenn ich aus dem Traum auff ahr’

Und höre klingen

ihr silbern Lachen,

O weh!

I have a gleaming knife,

a knife in my chest,

alas! It cuts so deep

into every joy

and every pleasure.

Oh, what an evil guest it is!

Never does it rest;

never does it hold back,

not by day, nor by night,

whenever I try to sleep!

When I look up at the sky,

I see two eyes of blue!

Alas! When I walk in the yellow fi eld,

I see from afar that hair so blond

waving in the wind!

Whenever I am startled from a dream

and hear that sound

of silvery laughter,

Mahler: Sung Texts

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4. Die zwei blauen Augen von meinem Schatz [The Two Blue Eyes of My Beloved]

Die zwei blauen Augen

von meinem Schatz,

Die haben mich in die

weite Welt geschickt.

Da musst ich Abschied nehmen

vom allerliebsten Platz!

O Augen blau,

warum habt ihr mich angeblickt?

Nun hab’ ich ewig Leid und Grämen!

Ich bin ausgegangen in stiller Nacht

wohl über die dunkle Heide.

Hat mir niemand Ade gesagt,

Ade! Ade! Ade!

Mein Gesell’ war Lieb und Leide!

Auf der Strasse steht ein Lindenbaum,

Da hab’ ich zum ersten Mal

im Schlaf geruht!

Unter dem Lindenbaum,

Der hat seine Blüten

über mich geschneit,

Da wusst’ ich nicht, wie das Leben tut,

War alles, alles wieder gut!

Alles! Alles, Lieb und Leid

Und Welt und Traum!

Th e two blue eyes

of my beloved,

they have sent me out

into the wide world.

I had to say goodbye

to that well-loved place!

O blue eyes,

why did you gaze into mine?

Now I will have sorrow and grief always!

I went out into the silent night

stealing across the dark heath.

No one bid me farewell,

Goodbye! Adieu! Farewell!

My companions are love and sorrow!

By the road stands a linden tree,

where I fi nally once more found

peaceful slumber!

Under the linden tree,

whose white fl owers

snowed down all around me,

Th ere I could not know, how life continued,

for everything, everything was good again!

Everything! Everything, love and sorrow

and the world and dreams!

(English translations by Eric Sellen)

Mahler: Sung Texts

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In anticipation of The Cleveland Orchestra’s 100th anniversary in 2018, we have embarked on the most ambitious fundraising campaign in our history. The Sound for the Centennial Campaign seeks to build the Orchestra’s Endowment through cash gifts and legacy commitments, while also securing broad-based and increas-ing annual support from across Northeast Ohio.

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Sound for the Centennial Campaign

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Piano Quartet in G minor, Opus 25composed 1861 by Johannes Brahms, transcribed for orchestra 1937 by Arnold Schoenberg

I N T H E Y E A R 1 9 0 1 , the 25-year-old Arnold Schoenberg

moved from Vienna to Berlin to work in a cabaret theater that

specialized in operetta with a serious message. Although he

had had no formal musical training, he had picked up the es-

sentials of orchestration from playing the cello in an amateur

orchestra conducted by his friend Alexander Zemlinsky. And

so he was entrusted with the mindless task of orchestrating

operettas and cabaret songs in great numbers.

From this hackwork, he developed a taste for orchestra-

tion, which led him later to arrange a number of Bach’s organ

works for full orchestra. Schoenberg accomplished the orches-

tration of Brahms’s Piano Quartet No. 1 in 1937 when he was

living in Los Angeles. Having left Germany in 1933 when Hit-

ler came to power, Schoenberg took a job in Boston for a brief

period, but suff ered badly from ill-health, as he always did in

cold climates. So he moved to Los Angeles, where he taught at

the University of Southern California and then at UCLA, and

although he was settled and employed, he found it hard to get

his compositions played. Encouraged by Otto Klemperer, with

whom he had worked in Berlin and who was then conductor

of the Los Angeles Philharmonic, he wrote the orchestration

of the Brahms Quartet between May and September 1937, and

it was performed by Klemperer and the LA Philharmonic the

following March.

A critic on the San Francisco Chronicle, Alfred Franken-

stein, wrote to Schoenberg with some questions about the work,

and received the following reply: “My reasons: 1. I like the piece.

2. It is seldom played. 3. It is always very badly played, because

the better the pianist, the louder he plays and you hear nothing

from the strings. I wanted once to hear everything, and this I

achieved.”

Schoenberg admitted, in his mostly excellent English, that

there were “heavy problems.” In fact, the orchestration is mas-

terly, given that Schoenberg was not trying to reproduce Brahms’s

orchestral style. He was instead writing for an enlarged modern

orchestra, including such instruments as E-fl at clarinet, glock-

enspiel, and xylophone, which Brahms would never have used.

Even a cymbal clash sounds foreign in Brahms’s world. But the

original piano quartet (for violin, viola, cello, and piano) is writ-

ArnoldSCHOENBERGborn September 13, 1874Vienna

diedJuly 13, 1951Los Angeles

JohannesBRAHMSborn May 7, 1833Hamburg

died April 3, 1897Vienna

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A Rich Inheritance

ten with thick textures that Brahms learned to avoid in his two

later works for the same combination of instruments. Th e third

movement calls for such constant double-stopping from the viola

(playing two notes at once, with the bow on two strings) that at

least one extra instrument oft en seems to be in use.

In general, but by no means throughout, Brahms’s piano

part is assigned to the winds, with the string parts remaining

with the strings. But the palette of mixed colors, and the idi-

omatic writing for all instruments, is very impressive. Schoen-

berg once referred to his arrangement, no doubt facetiously, as

“Brahms’s Fift h Symphony.”

It is typical of Brahms to set out his main theme, without

introduction or accompaniment, as a bare melodic line at the

very outset, as if announcing this as a serious symphonic move-

ment in full sonata form. Th e second movement has a scur-

rying rhythm with a constantly repeated note as a distinctive

element, and its middle section is a notch faster. If this second

movement is regarded as the scherzo (Brahms did not name it

thus), the third movement is the slow movement, although it has

grandeur, not intimacy — and the central, quicker part of the

movement has a military stamp perfectly suited to Schoenberg’s

splendid realization for full orchestra. Th e last movement is the

famous “Rondo alla zingarese,” one of Brahms’s ventures into

the music of the Hungarian gypsies. Th e original is, of course,

a brilliant movement, but Schoenberg goes to town with some

virtuoso writing for the orchestra, with full percussion.

The original Quartet was composed in 1861 during a two-

year spell that Brahms spent in his native city of Hamburg. A year

later, he visited Vienna and a performance there with Brahms

himself at the piano made such an impression on the Viennese

that he moved there permanently, knowing that he would have

a sympathetic public in a city with a deep musical tradition.

Born in Vienna in 1874, Schoenberg grew up with a profound

reverence for Brahms’s music, and it was partly in defi ance of

the modernists of the inter-war years, such as Stravinsky and

Hindemith, who disdained Brahms, that he felt impelled to make

his music better known, even in the form of an arrangement.

Klemperer told the story that aft er one of the rehearsals

someone said to him: “I don’t know why people say Schoenberg

doesn’t write melodies. Th is piece is full of melody.”

At a GlanceBrahms wrote his Piano

Quartet in G minor (for

piano, violin, viola, and

cello) in 1861. At the fi rst

performance in November

that year, the piano part was

played by Clara Schumann.

Schoenberg transcribed

Brahms’s quartet for full

orchestra in 1937. The fi rst

performance was given

on May 7, 1938 (Brahms’s

birthday) by the Los Angeles

Philharmonic conducted by

Otto Klemperer.

This work runs about

45 minutes in performance.

Schoenberg’s orchestra-

tion calls for 3 fl utes (third

doubling piccolo), 3 oboes

(third doubling english horn),

2 clarinets and bass clarinet,

2 bassoons and contrabas-

soon, 4 horns, 3 trumpets,

3 trombones, tuba, timpani,

percussion (triangle, cym-

bals, tambourine, xylo-

phone, glockenspiel, snare

drum, bass drum), and

strings.

fi rst presented Schoenberg’s

orchestration of Brahms’s

Quartet in G minor in

October 1938 (just months

after the world premiere),

conducted by Artur Rodzin-

ski. The most recent perfor-

mances were in May 2000,

conducted by Christoph von

Dohnányi.

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Kulas Series of Keyboard Conversations®

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Sunday, September 29, 2013The Miraculous Mozart

Sunday, December 15, 2013The Glory of Beethoven

Sunday, January 26, 2014 The Romantic Music of Chopin

Sunday, May 4, 2014Mistresses and Masterpieces

All concerts begin at 3:00 pm in Cleveland State University’s WaetjenAuditorium, Euclid Ave. and E. 21st St.For more information call 216.687.5018or visit www.csuohio.edu/concertseries/kc

“An afternoon of entertaining talk and exhilarating music.” – The Washington Post

Marc AlbrechtAcclaimed for his interpretations of Wagner and Strauss, along with his commit-

ment to contemporary music, German conductor Marc Albrecht is chief con-

ductor of the Netherlands Opera, Netherlands Philharmonic Orchestra, and the

Netherlands Chamber Orchestra. He is making his Cleveland Orchestra debut

with this weekend’s concerts.

Mr. Albrecht began his conducting career at the opera

houses of Hamburg and Dresden, and in his role as per-

sonal assistant to Claudio Abbado with the Gustav Mahler

Youth Orchestra in Vienna. In 1995, he began a six-year

tenure as music director of the Staatstheater Darmstadt. He

was subsequently artistic director and chief conductor of

the Orchestre Philharmonique de Strasbourg, 2006-11.

Marc Albrecht has appeared with key orchestras in

Europe, including the Berlin Philharmonic, Amsterdam’s

Royal Concertgebouw Orchestra, Dresden Staatskapelle,

Chamber Orchestra of Europe, Hallé Orchestra, Munich

Philharmonic, and the Vienna Symphony Orchestra. He

has appeared at the BBC Proms with the BBC Scottish Sym-

phony Orchestra and worked in the United States with the orchestras of Saint

Louis and Dallas. Current and upcoming engagements include performances

with the Tokyo Metropolitan Orchestra, Accademia Nazionale di Santa Cecilia,

and the Orchestre National de France.

Since becoming music director at Netherlands Opera, Mr. Albrecht has led

performances with the company of works by Mozart, Rimsky-Korsakov, Schreker,

Strauss, and Wagner, as well as the world premiere of Manfred Trojahn’s Orest.

Th is season, he leads new productions of Prokofi ev’s Th e Gambler and Strauss’s

Arabella.

Mr. Albrecht was principal guest conductor at the Deutsche Oper Berlin,

2001-04, and maintains a close relationship with the Semperoper Dresden.

He has also led performances with the Bavarian State Opera, Bayreuth Festival,

Geneva Opera, Opéra National de Paris, London’s Royal Opera House, Salzburg

Festival, Teatro alla Scala, and the Zurich Opera — in repertoire including works

by Beethoven, Berg, Berlioz, Bizet, Henze, Janáček, and Wagner.

Marc Albrecht’s discography with PentaTone includes tone poems by

Richard Strauss, piano concertos by Dvořák and Schumann, and works by Berg,

Dukas, Koechlin, Korngold, and Ravel. His recording of Mahler’s Th e Song of

the Earth was released in 2013. For the Challenge Classics label, he has led

the Netherlands Opera in live performances of Strauss’s Elektra and Schreker’s

Der Schatzgräber.

