The Cleveland Orchestra December 6-11 Concerts

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Table of Contents4 The Cleveland Orchestra

1213SEASON

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

WEEK 9

7 In the News

Perspectives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Spotlight Photo: A Look Back . . . . . . . . . . . . . . . . 8

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

8 About the Orchestra Musical Arts Association . . . . . . . . . . . . . . . . . . . . . 11

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

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

Meet the Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . 71

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

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

34 Concert — Week 9 Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Program: December 6, 7, 8 . . . . . . . . . . . . . 34-35

Introducing the Program . . . . . . . . . . . . . . . . . . . . 37

KeyBank Fridays@7 . . . . . . . . . . . . . . . . . . . . . . . . . . 39

ADAMS

Short Ride in a Fast Machine . . . . . . . . . . . . . . 41

FLECK

Banjo Concerto . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

COPLAND

Suite from Billy the Kid . . . . . . . . . . . . . . . . . . . . . 51

GERSHWIN

An American in Paris . . . . . . . . . . . . . . . . . . . . . . 53

Conductor: Giancarlo Guerrero . . . . . . . . . . . . . . 38

Soloist: Béla Fleck . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

59 Silent Film — Modern Times Confronting Modern Times . . . . . . . . . . . . . . . . . . 59

Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Program and Cast . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Conductor: William Eddins . . . . . . . . . . . . . . . . . . . 65

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

Copyright © 2012 by The Cleveland Orchestra and the Musical Arts Association

Eric Sellen, Program Book Editor E-MAIL: [email protected]

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 Musical Arts Association 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.

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.

50%

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Perspectives from the Executive Director

7Severance Hall 2012-13 7Severance Hall 2012-13

November-December 2012

Welcome to Severance Hall! Everyone in The Cleveland Orchestra

family is pleased that you are here with us today.

As you look around at your fellow audience members, there’s an in-

creasing chance that you will see young people, especially students

from some of Northeast Ohio’s many educational institutions.

Two years ago, we established the Center for Future Audiences to fund programs to

develop new generations of audiences for Cleveland Orchestra concerts in Northeast

Ohio. The Center was created with a $20 million lead endowment gift from the Maltz

Family Foundation. Our objective is to have one of youngest audiences of any sym-

phony orch estra in the country.

Since the beginning of this season, we have made huge strides toward that ambitious

goal. In fact, the number of students attending Cleveland Orchestra concerts at Sever-

ance Hall has more than doubled over the same period last year. This year, we’ve had

an average of more than 200 students at every evening subscription concert — on

some nights, students have represented more than 20% of the crowd.

This surge in student attendance is a result of the programs supported by the Center

for Future Audiences, especially those funded by a $5 million endowment gift from

Alexander and Sarah Cutler to encourage student attendance.

We have a number of initiatives and promotions to attract students to Severance Hall.

Two stand out: The introduction this season of a Student Frequent FanCard, which gives

students fl exibility and encourages frequency of attendance. Equally important, is our

network of a dozen student ambassadors, representing fi ve area colleges, who vol-

unteer their time promoting student concertgoing and helping to create a vital social

media presence around The Cleveland Orchestra.

Our commitment to student attendance and a younger audience is part of a Cleveland

Orchestra renaissance, as we commit to being ever more relevant to our hometown

and ever more devoted to community service.

Orchestra Gala 2012

Our annual fundraising Gala was held on Saturday, November 3, to raise funds in

support of the Orchestra’s Education and Community Programs. Featuring The Cleve-

land Orchestra and virtuoso cellist Yo-Yo Ma, the event attracted a full house, including

more than 400 generous donors who enjoyed a pre-concert reception and a wonder-

ful post-concert dinner. The magical evening, which yielded almost $700,000, owes

much to the leadership of Gala Chair Norma Lerner and Corporate Chair Beth Mooney.

Please join me in thanking our chairs, along with the evening’s major sponsors, Key-

Bank, The Lerner Foundation, and Audrey and Albert Ratner.

Gary Hanson

U N D E R T H E L E A D E R S H I P of Music Director Franz Welser-Möst, Th e Cleve-

land Orchestra has become one of the most sought-aft er performing ensem-

bles in the world. In concerts at its winter home at Severance Hall and at each

summer’s Blossom Festival, in residencies from Miami to Vienna, and on tour

around the world, Th e Cleveland Orchestra sets standards of artistic excel-

lence, creative programming, and community engagement. Th e partnership

with Franz Welser-Möst, now in its eleventh season — and with a commit-

ment to the Orchestra’s centennial in 2018 — has moved the ensemble forward

with a series of new and ongoing initiatives, including:

the establishment of residencies around the world, fostering creative artis-

tic growth and an expanded fi nancial base, including an ongoing residency

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

an ongoing residency in Florida, under the name Cleveland Orch estra Mi-

ami, involving an annual series of concerts and community activities, cou-

pled with an expansive set of educational presentations and collaborations

About the Orchestra8 The Cleveland Orchestra

IN THE SPOTLIGHT

SEVERANCE HALL 1974 — Composer Aaron Copland rehearsing The Cleveland Orchestra at Severance Hall in November 1974, one of five times he came to Cleveland as guest conductor.

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(based on successful educational programs pioneered over the past nine decades

at home in Cleveland);

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

ances at Carnegie Hall;

regular concert tours to Europe (including biennial residencies at the Lucerne

Festival) and Asia (including a residency at Tokyo’s Suntory Hall in 2010);

ongoing recording activities, including new releases under the direction of

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

DVD concert presentations of symphonies by Anton Bruckner;

additional new residencies at Indiana University and at New York’s Lincoln

Center Festival;

an expanded off ering of education and community programs in Northeast

Ohio, designed to make music an integral and regular part of everyday life; the

2012-13 season includes a new neighborhood residency program that will feature a

week of activities and performances in Cleveland’s Gordon Square Arts District;

creative new artistic collaborations, including staged works and chamber music

performances, with arts institutions in Northeast Ohio and in Miami;

an array of new concert off erings (including Fridays@7 and Celebrity Series at

Severance Hall as well as movie, themed, and family presentations at Blossom) to

make a wider variety of concerts more available and aff ordable;

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

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

discounts, social media off ers and promotion, and student ticket programs;

continuing and expanded educational partnerships with schools, colleges, and

universities from across Northeast Ohio and in the Miami-Dade community;

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

performances by Th e Joff rey Ballet; the 2012-13 season includes the Orchestra’s

fi rst fully staged performances of Tchaikovsky’s Th e Nutcracker.

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

tent on creating an ensemble worthy of joining America’s ranks of major sympho-

ny orchestras. 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 intimate 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 Music Center, one of the most beautiful and acoustically admired outdoor

concert facilities in the United States.

The Orchestra Today 9Severance Hall 2012-13

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Musical Arts Association

THE MUSICAL ARTS ASSOCIATION as of June 2012

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

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

NON-RESIDENT TRUSTEES Virginia Nord Barbato (NY) Wolfgang C. Berndt (Austria) Laurel Blossom (SC)

Richard C. Gridley (SC) George Gund III (CA) Loren W. Hershey (DC)

Herbert Kloiber (Germany)Ludwig Scharinger (Austria)

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

Beth Schreibman Gehring, President, Women’s Committee of Th e Cleveland Orchestra

Ruth Ann Krutz, State Chair, 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 Francis J. Callahan Mrs. Webb Chamberlain Oliver F. Emerson

Allen H. FordRobert 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 Terrance C. Z. Egger 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 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 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. OngLarry 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 ScheyNeil SethiHewitt B. Shaw, Jr. Richard K. SmuckerR. Thomas StantonThomas A. WaltermireGeraldine B. WarnerPaul 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

Raymond T. Sawyer, Secretary

Beth E. Mooney, Treasurer

Jeanette Grasselli Brown Alexander M. Cutler Matthew V. Crawford Michael J. Horvitz Douglas A. Kern

Virginia M. Lindseth Alex Machaskee Nancy W. McCann John C. Morley Larry Pollock

Alfred M. Rankin, Jr.Audrey Gilbert RatnerBarbara S. Robinson


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

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

eleventh year as music director of Th e Cleveland

Orchestra, with a long-term commitment extend-

ing to the Orchestra’s centennial in 2018. Under his

direction, the Orchestra is acclaimed for its continu-

ing artistic excellence, is enlarging and enhancing its

community programming at home, is presented in a

series of ongoing residencies in the United States and

Europe, continues its historic championship of new

composers through commissions and premieres, and

has re-established itself as an important operatic en-

semble. Concurrently with his post in Cleveland, Mr. Welser-Möst became

general music director of the Vienna State Opera in September 2010.

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

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

performances in collaboration with the Cleveland Metropolitan School District.

Th e initiative continues and expands upon Mr. Welser-Möst’s active participation

in community concerts and educational programs, including the Cleveland Orches-

tra Youth Orchestra and partnerships with music conservatories and universities

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 new biennial 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,

and Sean Shepherd.

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

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Music Director 15Severance Hall 2012-13 15Severance Hall 2012-13

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.

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 Isolde,

a new production of Wagner’s Ring cycle with stage director Sven-

Eric Bechtolf, and critically praised new productions of Hin-

demith’s Cardillac and Janáček’s Katya Kabanova and From the

House of the Dead. During the 2012-13 season, his Vienna performances include

Wagner’s Parsifal, Strauss’s Arabella and Ariadne auf Naxos, Puccini’s La Bohème,

and Berg’s Wozzeck.

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

harmonic. Recent performances with the Philharmonic include appearances at the

Lucerne Festival and Salzburg Festival, in Tokyo, and in concert at La Scala Milan,

as well as leading the Philharmonic’s 2011 New Year’s Day concert, viewed by telecast

in seventy countries worldwide; he will conduct the New Year’s Day concert again in

2013 and will also lead the Philharmonic in a series of concerts at New York’s Carne-

gie Hall in March 2013. Across a decade-long tenure with the Zurich Opera, culmi-

nating in three seasons as general music director (2005-08), Mr. Welser-Möst led the

company in more than 40 new productions and numerous revivals.

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

recordings of live performances of Bruckner symphonies, presented in three ac-

coustically 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

W EL I G H T

T H EW A Y

S t . V i n c e n t C h a r i t y M e d i c a l C e n t e r , S t . J o h n M e d i c a l C e n t e r*, S i s t e r s o f C h a r i t y F o un d a t i o n o f C l e v e l a n d , B u i l d i n g H e a l t h y C o m m un i t i e s , R e g i n a H e a l t h C e n t e r , J o s e p h ’s H o m e , L i g h t o f H e a r t s V i l l a*,C a t h o l i c C o m m un i t y C o n n e c t i o n*, I n d e p e n d e n t P h y s i c i a n S o l u t i o n s *

T H EC L E V E L A N DO R C H E S T R AFranz Welser-Möst M U S I C D I R E C T O R Kelvin Smith Family Chair

Christoph von DohnányiMUSIC DIRECTOR LAUREATE

Giancarlo GuerreroPRINCIPAL GUEST CONDUCTOR,

CLEVELAND ORCHESTRA MIAMI

James FeddeckASSISTANT CONDUCTOR Elizabeth Ring and William Gwinn Mather Chair

MUSIC DIRECTOR, CLEVELAND ORCHESTRA YOUTH ORCHESTRA

Robert PorcoDIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

Lisa WongASSISTANT DIRECTOR OF CHORUSES

DIRECTOR, CLEVELAND ORCHESTRA YOUTH CHORUS

Ann UsherDIRECTOR, CLEVELAND ORCHESTRA CHILDREN’S CHORUSES

Daniel SingerASSISTANT DIRECTOR,

CLEVELAND ORCHESTRA YOUTH CHORUS

Suzanne WaltersASSISTANT DIRECTOR,

CLEVELAND ORCHESTRA CHILDREN’S CHORUSES

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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

Lev PolyakinASSISTANT 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

Alexandra PreucilKatherine BormannYing Fu

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

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 TO R Kelvin Smith Family Chair

The Orchestra

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


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

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 ClebschRichard SolisAlan 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

PERCUSSIONJacob Nissly*

Margaret Allen Ireland Chair

Donald MillerTom FreerMarc Damoulakis

KEYBOARD INSTRUMENTSJoela Jones*

Rudolf Serkin Chair

Carolyn Gadiel WarnerMarjory and Marc L. Swartzbaugh Chair

LIBRARIANSRobert O’BrienDonald Miller

ORCHESTRA PERSONNELCarol Lee IottDIRECTOR

ENDOWED CHAIRS CURRENTLY UNOCCUPIEDASSISTANT PRINCIPAL HARP

Sunshine Chair

The Orchestra

1213

SEASONO R C H E S T R A


With its convenient proximity to downtown, Burke Lakefront Airport is a vital destination forthe corporations, executives, and health care systems that are growing their businesses here.Which should be music to all of our ears.

www.burkeairport.com

Business takes flight when it’s well conducted.


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Cleveland Orchestra News

News

OrchestraNewsNewsNews

OrchestraNewsNews

Hail and Farewell

Richard Solis Horn The Cleveland Orchestra

Richard Solis retires from his position as

fourth horn of The Cleveland Orchestra at

the end of December. Born in Brooklyn, New

York, and raised in Las Vegas, Nevada, he

earned a bachelor of music degree from the

Cleveland Institute of Music, where he stud-

ied with Myron Bloom, former principal horn

of the Orchestra. Mr. Solis spent five sum-

mers in residence at the Marlboro Festival in

Vermont, participating in performances and

recordings. He served as principal horn of

the Casals Festival, 1976-78.