Conductor

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57Severance Hall 2013-14 Soloist

Sasha CookeAmerican mezzo-soprano Sasha Cooke is creating a strong reputation for her op-

eratic portrayals and concert singing. She received widespread acclaim for her cre-

ation of the title role in Mark Adamo’s Th e Gospel of Mary Magdalene, in which she

made her San Francisco Opera debut during the 2012-13

season. She was also highly praised as Kitty Oppenheimer

in the Metropolitan Opera premiere of John Adams’s Doc-

tor Atomic, the DVD of which received the 2012 Grammy

Award for best opera recording. She made her Cleveland

Orchestra debut in October 2012.

Recent and upcoming symphonic engagements in-

clude appearances with the New York Philharmonic per-

forming Britten’s Spring Symphony, and performances of

Mahler’s Symphony No 2 with both Deutsches Symphonie-

Orchester Berlin and the Columbus Symphony. She makes

her debut with the Philadelphia Orchestra and sings on

a European tour with the San Francisco Symphony in

Mahler’s Th ird Symphony. A frequent performer of con-

temporary works, Ms. Cooke sings in the West Coast premiere and recording of

Mohammed Fairouz’s Symphony No. 3: Poems and Prayers, appears with the Los

Angeles Philharmonic in Phillip Glass’s Th e Civil Wars, and performs a new work

commissioned by Joby Talbot. She also makes her Wigmore Hall recital debut in

London with pianist Julius Drake.

Sasha Cooke returned to the Hollywood Bowl in the summer of 2013 to per-

form Mahler’s Second Symphony with Michael Tilson Th omas and the Los Angeles

Philharmonic, appeared at Chamber Music Northwest with the Miró Quartet, and

at the Aspen Music Festival performing Mahler’s Fourth Symphony.

Born in California and raised in Texas, Sasha Cooke is a graduate of Rice

University and the Juilliard School. She also attended young artists’ programs at

the Aspen Music Festival, Central City Opera, Marlboro Music Festival, Metropoli-

tan Opera, Music Academy of the West, Ravinia Festival’s Steans Music Institute,

and the Wolf Trap Foundation. Ms. Cooke placed fi rst in the Gerda Lissner Com-

petition and the José Iturbi International Music Competition in 2010, and also re-

ceived the Kennedy Center’s Marian Anderson Award. She placed fi rst in the 2007

Sun Valley Opera Vocal Competition, 2007 Young Concert Artists International

Competition, and the 2006 Bach Vocal Competition.

A dedicated recitalist, Ms. Cooke has appeared in New York, Washington

D.C., and throughout the U.S. She is a frequent guest of the New York Festival of

Song and also gives recitals with her husband, baritone Kelly Markgraf.

Student attendance continuesto grow at Severance Hall

As Th e Cleveland Orchestra’s 2013-14 season has gotten underway, more Stu-

dent Advantage Members, Frequent Fan Card holders, Student Ambassadors,

and student groups are contributing to the continued success of these programs.

Th e Orchestra’s ongoing Student Advantage Program provides opportu-

nities for students to attend concerts at Severance Hall and Blossom through

discounted ticket off ers. Membership is free to join and rewards members

with discounted ticket purchases. For this season, a record 6,000 students

have joined.

Th e Student Frequent Fan Card was introduced a year ago with great suc-

cess. Th e program is continuing to grow, with the number of Frequent Fan

Card holders tripling so far this season over 2012-13. Priced at $50, the Fan

Card off ers students unlimited single tickets (one ticket per card holder) to

weekly classical subscription concerts all season long.

Th e Student Ambassador program is also growing. Th ese young volun-

teers help to promote the Orchestra’s concert off erings and student programs

directly on campuses across Northeast Ohio.

Also this year, a group of Student Marketing Advisors was formed to help

the Orchestra incorporate student feedback and insight to programs, and give

local marketing majors a chance to work closely with the Orchestra’s sales team.

In addition, attendance through Student Group sales are also bringing in

more and more young people to Cleveland Orchestra concerts. From as far as

Toronto and Nashville, these groups make up an integral part of the overall suc-

cess toward generating participation and interest among young people.

All of these programs are supported by Th e Cleveland Orchestra’s Center

for Future Audiences, through the Alexander and Sarah Cutler Fund for Student

Audiences. Th e Center for Future Audiences was created with a $20 million lead

endowment gift from the Maltz Family Foundation to develop new generations

of audiences for Cleveland Orchestra concerts in Northeast Ohio.

Student Attendance

Celebrity Series: Casablanca

T H E C L E V E L A N D O R C H E S T R A F R A N Z W E L S E R - M Ö S T M U S I C D I R E C T O R

A S Y M P H O N I C N I G H T AT T H E M O V I E S

CASABLANCAwith the score performed live

by THE CLEVELAND ORCHESTRAconducted by WILLIAM EDDINS

Screenplay by Julius J. Epstein, Philip G. Epstein, and Howard Koch

Directed by Michael Curtiz

Produced by Hal B. Wallis and Jack L. Warner

Music by Max Steiner

Film courtesy of Warner Bros. Entertainment Inc.

T H E C A S THumphrey Bogart . . . . . . . . . . . . . . . . . . . . . . . . Rick BlaineIngrid Bergman . . . . . . . . . . . . . . . . . . . . . . . . . . . Ilsa LundPaul Henreid . . . . . . . . . . . . . . . . . . . . . . . . . . Victor LaszloClaude Rains . . . . . . . . . . . . . . . . . . . . . . . Captain RenaultConrad Veidt . . . . . . . . . . . . . . . . . . . . . . . . . Major StrasserSydney Greenstreet . . . . . . . . . . . . . . . . . . . . Signore FerrariPeter Lorre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . UgarteS.K. Sakall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CarlMadeleine Lebeau . . . . . . . . . . . . . . . . . . . . . . . . . . . YvonneDooley Wilson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sam

Th e fi lm is presented with one intermission and will end at approximately 9:45 p.m.

Friday evening, February 14, 2014, at 8:00 p.m.

CELEBRITY SERIES SEVERANCE HALL

Producer: John GobermanLive orchestra adaptation by Patrick RussTechnical Supervisor: Pat McGillenMusic Preparation: Larry Spivack

A Symphonic Night at the Movies is a production of PGM Productions Inc. of New York and is presented by arrangement with IMG Artists.

The producer wishes to acknowledge the contributions and extraordinary support of John Waxman (Themes & Variations).

CASABLANCA T H E S T O R Y

Th e movie Casablanca was premiered in New York City on November 26, 1942.

During World War II, many Europeans fl ee-

ing from Nazi Germany sought refuge in

America. To get to the U.S., one route led

through the city of Casablanca in Morocco,

at the time a French protectorate and in the

early years of the war under control of the

French Vichy government that was aligned

with the Nazi occupation of France. Once in

Casablanca, refugees still had to obtain exit

visas, which were not easy to come by. Th e

time is December 1941. Th e hottest spot in

all of Casablanca is Rick’s Cafe, operated by

Rick Blaine, an American expatriate, who for

some reason can’t go home. Two German cou-

riers are killed and the documents they were

carrying are taken. One of Rick’s regulars,

Ugarte, entrusts to Rick some letters of tran-

sit, giving the bearer free passage to Portugal.

Before he can sell them, however, Ugarte is

arrested for killing the couriers — but Rick

has possession of the transit letters. Captain

Renault, the Chief of Police, who is neutral

in his political views, informs Rick that Vic-

tor Laszlo, a resistance leader from Czecho-

slovakia, is in Casablanca — and that Laszlo

will do anything to get an exit visa. Renault

has been instructed by Major Strasser of the

Gestapo to keep Laszlo in Casablanca. Laszlo

goes to Rick’s for the pre-arranged meeting to

buy the letters from Ugarte. With Ugarte now

under arrest, Laszlo has to fi nd another way.

Laszlo’s wife, Ilsa Lund, is with him. Ilsa be-

came entangled with Rick in Paris, and when

they meet again some of Rick’s emotional

wounds reopen. Rick’s stonecold heart is, in

fact, a defense against Ilsa’s having left him.

Laszlo learns that Rick has the transit letters,

but refuses to give them to him — because

Rick doesn’t “stick his neck out for anyone.”

Laszlo voices fervent French patriotism, and

Strasser has the club closed. Laszlo is later

arrested for a minor off ense. Rick convinc-

es Renault to release Laszlo in exchange for

trapping the Frenchman with a more serious

charge. Rick doublecrosses Renault and ar-

ranges for Laszlo to escape with Ilsa. Renault

and Rick come to terms, helping one another

in wartime circumstances.

William EddinsWilliam Eddins is music director of the Edmon-

ton Symphony Orchestra and a frequent guest

conductor of major orchestras throughout the

world. He served fi ve seasons as principal guest

conductor of Ireland’s RTÉ National Symphony

Orchestra (2001-06) aft er serving as resident con-

ductor of the Chicago Symphony Orchestra and

associate conductor of the Minnesota Orchestra.

He made his Cleveland Orchestra debut in the 2011-12 season.

As a guest conductor, Mr. Eddins has appeared with symphony orchestras

across the United States, including those of Atlanta, Baltimore, Buff alo, Cincin-

nati, Detroit, Houston, Indianapolis, Los Angeles, Milwaukee, Minnesota, New

York, Philadelphia, St. Louis, and San Francisco. Internationally, his engage-

ments have included performances with the Berlin Staatskapelle, Berlin Radio

Orchestra, Welsh National Opera, Royal Scottish National Orchestra, Bergen

Philharmonic, Adelaide Symphony Orchestra, Barcelona Symphony Orchestra,

Italy’s RAI Orchestra Sinfonica Nazionale, and the Lisbon Metropolitan Orches-

tra. He conducted Porgy and Bess with Opéra de Lyon in 2008 and 2010.

Mr. Eddins is an accomplished pianist and chamber musician. He regu-

larly conducts from the keyboard in works by Mozart, Beethoven, Gershwin, and

Ravel. He has released an album featuring Beethoven’s Hammerklavier Sonata

and William Albright’s Th e Nightmare Fantasy Rag.

Mr. Eddins has performed at the Ravinia Festival with both the Chicago

Symphony Orchestra and the Ravinia Festival Orchestra. He has also conducted

the orchestras of the Chautauqua Festival, Aspen Music Festival, Hollywood Bowl,

Boston University Tanglewood Institute, and the Civic Orchestra of Chicago.

A native of Buff alo, New York, William Eddins attended the Eastman

School of Music, studying with David Eff ron and graduating at age eighteen,

making him the youngest graduate in the history of the institution. He also

studied conducting with Daniel Lewis at the University of Southern California

and was a founding member of the New World Symphony in Miami, Florida.

For more information, visit www.williameddins.com.

WWiiWiW llliaiamm

totonn SySy

coondnduu

woworlrldd

cocondnd

OrOrch

Conductor: Casablanca

CELEBRITY SERIES SEVERANCE HALL

Celebrity Series Media Partner: The Plain Dealer

Lunch • Dinner • Happy HoursSushi Bar • Patio 45

Private Parties Chef’s Table Gift Certificates

CALL FOR RESERVATIONS 216.707.4045

OR VISIT TBL45.COM9801 CARNEGIE AVENUE, CLEVELAND, OHIO 44106

Breakfast • Lunch • Dinner Cocktails • Desserts

Happy Hours • Private Parties Holidays • Celebrations

Gift Certificates

CALL FOR RESERVATIONS

216.707.4054OR VISIT C2RESTAURANT.COM8800 EUCLID AVENUE, CLEVELAND, OHIO 44106

Baldwin Wallace Symphony OrchestraDwight Oltman, conductorCelebrating 44 years at Baldwin Wallace

“A legend in his own time”

Wed., Mar. 5, 8 p.m. Gamble Auditorium

Kulas Musical Arts Building96 Front Street, Berea

Featuring Annual Concerto Competition Winner

Mr. Jordan Hamilton

Performing Schelomo by Ernest Blochfor cello soloist and orchestra

Additional selections:

Milhaud: La Creation du MondeVaughan-Williams: Five

Variants of Dives and LazarusFalla: Ritual Fire Music

www.bw.edu/conservatory

866-BW-MUSICBaldwin Wallace University does not discriminate on the basis of race,

creed, age, disability, national origin, gender or sexual orientation in the administration of any policies or programs.