Richard Solis joined The Cleveland Orch-

estra in 1971 and served as principal horn

1977-95, during which time he performed as

principal horn on more than 100 Cleveland

Orchestra recordings. Mr. Solis has served as

artist-in-residence at the University of Dela-

ware. He is currently the head of the horn

department at the Cleveland Institute of

Music, and is looking forward to continuing

his teaching work there. In retirement, he

also plans to focus on one of his favorite pas-

times, playing jazz French horn. And he will

spend more time at his home in Las Vegas.

Hornplayer Richard Solis steps into retirement at

the end of December, after serving as a member

of The Cleveland Orchestra for forty-one seasons.

Please join in extending heartfelt thanks and con-

gratulations to Richard.

2012 Holiday Festival features traditional and new favorites at Severance Hall and beyond

The Cleveland Orchestra’s 2012 Holiday

Festival opened last weekend with

The Nutcracker with the Joffrey Ballet

downtown, and continues this month

with traditional and New Age con-

certs at Severance Hall and beyond.

Between December 14 and 23, The

Cleveland Orchestra and Cleveland Orchestra

Chorus present their annual Christmas Con-

certs, joined by guest choruses and including

holiday favorites such as “The Twelve Days of

Christmas,” the Hallelujah Chorus from Han-

del’s Messiah, music from the movie The Polar

Express, and “Sleigh Ride,” plus sing-alongs

and a very special guest.

Along with The Nutcracker perfor-

mances and the traditional series of Christmas

Concerts by the Orchestra and Chorus, the

Holiday Festival also features performances

by the group Pink Martini with the Orchestra

on December 18 and 19. True to its fashion,

the band has created a globally-inclusive

holiday concert showcasing a mix of cabaret,

samba, and jazz. Their multi-cultural program

features popular favorites along with holiday

classics.

In addition, three PNC Holiday Musical

Rainbow programs are offered for families

with children ages three and up — “Music of

Chanukah,” “A Celebration of Kwanzaa,” and

“Christmas Brass Quintet,” featuring members

of the Orchestra and guests. Complete details

can be found at clevelandorchestra.com.

Families can arrive early for the matinee

Christmas Concerts at Severance Hall on De-

cember 15, 16, 22, and 23 to have Lunch with

Santa in Severance Restaurant from 12 noon

until 3 p.m. Call 216-231-7373 or visit cleve-

landorchestra.com for reservations.

Severance Restaurant is also open for

pre-concert dining for the regular evening

Holiday Festival concerts at Severance

Hall. Reservations can be made by visiting

opentable.com.


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ENewsNews

In the 2012-13 season, The Cleveland Or-

chestra continues its innovations in program-

ming and community engagement, seeking to

build on the success of recent initiatives. The

coming season’s innovations include new pro-

gram and audience development activities at

Severance Hall, alongside expanded activities

outside the concert hall.

The Orchestra will venture even farther

outside its University Circle home with new

programs downtown and on Cleveland’s West

Side. At PlayhouseSquare, the Orchestra will col-

laborate with The Joff rey Ballet, while the orga-

nization’s ground-breaking residency program,

developed and refi ned by the Orchestra in cities

including Vienna and Miami, will come home

to Northeast Ohio with the launch of a new

program of Neighborhood Residencies. The

fi rst annual Cleveland Orchestra Neighborhood

Residency will take place in Gordon Square the

week of May 13-19, 2013. Also this season, the ini-

tiative that brought the full Orchestra back into

the schools in 2009 will continue and become a

permanent part of the annual schedule thanks

to a newly-created endowment fund, and a new

partnership with Breakthrough Charter Schools

begins in October 2012.

Meanwhile, “Under 18s Free,” a program

fi rst established for the 2011 Blossom Festival,

comes inside Severance Hall for selected con-

certs, and as the unique Fridays@7 Series enters

its fourth season, a bold repertoire move sees

world music migrating from the @fter-party

entertainment to the main-stage concert with

the Orchestra. The KeyBank Fridays@7 series

opened on October 5 featuring the music of

Stewart Copeland, founder and drummer of The

Police, and a collaboration with the Rock and

Roll Hall of Fame & Museum.

In announcing the new initiatives in Au-

gust, Gary Hanson, executive director of The

Cleveland Orchestra, said, “We want to build on

the success of our many recent community en-

gagement initiatives, and in the coming season

we are further diversifying our schedule and

programs. Our goal is to be even more relevant

to our community.”

CLEVELAND ORCHESTRA NEIGHBORHOOD RESIDENCY

The Cleveland Orchestra Neighborhood

Residency is a new program to immerse the

Orchestra in local communities with an intense

schedule of performances and activities. The

fi rst of these annual residencies in Northeast Ohio

takes place the week of May 13-19, 2013, in Gor-

don Square. The centerpieces of the Residency

will be free Cleveland Orchestra concerts at St.

Colman Church for neighborhood residents and

students, and musicians will perform as soloists

and in ensembles in non-traditional locations and

in local schools. The Cleveland Orchestra Neigh-

borhood Residency at Gordon Square is funded

in part by the Machaskee Fund for Community

Programming, an endowed fund created by Alex

and Carol Machaskee.

Sean Watterson, co-owner of the Happy Dog

bar, restaurant, and music venue in Gordon Square,

said, “We’re incredibly enthusiastic about the Or-

chestra coming to Gordon Square. We’re thrilled

that people in our community will be able to expe-

rience their world-class performances at a series of

events for all ages throughout the neighborhood.

We’re proud to welcome the world to Gordon

Square to join us for this unique experience.”

HIGH SCHOOL PERFORMANCES PERMANENTLY ENDOWED

The Cleveland Orchestra returned to per-

forming in Cleveland high schools in 2009, after

an absence of more than three decades. On

Thursday, October 11, 2012, the Orchestra’s per-

formance at Shaker Heights High School is the

fi rst to be supported by a newly established fund

that permanently endows annual Cleveland Or-

chestra performances in area high schools. The

Alfred Lerner In-School Performance Fund, a gift

of $1 million from Mrs. Norma Lerner and The

Lerner Foundation, will support concerts in high

schools in perpetuity. Performances are being


Cleveland Orchestra continues innovations in programming and community engagement New programs and expansion include neighborhood residency, ballet, free tickets, and school partnerships and performances


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News

Orchestra NewsNews

planned for Cleveland Metropolitan School Dis-

trict High Schools in 2013 and 2014.

NEW PARTNERSHIP WITH BREAKTHROUGH CHARTER SCHOOLS

The Cleveland Orchestra begins an educa-

tional partnership with Breakthrough Charter

Schools in October 2012. All of the students

from participating schools will attend a Cleve-

land Orchestra concert at Severance Hall, and

their teachers will participate in professional de-

velopment workshops and concert preparation.

The Orchestra’s award-winning Learning Through

Music program includes ongoing visits from

Cleveland Orchestra musicians in the schools.

The pilot partnership will eventually expand to

incorporate all nine Breakthrough Schools.

The Cleveland Orchestra partnership with

Breakthrough Schools is funded in part by

Cliff s Natural Resources. Breakthrough Charter

Schools are a nationally-recognized network of

high-performing, free, public charter schools

operating in partnership with the Cleveland

Metropolitan School District.

“UNDER 18s FREE” EXPANDSFROM BLOSSOM TO SEVERANCE HALL

The Cleveland Orchestra’s “Under 18s Free”

at Blossom program is expanding to Severance

Hall. This follows the unprecedented success

of the program for Blossom Festival concerts,

where, since its inception in 2011, more than

23,000 young people have attended Cleveland

Orchestra concerts. “Under 18s Free” at Sever-

ance Hall tickets are available for all KeyBank

Fridays@7 concerts, as well as for the Orchestra’s

two regular matinee series: Friday Mornings at

11 and Sundays at 3. Free tickets are off ered for

young people ages 7-17

on a one-for-one basis

with paid adult admis-

sions. “Under 18s Free”

tickets are available by

contacting the Severance

Hall Ticket Offi ce.

“Under 18s Free” is

supported in part by The

Cleveland Orchestra’s

Center for Future Audi-

ences. The Center, created

with a lead endowment

gift from the Maltz Family

Foundation, was estab-

lished to fund programs to

develop new generations

of audiences for Cleveland

Orch estra concerts in

Northeast Ohio.

The Joff rey Ballet danced

The Nutcracker with The

Cleveland Orchestra in fi ve

sold-out performances

November 29-December 2.

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Orchestra NewsNews

Cleveland Orchestra off ers gift ideas for the holidays,

including new recordings,

gift certifi cates, and more . . .

Music and the holidays are a perfect match.

The Cleveland Orchestra Store off ers a host

of musical treats this holiday season, including

the Orchestra’s latest DVDs and CDs, as well as

releases by Orchestra musicians. Music boxes

and music-themed holiday ornaments, statio-

nery, books, stuff ed toys and musical gifts for

children of all ages, fashion scarves, jewelry, and

Cleveland Orchestra logo apparel are also on

sale at the Store.

In addition, Cleveland Orchestra Gift

Certifi cates and Blossom Lawn Ticket Books

for the Orchestra’s 2013 Blossom Festival are

available at the Severance Hall Ticket Offi ce

by calling 216-231-1111 or 800-686-1141, or at

clevelandorchestra.com.

Free tickets to Martin Luther King Jr. Celebration Concert go on sale January 2

On Sunday, January 20,

The Cleveland Orchestra per-

forms its 33rd annual concert

celebrating the spirit of Dr.

King’s life, leadership, and vi-

sion in music, song, and com-

munity recognition.

Admission to the concert

is free, but tickets are required.

Tickets will be available on a fi rst-come, fi rst-

served basis beginning Wednesday, January

2, through the Severance Hall Ticket Offi ce

in person, by phone, or online at cleveland-

orchestra.com. There is a limit of 2 tickets per

person. Due to high demand, all tickets are

usually distributed by 4 p.m. on the day they

are made available.

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GOOD PEOPLEwritten by David Lindsay-Abaire

March 22 - April 14

RICH GIRLwritten by Victoria Stewart

April 19 - May 12

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clevelandplayhouse.com

29Severance Hall 2012-13 29Severance Hall 2012-13 Cleveland Orchestra News

OrchestraNewsNews

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New album with ClevelandOrchestra and Mitsuko Uchida

is now available . . .

The third of Mitsuko Uchida’s albums of

Mozart concertos with The Cleveland Orches-

tra has been released — and is now avail-

able for purchase at the Cleveland Orchestra

Store at Severance Hall. The album features

Piano Concertos Nos. 9 and 21,

recorded in live performances at

Severance Hall. One of the previ-

ous discs from this collaboration

received a Grammy Award in

2011.

Reviews of this new album

include these comments from

Audiophile Audition: “Conduct-

ing Mozart concertos from the

piano has a long and honored

tradition, originating with the composer him-

self. . . . Uchida performs on a new Hamburg

Steinway whose action remains uniformly

light and resonant, especially as Uchida does

not mince her dynamics. . . . We need only

audition this fine collaboration to enjoy the

scintillating energy of the outer movements

[of Concerto No. 9] and the internal rigors of

the Andantino. The last movement virtually

bubbles with infectious wit and digital confi-

dence. . . . [In Concerto No. 21] the give-and-

take response between Uchida and the Cleve-

land strings and winds attractively beguiles

us. Then, her seamless runs and arpeggios

move inexorably to a bravura cadenza almost

early Beethoven in

its briefly pearly wit

that rushes to a coda

spread over three

octaves. Superb!”

Comings and goings

As a courtesy to the performers

onstage and the entire audience, late-

arriving patrons cannot be seated until the

first break in the musical program.

Welcome to new musician

The Cleveland Orchestra welcomes

William Hestand, who began playing as a

member of the Orchestra in November. In the

position of second bassoon, he succeeds Phil-

lip Austin, who joined

the Orchestra in 1981

and retired in August

2011.

Mr. Hestand has

previously served as

principal bassoon of the

Brooklyn Philharmonic

and second bassoon of

the Lancaster Festival Orchestra. He has also

performed with the New York Philharmonic,

New York City Ballet, Orchestra of St. Luke’s,

American Composers Orchestra, and the Albany

Symphony Orchestra. Born in Columbus, Ohio,

William Hestand holds bachelor of music and

master of orchestral performance degrees from

the Manhattan School of Music and pursued

graduate studies at the Conservatory of Am-

sterdam in the Netherlands. A former student

of Cleveland Orchestra assistant principal bas-

soon Barrick Stees, he also studied with Kim

Laskowski, Patricia Rogers, and Jos de Lange.

Mr. Hestand has performed in solo recitals at the

Bachzaal in Amsterdam and Pforzheimer Recital

Hall in New York City and in chamber music

concerts at Carnegie Hall and at the American

Embassy in the Dominican Republic.

THE CLEVELAND ORCHES TRA

F .A .M. I .L .Y N .E .W.S Please join in extending congratula-tions and warm wishes to: Martha Baldwin (cello) and Micah Lei-

bowitz, whose baby daughter, Zoe Kathleen,

was born on August 14.

Robert Woolfrey (clarinet) and Tanya Ell

(cello), who were married on September 8.

Robert Walters (english horn) and Grace

Chin, whose baby daughter, Kira Bridge Wal-

ters, was born on November 26.


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Orchestra NewsNews

Cleveland Orchestra’s Distinguished Service Award presented to Maltzes

The Cleveland Orch-

estra’s seventeeth an-

nual Distinguished Service

Award was presented to

Milton and Tamar Maltz at

the start of the Orchestra

concert on October 6. The

award, created in 1996,

honors a person or orga-

nization that has provided

continuing exemplary

service to the Musical Arts Association, the

non-profi t parent organization that operates

The Cleveland Orchestra, Severance Hall, and

Blossom Festival.

The Maltzes have demonstrated exception-

al and continuous dedication to The Cleveland

Orchestra and the arts community in Northeast

Ohio across four decades. They have been

generous contributors to the Orchestra’s Annual

Fund and to special projects such as, in 2000,

the internationally acclaimed renovation of Sev-

erance Hall. In 2010, their visionary leadership

helped launch The Cleveland Orchestra’s Center

for Future Audiences, which was generously

endowed with a lead gift of $20 million from the

Maltz Family Foundation. The Center was estab-

lished to create and fund programs to develop

new generations of audiences for Cleveland

Orchestra concerts in Northeast Ohio.

Family Concert series continues in spring with “Symphony Under the Sea” after Spooktacular start

The Cleveland Orchestra’s season of Family

Concerts began with a fun-fi lled program in

late October with “Halloween Spook-

tacular III.” The series continues in

2013 with “Symphony Under the

Sea” on Friday evening, March

8, led by conductor Robert

Franz — including favorite

musical numbers from Disney’s

Little Mermaid. The series closes with

“Fables, Fantasies, & Folklore” on Sunday

afternoon, May 12, led by conductor Michael

Butterman — in an exploration of music story-

telling and fun.

Intended for children ages 7 and older,

the series is designed to introduce young peo-

ple to classical music. The Halloween program

included favorite musical hits and also featured

a costume contest for audience members. The

Orchestra musicians onstage also got into the

“spirit” of the occasion with many theme-re-

lated outfi ts.

In addition to each one-hour Orchestra

concert, the Family Concert Series features

free, pre-concert activities, including an “In-

strument Discovery” in which children can try

playing various instruments.

For complete details about the spring

concerts, visit clevelandorchestra.com.


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31Severance Hall 2012-13 31Severance Hall 2012-13 Cleveland Orchestra News

A.R.O.U.N.D T .O .W.NRecitals and presentations featuring Orchestra musicians

Upcoming local performances by members

of The Cleveland Orchestra include:

Cleveland Orchestra musicians Mary Kay

Fink (piccolo and flute), Katherine Bormann,

Ying Fu, and Isabel Trautwein (violins), and

Tanya Ell (cello) perform a recital on Sunday

afternoon, January 13, presented by Heights

Arts at a home in Cleveland Heights. The per-

formance begins at 3:00 p.m. and also includes

a dessert reception. Seating is limited, reserva-

tions required by calling 216-371-3457. Tickets

are $50 (or $40 for Heights Arts members).

This is the second of four Heights Arts “Close

Encounters” recitals during the season, created

under the artistic direction of Cleveland Or-

chestra violinist Isabel Trautwein.

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.

Silence is golden

As a courtesy to the performers onstage

and the audience around you, all patrons are

reminded to turn off cellphones and disengage

electronic watch alarms prior to the concert.

OrchestraNewsNews

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Women’s Committee continues a holiday tradition

with Silver Bells raising moneyfor The Cleveland Orchestra

Silver Bells and The Cleveland Orchestra

have gone hand in hand for more than four

decades, and they’re ringing in another year.

Reed & Barton silver bells in-

scribed with “Christmas 2012”

are being sold to benefit

Community and Education

programs of The Cleve-

land Orchestra.

A project of the

Women’s Committee

of The Cleveland

Orchestra, the Sil-

ver Bells sale is also

a labor of love

for Beth Schreibman Gehring, president of the

Women’s Committee, whose parents began

selling the bells to benefit the Orchestra more

than 40 years ago.

Silver-plated Reed & Barton bells to ben-

efit the Orchestra cost $20. The bells can be

purchased from the Cleveland Orchestra Store

and from several local gift shops. In addition,

Women’s Committee members will be selling

the bells in the lobbies of Severance Hall at

many Cleveland Orchestra concerts throughout

December.


We believe in working for the greater good of all and

we are proud to support any organization that shares this value.

We thank The Cleveland Orchestra for its commitment to excellence!

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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.

December 6 and 8“Portraits of America” with guest speaker Susan McClary, professor of musicology, Case Western Reserve University

January 10, 11, 12“New Beginnings” with Rose Breckenridge, Cleveland Orchestra Music Study Groups administrator and lecturer

February 9 and 10“Seeing Music:

Cinematic Visions for the Concert Stage” with Meaghan Heinrich,

manager of learning programs

for The Cleveland Orchestra

February 14, 15, 16“Symphonic Expressions” with Rabbi Roger Klein,

The Temple – Tifereth Israel

February 21, 22, 23, 24“Famous Last Words” with Rose Breckenridge, Cleveland Orchestra Music Study Groups administrator and lecturer

1213 SEASON

For Concert Preview details, visit clevelandorchestra.com

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 loca-

tions around Cleveland to explore the

music being played each week and the

stories 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


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

Severance HallThursday evening, December 6, 2012, at 8:00 p.m. Saturday evening, December 8, 2012, at 8:00 p.m.

Giancarlo Guerrero, conductor

john adams Short Ride in a Fast Machine(b. 1947)

béla fleck Concerto for Banjo and Orchestra(b. 1958) Movement I Movement II Movement III

BÉLA FLECK, banjo

INTERMISSION

aaron copland Suite from Billy the Kid(1900-1990) 1. The Open Prairie — 2. Street in a Frontier Town — 3. Card Game at Night — 4. Running Gun Battle — 5. Celebration on Billy’s Capture — 6. Billy’s Death — The Open Prairie Again

george gershwin An American in Paris(1898-1937)

Giancarlo Guerrero’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s

Guest Artist Fund from James and Donna Reid.

Béla Fleck’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s

Guest Artist Fund from the Virginia M. and Newman T. Halvorson Fund.

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

Concert Program — Week 9

35Severance Hall 2012-13 Concert Program — Week 9 Friday

1213Friday evening, December 7, 2012, at 7:00 p.m.

Giancarlo Guerrero, conductor

john adams Short Ride in a Fast Machine(b. 1947)

george gershwin An American in Paris(1898-1937)

béla fleck Concerto for Banjo and Orchestra(b. 1958) Movement I Movement II Movement III

BÉLA FLECK, banjo

The Cleveland Orchestra’s Fridays@7 series is sponsored by KeyBank,a Cleveland Orchestra Partner in Excellence.

Fridays@7 Media Partner: The Plain Dealer

The concert is performed without intermission and will end at about 8:00 p.m.

Information about the Fridays@7 pre-concert performers and the @fterparty music can be found on page 39. > > >

7@FRIDAYS


37Severance Hall 2012-13 37Severance Hall 2012-13 Introducing the Program

I N T R O D U C I N G T H E P R O G R A M

American Sounds&IdeasA Q U A R T E T O F American composers offer varying ideas this week

of what American music can, should, or might be. All four were born

in the United States, three of them in New York City. Their resulting

sounds vary across a range from the past century, with plenty of

power and energetic whirl.

The heart of each concert is the new Banjo Concerto

by Béla Fleck. Premiered a year ago in Nashville, under

the direction of this week’s guest conductor, Giancarlo

Guerrero, with Fleck as soloist, this very 21st-century

work offers a journey for listeners and performers alike.

With lots of good fun alongside some serious music-making.

Each evening begins with a tongue-in-cheek piece by John

Adams, his very brief Short Ride in a Fast Machine. Please keep your

hands and arms safely beside you during this roller-coaster-like experi-

ence of just what a modern symphony orchestra can do downhill, with

the brakes off.

George Gershwin’s An American in Paris lends a tangible view of

“otherness” to American ideas of self — and to just what sounds or in-

struments a symphony orchestra “should” or can embrace.

Featured only on Thursday and Saturday evenings is Aaron Cop-

land’s Suite from Billy the Kid. If any composer captures for many

people the ideal of classical American music, Copland is the one. His

frontier-tinged tunes bring us a vivid sense of a young country, landed

on a continent of seemingly wide-open spaces. His ability to capture

drama within the music is clear, invigorating, and nostalgic of a sim-

pler (if still violent) time.

For those attending the KeyBank Fridays@7 concert, there’s more

to enjoy and “taste” with your ears, direct from New Orleans in the

post-concert @fterparty. Or, pre-concert, in varying ideas of national

folksong from Eastern Europe. We are our music. Mix and match to

what you find yourself whistling today.—Eric Sellen

7@

CLEVELAND ORCHESTRA RADIO BROADCASTSCurrent 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. This week’s Thursday/Saturday program will be broadcast on Sunday, January 13, at 4:00 p.m.

38 The Cleveland OrchestraConductor

Giancarlo Guerrero Principal Guest Conductor Cleveland Orchestra Miami

Th e 2012-13 season marks Giancarlo Guerrero’s fourth year as music director of the

Nashville Symphony and second year as principal guest conductor of Cleveland Or-

chestra Miami. He made his Cleveland Orchestra debut in May

2006. He has led the Orchestra in concerts in Miami, at Sever-

ance Hall, at the summertime Blossom Festival, and in its annual

downtown community concert in Cleveland.

Mr. Guerrero’s recent seasons in Nashville have included an

opening gala with Yo-Yo Ma, as well as world premieres of a new

work by Richard Danielpour, a Béla Fleck banjo concerto, and a

Terry Riley concerto for electric violin. Th is season, in addition

to his work conducting concerts and in community engagement

activities with Cleveland Orch estra Miami, he makes his debuts

with the BBC Symphony Orchestra and Deutsches Symphonie

Berlin, and has return engagements with the orchestras of Boston,

Philadelphia, Toronto, and São Paulo. Internationally, he led a

fi ve-city European tour with the Monte Carlo Philharmonic last

season, and this year leads performances in Australia with the Adelaide Symphony

and Auckland Philharmonic.

A fervent advocate of new music and contemporary composers, he has col-

laborated with and conducted works by some of America’s most respected compos-

ers, including John Adams, John Corigliano, Michael Daugherty, Osvaldo Golijov,

Jennifer Higdon, Aaron Jay Kernis, and Roberto Sierra. His fi rst album with the

Nashville Symphony, on Naxos, featured works by Daugherty and won three 2011

Grammy Awards. Two more albums have been released, of music by Argentine

legend Astor Piazzolla and by American composer Joseph Schwantner; the latter

recording received a Grammy Award earlier this year.

A strong proponent of young musicians and music education, Mr. Guerrero

returns annually to Caracas, Venezuela, to conduct the Orquesta Sinfónica Simón

Bolívar and to work with young musicians in the country’s much-lauded El Sistema

music education program. Th is season he will also work with student orchestras at

the Curtis Institute of Music in Philadelphia and the Colburn School in California.

Born in Nicaragua and raised in Costa Rica, Giancarlo Guerrero received

a bachelor’s degree in percussion from Baylor University and his master’s degree

in conducting from Northwestern University. He was music director of Oregon’s

Eugene Symphony (2003-09) and served as associate conductor of the Minnesota

Orchestra (1999-2004). He received the American Symphony Orchestra League’s

Helen M. Th ompson Award recognizing outstanding achievement among young

conductors. Prior to his tenure in Minnesota, he was music director of the Táchi-

ra Symphony Orchestra in Venezuela.

39Severance Hall 2012-13

5:00 p.m. doors open, snacks and drinks available

6:00 p.m. Concert Prelude in Reinberger Chamber Hall: featuring Harmonia performing folk music sounds from Eastern Europe read about the performers on page 56 > > >

7:00 p.m. THE CLEVELAND ORCHESTRA conducted by Giancarlo Guerrero

< < < biographical information on opposite page

with Béla Fleck, banjo biographical information on page 47 > > >

“Béla Fleck Banjo Virtuoso”featuring works by Adams, Gershwin, and Fleck

< < < musical selection details listed on page 35

read commentary about the music: Adams (page 41), Gershwin (page 53), Fleck (page 43) > > >

after the concert ends, the evening continues . . .

in Bogomolny-Kozerefski Grand Foyer:

8:05 p.m. with contemporary music from the heart of New Orleans . . .

Mark Mullins, tromboneRoland Guerin, bass

Johnny Vidacovich, drums

bio information on page 57 > > >

bars are open around the performance

KeyBank Fridays@7 — December 7

7@FRIDAYS

December 7 friday evening SEVERANCE HALL

pre-concert st@rters

clevel@nd orchestra concert

@fterparty

THE

CLEVELAND

ORCHESTRA

7@


That’s why last year, the Jewish Federation of Cleveland raised and allocated nearly $127 million to social service, educational and humanitarian organizations that support Cleveland’s Jewish and general communities, as well as those in more than 70 countries around the world. Through the generosity of our donors, the Jewish Federation of Cleveland is Ohio’s largest grantmaking organization.

Together, we do extraordinary things.

For more information, please contact Alan D. Gross at 216.593.2818or [email protected].

Mandel Building · 25701 Science Park DriveCleveland, Ohio 44122 216.593.2900

www.jewishcleveland.org

6148

OF CLEVELANDJewish Federation


Adams wrote his Short Ride in a Fast Machine

in 1986 on commission from the Pittsburgh

Symphony Orchestra’s Great Woods Festival.

The work was premiered on June 13, 1986, in

Mansfield, Massachusetts, by the Pittsburgh

Symphony under the direction of Michael Tilson

Thomas.