Conservatoryof Music

Education & Community

Education and Music Serving the Community Th e Cleveland Orchestra draws together traditional and new programs in music education and community involvement to deepen connections with audiences throughout Northeast Ohio

THE CLE VE L AND ORCHE STRA has a long and proud history of sharing the

value and joy of music with citizens throughout Northeast Ohio. Education and

community programs date to the Orchestra’s founding in 1918 and have remained

a central focus of the ensemble’s activities for over ninety years. Today, with the

support of many generous individual, foundation, corporate, and governmental

funding partners, the Orchestra’s educational and community programs reach

more than 60,000 young people and adults annually, helping to foster a love of

music and a lifetime of involvement with the musical arts. On these pages, we

share photo graphs from a sampling of these many programs. For additional in-

formation about these and other programs, visit us at clevelandorchestra.com or

contact the Education & Community Programs Offi ce by calling 216-231-7355.

Franz Welser-Möst leads a concert at John Adams High School. Through such In-School Performances

and Education Concerts at Severance Hall, The Cleveland Orchestra introduced more

than 4 million young people to symphonic music over the past nine decades.

Cleveland Orchestra bassist Mark Atherton with classroom students at Cleveland’s Mayfair Elementary School, part of the Learning Through Music program, which fosters the use of music and the arts to support general classroom learning.

Through the PNC Musical Rainbows series at Severance Hall, Cleveland Orchestra musicians introduce nearly 10,000 preschoolers each year to the instruments of the orchestra.

Each season’s Family Concert series at Severance Hall off ers world-class music with outstanding singers, actors, mimes, and more to families from across Northeast Ohio. Last season’s “Under the Sea” concert featured music from Disney’s The Little Mermaid with The Singing Angels.

O R C H E S T R A

Cleveland Orchestra fl utist Marisela Sager working with pre-school students as part of PNC Grow Up Great, a program utilizing music to support pre-literacy and school readiness skills.

More than 1,250 talented youth musicians have performed as members of the Cleve- land Orchestra Youth Orchestra in the quarter century since the ensemble’s founding in 1986. Many have gone on to careeers in professional orchestras around the world, including four current members of The Cleveland Orchestra.

T H A N K Y O UThe Cleveland Orchestra’s Education & Community programs are made

possible by many generous individuals and organizations, including:

PROGRAM FUNDERSThe Abington Foundation

The Eva L. and Joseph M. Bruening FoundationCleveland Clinic

The Cleveland FoundationConn-Selmer, Inc.

Cuyahoga Arts & CultureDominion Foundation

The Harry K. Fox and Emma R. Fox Charitable FoundationThe Giant Eagle Foundation

Muna & Basem Hishmeh FoundationMartha Holden Jennings Foundation

KeyBankThe Laub Foundation

The Lubrizol CorporationMacy’s

The Music and Drama ClubThe Nord Family Foundation

NordsonOhio Arts Council

Ohio Savings Bank, A Division of New York Community BankPNC

The Reinberger FoundationAlbert G. & Olive H. Schlink Foundation

Harold C. Schott FoundationThe Sherwin-Williams Foundation

Surdna FoundationTarget

Thomas H. White Foundation, a KeyBank TrustThe Edward & Ruth Wilkof Foundation

Women’s Committee of The Cleveland Orchestra

ENDOWMENT FUNDS AND FUNDERSHope and Stanley I. Adelstein

Kathleen L. BarberMr. Roger G. Berk

In memory of Anna B. BodyIsabelle and Ronald Brown

Dr. Jeanette Grasselli Brown and Dr. Glenn R. BrownRoberta R. Calderwood

Alice H. Cull Memorial FundMr. and Mrs. Charles R. Emrick, Jr.

Charles and Marguerite C. GalanieMr. David J. Golden

The George Gund FoundationDorothy Humel Hovorka

Mr. James J. HummerFrank and Margaret Hyncik

Walter and Jean Kalberer FoundationAlfred Lerner In-School Performance Fund

Machaskee Fund for Community ProgrammingMr. and Mrs. Stanley A. Meisel

Christine Gitlin MilesMr. and Mrs. David T. Morganthaler

Morley Fund for Pre-School EducationThe Eric & Jane Nord Family Fund

Pysht FundThe Ratner, Miller, and Shafran Families

and Forest City Enterprises, Inc.In memory of Georg Solti

The William N. Skirball EndowmentJules and Ruth Vinney Youth Orchestra Touring Fund

Anonymous

SPRING 2014 ART, MUSIC AND

LITERATURE CLASSEScase.edu/lifelonglearningDownload our Spring Catalogue

CONNECTING THE ACADEMIC WORLD WITH THE GENERAL COMMUNITY

For complete details and pricing and to register visit: www.cwru.edu/lifelonglearning or call 216.368.2090/1

Siegal Facility Beachwood - 26500 Shaker Blvd., Beachwood, OHThe College Club of Cleveland - 2348 Overlook Rd, Cleveland Heights, OH

Tossed Salad: American Short Stories of the 20th and 21st CenturiesMarch 3 - April 7, 1:00 - 3:00 PMSiegal Facility Beachwood

Listening in the Dark: A History of Audience (Dis)EngagementMarch 3 - April 7, 7:00 - 8:30 PMSiegal Facility Beachwood

Medieval & Renaissance Musical and Devotional BooksMarch 31 - April 21, 10:30 AM - NoonKelvin Smith Library, CWRU

MONDAYS

WEDNESDAYSAlice Munroe: Master of the Short StoryMarch 5 - March 26 10:00 - 11:30 AMCCPL - Mayfield Branch

Mysteries of Color and Light: The Art of Julian StanczakMarch 19 - April 16, 1:30 - 3:30 PMThe College Club of Cleveland

THURSDAYSMusic in Totalitarian Societies: The Case of Soviet Russia and Nazi GermanyMarch 6 - April 10, 1:00 - 3:00 PMSiegal Facility Beachwood

A History of Noise: Music and Politics from Beethoven to Jimi HendrixMarch 6 - April 17, 1:30 - 3:30 PMThe College Club of Cleveland

FRIDAYSContemporary Films: Exploring Cross-Cultural ContactFebruary 28 - April 4, 12:00 - 2:00 PMSiegal Facility Beachwood

… for the love of learning

69Severance Hall 2013-14 Endowed Funds

Th e generous donors listed here have made endowment gift s to support specifi c artistic

initiatives, education and community programming and performances, facilities main-

tenance costs, touring and residencies, and more. (Additional endowment funds are

recognized through the naming of Orchestra chairs, listed on pages 22-23.) Named funds

can be established with new gift s of $250,000 or more. For information about making your

own endowment gift to Th e Clevelamd Orchestra, please call 216-231-7438.

Endowed Funds funds established as of August 2013

ARTISTIC endowed funds support a variety of programmatic initiatives ranging

from guest artists and radio broadcasts to the all-volunteer Cleveland Orchestra Chorus.

Artistic ExcellenceGeorge Gund III Fund

Artistic CollaborationJoseph P. and Nancy F. Keithley

Artist-in-ResidenceMalcolm E. Kenney

Young ComposersJan R. and Daniel R. Lewis

Friday Morning ConcertsMary E. and F. Joseph Callahan Foundation

Radio BroadcastsRobert and Jean ConradDr. Frederick S. and Priscilla Cross

Cleveland Orchestra Chorus Jerome and Shirley GroverMeacham Hitchcock and Family

American Conductors FundDouglas Peace HandysideHolsey Gates Handyside

Severance Hall Guest ConductorsRoger and Anne ClappJames and Donna Reid

Cleveland Orchestra SoloistsJulia and Larry Pollock Family

Guest Artists FundThe Eleanore T. and Joseph E. Adams FundMrs. Warren H. CorningThe Gerhard Foundation, Inc.Margaret R. Griffi ths TrustThe Virginia M. and Newman T. Halvorson FundThe Hershey FoundationThe Humel Hovorka FundKulas FoundationThe Payne FundElizabeth Dorothy RobsonDr. and Mrs. Sam I. SatoThe Julia Severance Millikin FundThe Sherwick FundMr. and Mrs. Michael SherwinSterling A. SpauldingMr. and Mrs. James P. StorerMrs. Paul D. Wurzburger

Concert PreviewsDorothy Humel Hovorka

International TouringFrances Elizabeth Wilkinson

UnrestrictedArt of Beauty Company, Inc.William P. Blair III Fund for Orchestral ExcellenceJohn P. Bergren and Sarah S. EvansNancy McCannMargaret Fulton-Mueller Virginia M. and Jon A. Lindseth

CENTER FOR FUTURE AUDIENCES — Th e Cleveland Orchestra’s Center for Future

Audiences, created with a lead gift from the Maltz Family Foundation, is working to

develop new generations of audiences for Th e Cleveland Orchestra.

Center for Future AudiencesMaltz Family Foundation

Student AudiencesAlexander and Sarah Cutler

Endowed Funds listing continues

70 The Cleveland OrchestraEndowed Funds

SEVERANCE HALL endowed funds support maintenance of keyboard instruments

and the facilities of the Orchestra’s concert home, Severance Hall.

Keyboard MaintenanceWilliam R. DewThe Frederick W. and Janet P. Dorn FoundationMr. and Mrs. Richard A. ManuelVincent K. and Edith H. Smith Memorial Trust

OrganD. Robert and Kathleen L. BarberArlene and Arthur HoldenKulas FoundationDescendants of D.Z. NortonOglebay Norton Foundation

Severance Hall PreservationSeverance family and friends

EDUCATION AND COMMUNITY endowed funds help support programs that deepen con-

nections to symphonic music at every age and stage of life, including training, performances, and

classroom resources for thousands of students and adults each year.

Education ProgramsAnonymous, in memory of Georg SoltiHope and Stanley I. AdelsteinKathleen L. BarberIsabelle and Ronald BrownDr. Jeanette Grasselli Brown and Dr. Glenn R. BrownAlice H. Cull MemorialFrank and Margaret HyncikJunior Committee of The Cleveland OrchestraMr. and Mrs. David T. MorgenthalerJohn and Sally MorleyThe Eric & Jane Nord Family FundThe William N. Skirball Endowment

Education Concerts WeekThe Max Ratner Education Fund, given by the Ratner, Miller, and Shafran

families and by Forest City Enterprises, Inc.

In-School PerformancesAlfred M. Lerner Fund

Classroom ResourcesCharles and Marguerite C. Galanie

Cleveland Orchestra Youth Orchestra The George Gund FoundationChristine Gitlin Miles, in honor of Jahja LingJules and Ruth Vinney Touring Fund

Musical RainbowsPysht Fund

Community ProgrammingAlex and Carol Machaskee

Endowed Funds continued from previous page

BLOSSOM MUSIC CENTER and BLOSSOM FESTIVAL endowed funds support the

Orchestra’s summer performances and maintenance of Blossom Music Center.

Blossom Festival Guest ArtistDr. and Mrs. Murray M. BettThe Hershey FoundationThe Payne FundMr. and Mrs. William C. Zekan

Blossom Festival Family ConcertsDavid E. and Jane J. Griffi ths

Landscaping and MaintenanceThe Bingham FoundationEmily Blossom family members and friendsThe GAR FoundationJohn S. and James L. Knight Foundation

Act one begins

... WITH INVESTMENT BY CUYAHOGA ARTS & CULTURE

Cuyahoga Arts & Culture (CAC) uses public dollars approved by you to bring arts and culture to every corner of our County. From grade schools to senior centers to large public events and investments to small neighborhood art projects and educational outreach, we are leveraging your investment for everyone to experience.