This work runs less than 5 minutes in perfor-

mance. Adams scored it for 2 flutes (both dou-

bling piccolo), 2 oboes (second doubling english

horn), 4 clarinets, 3 bassoons (third doubling con-

trabassoon), 4 horns, 4 trumpets, 3 trombones,

tuba, timpani, percussion (woodblocks, triangle,

xylophone, crotales, glockenspiel, suspended cym-

bal, sizzle cymbal, snare drum, pedal bass drum,

large bass drum, large tam-tam, tambourine), 2

synthesizers (optional), and strings.

The Cleveland Orchestra previously present-

ed this work during the 1993 Blossom Festival,

led by Leonard Slatkin.

At a Glance

Short Ride in a Fast Machinecomposed 1986

About the Music

A F T E R T W E N T Y Y E A R S of youthful and creative sputtering,

John Adams emerged in the 1990s as America’s most performed

and most influential serious composer since Aaron Copland’s

heyday fifty years before.

Adams’s music is often labeled as Minimalism — a

kind of modern repetitive, incremental music that lives and

dies by constant rhythm working alongside gradual har-

monic changes. But Adams is much more than a Minimalist

and, like any truly great composer, has successfully created

a style of writing that is unmistakably and recognizably his

own. His ability to blend melody and dramatic action into

the rhythmic fabric of his works has extended his creative

canvas. His operas — including Nixon in China, The Death

of Klinghoffer, Doctor Atomic, and A Flowering Tree — have

been well received and repeatedly revived in new productions.

Adams wrote Short Ride in a Fast Machine in 1986. The

work’s first performance was given by the Pittsburgh Symphony

Orchestra in June of that year. In explaining the title, Adams

said, “You know how it is when someone asks you to ride in a

terrific sports car, and then you wish you hadn’t?”

The motor of the Machine runs on a beat established at the

beginning by woodblocks and trumpets (Adams has described

the woodblocks’ persistent beat as “almost sadistic”). After that,

there’s a lot of whirring, soaring, revving, and zooming, as well

as a few backfires and hiccups of the mostly well-oiled machine.

Rather than wishing they hadn’t, many listeners will wish that

the ride had gone on longer — or, like a roller-coaster, they may

choose to ride it again and again, just for fun.

—Eric Sellen

byJohnADAMSborn February 15, 1947Worcester,Massachusetts

currentlyresiding inBerkeley, California

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43Severance Hall 2012-13 About the Music

Banjo Concertocomposed 2010-11

I T WA S N ’ T U N T I L 1 9 7 3 , while he was a teenager, that Béla

Anton Leoš Fleck received his fi rst banjo, but in less than a de-

cade he had recorded his fi rst solo album, Crossing the Tracks

(1979) — and was well on his way to reclaiming the instru-

ment for a new era. With a unique combination of virtuosity,

imagination, and insatiable curiosity, Fleck has devoted his

career to exploring and revealing the hidden potential of the

banjo. Th e iconic style of Earl Scruggs, to whom Fleck’s Banjo

Concerto is dedicated, was a formative infl uence, yet one that

Fleck characteristically fuses with those of jazz legends Chick

Corea and Charlie Parker. In this concerto, we also hear the

stimulus of voices from classical tradition — particularly Bach

and Beethoven — fi ltered through a new perspective.

Fleck’s innovative approach extends across an astounding

spectrum of achievements, from his early work in progressive

bluegrass with the New Grass Revival (which led him to settle

in Nashville three decades ago) to the “blu-bop” blend of jazz

and bluegrass he continues to pioneer with his group, Béla Fleck

and the Flecktones.

Th e African origins of the banjo have provided yet an-

other area of exploration for Fleck in recent years, leading to

such world music collaborations as the recording sessions Th row

Down Your Heart in 2009.

On a parallel track, Fleck continues to enrich the expressive

language of the banjo by forging unprecedented connections

with the realm of classical music — a world introduced to him

during childhood by his stepfather, a cellist. Fleck, in fact,was

named aft er no fewer than three great composers — Béla Bartók,

Anton(in) Dvořák, and Leoš Janáček — making the classical

past literally part of his identity. He credits Edgar Meyer, the

bassist with whom he has collaborated on numerous projects

since the early 1980s, with reawakening his mature interest in

classical music. (See “A Classical Side for Banjo,” on page 45.)

Meyer also helped instill in him the desire to undertake a clas-

sically based composition of his own, following two previous

collaborative eff orts.

Th e Concerto for Banjo marks a signifi cant new depar-

ture for Fleck, which he describes as “a liberating experience

for my eff orts as a composer, and hopefully the banjo as well.”

by Béla FLECKborn July 10, 1958New York City

currentlyresiding in Nashville, Tennessee


During initial

rehearsals

with the Nash-

ville Symphony,

Fleck recalls

conductor

Guerrero

observing that

“the banjo

doesn’t sound

like a banjo

at the begin-

ning” but be-

comes

emphatically

banjo-like

by the end.

No familiar models for such a piece exist. Fleck mentions just

three previous examples, which include a concerto written for

Pete Seeger in the 1960s, one by Swiss banjo player Jens Kruger,

and a farcical send-up by the parodist P.D.Q. Bach.

With his own Banjo Concerto, Fleck has craft ed a large-

scale composition requiring intricate organization, and he has

taken on his fi rst experience of writing for a heft y orchestra.

Th e challenge, he recalls, led him to evoke “diff erent sounds on

my banjo than I was used to doing.”

Fleck observes that, unlike a traditional string concerto,

where the solo instrument is already mirrored in the larger

ensemble, the banjo possesses “a voice that is not present in the

orchestra” and which is resonant enough to play eff ectively with

it. Th e specifi c instrument for which Fleck wrote his concerto

is a vintage 1937 Gibson Mastertone banjo made of mahogany

— a prized possession he calls the “holy grail” of banjos, much

as a violinist might treasure an instrument made in the work-

shops of Stradivarius.

T H E M U S I C

During initial rehearsals with the Nashville Symphony,

Fleck recalls conductor Guerrero observing that “the banjo

doesn’t sound like a banjo at the beginning” but becomes em-

phatically banjo-like by the end. Th e remark shed light on a

scenario that runs through the three-movement score, though

Fleck points out that this was the creative work of his “subcon-

scious” rather than a deliberate plan: “Th e banjo is the hero in

this play and is trying to avoid the truth of who he is, but in the

end cannot avoid it.”

Fleck notes that the musical arc could be likened to the

pattern by which, “when you’re young, you try every possible

idea, but as you become wiser, sometimes the obvious is not

such a terrible thing. So in the fi rst movement, especially with

its solo cadenzas, the banjo is at its most ‘classical,’ even though

I wasn’t trying to emulate any particular composer. But you can

hear an evolution in my own writing of the piece as it goes on.

As it continues, I become more comfortable with the idea that

this can be whatever I want it to be, and it ends by returning to

my roots in bluegrass and Earl Scruggs.”

At the same time, to establish this identity, Fleck had to

make the ending sound like the “inevitable outcome” of the

preceding music rather than an arbitrary change of tack. “I

About the Music


needed to make the concluding section, where I rip into this style,

refl ect the sound of the banjo as a bluegrass instrument, while

also combining it with the orchestra.”—Thomas May

Thomas May is a frequent contributor to Cleveland Orchestra program books and writes regularly about music and the arts. His books include The John Adams Reader and Decoding Wagner.

A Classical Side for Banjo — and Nashville With the multiple-Grammy Award-winning Perpetual Motion (2001),

Béla Fleck made his fi rst sustained foray into introducing the world of

classical music to the banjo’s repertory. His engaging sequence of banjo

arrangements breathed new life into such familiar pieces as Chopin ma-

zurkas, Bach inventions, and Beethoven’s

Moonlight Sonata.

Fleck subsequently teamed with

bassist Edgar Meyer to write the Double

Concerto for Banjo and Bass, which the

Nashville Symphony premiered in 2003.

Th at eff ort proved so successful that

the Nashville Symphony commissioned

a triple concerto, which was co-written

by Fleck, Meyer, and tabla player Zakir

Hussain. Titled Th e Melody of Rhythm,

the concerto was premiered at the concert

that inaugurated Nashville’s Schermerhorn

Symphony Center in 2006.

Fleck composed his Banjo Concerto in 2010-11 on a

commission from the Nashville Symphony. He dedi-

cated the work to legendary bluegrass player Earl

Scruggs. The concerto was premiered on September

22, 23, and 24, 2011, in Nashville, conducted by

Giancarlo Guerrero, and with Fleck as the soloist.

This concert runs just over 30 minutes in

performance. Fleck scored it for 3 fl utes (third

doubling piccolo), 3 oboes (third doubling english

horn), 3 clarinets (third doubling bass clarinet), 3

bassoons (third doubling contrabassoon), 4 horns,

3 trumpets, 3 trombones, tuba, timpani, percus-

sion (wind gong, glockenspiel, triangle, cymbals,

gong, bells, rain stick, crotales, snare drum, bass

drum), and strings, plus the solo banjo.

The Cleveland Orchestra is performing Béla

Fleck’s music for the fi rst time with this weekend’s

performances.

At a Glance

About the Music

47Severance Hall 2012-13 Soloist

Béla FleckAmerican banjo player Béla Fleck is considered to have reinvented the instru-

ment’s image and sound throughout his performing and recording career. He is

making his Cleveland Orchestra debut with this weekend’s concerts.

Born and raised in New York City, Béla Anton Leoš

Fleck was named for composers Bartók, Dvořák, and

Janáček. Until Earl Scruggs’s banjo style piqued his inter-

est, he played guitar. In 1973, Mr. Fleck received a banjo

from his grandfather, and also entered New York City’s

High School of Music and Art. He began studying horn

and took banjo lessons outside school from Erik Darling,

Marc Horowitz, and Tony Trischka. About that time, Mr.

Fleck joined his fi rst band, Wicker’s Creek. Aft er gradua-

tion, he moved to Boston to play with Tasty Licks and, at 19

years old, recorded his fi rst solo banjo album, Crossing the

Tracks, on Rounder Records.

Mr. Fleck later relocated to Lexington, Kentucky,

and formed Spectrum, which toured until 1981, when he

joined the progressive bluegrass band, New Grass Revival. During his nine years

with New Grass Revival, Béla Fleck continued to record solo albums for Rounder

and also collaborated with an acoustic group called Strength in Numbers. Th eir

MCA release, Th e Telluride Sessions, is considered evolutionary by the acoustic

music community.

In the late 1980s, he created Béla Fleck & the Flecktones. Now famous for a

non-stop touring schedule, the Flecktones have reached more than 500,000 audi-

ence members annually since 2001. Th e group’s release Th e Hidden Land won the

2007 Grammy for Best Contemporary Jazz Album. Th eir holiday recording, Jin-

gle All Th e Way, was named Best Pop Instrumental Album at the 2009 Grammy

Awards.

Béla Fleck’s 2001 Sony Classical album, Perpetual Motion, won a pair of

Grammys and announced his presence in the world of classical music, as well as

his musical partnership with bassist Edgar Meyer. Th ey tour together, recorded

Music for Two, and co-wrote and performed the 2003 world premiere of a double

concerto for banjo and bass with the Nashville Symphony.

Since 1998, Mr. Fleck has received 14 Grammy Awards and 30 nominations,

and has been nominated in more diff erent categories than anyone else.

For additional information, visit belafl eck.com.

Béla Fleck will sign compact discs after the concerts on Thursday and Saturday evenings in the Lerner Lobby at the Cleveland Orchestra Store on the groundfl oor of Severance Hall. A selection of his albums areavailable for sale through the Cleveland Orchestra Store.

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

Sound for the Centennial


The Cleveland Orchestra’s artistic health and fi nancial well-being depend on the dedicated and ongoing support of music-lovers throughout Northeast Ohio. The Orchestra’s continued excel-lence in community service and musical performance can only be ensured through ongoing annual support coupled with increased giving to the Endowment and special fundraising.

As the Orchestra approaches its centennial celebration in 2018, the individuals and organiza-tions listed on these pages have made longterm commitments to secure the fi nancial stability of our great Orchestra. This listing represents multi-year commitments of annual and endow-ment support, and legacy gift declarations, as of October 2012.

The Cleveland Orchestra and Musical Arts Association gratefully recognize the transforma-tional support and extraordinary commitment of these individuals, corporations, and founda-tions toward the Orchestra’s future. To join your name to these visionary contributors, please contact Jon Limbacher, Chief Development Offi cer, at 216-231-7520.

Gay Cull Addicott Jeanette Grasselli Brown and Glenn R. BrownRobert and Jean* ConradThe Louise H. and David S. Ingalls FoundationMr. and Mrs. Douglas A. KernMr. and Mrs. Jon A. Lindseth

Ms. Nancy W. McCannDavid and Inez Myers Foundation The Honorable and Mrs. John Doyle OngThe Payne FundMr. and Mrs. Richard K. Smucker

BakerHostetlerMr. William P. Blair IIIMr. Richard J. Bogomolny and Ms. Patricia M. KozerefskiMr. and Mrs. Charles P. BoltonMrs. M. Roger ClappEaton CorporationForest City Enterprises, Inc.Mr. and Mrs. Michael J. HorvitzThe Walter and Jean Kalberer FoundationMr. and Mrs. Joseph P. KeithleyKeyBankKulas FoundationMr. and Mrs. Dennis W. LaBarreMrs. Norma Lerner

The Lubrizol CorporationSally S. and John C. MorleyJohn P. Murphy FoundationNACCO Industries, Inc.Julia and Larry PollockMr. and Mrs. Alfred M. Rankin, Jr.Mr. and Mrs. Albert B. RatnerJames and Donna ReidBarbara S. RobinsonThe Sage Cleveland FoundationThe Kelvin and Eleanor Smith FoundationThe J. M. Smucker CompanyJoe and Marlene Toot

GIFTS OF $5 MILLION AND MORE

Mr. and Mrs. Alexander M. CutlerMaltz Family FoundationAnonymous

GIFTS OF $1 MILLION TO $5 MILLION

GIFTS OF $500,000 TO $1 MILLION

Sound for the Centennial Campaign


Mr. and Mrs. George N. AronoffBen and Ingrid BowmanGeorge* and Becky DunnDr. and Mrs. Hiroyuki FujitaAlbert I. and Norma C. GellerIris and Tom HarvieGiuliana C. and John D. Koch FoundationMr. and Mrs. S. Lee KohrmanMr. Gary A. OateyRPM International Inc.

Hewitt and Paula ShawMs. Ginger WarnerMr. Max W. WendelPaul and Suzanne WestlakeMr. Donald Woodcock

GIFTS OF $100,000 TO $250,000

Sound for the Centennial Campaign

* deceased

John P. Bergren* and Sarah M. EvansMr. and Mrs.* Harvey BuchananMr. and Mrs. Matthew V. CrawfordNancy and Richard DotsonSidney E. Frank FoundationDavid and Nancy HookerJames D. Ireland IIITrevor and Jennie JonesDr. Vilma L. KohnMr. and Mrs. Alex MachaskeeMr. Donald W. Morrison

Margaret Fulton-MuellerWilliam J. and Katherine T. O’NeillParker Hannifi n CorporationCharles and Ilana Horowitz RatnerMr. and Mrs. James A. SaksThe Skirball FoundationMr. and Mrs. Jules Vinney* David A. and Barbara Wolfort

GIFTS OF $250,000 TO $500,000

“THE

MEDIUM IS THE MESSAGE.” – Marshall McLuhan, 1911-1980

PUT YOUR AD IN A WORLD-CLASS SETTING& REACH NORTHEAST OHIO’S MOST AFFLUENT, WELL-EDUCATED AND

INFLUENTIAL AUDIENCE

ADVERTISE INTHE CLEVELAND ORCHESTRA PROGRAM BOOK

John Moore 216-721-4300 [email protected]

Pho

to b

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er M

astr

oia

nni


B AC K I N T H E 1 8 9 0 s , Antonín Dvořák was urging Ameri-

can composers to develop an original American musical style

based on native melodies. That was much easier said than done,

however. It was not at all clear how Dvořák’s own tried-and-

true Bohemian recipe could be applied in a country whose na-

tive traditions were much more diverse and, at the time, much

less valued by native composers. One thing that Dvořák, in his

fascination with “exotica,” did not realize was that the national

renewal would not be exclusively from American Indian and Af-

rican musical traditions, but also those of the European settlers in

the New World. Even forty years after Dvořák returned home to

Europe, the shape of American music was still uncertain — and

the idea of a ballet about cowboys was something very shocking

in American classical music and classical ballet circles.

It was Lincoln Kirstein, the innovative director of Ballet

Caravan, who provided the subject to Copland. As the com-

poser later wrote in his autobiography, “When I suggested that,

as a composer born in Brooklyn, I knew nothing about the Wild

West, Lincoln informed me that Eugene Loring’s scenario for

Billy the Kid was based on the real life story of William Bonney,

a notorious cowboy who had been born in New York! Lincoln

was persuasive, and it did not take long to convince me that if

I could work with Mexican tunes in writing El Salón México, I

might try home-grown ones for a ballet.

Kirstein provided Copland with two collections of cowboy

songs, and the composer set to work. In the finished ballet, we

hear such vintage tunes as “Old Paint,” “The Old Chisholm Trail,”

“Git Along Little Dogie,” and “The Dying Cowboy.” Copland

learned additional information on Billy the Kid’s character and

history from the music director of Kirstein’s Ballet Caravan at

the time, the composer Elliott Carter. Nevertheless, Copland

later stressed that he had been less concerned with the histori-

cal William Bonney than with the legend he had become in

American folklore.

The ballet opened in Chicago in October 1938, to wide

acclaim. Finally, there was an American work that showed how

folksong could be used to create an authentic national style in

music.

Billy the Kid became one of Copland’s most frequently-

Suite from Billy the Kidcomposed 1938

byAaronCOPLANDborn November 14, 1900Brooklyn, New York

died December 2, 1990North Tarrytown,New York

About the Music

THURSDAY AND SATURDAY

52 The Cleveland OrchestraAbout the Music

performed works, especially in the form of the suite, which the

composer drew from the original score. As Copland noted, the

six movements of the suite “match the action of the ballet.”

Copland summarized that action in the preface of the score

as follows: “Th e action begins and closes on the open prairie. Th e

central portion of the ballet concerns itself with signifi cant mo-

ments in the life of Billy the Kid. Th e fi rst scene is a street in a

frontier town. Familiar fi gures amble by. Cowboys saunter into

town, some on horseback, others with their lassoes. Some Mexi-

can women do a Jarabe [a Mexican dance], which is interrupted

by a fi ght between two drunks. Attracted by the gathering crowd,

Billy is seen for the fi rst time as a boy of twelve with his mother.

Th e brawl turns ugly, guns are drawn, and in some unaccountable

way, Billy’s mother is killed. Without an instant’s hesitation, in

cold fury, Billy draws a knife from a cowhand’s sheath and stabs

his mother’s slayers. His short but famous career had begun. In

swift succession we see episodes in Billy’s later life. At night, under

the stars, in a quiet card game with his outlaw friends. Hunted

by a posse led by his former friend Pat Garrett. Billy is pursued.

A running gun battle ensues. Billy is captured. A drunken cel-

ebration takes place. Billy in prison is, of course, followed by one

of Billy’s legendary escapes. Tired and worn in the desert, Billy

rests with his girl. (Pas de deux). Starting from a deep sleep, he

senses movement in the shadows. Th e posse has fi nally caught

up with him. It is the end.”

—Peter Laki

Copland wrote his ballet

score for Billy the Kid in

1938 at the request of dance

impresario Lincoln Kirstein.

The work was premiered in

Chicago on October 6, 1938,

by Kirstein’s Ballet Caravan.

The composer extracted a

concert suite from the score

the following year.

This ballet suite runs

about 20 minutes in per-

formance. Copland scored

it for 2 fl utes, piccolo, 2

oboes, 2 clarinets, 2 bas-

soons, 4 horns, 3 trumpets,

3 trombones, tuba, timpani,

percussion (xylophone, side

drum, woodblocks, cym bals,

glockenspiel, sleigh bells,

guiro, whip), harp, piano, and

strings.

The Cleveland Orchestra

played the Suite from Billy the

Kid at Severance Hall on only

one previous set of Severance

Hall subscription concerts,

in February 1943, under the

direction of music director

Artur Rodzinski. Excerpts

from the ballet have been

performed on many occasions

since that time, especially on

Education Concert programs,

and the suite was presented

at Blossom Festival concerts

in 1978 and 1997.

At a Glance

From the original staging of Billy the Kid in 1938.

53Severance Hall 2012-13 About the Music

G E O R G E G E R S H W I N achieved early success as one of the

most brilliant songwriters on Broadway. He had more ambi-

tious dreams, however — he aspired to be recognized as a seri-

ous classical composer.

Gershwin felt that American classical music should incor-

porate elements of jazz in order to fi nd a distinctive national

voice. Rhapsody in Blue was Gershwin’s fi rst step in that di-

rection, followed by the Concerto in F, An American in Paris,

and, fi nally, the opera Porgy and Bess. Th roughout his eff orts

on these works, Gershwin, a fabulous pianist and improviser,

knew that his technical equipment as a classical composer was

incomplete, and tried hard to fi ll in the gaps in his knowledge

by applying himself to the study of music theory and orches-

tration.

Th e original manuscript of An American in Paris bears

the following inscription by Gershwin: “An American in Paris,

a tone poem for orchestra, composed and orchestrated by George

Gershwin. Begun early in 1928, fi nished November 18, 1928.”

Gershwin went out of his way to point out that he had done

the orchestration himself, because while much as his melodic

gift s and his pianistic virtuosity were acclaimed, he was dogged

by constant criticism of what were perceived as shortcomings

(compared to expected norms) in his compositional craft sman-

ship.

Gershwin provided the following explanation of this

piece in an interview for Musical America in 1928: “Th is new

piece, really a ‘symphonic ballet,’ is written very freely and is the

most modern music I’ve yet attempted. Th e opening part will

be developed in typical French style, in the manner of Debussy

. . . though the themes are original. My purpose here is to por-

tray the impression of an American visitor in Paris, as he strolls

about the city, listens to the various street noises, and absorbs

the French atmosphere. As in my other orchestral compositions,

I’ve not endeavored to represent any defi nite scenes in this music.

Th e rhapsody is programmatic only in a general impressionistic

way, so that the individual listener can read into the music such

episodes as his imagination pictures for him. Th e opening section

is followed by a rich ‘blues’ with a strong rhythmic undercurrent.

Our American friend, perhaps aft er strolling into a café and having

An American in Pariscomposed 1928

by George GERSHWINborn September 26, 1898Brooklyn, New York

died July 11, 1937Hollywood,California


Gershwin wrote An American in Paris in

1928, after a visit to France. The fi rst perfor-

mance, led by Walter Damrosch, took place

on December 13, 1928, at Carnegie Hall.

An American in Paris runs between 15

and 20 minutes in performance. Gersh-

win scored it for 3 fl utes (third doubling

piccolo), 2 oboes, english horn, 2 clarinets,

bass clarinet, 3 saxophones (alto, tenor, and

baritone), 2 bassoons, 4 horns, 3 trumpets,

3 trombones, tuba, timpani, percussion (bass

drum, snare drum, triangle, orchestra bells,

xylophone, and taxi horns), celesta, and

strings.

The Cleveland Orchestra fi rst per-

formed An American in Paris in March 1943,

under the direction of Artur Rodzinski. The

Orchestra’s most recent performance was led

by Miguel Harth-Bedoya as part of the 2006

Blossom Festival.

At a Glance

About the Music

a couple of drinks, has suddenly succumbed to a spasm of home-

sickness. Th e harmony here is both more intense and simple than

in the preceding pages. Th is ‘blues’ rises to a climax followed by a

coda in which the spirit of the music returns to the vivacity and

bubbling exuberance of the opening part with its impressions of

Paris. Apparently the homesick American, having left the café

and reached the open air, has disowned his spell of the blues and

once again is an alert spectator of Parisian life. At the conclu-

sion, the street noises and French atmosphere are triumphant!

—Peter Laki

Peter Laki is a musicologist and frequent lecturer on classical music. He is a visiting associate professor at Bard College in New York.

clevelandpops.com

A Valentine FantasyA Valentine Fantasywith Janice Martinwith Janice Martin

A true phenomenon, unlike anyA true phenomenon, unlike anyperforming artist you’ve ever seenperforming artist you’ve ever seen

Friday, Feb. 8th -- 8 PM Severance Hall

tickets: 216-231-1111

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CAMELOT KING FORA DAY

PASSIONS a double bill

july 13-august 23 july 21-august 24 july 20-august 22

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THE FLYING DUTCHMAN

True music must repeat

the thought and inspirations

of the people and the time.

My people are Americans and

my time is today.

—George Gershwin

‘‘ ‘‘

George Gershwin working on his opera Porgy and Bess in 1935.


Harmonia Walt Mahovlich, accordion Alexander Fedoriouk, cimbalom Beata Begeniova, vocals Jozef Janis, violin Andrei Pidkivka, panflute and sopilka Branislav Brinarsky, bass

Harmonia presents the traditional folk music of Eastern Europe, rang-

ing from the Danube to the Carpathians. Its repertoire reflects the cultures

of this region — Hungarian, Slovak, Ukrainian, Romanian, Croatian, and

Gypsy. Performing on authentic folk instruments, and styled after East-Eu-

ropean Gypsy bands from a century ago, their music is drawn from both the

urban and rural traditions of Eastern Europe. The ensemble’s performanc-

es evoke the full range of human emotions, interspersing fiery, passionate

virtuosity with soulful melancholy and nostalgic yearning. They have been

called “obscenely talented” by the Folklore Society of Washington D.C. and

“a musical gem” by National Public Radio. The musicians come from varied

East-European backgrounds, and in Harmonia they have found a common

musical language. Harmonia brings to the concert stage the vitality and

excitement of ethnic weddings, celebrations, and smoky cafés that inspired

composers such as Bartók, Brahms, and Liszt.

The six-piece ensemble uses instruments as varied as accordion, up-

right bass, violin, panflute, and cimbalom (the East European 125-string

hammered dulcimer). Their technical brilliance only adds to Harmonia’s

breathtaking performances — dizzying cimbalom solos coupled with

soaring violin lines, haunting flute and accordion solos, and soulful vo-

cals. The ensemble is equally at home on the concert stage and in academic

or workshop settings. To learn more, visit www.harmoniaband.com.

PRE-CONCERTst@rters

THE

CLEVELAND

ORCHESTRA

Guest Artists

December 7

Jamey Haddad has curated and planned the world music performances

for The Cleveland Orchestra’s Fridays@7 concerts since the series began in 2009.