Visit cacgrants.org/impact to learn more.

Your Investment: Strengthening Community

Beck Center for the Arts

Academic Sponsor

FEB 24, 2014 Michael Ruhlman “America: Too Stupid to Cook”

APR 7, 2014Bob Woodward“The Price of Politics”

Tickets are $45 each. Ohio Theatre 6:00 PMCall for tickets at 216.241.1919www.townhallofcleveland.org

The Cleveland Carousel Society is bringing back the Grand Carousel from Euclid Beach

Park’s historic past for all to ride again.

Go to: www.clevelandcarousel.org

Or call: 216-752-1505

Part Emotion, Part Memory

All Magic

You can be a part of

this historic restoration by becoming a

member, naming donor or sponsor of the Carousel horses right

Guide to Fine Schools

Other fine schools advertising in The Cleveland Orchestra’s Severance Hall programs include:

216-898-8300www.berea.k12.oh.us

Consistently ranked among“Best Communities for Music Education”

in the Nation!

Baldwin Wallace University Conservatory of Music440-826-2369

Cleveland Institute of Music216-791-5000

Cleveland State UniversityKulas Series of Keyboard Conversations

with Jeffrey Siegel216-687-5018

Lake Erie College1-855-GO-STORM

The Oberlin Conservatory of Music440-775-8413

Th e Partners in Excellence program

salutes companies with annual contri-

butions of $100,000 and more, exem-

plifying leadership and commitment to

artistic excellence at the highest level.

PARTNERS IN EXCELLENCE$300,000 AND MORE

Hyster-Yale Materials HandlingNACCO Industries, Inc.KeyBankThe Lubrizol CorporationRaiff eisenlandesbank Oberösterreich (Europe) The J. M. Smucker Company

PARTNERS IN EXCELLENCE$200,000 TO $299,999BakerHostetlerEatonFirstEnergy FoundationForest City Enterprises, Inc.PNC Bank

PARTNERS IN EXCELLENCE$100,000 TO $199,999The Cliff s FoundationGoogle, Inc.Medical Mutual of OhioNordson Corporation and Foundation Parker Hannifi n Corporation

$50,000 TO $99,999

Jones DayQuality Electrodynamics (QED)voestalpine AG (Europe)Anonymous

$25,000 TO $49,999Dix & EatonThe Giant Eagle FoundationLitigation Management, Inc.Northern Trust Bank of Florida (Miami)Park-Ohio Holdings Corp.The Plain DealerRPM International Inc.Squire Sanders (US) LLPThompson Hine LLP

$2,500 TO $24,999AdCom CommunicationsAkron Tool & Die CompanyAkronLife MagazineAmerican Fireworks, Inc.

American Greetings CorporationBDIBank of AmericaBrothers Printing Co., Inc.Brouse McDowellEileen M. Burkhart & Co LLCBuyers Products CompanyCalfee, Halter & Griswold LLPCleveland ClinicThe Cleveland Wire Cloth & Mfg. Co.Cohen & Company, CPAsCommunity Behavioral Health CenterConn-Selmer, Inc.Consolidated SolutionsDollar BankDominion FoundationErnst & Young LLPEvarts-Tremaine-Flicker CompanyFeldman Gale, P.A. (Miami)Ferro CorporationFirstMerit BankFrantz Ward LLPVictor Kendall, Friends of WLRNGallagher Benefi t ServicesGreat Lakes Brewing CompanyGross BuildersHahn Loeser + Parks LLPHyland SoftwareThe Lincoln Electric FoundationLittler Mendelson, P.C.C. A. Litzler Co., Inc.Live Publishing CompanyMacy’sMaterion CorporationMiba AG (Europe)MTD Products, Inc.North Coast Container Corp.Northern HaserotOatey Co.Ohio CATOhio Savings Bank, A Division of New York Community BankOlympic Steel, Inc.Oswald CompaniesPolyOne CorporationPricewaterhouse Coopers LLPThe Prince & Izant CompanyRichey Industries, Inc.The Sherwin-Williams CompanyStern Advertising AgencySwagelok CompanyTucker EllisUlmer & Berne LLPUniversity HospitalsVer Ploeg & Lumpkin, P.A. (Miami)WCLV Foundation Westlake Reed LeskoskyAnonymous (2)

Annual Supportgifts of $2,500 or more during the past year, as of December 15, 2013

Cumulative GivingJOHN L. SEVERANCE SOCIETY$5 MILLION AND MORE

KeyBank

PNC Bank

$1 MILLION TO $5 MILLION

BakerHostetlerBank of AmericaEatonFirstEnergy FoundationForest City Enterprises, Inc.The Goodyear Tire & Rubber CompanyHyster-Yale Materials HandlingNACCO Industries, Inc.The Lubrizol Corporation / The Lubrizol FoundationMerrill LynchParker Hannifi n CorporationThe Plain DealerPolyOne CorporationRaiff eisenlandesbank Oberösterreich (Europe) The J. M. Smucker Company

Th e Severance Society recognizes

generous contributors of $1 million

or more in cumulative giving

to Th e Cleveland Orchestra.

Listing as of December 2013.

Corporate Annual Support

Th e Cleveland Orchestra gratefully acknowledges and salutes these corporations for their generous support

toward the Orchestra’s Annual Fund, benefi t events, tours and residencies, and special projects.

Corporate Support

LEOŠ JANÁČEK’SLEO

TICKETS 216-231-1111 CLEVELANDORCHESTRA.COM

SEVERANCE HALL May 17 . 20 . 22 . 24

A NEW PRODUCTION FEATURING PROJECTED ANIMATION AND LIVE ACTION, SUNG IN CZECH WITH ENGLISH SUPERTITLES

THE CLEVELAND ORCHESTRA conducted by Franz Welser-Möst

Don’t miss this unique, made-for-Cleveland opera presentation! Staged at Severance Hall

with an international cast and innovative, original animated projections. While plumbing the

depths of human experience, The Cunning Little Vixen tells a charmingly bittersweet tale

of love, peril, freedom, and family. The opera’s title character, portrayed by Czech

soprano Martina Janková, wends her way through life’s cycles of learning and

danger, love and happiness. Janáček’s score mixes lyrical symphonic writing

with the songful serenity and energetic pulse of Moravian folk music.

This Cleveland Orchestra opera presentation

is supported in part by The Andrew W. Mellon Foundation

and by the National Endowment for the Arts

of love, peril, f

soprano M

THE OPERA EVENT

OF THE SEASON!

Foundation/Government Annual Support

$1 MILLION AND MORE

The Cleveland FoundationCuyahoga County residents through

Cuyahoga Arts & CultureThe George Gund FoundationThe Andrew W. Mellon FoundationThe Kelvin and Eleanor Smith Foundation

$250,000 TO $499,000Kulas FoundationJohn P. Murphy FoundationThe Eric & Jane Nord Family FundOhio Arts Council

$100,000 TO $249,999Sidney E. Frank FoundationGAR FoundationElizabeth Ring Mather and William Gwinn Mather FundDavid and Inez Myers Foundation

$50,000 TO $99,999The George W. Codrington Charitable FoundationAnn and Gordon Getty FoundationThe Hearst FoundationsMartha Holden Jennings FoundationMyra Tuteur Kahn Memorial Fund of The Cleveland FoundationMiami-Dade County Department of Cultural Aff airs (Miami)Donald and Alice Noble Foundation, Inc. The Nord Family FoundationThe Payne FundThe Sage Cleveland FoundationSurdna Foundation

$20,000 TO $49,999The Helen C. Cole Charitable TrustThe Mary S. and David C. Corbin FoundationThe Gerhard Foundation, Inc.The Helen Wade Greene Charitable TrustJohn S. and James L. Knight FoundationThe Margaret Clark Morgan FoundationNational Endowment for the ArtsThe Frederick and Julia Nonneman FoundationWilliam J. and Dorothy K. O’Neill FoundationPeacock Foundation, Inc. (Miami)Polsky Fund of Akron Community FoundationThe Reinberger FoundationThe Sisler McFawn Foundation

Annual Support gifts of $2,000 or more during the past year, as of December 15, 2013

Th e Cleveland Orchestra gratefully acknowledges and salutes these Foundations and Government agencies for their

generous support toward the Orchestra’s Annual Fund, benefi t events, tours and residencies, and special projects.

$2,000 TO $19,999The Abington FoundationAyco Charitable Foundation The Ruth and Elmer Babin FoundationThe Batchelor Foundation, Inc. (Miami)The Bernheimer Family Fund of the Cleveland FoundationBicknell FundEva L. and Joseph M. Bruening FoundationThe Conway Family FoundationMary and Dr. George L. Demetros Charitable TrustThe Harry K. Fox and Emma R. Fox Charitable FoundationThe William O. and Gertrude Lewis Frohring FoundationFunding Arts Network (Miami)The Hankins FoundationThe Muna & Basem Hishmeh FoundationRichard H. Holzer Memorial FoundationThe Jean Thomas Lambert FoundationThe Laub FoundationVictor C. Laughlin, M.D. Memorial Foundation TrustThe G. R. Lincoln Family FoundationThe Mandel Foundation Bessie Benner Metzenbaum FoundationPaintstone FoundationThe Charles E. & Mabel M. Ritchie Memorial FoundationThe Leighton A. Rosenthal Family FoundationSCH FoundationAlbert G. & Olive H. Schlink FoundationHarold C. Schott FoundationKenneth W. Scott FoundationJean C. Schroeder FoundationThe Sherwick FundLloyd L. and Louise K. Smith Memorial FoundationThe South Waite FoundationThe George Garretson Wade Charitable TrustThe S. K. Wellman FoundationThe Welty Family FoundationThomas H. White Foundation, a KeyBank TrustThe Edward and Ruth Wilkof FoundationThe Wuliger FoundationAnonymous (2)

Cumulative GivingJOHN L. SEVERANCE SOCIETY$10 MILLION AND MORE

The Cleveland Foundation

Cuyahoga County residents

through Cuyahoga

Arts & Culture

Kulas Foundation

Maltz Family Foundation

State of Ohio

Ohio Arts Council

The Kelvin and Eleanor

Smith Foundation

The George Gund Foundation

Knight Foundation

(Cleveland, Miami)

The Andrew W. Mellon Foundation

John P. Murphy Foundation

The William Bingham Foundation

The George W. Codrington

Charitable Foundation

GAR Foundation

Ann and Gordon Getty Foundation

The Louise H. and David S.

Ingalls Foundation

Martha Holden Jennings

Foundation

Elizabeth Ring Mather and

William Gwinn Mather Fund

David and Inez Myers Foundation

National Endowment for the Arts

The Eric & Jane Nord Family Fund

The Payne Fund

The Reinberger Foundation

The Sage Cleveland Foundation

Th e Severance Society recognizes

generous contributors of $1 million

or more in cumulative giving

to Th e Cleveland Orchestra.

Listing as of December 2013.

Foundation & Government Support

INDIVIDUAL GIFTS OF $500,000 AND MORE

Daniel R. and Jan R. Lewis (Miami) Peter B. Lewis* and Janet Rosel (Miami) Mr. and Mrs. Albert B. Ratner

INDIVIDUAL GIFTS OF $200,000 TO $499,999

Irma and Norman Braman (Miami) David and Francie Horvitz Family Foundation (Miami) The Walter and Jean Kalberer Foundation Mrs. Norma Lerner and The Lerner Foundation Susan Miller (Miami)

James D. Ireland III Mr. and Mrs. Joseph P. KeithleyMrs. Elizabeth R. Koch Dr. and Mrs. Herbert Kloiber (Europe)Mrs. Emma S. LincolnElizabeth F. McBride Ms. Ginger Warner (Cleveland, Miami) Mr. and Mrs. Franz Welser-Möst Janet* and Richard Yulman (Miami)

Mr. and Mrs. Alexander M. Cutler Mr. and Mrs. Douglas A. Kern Mr. and Mrs. Dennis W. LaBarre The Honorable and Mrs. John Doyle Ong Mr. and Mrs. Alfred M. Rankin, Jr.