Born in Cleveland, Ohio, he holds a unique position in the world of jazz and

contemporary music, with his musical voice transcending styles and trends. Re-

garded as one of the foremost world music and jazz percussionists in the United

States, Mr. Haddad is an associate professor at the Cleveland Institute of Music,

Oberlin Conservatory of Music, Boston’s Berklee College of Music, and the New

England Conservatory. To learn more, visit www.jameyhaddadmusic.com.


POST-CONCERT@fterparty 7@

FRIDAYS

Mark Mullins, trombone

Roland Guerin, bass

Johnny Vidacovich, drums

Mark Mullins has made a reputation for himself in New

Orleans as a multifaceted musician who, like a chameleon, fits

perfectly in many situations without compromising his integrity.

Mark began studying trombone at age 8 and, at 13, had his own

street band performing in Mardi Gras parades. After college, he

joined Harry Connick Jr.’s new Big Band, touring the world and

appearing on many recordings. Other projects included record-

ings with Tori Amos, Sheryl Crow, George Porter Jr., and others.

He subsequently launched an original rock band named Mule-

Bone and presentations of “A Night of Led Zeppelin,” as well as Bonerama, a stage full

of trombones playing brass band music that later grew to be the house band of HBO’s

Comic Relief. To learn more, visit www.markmullins.net.

Roland Guerin first learned music from his mother, a

bass player who taught him that you can’t make it in music with-

out a strong groove and feeling. At Southern University in Baton

Rouge, he joined legendary jazz educator Alvin Batiste’s band,

The Jazztronauts. He later began to tour the world as a member

of jazz guitarist Mark Whitfield’s band and also participated in

the recording of several albums with a variety of artists, includ-

ing Ellis Marsalis and Allen Toussaint. Roland was a member of

the Marcus Roberts Trio (1994-2010), with which he performed

at the 2002 Winter Olympic Games. His work as a bandleader includes several albums,

including A Different World (2011). When not touring, he is active throughout the New

Orleans music scene. To learn more, visit www.rolandguerin.com.

Johnny Vidacovich was born and raised in New

Orleans, and is a founding member of the world-renowned

contemporary jazz quartet Astral Project. He has played and/or

recorded with such luminaries as Professor Longhair, George

Porter Jr., Dr. John, Skerik, and John Scofield. Johnny played in

the first and in every subsequent New Orleans Jazz and Heritage

Festival (which recently celebrated its 40th anniversary). He has

four albums under his own name, as well as an instructional

book and DVD focusing on his approach to New Orleans drum-

ming. He continues to maintain an active playing, touring, and teaching schedule and

is currently busy touring with Voice of the Wetlands Allstars. To learn more, visit

www.johnnyvidacovich.com.

Guest Artists

POST-CONCERT


Call Alan Weinberg, Managing Partner, at 216-685-1100.

Weltman, Weinberg & Reis Co., LPA

Empowering the lives of over 16,000 children and families each year.

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T H E S O U N D R E VO L U T I O N that came to movies in 1927 represented

a major esthetic crisis for all silent filmmakers, but for Charlie Chaplin

in particular, since his mimetic artistry was the primary reason for his

phenomenal world-

wide popularity. In

1931, a full two years

after Hollywood had

stopped making silent

films, he stubbornly

released City Lights

(presented last season,

in March 2012 here

at Severance Hall).

Chaplin’s only con-

cession to the chang-

ing times was an

original musical score

that he wrote himself,

and a few sound ef-

fects that he used to

skewer the crudities of early sound movies. The film, filled with hilarious

physical comedy and scenes of surprising emotional power, proved to be a

sensation. Chaplin knew, though, that City Lights was the exception that

proved the rule. The era of silent movies was over. Yet he also knew that

as soon as he spoke onscreen he would become like any other comedian.

After a long period of gestation, Chaplin’s solution was to give

his beloved Tramp character a second reprieve in the form of Modern

Times, an audacious hybrid of silent and sound movie techniques. The

film preserved Chaplin’s mastery of silent film storytelling while allow-

ing sounds and words to encroach in unusual ways. To forestall the in-

evitable critical complaint that a mostly-visual comedy released in 1936

might be considered an anachronism, Chaplin provided an up-to-the-

minute story of the Tramp as a factory worker experiencing inhumane

working conditions, strikes, and social upheaval during the Depression.

He also provided a glorious original score, arguably the best one he ever

wrote. Eighteen years later, when the film was re-released in the 1950s,

Actions Speak Louder Charlie Chaplin Confronts Modern Times by Dan Kamin

Charlie Chaplin’s Modern Times


its lush romantic theme was given lyrics and recorded

by Nat King Cole, becoming the worldwide song hit

“Smile.”

One of the most fascinating things about Mod-

ern Times is the fi lm’s insistent running commentary on

the nature of sound fi lms. For example, when the hu-

man voice is heard in the fi lm it’s always over mechani-

cal devices such as radios, loudspeakers or televisions;

face-to-face dialogue is reproduced, as in silent fi lms, in

title cards. Stressing the mechanical nature of sound reproduction in this way

refl ects Chaplin’s view that words in movies are intrusive or superfl uous, as un-

natural as the inhuman pace the factory imposes on its workers.

Th e factory itself off ers another clue to Chaplin’s intention to make the

clashing worlds of sound and silent fi lms the underlying subject of Modern

Times. We never learn what, precisely, is being produced by this factory. But in

one of the fi lm’s most memorable sequences, when Charlie falls into the machin-

ery and is drawn through its gears, he resembles nothing so much as a strip of

fi lm winding through a movie projector. Th is interpretation is no great stretch.

Th e square nut plates Charlie tightens on the assembly line are like frames of

fi lm speeding by, and Charlie himself is a creature who exists only on fi lm. Th e


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factory — metaphorically, at least — is a fi lm factory, its product a fi lm star-

ring Charlie himself.

But Charlie is a creature born of silent fi lm, and until the end the fi lm

unfolds at a brisk silent movie pace. But fi nally Chaplin can no longer post-

pone the inevitable. Th e Tramp’s practical problems holding a job and Chap-

lin’s esthetic problems as a silent fi lmmaker facing sound converge when the

Tramp gets a job as a singing waiter. Chaplin, at last, prepares to break his

long cinematic silence. Viewers worldwide eagerly anticipated hearing his

voice, and he does not disappoint. But with characteristic impudence and

inventiveness he uses the occasion to thumb his nose one last time at sound

movies, demonstrating, with a brilliant display of mime and eccentric dance

that actions — when they’re his actions — really do speak louder than words.

What audiences in 1936 couldn’t know was that Modern Times marked

the end of the Tramp’s silent journey. As the fi lm ends and Chaplin’s beauti-

ful love theme swells in the background, we watch the familiar fi gure recede

in the distance for the last time, a casualty of modern times.

—Adapted from Th e Comedy of Charlie Chaplin: Artistry in Motion by Dan Kamin, published by

Scarecrow Press. Dan Kamin trained Robert Downey Jr. for his Oscar-nominated performance as

Chaplin, and created several of the fi lm’s physical comedy sequences. He is an internationally re-

nowned mime artist who performs frequently with symphony orchestras.


Kulas Series of Keyboard Conversations® with Jeffrey Siegel 24th Season 2011-2012

Presented by Cleveland State University’s Center for Arts and Innovation

Sunday, October 2, 2011A Beethoven Bonanza! The many

moods of genius!

Sunday, November 20, 2011The Romantic Music of Franz Liszt

Sunday, March 4, 2012Rochmaninoff and Tchaikovsky

Sunday, March 6, 2012A musical love triangle: Robert, Claraand Johannes!

Masterly

Enthralling

Charming

Scintillating

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

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


moods of genius!


Sunday, March 4, 2012Rochmaninoff and Tchaikovsky


series/kc

a


moods of genius!



moods of genius!


y 6, 2012

Presented by Cleveland State University’s Center for Arts and Innovation

Kulas Series of Keyboard Conversations®with Jeffrey Siegel

25th Anniversary Season 2012-2013

MasterlyB

EnthrallingB

CharmingB

Scintillating

“An afternoon of entertaining talk and exhilarating music.”

–The Washington Post

All concerts begin at 3:00 pm at Cleveland State University’s Waetjen

Auditorium, Euclid Ave. and E. 21st St.For more information call 216.687.5018

or visit www.csuohio.edu/concertseries/kc

Sunday, October 14, 2012Spellbinding Bach

Sunday, November 11, 2012Free Family Concert!Music for the Young and Young at Heart presented in honor of Mr. Siegel’s 25th anniversary at Cleveland State University

Sunday, January 27, 2013Claude Debussy: Clair de lune, Fireworks and Beyond!

Sunday, March 24, 2013Schubert in the Age of the Sound Bite

Sunday, April 28, 2013Bach and the Romantics


Modern Times S Y N O P S I S

Charlie is a factory worker in this hectic age — a minor cog in the grinding wheels of

industry. His job is mechanically tightening bolts on a moving belt. Th e monotony

of the work drives him berserk. Taken to hospital, he soon recovers, is discharged,

and cautioned to avoid excitement. Caught in a street riot, he is mistaken for the

leader and thrown into a patrol wagon.

Charlie unconsciously thwarts an attempted jailbreak. As a reward, he is given

a cell with all the comforts of home. But just as he is ready to settle down to a life

of ease and contentment in jail, he is pardoned. He then gets a job in a shipyard,

but is fi red for doing the wrong things at the wrong times. He resolves to return to

the comfort and security of jail. He meets the girl, a gamine of the waterfront. She

and her orphaned sisters are about to be taken into custody by the juvenile welfare

offi cers, but she escapes. When she is about to be arrested for stealing food, Char-

lie attempts to take the blame, without success. He wanders into a cafeteria, orders

everything in sight, then informs the manager that he has no money to pay.

On the way to jail he meets the girl again. Together they escape and from

then on they are inseparable companions. Charlie gets a job as night watchman in

a department store. His fi rst night on duty is hectic. Burglars invade the store, and

Charlie is involved once again with the police, and once more shunted to jail. Re-

leased, he meets the girl who has found herself a job as a cabaret dancer. She gets

Charlie a job in the same restaurant as a singing waiter. He proves a huge success.

Happiness seems close now, but the juvenile welfare offi cers have fi nally tracked the

girl down. Th ey attempt to take her into custody, but Charlie foils them and escapes

with the girl. Together they trudge down the lonely road, ready to face whatever

the future may bring.

Modern Times was premiered on February 5, 1936, at New York’s Rivoli Th eatre.


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A S I L E N T F I L M written and directed by Charlie Chaplin

P R E S E N T E D I N C O N C E R T with The Cleveland Orchestraconducted by William Eddins

and featuring Brent Chamberlin, Jason Levy, Rohan Mandelia,and Matthew Rizer as the voices of the singing waiters

T H E C A S TCharlie Chaplin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A Worker

Paulette Goddard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Gamine

Henry Bergman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Café Owner

Stanley J. Sanford . . . . . . . . . . . . . . . . . . . . . . . . . . . . Big Bill and Worker

Chester Conklin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mechanic

Hank Mann . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Burglar

Stanley Blystone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Gamine’s Father

Allan Garcia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Company Boss

Sam Stein . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Foreman

Juana Sutton . . . . . . . . . . . . . . . . . . . . . . . Woman with Buttoned Bosom

Dick Alexander . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Prison Cellmate

Cecil Reynolds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Prison Chaplain

Myra McKinney . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Chaplain’s Wife

Lloyd Ingraham . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Angry Café Patron

music by Charlie Chaplin

musical arrangements by David Raksin and Edward Powell

original musical direction by Alfred Newman

original scoring restored for live performance by Timothy Brock

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

Severance HallTuesday evening, December 11, 2012, at 8:00 p.m.

Modern Times


celebrity series1213

Modern Times © Roy Export S.A.S. Music copyright © Roy Export Company Establishment and Bourne Co. All rights reserved.

Failure is unimportant.

It takes courage to make

a fool of yourself.

—Charlie Chaplin

‘‘ ‘‘

65Severance Hall 2012-13 65

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 conductor of the Chicago Sympho-

ny Orchestra and associate conductor of the Minnesota Orchestra. He made his

Cleveland Orchestra debut in the March 2012 presentation of Charlie Chaplin’s

silent fi lm City Lights.

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.

Conductor: Modern Times


34th Annual Tri-C JazzFest

Two Weekends of Jazz Greats

including Aaron Neville and Dr. John, Michael Feinstein,

Natalie Cole, Bill Frisell, Joe Lovano and more …

Tri-C Presents

On EnsembleJapanese drumming meets hip-hop, rock and electronica

Saturday, Jan. 26, 20137 p.m. | Eastern Campus Theatre

General admission: $20216-987-4444 or

www.tricpresents.com

www.tri-cjazzfest.com

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Student Ticket Programs “Under 18s Free,” Student Advantage membership,

and Student Frequent FanCard off er aff ordable access

to Cleveland Orchestra concerts all season long

Th e Cleveland Orchestra is committed to developing one of the youngest audiences

of any orchestra in the country. With the help of generous contributors, the Orch-

estra has expanded its discounted ticket off erings through several new programs. In

the opening two months of the current Severance Hall season, student attendance has

doubled from last season, with nearly 20% of the audience being students experiencing

Cleveland Orchestra concerts through these various programs and off ers.