Sheldon and Florence Anderson (Miami) Mr. William P. Blair III Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. Allen H. FordHector D. Fortun (Miami) Mr. and Mrs. Michael J. HorvitzElizabeth B. Juliano (Cleveland, Miami) R. Kirk Landon and Pamela Garrison (Miami) Toby Devan LewisMr. and Mrs. Edward A. Lozick

Individual Support

Th e Cleveland Orchestra and Musical Arts Association gratefully recognize the individuals

listed here, who have provided generous gift s of cash or pledges of $2,500 or more to the

Annual Fund, benefi t events, tours and residencies, and special annual donations.

Lifetime Giving JOHN L. SEVERANCE SOCIETY

$10 MILLION AND MORE

Daniel R. and Jan R. Lewis (Miami, Cleveland)

Mr. Richard J. Bogomolny

and Ms. Patricia M. Kozerefski

Mr. and Mrs. Alexander M. Cutler

Mrs. Norma Lerner and The Lerner Foundation

Mrs. Alfred M. Rankin, Sr.

Mr. and Mrs. Albert B. Ratner

Irma and Norman Braman (Miami)

Mr. Francis J. Callahan*

Mrs. M. Roger Clapp

Mr. George Gund III*

Francie and David Horvitz (Miami)

Mr. and Mrs. Michael J. Horvitz

Mr. James D. Ireland III

The Walter and Jean Kalberer Foundation

Mr. and Mrs. Joseph P. Keithley

Mr. and Mrs. Dennis W. LaBarre

Susan Miller (Miami)

Sally S. and John C. Morley

The Family of D. Z. Norton

The Honorable and Mrs. John Doyle Ong

Mr. and Mrs. Alfred M. Rankin, Jr.

Charles and Ilana Horowitz Ratner

James and Donna Reid

Barbara S. Robinson

The Ralph and Luci Schey Foundation

Anonymous (3)

Th e Severance Society recognizes generous

contributors of $1 million or more in lifetime

giving to Th e Cleveland Orchestra.

As of December 2013.

Annual Supportgifts during the past year, as of December 15, 2013

Individual Annual Support76 The Cleveland Orchestra

Individual Annual Support

Robert M. Maloney and Laura Goyanes Ms. Beth E. Mooney Mr. Patrick Park (Miami)Mrs. Alfred M. Rankin, Sr.Charles and Ilana Horowitz Ratner James and Donna ReidBarbara S. Robinson Mr. and Mrs. Lawrence M. Sears Hewitt and Paula Shaw Mr. and Mrs. Richard K. Smucker Mary M. Spencer (Miami) Barbara and David Wolfort Anonymous

Mr. and Mrs. Daniel M. Bell (Miami) Dr. and Mrs. Wolfgang Berndt (Europe) Blossom Women’s CommitteeMr. and Mrs. Charles P. Bolton The Brown and Kunze FoundationJeanette Grasselli Brown and Glenn R. Brown Judith and George W. Diehl Mr. and Mrs. Geoff rey Gund George Gund*Trevor and Jennie Jones Giuliana C. and John D. KochDr. Vilma L. KohnCharlotte R. KramerMr. and Mrs. Jon A. LindsethMs. Nancy W. McCann Sally S. and John C. Morley Mrs. Jane B. NordLuci and Ralph* Schey

Richard and Nancy Sneed (Cleveland, Miami) R. Thomas and Meg Harris Stanton

Robert and Jean* Conrad Mr. and Mrs. Gerald A. ConwayDo Unto Others Trust (Miami)George* and Becky DunnDr. and Mrs. Hiroyuki Fujita Gary Hanson and Barbara Klante Mr. and Mrs. Jeff rey Healy Mrs. Marguerite B. Humphrey Junior Committee of The Cleveland OrchestraDr. David and Janice LeshnerMaltz Family FoundationMargaret Fulton-Mueller William J. and Katherine T. O’Neill Julia and Larry Pollock Mr. and Mrs. James A. RatnerPaul and Suzanne Westlake

Gay Cull Addicott Mr. and Mrs. William W. Baker Randall and Virginia BarbatoMr. and Mrs. Matthew V. Crawford Esther L. and Alfred M. Eich, Jr. Jeff rey and Susan Feldman (Miami)Dr. Edward S. Godleski Andrew and Judy Green Mr. and Mrs. Jack HoeschlerRichard and Erica Horvitz (Cleveland, Miami)Mr. and Mrs. Christopher Kelly Jonathan and Tina Kislak (Miami) Joy P. and Thomas G. Murdough, Jr. (Miami)Mr. and Mrs. James A. SaksMarc and Rennie SaltzbergRaymond T. and Katherine S. SawyerMr. and Mrs. Donald Stelling (Europe)Mr. Joseph F. TetlakTom and Shirley Waltermire Mr. Gary L. Wasserman and Mr. Charles A. Kashner (Miami) The Denise G. and Norman E. Wells, Jr. Family Foundation Women’s Committee of The Cleveland OrchestraAnonymous gift from Switzerland (Europe)

Dr. Christopher P. Brandt and Dr. Beth Sersig Mr. and Mrs. David J. Carpenter Scott Chaikin and Mary Beth Cooper Martha and Bruce Clinton (Miami)Mr. Peter and Mrs. Julie Cummings (Miami)Mr. and Mrs. Peter O. DahlenColleen and Richard Fain (Miami) Joyce and Ab* GlickmanRichard and Ann Gridley Mrs. John A Hadden Jr.Jack Harley and Judy ErnestMary and Jon Heider (Cleveland, Miami)David and Nancy Hooker Mr. and Mrs. Donald M. Jack, Jr.Tati and Ezra Katz (Miami)

listings continue

Leadership Council Th e Leadership Council salutes those

extraordinary donors who have pledged to

sustain their annual giving at the highest level

for three years or more. Leadership Council

donors are recognized in these Annual Support

listings with the Leadership Council symbol

next to their name:

Mr.* and Mrs. Arch J. McCartneyMr. Thomas F. McKee Mr. and Mrs. Stanley A. MeiselLucia S. NashMr. Gary A. Oatey (Cleveland, Miami) Claudia and Steven Perles (Miami)Steven and Ellen Ross Mr. and Mrs. David A. RuckmanMrs. David Seidenfeld Dr. and Mrs. Neil SethiDavid and Harriet SimonRick, Margarita and Steven Tonkinson (Miami) Mr. and Mrs. Jeff rey M. Weiss Anonymous

Mr. and Mrs. William E. Conway Ms. Dawn M. FullTim and Linda Koelz Mr. and Mrs. Richard A. ManuelRachel R. Schneider Mr. and Mrs. Oliver E. SeikelKim Sherwin Mr. and Mrs. Alfred Umdasch (Europe)

listings continue

INDIVIDUAL GIFTS OF $10,000 TO $12,499 Mr. and Mrs. George N. Aronoff Mr. William BergerJayusia and Alan Bernstein (Miami) Marsha and Brian Bilzin (Miami) Mr. D. McGregor Brandt, Jr.Paul and Marilyn* BrentlingerAugustine* and Grace CaliguireJill and Paul Clark Richard J. and Joanne ClarkMrs. Barbara CookMrs. Barbara Ann Davis Mr. and Mrs. Robert P. DuvinMike S. and Margaret Eidson (Miami) Dr. and Mrs. Lloyd H. Ellis Jr.Mr. Neil FlanzraichFrancisco A. Garcia and Elizabeth Pearson (Miami)Mr. and Mrs. Richard T. GarrettAlbert I. and Norma C. Geller Mr. and Mrs. Robert W. GillespieMr. David J. GoldenElaine Harris GreenRobert K. Gudbranson and Joon-Li KimSondra and Steve HardisT. K. and Faye A. Heston Joan and Leonard HorvitzPamela and Scott Isquick Allan V. Johnson Andrew and Katherine KartalisJanet and Gerald Kelfer (Miami) Mr. Jeff LitwillerEdith and Ted* MillerMr. Donald W. Morrison Elisabeth and Karlheinz Muhr (Europe)Brian and Cindy MurphyMr. Raymond M. MurphyDonald and Alice Noble Foundation, Inc.Mr. and Mrs. William M. Osborne, Jr. Brian and Patricia RatnerAudra and George Rose Dr. Tom D. Rose Dr. and Mrs. Ronald J. Ross Dr. Isobel RutherfordMr. Larry J. Santon Dr. Gerard and Phyllis Seltzer and the Dr. Gerard and Phyllis Estelle Seltzer FoundationMrs. Gretchen D. SmithJim and Myrna SpiraLois and Tom Stauff er Charles B. and Rosalyn Stuzin (Miami) Mrs. Jean H. TaberDr. Russell A. TrussoSandy and Ted Wiese Anonymous (3)*

INDIVIDUAL GIFTS OF $7,500 TO $9,999 Mr. and Mrs. Dean Barry Laurel Blossom Mr. and Mrs. Richard L. BowenMr. Robert W. BriggsDr. and Mrs. Jerald S. BrodkeyDr. Ben H. and Julia Brouhard Ellen E. & Victor J. Cohn Supporting Foundation Henry and Mary Doll Nancy and Richard Dotson

listings continued

Gay Cull Addicott

William W. Baker

Ronald H. Bell

Henry C. Doll

Judy Ernest

Nicki Gudbranson

Jack Harley

Iris Harvie

Brinton L. Hyde

Randall N. Huff

David C. Lamb

Raymond T. Sawyer

Barbara Robinson, chair

Robert Gudbranson, vice chair

Ongoing annual support gift s are a critical com-

ponent toward sustaining Th e Cleveland Orches-

tra’s eco nomic health. Ticket revenues pro vide

only a small portion of the funding needed to sup-

port the Orchestra’s outstanding perform ances,

education activities, and community projects.

Th e Leadership Patron Program recognizes gen-

erous donors of $2,500 or more to the Orchestra’s

Annual Campaign. For more information on the

benefi ts of playing a supporting role each year,

please contact Elizabeth Arnett, Manager, Lead-

ership Giving, by calling 216-231-7522.