STUDE NT ADVANTAGE PROGRAM

Th e Orchestra’s ongoing Student Advantage Program provides opportunities

for students to attend Orchestra concerts at Severance Hall through discounted

ticket off ers. Membership in the Student Advantage Program is free.

A new Student Frequent FanCard was introduced this season. Priced at $50,

the FanCard off ers students unlimited single tickets (one per FanCard holder) to

weekly Classical Subscription Concerts all season long.

“UNDE R 1 8 s FRE E ”

Introduced for Blossom Festival concerts two summers ago, the “Under 18s

Free” program now includes select Cleveland Orchestra concerts at Severance Hall

each season. Th is program off ers free tickets (one per regular-priced adult paid ad-

mission) to young people ages 7-17 to the Orchestra’s Fridays@7, Friday Morning at

11, and Sunday Aft ernoon at 3 concerts.

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

Future Audiences and the Alexander and Sarah Cutler Fund for Student Audi-

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

dowment gift from the Maltz Family Foundation to develop new generations of

audiences for Cleveland Orchestra concerts in Northeast Ohio.

Student Ticket Programs


8233

3

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Generous contributions to the endowment have been made to support specifi c

artistic initiatives, education and community programming and performances,

facilities maintenance costs, touring and residencies, and more. Named funds can

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

own endowment gift to the Orchestra, please call 216-231-7438.

Endowed Funds funds established as of September 2012

ARTISTIC endowed funds support a variety of programmatic initiatives ranging

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

Artistic CollaborationKeithley Fund

Artist-in-ResidenceMalcolm E. Kenney

Young ComposersJan R. and Daniel R. Lewis

Friday Morning ConcertsMary E. and F. Joseph Callahan Foundation

International TouringFrances Elizabeth Wilkinson

Cleveland Orchestra Chorus Jerome and Shirley GroverMeacham Hitchcock and Family

Concert PreviewsDorothy Humel Hovorka

Radio BroadcastsRobert and Jean Conrad

UnrestrictedWilliam P. Blair III Fund for Orchestral ExcellenceJohn P. Bergren and Sarah S. EvansMargaret Fulton-Mueller FundVirginia M. and Jon A. Lindseth

American Conductors FundDouglas Peace HandysideHolsey Gates Handyside

Severance Hall Guest ConductorsRoger and Anne ClappJames and Donna Reid

Cleveland Orchestra SoloistsJulia and Larry Pollock Family Fund

Guest ArtistsThe Eleanore T. and Joseph E. Adams FundMrs. Warren H. CorningThe Gerhard FoundationMargaret 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

Endowed Funds

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

Audiences, created with a lead gift from the Maltz Family Foundation, was established

to develop new generations of audiences for Th e Cleveland Orchestra.

Center for Future AudiencesMaltz Family Foundation

Student AudiencesAlexander and Sarah Cutler Fund


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 B. Cull MemorialFrank and Margaret HyncikJunior Committee of The Cleveland OrchestraMr. and Mrs. David T. MorgenthalerJohn and Sally Morley Education 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 ProgrammingMachaskee Fund

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



MeettheMusiciansCleveland Orchestra musicians parti-

cipate in a variety of community and

education activities beyond the weekly

orchestral concerts at Severance Hall.

These activities include masterclasses

and recitals, PNC Musical Rainbows, the

Learning Through Music school partner-

ship program, and coaching the Cleve-

land Orchestra Youth Orchestra.

PHOTOGRAPHS BY ROGER MASTROIANNI

Meet the Musicians

RICHARDWEISScello

BORN: Los Angeles

ROLE MODEL: Cellist Leonard Rose.

ON MY MP3 PLAYER: Yo-Yo Ma’s Soul of the Tango, and beginning Spanish lessons.

CLEVELAND ORCHESTRA HIGHLIGHT:First appearance as concerto soloist, and then years later playing in the cello sec-tion as my student Alisa Weilerstein was soloist in the same piece.

FREE TIME: Horseback riding, reading.

BIG DREAM: To ride a horse as well as I play the cello.

FAVORITE ORCHESTRAL WORK:Currently, Tchaikovsky’s Serenade for Strings.

MARKKOSOWERcello

BORN: Eau Claire, Wisconsin

ON MY MP3 PLAYER: It’s filled with sym-phonic, opera, chamber, and solo music.

ROLE MODELS: Janos Starkerand Herbert Blomstedt.

BIG DREAM: To record an extensive cross-section of the cello literature.

WHY A MUSICIAN: I was born into a family of musicians and didn’t know any better.

FREE TIME: Reading, dining, movies,basketball.

FAVORITE ORCHESTRAL WORK:Too many to choose from.

JOELAJONESkeyboard

BORN: Miami, Florida

ROLE MODEL: My eldest sister, Julia, who died before I was born. She has always led me.

BIG DREAM: Move to Europe, be the pianist for an opera company; get a position as a church organist and learn all of Bach’s works for organ.

FREE TIME: I like to read histories and biographies of great people.

ON MY MP3 PLAYER: German lessons, Mitsuko Uchida playing Mozart, Alfred Brendel playing Schubert and Liszt.

FAVORITE ORCHESTRAL WORK:Wagner’s operas.


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The 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

KeyBankThe Lubrizol CorporationNACCO Industries, Inc.The J. M. Smucker Company

PARTNERS IN EXCELLENCE$200,000 TO $299,999

Baker HostetlerEaton CorporationForest City Enterprises, Inc.PNC

PARTNERS IN EXCELLENCE$100,000 TO $199,999

Google, Inc.Medical Mutual of OhioParker Hannifin Corporation

$50,000 TO $99,999

Exile LLCJones DayQuality Electrodynamics (QED)Raiffeisenlandesbank

Oberösterreich (Europe) The Sage Cleveland Foundation

$25,000 TO $49,999

Bank of AmericaDix & EatonGiant EagleNorthern Trust Bank of Florida (Miami)Park-Ohio Holdings Corp.The Plain DealerRPM International Inc.Squire, Sanders & Dempsey (US) LLPThompson Hine LLP

$2,500 TO $24,999

Akron Tool & Die CompanyAkronLife MagazineAmerican Fireworks, Inc.American Greetings CorporationBDIBrouse McDowellConn-Selmer, Inc.Eileen M. Burkhart & Co LLCBuyers Products CompanyCedar Brook Financial Partners, LLCThe Cleveland Wire Cloth & Mfg. Co.

The Cliffs FoundationCommunity Behavioral Health CenterConsolidated Graphics Group, Inc.Dealer Tire LLCDollar BankDominion FoundationErnst & Young LLPEvarts-Tremaine-Flicker CompanyFeldman Gale, P.A. (Miami)Ferro CorporationFirstMerit BankFrantz Ward LLPGallagher Benefit ServicesGenovese Vanderhoof & AssociatesThe Goodyear Tire & Rubber CompanyGreat Lakes Brewing CompanyGross BuildersHahn Loeser + Parks LLPHouck Anderson P.A. (Miami)Hunton & Williams, LLP (Miami)The Lincoln Electric FoundationLittler Mendelson, P.C.C. A. Litzler Co., Inc.Live Publishing CompanyMacy’sMiba AG (Europe)MTD Products, Inc.Nordson CorporationNorth Coast Container Corp.Northern HaserotOatey Co.Ohio CATOlympic Steel, Inc.Oswald CompaniesPolyOne CorporationThe Prince & Izant CompanyRichey Industries, Inc.Satch Logistics LLCSEMAG Holding GmbH (Europe)The Sherwin-Williams CompanyStern Advertising AgencySwagelok CompanyTriMark S.S. KempTrionix Research Laboratory, Inc.Tucker EllisUnited Automobile Insurance

Company (Miami)Ver Ploeg & Lumpkin, P.A. (Miami)Ricky & Sarit Warman —

Papa John’s Pizza (Miami)WCLV FoundationWestlake Reed LeskoskyThe Avedis Zildjian CompanyAnonymous (3)

Annual Supportgifts of $2,500 or more during the past year, as of September 10, 2012

Cumulative GivingJOHN L. SEVERANCESOCIETY

$5 MILLION AND MORE

KeyBank

$1 MILLION TO $5 MILLION

Baker HostetlerBank of AmericaEaton CorporationFirstEnergy FoundationForest City Enterprises, Inc.The Goodyear Tire

& Rubber CompanyThe Lubrizol Corporation /

The Lubrizol FoundationMerrill LynchNACCO Industries, Inc.Parker Hannifin CorporationThe Plain DealerPNC BankPolyOne CorporationRaiffeisenlandesbank

Oberösterreich (Europe) The Sage Cleveland Foundation

The J. M. Smucker Company

The Severance Society recognizes

generous contributors of $1 million

or more in cumulative giving

to The Cleveland Orchestra.

Listing as of September 2012.

Corporate Annual Support

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

toward the Orchestra’s Annual Fund, benefit events, tours and residencies, and special projects.


Corporate Support


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Your Guide to: the orchestra the facilities the concerts the people

2012

F E S T I V A L B O O K

2 012 -2 013 C O N C E RT S E R I E S

Autumn 2012

STATIONBREAK

Fall Forecast Arts and Culture In

Northeast Ohio page 5

Election 2012 Complete Coverage

page 17

Inside WKSU Regina Brett

page 14

Introducing QNew Programs &

New Schedule on WKSU

page 14

NE Ohio Cultural Milestones

page 4

FOLK FEST PREVIEW46th Folk Festival Program Guide page 21

=

Foundation/Government Annual Support

$1 MILLION AND MORE

The Cleveland FoundationCuyahoga County residents through

Cuyahoga Arts and CultureThe Kelvin and Eleanor

Smith Foundation

$250,000 TO $499,000

Kulas FoundationAndrew W. Mellon FoundationThe Miami Foundation,

from a fund established by the John S. and James L. Knight Foundation (Miami)

John P. Murphy FoundationDavid and Inez Myers FoundationOhio Arts Council

$100,000 TO $249,999

Sidney E. Frank FoundationGAR FoundationThe George Gund FoundationJohn S. and James L. Knight Foundation

$50,000 TO $99,999

The George W. Codrington Charitable Foundation

Martha Holden Jennings FoundationThe Mandel FoundationMyra Tuteur Kahn Memorial Fund

of The Cleveland FoundationElizabeth Ring Mather

and William Gwinn Mather FundThe Payne FundSurdna Foundation

$20,000 TO $49,999

The Abington FoundationAkron Community FoundationThe Helen C. Cole Charitable TrustThe Mary S. and David C.

Corbin FoundationThe Gerhard Foundation, Inc.Ann and Gordon Getty FoundationThe Margaret Clark Morgan FoundationThe Nonneman Family FoundationThe Nord Family FoundationPeacock Foundation, Inc. (Miami)The Sisler McFawn Foundation

Annual Supportgifts of $2,000 or more during the past year, as of September 10, 2012

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

generous support toward the Orchestra’s Annual Fund, benefit events, tours and residencies, and special projects.

$2,000 TO $19,999

Ayco Charitable FoundationThe Ruth and Elmer Babin FoundationThe Bernheimer Family Fund

of the Cleveland FoundationBicknell FundThe Eva L. and Joseph M. Bruening

FoundationThe Collacott FoundationMary and Dr. George L. Demetros

Charitable TrustElisha-Bolton FoundationFisher-Renkert FoundationThe Harry K. Fox and Emma R. Fox

Charitable FoundationFunding Arts Network (Miami)The Helen Wade Greene Charitable TrustThe Hankins FoundationThe Muna and Basem Hishmeh FoundationRichard H. Holzer Memorial FoundationThe Kangesser FoundationThe Kridler Family Fund

of The Columbus FoundationThe Jean Thomas Lambert FoundationThe Laub FoundationVictor C. Laughlin, M.D.

Memorial Foundation TrustThe G. R. Lincoln Family FoundationLaura R. & Lucian Q. Moffitt FoundationNational Endowment for the ArtsPaintstone FoundationThe Charles E. & Mabel M. Ritchie

Memorial FoundationThe Leighton A. Rosenthal

Family FoundationSCH FoundationAlbert G. & Olive H. Schlink FoundationJean C. Schroeder FoundationThe Sherwick FundLloyd L. and Louise K. Smith

Memorial FoundationThe South Waite FoundationThe Taylor-Winfield FoundationThe George Garretson Wade Charitable TrustThe S. K. Wellman FoundationThe Welty Family FoundationThomas H. White Foundation,

a KeyBank TrustThe Edward & Ruth Wilkof FoundationThe Wuliger FoundationAnonymous (2)

Cumulative GivingJOHN L. SEVERANCESOCIETY

$10 MILLION AND MORE

The Cleveland FoundationCuyahoga County residents

through Cuyahoga Arts & Culture

Kulas FoundationMaltz Family FoundationState of OhioOhio Arts CouncilThe Kelvin and Eleanor

Smith Foundation


John P. Murphy Foundation


Ann and Gordon Getty Foundation

GAR FoundationThe George Gund FoundationThe Louise H. and David S.

Ingalls FoundationMartha Holden Jennings

FoundationKnight Foundation

(Cleveland, Miami)Andrew W. Mellon FoundationDavid and Inez

Myers FoundationNational Endowment for the ArtsThe Payne FundThe Reinberger Foundation

The Severance Society recognizes

generous contributors of $1 million

or more in cumulative giving

to The Cleveland Orchestra.

Listing as of September 2012.