Leadership Annual Campaign Patrons

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Harry and Joyce Graham Mr. Paul Greig Kathleen E. HancockMary Jane Hartwell Iris and Tom Harvie Mrs. Sandra L. HaslingerAmy and Stephen Hoff man Joela Jones and Richard WeissKenneth M. Lapine and Rose E. Mills Judith and Morton Q. Levin Mr. and Mrs.* Robert P. Madison Mr. and Mrs. Thomas B. McGowanPannonius Foundation Douglas and Noreen PowersPaul A. and Anastacia L. Rose Rosskamm Family TrustPatricia J. Sawvel Carol* and Albert SchuppDrs. Daniel and Ximena Sessler Naomi G. and Edwin Z. Singer Family Fund Mr. and Mrs. Donald W. Strang, Jr.Mrs. Marie S. Strawbridge*Bruce and Virginia Taylor Anonymous (2)

INDIVIDUAL GIFTS OF $5,000 TO $7,499 Norman and Helen Allison Susan S. AngellMr. and Mrs. Albert A. AugustusMr. and Mrs. Robert H. Baker Stephen Barrow and Janis Manley (Miami) Fred G. and Mary W. BehmDr. Ronald and Diane Bell Drs. Nathan A. and Sosamma J. Berger Dr. and Mrs. Eugene H. BlackstonePaul and Marilyn* BrentlingerFrank and Leslie Buck Mr. and Mrs. William C. Butler Ms. Maria Cashy Drs. Wuu-Shung and Amy Chuang Dr. William and Dottie Clark Mrs. Lester E. Coleman Mr. Owen ColliganMarjorie Dickard ComellaCorinne L. Dodero Foundation for the Arts and Sciences Mr. and Mrs. Ralph DaugstrupMr. and Mrs. Edward B. DavisPete and Margaret Dobbins Mr. and Mrs. Terry C. Z. EggerDr. and Mrs. Robert ElstonMary and Oliver Emerson Mr. and Mrs. Alex Espenkotter(Miami)Dr. D. Roy and Diane A. FergusonChristopher Findlater (Miami)Joy E. GarapicMr. and Mrs. David GoldbergMr. and Mrs. Henry J. GoodmanMr. and Mrs. Randall J. GordonDavid and Robin GunningMr. and Mrs. Michael HardyClark Harvey and Holly SelvaggiHenry R. Hatch Robin Hitchcock HatchBarbara Hawley and David GoodmanJanet D. Heil*Anita and William Heller

Thomas and Mary HolmesBob and Edith Hudson (Miami)Ms. Charlotte L. HughesMr. James J. Hummer Mr. and Mrs. Brinton L. HydeMr. and Mrs. Christopher Hyland Donna L. and Robert H. JacksonMr. and Mrs. Richard A. JanusRudolf D. and Joan T. KamperMilton and Donna* Katz Dr. Richard and Roberta KatzmanDr. and Mrs. William S. KiserMr. and Mrs. S. Lee KohrmanMrs. Justin Krent Mr. Donald N. KrosinMr. and Mrs. Peter A. Kuhn Mr. and Mrs. Arthur J. Lafave, Jr.David C. LambShirley and William Lehman (Miami) Mr. Lawrence B. and Christine H. LeveyMr. and Mrs. Adam LewisMr. Dylan Hale LewisMs. Marley Blue LewisMr. Jon E. Limbacher and Patricia J. LimbacherElsie and Byron Lutman Mr. and Mrs. Alex Machaskee Ms. Jennifer R. MalkinMr. and Mrs. Morton L. MandelAlan Markowitz M.D. and Cathy PollardAlexander and Marianna C.* McAfee Claudia Metz and Thomas Woodworth Mr. and Mrs. Abraham C. Miller (Miami)Drs. Terry E. and Sara S. MillerDavid and Leslee MiraldiMr. and Mrs. William A. MitchellAnn Jones MorganRichard and Kathleen NordMr. Henry Ott-HansenMr. J. William and Dr. Suzanne PalmerNan and Bob Pfeifer Mr. and Mrs. John S. Piety Dr. and Mrs. John N. Posch William and Gwen PreucilLois S.* and Stanley M. ProctorMr. and Mrs. Thomas A. QuintrellDrs. Raymond R. Rackley and Carmen M. Fonseca Mr. and Mrs. Roger F. RankinMs. Deborah ReadMr. William J. RossMr. and Mrs. Robert C. RuhlMrs. Florence Brewster Rutter Mr. and Mrs. David R. SawyierBob and Ellie Scheuer David M. and Betty Schneider Linda B. SchneiderDr. and Mrs. James L. SechlerMr. Eric Sellen and Mr. Ron SeidmanLee G. and Jane SeidmanCharles Seitz (Miami)Mrs. Frances G. ShoolroyMarjorie B. Shorrock David Kane Smith Dr. Marvin and Mimi Sobel George and Mary Stark Howard Stark M.D. and Rene Rodriguez (Miami)Stroud Family TrustMs. Lorraine S. Szabo listings continue

listings continued

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Ms. Nancy A. Adams

Dr. and Mrs. D. P. AgamanolisMrs. Joanne M. Bearss

Mr. and Mrs. Jules BelkinSuzanne and Jim BlaserMs. Mary R. Bynum and Mr. J. Philip Calabrese

Dr. and Mrs. William E. Cappaert

Mrs. Millie L. CarlsonMr. and Mrs. Frank H. CarpenterDrs. Mark Cohen and Miriam Vishny

Diane Lynn Collier

Ms. Maureen A. Doerner and Mr. Geoff rey T. WhitePeter and Kathryn Eloff Mr. Brian L. Ewart and Mr. William McHenryPeggy and David* FullmerBarbara and Peter GalvinDr. and Mrs. Ronald L. Gould

Robert N. and Nicki N. Gudbranson

Mr. Robert D. HartHazel Helgesen and Gary D. HelgesenMr. David and Mrs. Dianne Hunt

Dr. and Mrs. Scott R. Inkley

Helen and Erik JensenBarbara and Michael J. KaplanMr. James and Mrs. Gay* Kitson

Dr. Gilles and Mrs. Malvina KlopmanMr. Thomas and Mrs. Deborah KniesnerCynthia Knight (Miami)Marion KonstantynovichJudy and Donald Lefton (Miami) Ronald and Barbara Leirvik

Mr. and Mrs. Irvin A. Leonard

Dr. Alan and Mrs. Joni Lichtin

Anne R. and Kenneth E. LoveRobert and LaVerne* LugibihlJoel and Mary Ann MakeeMartin and Lois MarcusWilliam and Eleanor McCoyJames and Viriginia Meil Dr. Susan M. MerzweilerBert and Marjorie MoyarRichard B. and Jane E. Nash

Mr. and Mrs. Peter R. OsenarMr. Robert S. PerryMr. and Mrs. Richard W. Pogue

In memory of Henry PollakDr. Robert W. Reynolds

Mrs. Charles RitchieAmy and Ken Rogat

Fred Rzepka and Anne Rzepka Family FoundationDr. and Mrs. Martin I. Salzman

Mr. Paul H. ScarbroughGinger and Larry ShaneMs. Frances L. SharpMr. Richard Shirey

Howard and Beth SimonMr. and Mrs. William E. Spatz

Dr. Elizabeth Swenson

Mr. Karl and Mrs. Carol TheilMr. and Mrs. Lyman H. TreadwayMiss Kathleen Turner

Mr. and Mrs. Mark Allen Weigand

Robert C. Weppler

Richard Wiedemer, Jr. Nancy V. and Robert L. Wilcox

Mr. and Dr. Ann WilliamsAnonymous

Mr. and Mrs. Paul A. Teel, Jr. Mr. and Mrs. Bill Thornton Mr.* and Mrs. Robert N. TromblyRobert and Marti Vagi Don and Mary Louise Van Dyke Mr. Gregory VideticBill Appert and Chris Wallace (Miami)Mr. and Mrs. Fred A. Watkins

Dr. Edward L. and Mrs. Suzanne WestbrookTom and Betsy WheelerFred and Marcia Zakrajsek Anonymous (4)

Mr. and Mrs. Charles Abookire, Jr. Nancy L. Adams, PhD Stanley I. and Hope S. AdelsteinMr. and Mrs. Monte AhujaMr. and Mrs. Robert J. AmsdellMr. and Mrs. Jeff rey R. AppelbaumDr. Mayda AriasAgnes ArmstrongGeraldine and Joseph BabinMs. Delphine BarrettEllen and Howard BenderMr. Roger G. BerkKerrin and Peter Bermont (Miami)Barbara and Sheldon BernsMargo and Tom BertinJulia and David Bianchi (Cleveland, Miami) Carmen Bishopric (Miami)Bill* and Zeda BlauMr. Doug BletcherDennis and Madeline BlockMr. and Mrs. Richard H. BoleJohn and Anne BourassaLisa and Ron BoykoMr. and Mrs. David BriggsMrs. Ezra Bryan

J. C. and Helen Rankin ButlerLeigh CarterMr. and Mrs. James B. ChaneyDr. and Mrs. Ronald ChapnickMs. Mary E. ChilcoteMr. and Mrs. Homer D. W. ChisholmDaniel D. Clark and Janet A. Long

Mr. and Mrs. Stanley Cohen (Miami)Dr. Dale and Susan Cowan

Mr. and Mrs. Manohar DagaMrs. Frederick F. DannemillerCharles and Fanny Dascal (Miami)Jeff rey and Eileen DavisMrs. Lois Joan DavisDr. and Mrs. Richard C. DistadDr. M. Meredith Dobyns

Mr. George and Mrs. Beth DownesDavid and Margaret EwartHarry and Ann FarmerDr. Aaron Feldman and Mrs. Margo HarwoodMs. Karen FethCarl and Amy FischerMr. Isaac FisherScott Foerster, Foerster and BohnertJoan Alice FordMrs. Amasa B. Ford

Mr. Randall and Mrs. Patrice FortinMr. and Mrs. John R. FraylickMarvin Ross Friedman and Adrienne bon Haes (Miami)Arthur L. FullmerJeanne GallagherMarilee L. GallagherMrs. Georgia T. GarnerLoren and Michael GarrutoMr. Wilbert C. Geiss, Sr.Anne and Walter GinnMr. and Mrs. David A. Goldfi nger

Mr. and Mrs. Robert T. GrafThe Thomas J. and Judith Fay Gruber Charitable Foundation

Nancy and James GrunzweigMr. Davin and Mrs. Jo Ann GustafsonDr. Phillip M. and Mrs. Mary HallNorman C. and Donna L. Harbert

Mr. and Mrs. Donald F. Hastings

Mr. and Mrs. Jerry HerschmanMr. Robert T. HexterDr. and Mrs. Robert L. HinnesDr. Feite F. HofmanDr.* and Mrs. George H. Hoke

listings continue

listings continued

INDIVIDUAL GIFTS OF $5,000 TO $7,499 CONTINUED

Peter A. and Judith HolmesDr. Keith A. and Mrs. Kathleen M. HooverDr. Randal N. Huff and Ms. Paulette Beech

Ms. Carole HughesMs. Luan K. Hutchinson

Ruth F. Ihde

Ms. LaVerne JacobsonDr. Michael and Mrs. Deborah JoyceRev. William C. Keene

Angela Kelsey and Michael Zealy (Miami)The Kendis Family Trust: Hilary & Robert Kendis and Susan & James KendisBruce and Eleanor KendrickFred and Judith KlotzmanMr. Ronald and Mrs. Kimberly KolzJacqueline and Irwin Kott (Miami)Ellen Brad and Bart KovacDr. Ronald H. Krasney and Ms.* Sherry Latimer

Mr. James KrohngoldMr. and Mrs. S. Ernest KulpMrs. Carolyn LamplMr. and Mrs. John J. LaneAnthony T. and Patricia A. Lauria

Mr. Jin-Woo LeeIvonete Leite (Miami)Michael and Lois A. LemrDr. Edith LernerDr. Stephen B. and Mrs. Lillian S. LevineRobert G. LevyMr. Rudolf and Mrs. Eva LinnebachMartha Klein Lottman

Herbert L. and Rhonda MarcusDr. and Mrs. Sanford E. Marovitz

David and Elizabeth MarshDr. Ernest and Mrs. Marian MarsolaisMr. Julien L. McCallMs. Nancy L. MeachamMr. James E. MengerStephen and Barbara Messner

Ms. Betteann MeyersonMr. and Mrs. Roger Michelson (Miami)Curt and Sara MollSusan B. MurphyJoan Katz Napoli and August NapoliMr. David and Mrs. Judith NewellMarshall I. Nurenberg and Joanne KleinRichard and Jolene O’Callaghan

Harvey and Robin OppmannMr. and Mrs. Robert D. PaddockMr. and Mrs. Christopher I. Page

Deborah and Zachary ParisDr. Lewis and Janice B. Patterson

Mr. Thomas and Mrs. Tommie PattonMrs. Ingrid PetrusDrs. John Petrus and Sharon DiLauroDr. Roland S. Philip and Dr. Linda M. Sandhaus

Dale and Susan PhillipMs. Maribel Piza (Miami)Dr. Marc and Mrs. Carol PohlMr. Richard and Mrs. Jenny Proeschel Kathleen PudelskiMs. Rosella PuskasDr. James and Lynne Rambasek

Ms. C. A. ReaganAlfonso Conrado Rey (Miami)David and Gloria Richards

Michael Forde RipichMs. Linda M. RocchiCarol Rolf and Steven AdlerRobert and Margo RothMiss Marjorie A. RottMichael and Roberta RusekDr. Lori RusterholtzDr. Harry S. and Rita K. Rzepka

Ms. Patricia E. SayMr. James Schutte

Ms. Adrian L. ScottDr. John Sedor and Ms. Geralyn PrestiHarry and Ilene ShapiroNorine W. SharpDr. and Mrs. William C. Sheldon

Laura and Alvin A. SiegalRobert and Barbara SlaninaMs. Donna-Rae SmithMr. and Mrs.* Jeff rey H. SmytheMrs. Virginia SnappMs. Barbara SnyderLucy and Dan SondlesMr. John C. Soper and Dr. Judith S. Brenneke

Mr. John D. SpechtMr.* and Mrs.* Lawrence E. StewartMr. Joseph StroudMr. Taras G. Szmagala, Jr.Ken and Martha TaylorGreg and Suzanne ThaxtonDr. and Mrs. Thomas A. TimkoSteve and Christa TurnbullMrs. H. Lansing Vail, Jr.Robert A. ValenteBrenton Ver Ploeg (Miami)Mr. and Mrs. Joaquin Vinas (Miami)

Mr. and Mrs. Les C. Vinney

Dr. Michael Vogelbaum and Mrs. Judith RosmanMs. Laure A. WasserbauerPhilip and Peggy WasserstromMr. and Mrs. Jerome A. WeinbergerDr. Paul R. and Mrs. Catherine WilliamsRichard and Mary Lynn WillsMichael H. Wolf and Antonia Rivas-WolfMr. Robert Wolff and Dr. Paula SilvermanKatie and Donald WoodcockKay and Rod WoolseyTony and Diane Wynshaw-BorisRad and Patty YatesMr. Kal Zucker and Dr. Mary Frances HaerrAnonymous (7) *

INDIVIDUAL GIFTS OF $2,500 TO $3,499 CONTINUED

listings continued

member of the Leadership Council (see page 77)

* deceased

Th e Cleveland Orchestra is

sustained through the support

of thousands of generous patrons,

including members of the

Leadership Patron Program

listed on these pages. Listings

of all annual donors of $300 and

more each year are published in

the Orchestra’s Annual Report,

which can be viewed online at

CLEVELANDORCHESTRA.COM

For information about how

you can play a supporting

role with Th e Cleveland

Orch estra, please contact

our Philanthropy &

Advancement Offi ce

by calling 216-231-7545.

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11021 East Boulevard, University Circle | cim.eduCIM Box Office: 216.795.3211

MIXON HALL MASTERS SERIESJan 23 Gabriela Montero, pianistFeb 22 Meredith Monk, vocalist

CIM ORCHESTRA CONCERTSJan 29 CIM@Home | Kulas HallFeb 12 CIM@Severance Hall Mar 28 CIM@Severance Hall A Celebration of Community

CIM OPERA THEATER | Feb 26-March 1A Celebration of English Opera Works by Purcell & Vaughan Williams

The Cleveland Orchestra’s catalog of recordings

continues to grow. The newest DVD features Bruckner’s

Fourth Symphony recorded live in the Abbey of St. Flo-

rian in Austria under the direction of Music Director Franz

Welser-Möst in 2012 and released in May 2013.

“A great orchestra, a Bruckner expert. . . . Five

out of fi ve stars,” declared Austria’s Kurier

newspaper. Released in 2012, Dvořák’s opera

Rusalka on CD, recorded live at the Salzburg

Festival, elicited the reviewer for London’s

Sunday Times to praise the perform ance as

“the most spellbinding account of Dvořák’s

miraculous score I have ever heard, either in the the-

atre or on record. . . . I doubt this music can be better

played than by the Clevelanders, the most ‘European’

of the American orchestras, with wind and brass solo-

ists to die for and a string sound of superlative

warmth and sensitivity.” Other recordings

released in recent years include two under the

baton of Pierre Boulez and a third album of

Mozart piano concertos with Mitsuko Uchida,

whose fi rst Cleveland Orchestra Mozart album

won a Grammy Award in 2011.

Visit the Cleveland Orchestra Store for

the latest and best Cleveland Orchestra

recordings and DVDs.

R E C O R D I N G S

miraculou

g r e a t g i f t i d e a s

Imagine your picture-perfect event at Severance Hall.

Severance Hall, a Cleveland landmark and home of the

world-renowned Cleveland Orchestra, is perfect for business

meetings and conferences, pre-concert or post-concert dinners,

and receptions, weddings, and social events.

Premium dates available!Call the Manager of Facility Sales at 216-231-7421

or email hallrental@clevelandorchestra.com

H A I L E D A S O N E O F the world’s most

beautiful concert halls, Severance Hall

has been home to Th e Cleveland Or-

chestra since its opening on February 5,

1931. Aft er that fi rst concert, a Cleve-

land newspaper editorial stated: “We

believe that Mr. Severance intended

to build a temple to music, and not a

temple to wealth; and we believe it is his

intention that all music lovers should be

welcome there.” John Long Severance

(president of the Musical Arts Associa-

tion, 1921-1936) and his wife, Elisabeth,

donated most of the funds necessary to

erect this magnifi cent building. De-

signed by Walker & Weeks, its elegant

Georgian exterior was constructed to

harmonize with the classical architec-

ture of other prominent buildings in

the University Circle area. Th e interior

of the building refl ects a combination

of design styles, including Art Deco,

Egyptian Revival, Classicism, and Mod-

ernism. An extensive renovation, resto-

ration, and expansion of the facility was

completed in January 2000. In addition

to serving as the home of Th e Cleveland

Orchestra for concerts and rehearsals,

the building is rented by a wide variety

of local organizations and private citi-

zens for performances, meetings, and

gala events each year.

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C O N C E R T C A L E N D A R

90 The Cleveland OrchestraConcert Calendar

Rachmaninoff’s RhapsodyThursday March 6 at 7:30 p.m.Friday March 7 at 7:00 p.m. <18s *Saturday March 8 at 8:00 p.m.THE CLEVELAND ORCHESTRAFranz Welser-Möst, conductorRudolf Buchbinder, pianoKate Royal, soprano*Jamie Barton, mezzo-soprano*John Tessier, tenor*Cleveland Orchestra Chorus*Cleveland Orchestra Children’s Chorus* SIBELIUS Lemminkäinen RACHMANINOFF Paganini Rhapsody WIGGLESWORTH Locke’s Theatre* BRITTEN Spring Symphony* * not part of KeyBank Fridays@7 concert

Sponsor: KeyBank

Cleveland OrchestraYouth Orchestra and Youth ChorusSunday March 9 at 7:00 p.m. <18s

CLEVELAND ORCHESTRA YOUTH ORCHESTRA Brett Mitchell, conductorCLEVELAND ORCHESTRA YOUTH CHORUS Lisa Wong, directorAmanda Russo, mezzo-soprano

BEETHOVEN Overture to Fidelio HINDEMITH Symphony: Mathis der Maler CORIGLIANO Fern Hill MENDELSSOHN Help Me, Lord, Find Peace

Dohnányi Conducts SchumannThursday March 27 at 7:30 p.m.Saturday March 29 at 8:00 p.m.Sunday March 30 at 3:00 p.m. <18s

THE CLEVELAND ORCHESTRAChristoph von Dohnányi, conductor

SCHUMANN Symphony No. 4 SCHUMANN Symphony No. 2

<18sUnder 18s Free FOR FAMILIES

Concerts with this symbol are eligible for "Under 18s Free" ticketing. The Cleveland Orchestra is committed to developing the youngest audience of any orchestra in the United States. Our "Under 18s Free" program off ers free tickets for young people attending with their families (one per paid adult admission).

W I N T E R S E A S O NMozart, Mendelssohn, and ElgarThursday February 6 at 7:30 p.m.Friday February 7 at 11:00 a.m. <18s *Saturday February 8 at 8:00 p.m.THE CLEVELAND ORCHESTRANikolaj Znaider, violin and conductor

MOZART Violin Concerto No. 3MENDELSSOHN Symphony No. 4 (“Italian”) *

ELGAR Enigma Variations * not part of Friday Morning Matinee

Valentine Tribute to the Cleveland Orchestra ChorusSunday February 9 at 7:00 p.m.

A special evening to benefi t the Cleveland Orchestra Chorus, featuring a collection of songs, musical dances, and romanc-es performed by members of The Cleveland Orch estra and the Cleveland Orchestra Chamber Chorus. All proceeds benefi t the Chorus Fund.

Mahler and BrahmsThursday February 13 at 7:30 p.m.Saturday February 15 at 8:00 p.m.Sunday February 16 at 3:00 p.m. <18s

THE CLEVELAND ORCHESTRAMarc Albrecht, conductorSasha Cooke, mezzo-soprano

MAHLER “Blumine” Symphonic MovementMAHLER Songs of a Wayfarer

BRAHMS Quartet in G minor, Opus 25(arranged for orchestra by Arnold Schoenberg)

Sponsor: BakerHostetler

Celebrity Concert — CasablancaFriday February 14 at 8:00 p.m.THE CLEVELAND ORCHESTRAWilliam Eddins, conductor

The ultimate Valentine’s Day experience! The burning romantic screen coupling of Humphrey Bogart and Ingrid Bergman paired with Max Steiner’s lush score performed live by The Cleveland Orchestra. One night only!

For a complete schedule of future events and performances, or to purchase tickets online 24/ 7 for Cleveland Orchestra concerts, visit www.clevelandorchestra.com.

CLEVELAND ORCHESTRA TICKETS PHONE 216-231-1111 800-686-1141 clevelandorchestra.com

O R C H E S T R A

I N T H E S P O T L I G H T

91Severance Hall 2013-14 91Concert Calendar

DOHNÁNYI CONDUCTSSCHUMANNThursday March 27 at 7:30 p.m.Saturday March 29 at 8:00 p.m. <18s

Sunday March 30 at 3:00 p.m.THE CLEVELAND ORCHESTRAChristoph von Dohnányi, conductor

Robert Schumann’s symphonies are

intensely personal ideals of what classical

music can represent — life’s joys and tra-

vails, momentary sorrow and uplifting joy.

Their glowing lyricism, drama, and evocative

atmosphere defi ned the style of what a Ro-

mantic symphony can be. Renowned for his

interpretations of this tremendously imagi-

native composer, Christoph von Dohnányi

returns for these all-Schumann concerts.

Mitsuko Uchida’s MozartThursday April 3 at 7:30 p.m.Friday April 4 at 8:00 p.m. <18s

Saturday April 5 at 8:00 p.m.THE CLEVELAND ORCHESTRAMitsuko Uchida, piano and conductorWilliam Preucil, concertmaster and leader

MOZART Piano Concerto No. 18MOZART Symphony No. 23MOZART Piano Concerto No. 19

Sponsor: Quality Electrodynamics (QED)

Family Concert — MozartSunday April 6 at 3:00 p.m. <18s

THE CLEVELAND ORCHESTRAKelly Corcoran, conductorwith Magic Circle Mime Co.

A mischievous street musician is caught playing the or-chestra’s grand piano. Much to her surprise, the conductor offers her the chance to “be Mozart” for a day. The street musician and her prankster companion lead the audience on a musical adventure that reveals the story of Mozart’s life and his musical genius. The program includes excerpts from some of the genius’s most famous works, including “A Little Night Music (“Eine kleine Nachtmusik”), The Magic Flute, Overture to Don Giovanni, the “Jupiter” Symphony (No. 41), and more.

Sponsor: The Giant Eagle Foundation

Yuja Wang Plays RachmaninoffThursday April 10 at 8:00 p.m.Friday April 11 at 11:00 a.m. <18s *Friday April 11 at 7:00 p.m. <18s *Saturday April 12 at 8:00 p.m.THE CLEVELAND ORCHESTRAGiancarlo Guerrero, conductorYuja Wang, piano

PROKOFIEV Classical Symphony RACHMANINOFF Piano Concerto No. 3 RIMSKY-KORSAKOV Scheherazade* * not part of Friday morning or KeyBank Fridays@7 concert

Dvořák and TchaikovskyThursday April 17 at 7:30 p.m.Saturday April 19 at 8:00 p.m.THE CLEVELAND ORCHESTRAHerbert Blomstedt, conductorMark Kosower, cello

DVOŘÁK Cello Concerto TCHAIKOVSKY Symphony No. 6 (“Pathétique”)

92 The Cleveland Orchestra92 The Cleveland Orchestra

11001 Euclid Avenue, Cleveland, Ohio 44106 C L E V E L A N D O R C H E S T R A . C O M

AT SEVERANCE HALLCONCERT DINING AND CONCESSION SERVICE Severance Restaurant at Severance Hall is open for pre-concert dining. For reservations, call 216-231-7373, or make your plans on-line by visit-ing clevelandorchestra.com. Concert concession service of beverages and light refreshments is available before most concerts and at intermissions in the Smith Lobby on the street level, in the Bogomolny-Kozerefski Grand Foyer, and in the Dress Circle Lobby.

FREE PUBLIC TOURS Free public tours of Severance Hall are offered on select Sundays during the year. Free public tours of Severance Hall this season are on October 13, December 1, January 12, February 16, March 30, and May 4. For more information or to make a reserva-tion for these tours, please call the Severance Hall Ticket Offi ce at 216-231-1111. Private tours can be arranged for a fee by calling 216-231-7421.

THE CLEVELAND ORCHESTRA STORE A wide variety of items relating to The Cleve-land Orchestra — including logo apparel, compact disc recordings, and gifts — are available for pur-chase at the Cleveland Orchestra Store before and after concerts and during intermission. The Store is also open Tuesday through Friday from 11 a.m. to 6 p.m. Cleveland Orchestra subscribers receive a 10% discount on most items purchased. Call 216-231-7478 for more information, or visit the Store online at clevelandorchestra.com

ATM — Automated Teller Machine For our patrons’ convenience, an ATM is located in the Lerner Lobby of Severance Hall, across from the Cleveland Orchestra Store on the ground fl oor.

QUESTIONS If you have any questions, please ask an usher or a staff member, or call 216-231-7300 during regular weekday business hours, or email to info@clevelandorchestra.com

RENTAL OPPORTUNITIES Severance Hall, a Cleveland landmark and home of the world-renowned Cleveland Orchestra, is the perfect location for business meetings and confer-ences, pre- or post-concert dinners and receptions, weddings, and social events. Catering provided by Marigold Catering. Premium dates are available. Call the Facility Sales Offi ce at 216-231-7420 or email to hallrental@clevelandorchestra.com

BEFORE THE CONCERTGARAGE PARKING AND PATRON ACCESS Pre-paid parking for the Campus Center Ga-rage can be purchased in advance through the Tick-et Offi ce for $15 per concert. This pre-paid parking ensures you a parking space, but availability of pre-paid parking passes is limited. To order pre-paid parking, call the Severance Hall Ticket Offi ce at 216-231-1111. Parking can be purchased for the at-door price of $11 per vehicle when space in the Campus Cen-ter Garage permits. However, the garage often fi lls up well before concert time; only ticket holders who purchase pre-paid parking passes are ensured a parking space. Overfl ow parking is available in CWRU Lot 1 off Euclid Avenue, across from Sever-ance Hall; University Circle Lot 13A on Adelbert Road; and the Cleveland Botanical Garden.

FRIDAY MATINEE PARKING Due to limited parking availability for Friday Matinee performances, patrons are strongly en-couraged to take advantage of convenient off-site parking and round-trip shuttle services available from Cedar Hill Baptist Church (12601 Cedar Road). The fee for this service is $10 per car.

CONCERT PREVIEWS Concert Previews at Severance Hall are present-ed in Reinberger Chamber Hall on the ground fl oor (street level), except when noted, beginning one hour before most Cleveland Orchestra concerts.

Guest Information

9393Severance Hall 2013-14 93Guest Information

AT THE CONCERTCOAT CHECK Complimentary coat check is available for concertgoers. The main coat check is located on the street level midway along each gallery on the ground fl oor.

PHOTOGRAPHY, VIDEO, AND AUDIO RECORDING Audio recording, photography, and videogra-phy are strictly prohibited during performances at Severance Hall. As courtesy to others, please turn off any phone or device that makes noise or emits light.

REMINDERS Please disarm electronic watch alarms and turn off all pagers, cell phones, and mechanical devices before entering the concert hall. Patrons with hearing aids are asked to be attentive to the sound level of their hearing devices and adjust them accordingly. To ensure the listening pleasure of all patrons, please note that anyone creating a disturbance of any kind may be asked to leave the concert hall.

LATE SEATING Performances at Severance Hall start at the time designated on the ticket. In deference to the comfort and listening pleasure of the audience, late-arriving patrons will not be seated while music is being performed. Latecomers are asked to wait quietly until the fi rst break in the program, when ushers will assist them to their seats. Please note that performances without intermission may not have a seating break. These arrangements are at the discretion of the House Manager in consulta-tion with the conductor and performing artists.

SERVICES FOR PERSONS WITH DISABILITIES

Severance Hall provides special seating op-tions for mobility-impaired persons and their com-panions and families. There are wheelchair- and scooter-accessible locations where patrons can remain in their wheelchairs or transfer to a concert seat. Aisle seats with removable armrests are also available for persons who wish to transfer. Tickets for wheelchair accessible and companion seating can be purchased by phone, in person, or online. As a courtesy, Severance Hall provides wheel-chairs to assist patrons in going to and from their seats. Patrons can arrange a loan by calling the House Manager at 216-231-7425 TTY line access is available at the public pay phone located in the Security Offi ce. Infrared As-sistive Listening Devices are available from a Head Usher or the House Manager for most performanc-

es. If you need assistance, please contact the House Manager at 216-231-7425 in advance if possible. Service animals are welcome at Severance Hall. Please notify the Ticket Offi ce when purchasing tickets.

IN THE EVENT OF AN EMERGENCY Emergency exits are clearly marked throughout the building. Ushers and house staff will provide instructions in the event of an emergency. Contact an usher or a member of the house staff if you re-quire medical assistance.

SECURITY For security reasons, backpacks, musical instru-ment cases, and large bags are prohibited in the concert halls. These items must be checked at coat check and may be subject to search. Severance Hall is a fi rearms-free facility. No person may possess a fi rearm on the premises.

CHILDREN Regardless of age, each person must have a ticket and be able to sit quietly in a seat through-out the performance. Season subscription concerts are not recommended for children under the age of seven. However, Family Concerts and Musical Rainbow programs are designed for families with young children. Cleveland Orchestra Youth Orchestra performances are recommended for older children.

TICKET SERVICESTICKET EXCHANGES Subscribers unable to attend on a particular concert date can exchange their tickets for a dif-ferent performance of the same week’s program. Subscribers may exchange their subscription tickets for another subscription program up to fi ve days prior to a performance. There will be no service charge for the fi ve-day advance ticket exchanges. If a ticket exchange is requested within 5 days of the performance, there is a $10 service charge per concert. Visit clevelandorchestra.com for details and blackout dates.

UNABLE TO USE YOUR TICKETS? Ticket holders unable to use or exchange their tickets are encouraged to notify the Ticket Offi ce so that those tickets can be resold. Because of the demand for tickets to Cleve land Orchestra perfor-mances, “turnbacks” make seats available to other music lovers and can provide additional income to the Orchestra. If you return your tickets at least 2 hours before the concert, the value of each ticket will be treated as a tax-deductible contribution. Patrons who turn back tickets receive a cumulative donation acknowledgement at the end of each cal-endar year.

U P C O M I N G C O N C E R T S

Franz Welser-Möst

RACHMANINOFF’SRHAPSODYThursday March 6 at 7:30 p.m.Friday March 7 at 7:00 p.m. <18s

Saturday March 8 at 8:00 p.m.THE CLEVELAND ORCHESTRAFranz Welser-Möst, conductorRudolf Buchbinder, pianoKate Royal, soprano *Jamie Barton, mezzo-soprano *John Tessier, tenor *Cleveland Orchestra Chorus *Cleveland Orchestra Children’s Chorus *

The Cleveland Orchestra anticipates the

coming of spring . . . fi rst, with Rachmaninoff ’s

lush Rhapsody on a Theme of Paganini. Also,

on Thursday and Saturday, comes Britten’s

Spring Symphony * — a work that, in the com-

poser’s own words, represents “the progress

of Winter to Spring and the reawakening of

the earth and life which that means.”

Sponsor: KeyBankNew! * not part of Fridays@7 concert

See also the concert calendar listing on pages 90-91, or visit The Cleveland Orchestra online for a complete schedule of future events and performances, or to purchase tickets online 24/ 7 for Cleveland Orchestra concerts.

TICKETS 216-231-1111 clevelandorchestra.com

AT SEVERANCE HALL . . .

94 The Cleveland OrchestraUpcoming Concerts

MITSUKO UCHIDA’S MOZARTThursday April 3 at 7:30 p.m.Friday April 4 at 8:00 p.m. <18s

Saturday April 5 at 8:00 p.m.THE CLEVELAND ORCHESTRAMitsuko Uchida, piano and conductorWilliam Preucil, concertmaster

Mitsuko Uchida’s interpretations of Mozart

are renowned for their intelligence, elegance,

and sensitivity. She continues her acclaimed

collaboration with The Cleveland Orchestra,

which was recognized with a 2010 Grammy

Award, with performances of two more of

Mozart’s piano concertos (Nos. 18 and 19).

“Mitsuko Uchida’s Mozart playing is

stunningly sensitive, crystalline, and true.”

—Boston Globe

Sponsor: Quality Electrodynamics (QED)New!

Mitsuko Uchida

Franz Welser-Möst

The Cleveland Orchestra February 13-16 Concerts

Documents

The Cleveland Orchestra October 22-26 Concerts

The Cleveland Orchestra April 7, 8, 9, 10 Concerts

The Cleveland Orchestra

The Cleveland Orchestra April 14, 15, 16, 21, 23, 24, 26 Concerts

The Cleveland Orchestra November 29, 30, December 1 Concerts

The Cleveland Orchestra May 3, 4, 5, 9, 10 Concerts

The Cleveland Orchestra November 8, 9, 10 Concerts

The Cleveland Orchestra January 9-12 Concerts

The Cleveland Orchestra October 31, November 1, 2 Concerts

The Cleveland Orchestra January 10-12 Concerts

The Cleveland Orchestra February 18, 19, 20/March 3, 5, 6 Concerts

The Cleveland Orchestra September 26-27 Concerts

The Cleveland Orchestra September 27-30 Concerts

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

The Cleveland Orchestra May 29, 30, 31 Concerts

The Cleveland Orchestra April 24, 26 Concerts

The Cleveland Orchestra September 19-21 Concerts

The Cleveland Orchestra December 5, 6, 7 Concerts

The Cleveland Orchestra February 4-6/11-13 Concerts

The Cleveland Orchestra May 1-4 Concerts