Foundation & Government Support


INDIVIDUAL GIFTS OF $500,000 AND MORE

Daniel R. and Jan R. Lewis (Miami)

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

Irma and Norman Braman (Miami) Francie and David Horvitz (Miami) The Walter and Jean Kalberer Foundation Susan Miller (Miami) Ms. Ginger Warner (Cleveland, Miami)


Mr. and Mrs. Joseph P. KeithleyDr. and Mrs. Herbert Kloiber (Europe)Mrs. Norma Lerner Peter B. Lewis and Janet Rosel (Miami)Mr.* and Mrs. Herbert McBride Mr. and Mrs. Albert B. Ratner


Mr. and Mrs. Douglas A. Kern The Honorable and Mrs. John Doyle Ong Janet and Richard Yulman (Miami)


Sheldon and Florence Anderson (Miami)Mr. Richard J. Bogomolny

and Ms. Patricia M. Kozerefski Mr. and Mrs. Alexander M. CutlerHector D. Fortun (Miami) Mr. and Mrs. Michael J. HorvitzJames D. Ireland III Mr. and Mrs. Dennis W. LaBarre

Leadership Council The Leadership Council salutes those extraor-

dinary 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:

Individual Support

The Cleveland Orchestra and Musical Arts Association gratefully recognize the individuals

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

Annual Fund, benefit events, tours and residencies, and special annual donations.


Lifetime GivingJOHN 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

Mr. and Mrs. Albert B. Ratner

Anonymous


Irma and Norman Braman (Miami) Mr. and Mrs. Francis J. CallahanMrs. Anne M. ClappMr. George Gund IIIFrancie 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. NortonThe Honorable and Mrs. John Doyle Ong Mr. and Mrs. Alfred M. Rankin, Jr.Charles and Ilana Horowitz RatnerJames and Donna Reid Barbara S. Robinson Anonymous (2)

The Severance Society recognizes generous contributors

of $1 million or more in lifetime giving to The Cleve-

land Orchestra. As of September 2012.

Annual Supportgifts during the past year, as of September 10, 2012

Individual Annual Support76 The Cleveland Orchestra

Individual Annual Support

R. Kirk Landon and Pamela Garrison (Miami) Mr. Randy LernerToby Devan LewisMs. Beth E. MooneyMr. and Mrs. Alfred M. Rankin, Jr. James and Donna ReidBarbara S. Robinson David A. and Barbara 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 Robert and Jean* Conrad Do Unto Others Trust (Miami)Mr. and Mrs. Geoffrey Gund George Gund Trevor and Jennie Jones Giuliana C. and John D. Koch Foundation

(Cleveland, Miami) Dr. Vilma L. KohnMr. and Mrs. S. Lee Kohrman Charlotte R. KramerMs. Nancy W. McCann Sally S. and John C. Morley Julia and Larry Pollock Mrs. Alfred M. Rankin, Sr.Brian and Patricia RatnerCharles and Ilana Horowitz Ratner Luci and Ralph* ScheyMary M. Spencer (Miami)Mr. and Mrs. Franz Welser-Möst


Mr. William P. Blair III Margaret Fulton-Mueller Dr. and Mrs. Hiroyuki Fujita Elizabeth B. Juliano Dr. and Mrs. David LeshnerMr. and Mrs. Jon A. LindsethMr. and Mrs. Edward A. LozickMrs. Jane B. NordMr. and Mrs. James A. RatnerHewitt and Paula Shaw Richard and Nancy Sneed Junior Committee

of The Cleveland OrchestraPaul and Suzanne Westlake


Gay Cull AddicottMr. and Mrs. William W. Baker Jill and Paul Clark Bruce and Beth Dyer Esther L. and Alfred M. Eich, Jr. Andrew and Judy Green Gary Hanson and Barbara Klante Mr. and Mrs. Jack HoeschlerRichard and Erica Horvitz (Cleveland, Miami)Mrs. Marguerite B. Humphrey William J. and Katherine T. O’Neil Dr. and Mrs. Ronald J. Ross Steven and Ellen Ross Mr. and Mrs. James A. SaksMarc and Rennie SaltzbergRaymond T. and Katherine S. SawyerDr. and Mrs. Neil SethiR. Thomas and Meg Harris Stanton Mr. and Mrs. Donald Stelling (Europe)Anonymous gift from Switzerland (Europe) Anonymous


Randall and Virginia BarbatoJayusia and Alan Bernstein (Miami) Scott Chaikin and Mary Beth CooperMr. and Mrs. Peter O. DahlenGeorge* and Becky DunnColleen and Richard Fain (Miami) Jeffrey and Susan FeldmanMr. Allen H. FordRichard and Ann GridleyMrs. John A Hadden Jr.Jack Harley and Judy ErnestMary and Jon Heider (Cleveland, Miami)Tati and Ezra Katz (Miami) Jonathan and Tina Kislak (Miami)Robert M. Maloney and Laura Goyanes Mr. Thomas F. McKee Miba AG (Europe)Lucia S. NashMr. Gary A. Oatey Brian and Patricia RatnerDavid and Harriet SimonMr. Joseph F. TetlakRick, Margarita and Steven Tonkinson (Miami)LNE Group — Lee Weingart (Europe)Anonymous


Mr. and Mrs. David J. Carpenter Judith and George W. Diehl Joyce and Ab* GlickmanMr. and Mrs. Jeffrey Healy Mrs. David Seidenfeld Mr. and Mrs. Alfred Umdasch (Europe)

listings continue




INDIVIDUAL GIFTS OF $10,000 TO $12,499Mr. and Mrs. George N. Aronoff Marsha and Brian Bilzin (Miami) Dr. Christopher P. Brandt and Dr. Beth Sersig Mr. D. McGregor Brandt, Jr.Augustine* and Grace CaliguireMr. and Mrs. R. Bruce CampbellRichard J. and Joanne ClarkMartha and Bruce Clinton (Miami)Mr. and Mrs. William E. ConwayMrs. Barbara CookBruce Coppock and Lucia P. May (Miami)Mr. and Mrs. Matthew V. Crawford Mr. Peter and Mrs. Julie Cummings (Miami)Mr. and Mrs. Robert P. DuvinMike S. and Margaret Eidson (Miami) Dr. and Mrs. Lloyd H. Ellis Jr.Ms. Dawn M. FullFrancisco A. Garcia and Elizabeth Pearson (Miami)Mr. and Mrs. Richard T. GarrettAlbert I. and Norma C. Geller Mr. and Mrs. Robert W. GillespieRobert K. Gudbranson and Joon-Li KimJeffrey and Stacie HalpernSondra and Steve HardisDavid and Nancy Hooker Mr. and Mrs. Christopher Hyland Mr. and Mrs. Donald M. Jack, Jr.Janet and Gerald Kelfer (Miami) Mrs. Elizabeth R. Koch

Tim and Linda Koelz Mr. and Mrs. Richard A. ManuelMr. and Mrs. Arch J. McCartneyMr. and Mrs. Stanley A. MeiselEdith and Ted* MillerMrs. Sydell L. MillerThe Estate of Walter N. MirapaulElisabeth and Karlheinz Muhr (Europe)Brian and Cindy MurphyMr. and Mrs. William M. Osborne, Jr. Mr. and Mrs. George M. Rose Mr. and Mrs. David A. RuckmanMr. Larry J. Santon Dr. E. Karl and Lisa SchneiderRachel R. Schneider Mr. and Mrs. Oliver E. SeikelMr. Eric Sellen and Mr. Ron SeidmanKim Sherwin Mr. and Mrs. Steven SpilmanLois and Tom Stauffer Mrs. Blythe SundbergDr. Russell A. TrussoTom and Shirley Waltermire Mr. Gary L. Wasserman and Mr. Charles A. Kashner (Miami)The Wells Family Foundation, Inc.Anonymous

INDIVIDUAL GIFTS OF $7,500 TO $9,999Laurel Blossom Dr. and Mrs. Jerald S. BrodkeyDr. Thomas Brugger and Dr. Sandra RussEllen E. & Victor J. Cohn Supporting Foundation Mr. Owen and Mrs. Victoria ColliganMr. and Mrs. Edward B. Davis Henry and Mary Doll Nancy and Richard DotsonKathleen E. HancockMary Jane Hartwell Iris and Tom Harvie Mrs. Sandra L. HaslingerPamela and Scott Isquick Allan V. Johnson Judith and Morton Q. Levin Mr. Jeff LitwillerMrs. Robert H. MartindaleMr. and Mrs. Thomas B. McGowan Mr. Donald W. Morrison Pannonius Foundation Douglas and Noreen PowersRosskamm Family TrustPatricia J. Sawvel Carol and Albert SchuppDr. Gerard and Phyllis SeltzerNaomi G. and Edwin Z. Singer Family Fund Mrs. Gretchen D. SmithMr. and Mrs. Donald W. Strang, Jr.Bruce and Virginia Taylor Sandy and Ted Wiese Anonymous (2)

INDIVIDUAL GIFTS OF $5,000 TO $7,499Susan S. AngellMr. and Mrs. Albert A. AugustusMr. and Mrs. Dean Barry Mr. Jon Batchelor (Miami)

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

Elizabeth Kelley

David C. Lamb

Raymond T. Sawyer

Barbara Robinson, chair

Robert Gudbranson, vice chair

Ongoing annual support gifts are a critical compo-

nent toward sustaining The Cleveland Orchestra’s

economic health. Ticket revenues provide only a

small portion of the funding needed to support

the Orchestra’s outstanding performances, educa-

tional activities, and community projects.

The Crescendo Patron Program recognizes gener-

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

Annual Campaign. For more information on the

benefits of playing a supporting role each year,

please contact Hayden Howland, Manager of

Leadership Giving, by calling 216-231-7545.

Crescendo Annual Campaign Patrons

listings continue


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Fred G. and Mary W. BehmDr. and Mrs. Nathan A. Berger Mr. William BergerDr.* and Mrs.* Norman E. Berman Dr. and Mrs. Eugene H. BlackstonePaul and Marilyn* BrentlingerMr. Robert W. BriggsFrank and Leslie Buck Mr. and Mrs. William C. Butler Ms. Maria Cashy Drs. Wuu-Shung and Amy Chuang Dr. William & Dottie Clark Mrs. Lester E. Coleman Mr. and Mrs. Gerald A. ConwayCorinne L. Dodero Foundation

for the Arts and Sciences Mrs. Barbara Ann Davis Ms. Nancy J. Davis (Miami)Mr. and Mrs. Thomas S. DavisMr. and Mrs. Terry C. Z. EggerDr. and Mrs. Robert ElstonMary and Oliver Emerson Dr. D. Roy and Diane A. FergusonChristopher Findlater (Miami)Mr. David J. GoldenMr. and Mrs. Henry J. GoodmanMr. and Mrs. Randall J. GordonHarry and Joyce Graham Mr. Paul Greig David and Robin GunningClark Harvey and Holly SelvaggiIn memory of Philip J. HastingsHenry R. Hatch and Robin Hitchcock HatchRobin Hitchcock HatchBarbara Hawley and David GoodmanJanet D. Heil*Anita and William HellerT. K. and Faye A. HestonAmy and Stephen Hoffman Joan and Leonard HorvitzBob and Edith Hudson (Miami)Mr. James J. Hummer Mr. and Mrs. Brinton L. HydeRudolf D. and Joan T. Kamper Andrew and Katherine KartalisMilton and Donna* Katz Dr. and Mrs. William S. KiserMrs. Justin Krent Mr. James and Mrs. Patricia KrohngoldMr. and Mrs. Peter A. Kuhn Mr. and Mrs. Arthur J. Lafave, Jr.David C. Lamb

Shirley and William Lehman (Miami) Mr.* and Mrs. Leo LeidenMrs. Emma S. LincolnHeather and Irwin LowensteinMr. and Mrs. Alex Machaskee Mr. and Mrs.* Robert P. Madison Ms. Jennifer R. MalkinMr. and Mrs. Morton L. MandelAlan Markowitz M.D. and Cathy PollardAlexander and Marianna C.* McAfee Claudia Metz and Thomas Woodworth Drs. Terry E. and Sara S. MillerMr. and Mrs. William A. Mitchell Ann Jones MorganRobert Moss (Miami)Mr. and Mrs. Stephen E. MyersMr. and Mrs. Herbert Newman Richard and Kathleen NordMr. Henry Ott-HansenMr. J. William and Dr. Suzanne PalmerClaudia and Steven Perles (Miami)Nan and Bob Pfeifer Dr. and Mrs. John N. Posch Lois S.* and Stanley M. ProctorMs. Rosella PuskasMr. and Mrs. Thomas A. QuintrellDrs. Raymond R. Rackley and Carmen M. Fonseca Mr. and Mrs. Roger F. RankinPaul A. and Anastacia L. RoseDr. Tom D. Rose Mr. and Mrs. Robert C. RuhlDavid M. and Betty Schneider Linda B. SchneiderLarry and Sally Sears Mrs. Frances G. ShoolroyMarjorie B. Shorrock Laura and Alvin A. SiegalDavid Kane Smith Jim and Myrna SpiraGeorge and Mary Stark Charles B. and Rosalyn Stuzin (Miami)Mr. and Mrs. Paul A. Teel, Jr. Mr. and Mrs. Bill Thornton Mr.* and Mrs. Robert N. TromblyDon and Mary Louise Van Dyke Bill Appert and Chris Wallace (Miami)Mr. and Mrs. Fred A. Watkins Dr. and Mrs. Leslie T. Webster, Jr.Dr. Edward L. and Mrs. Suzanne WestbrookTom and Betsy WheelerCharles WinansAnonymous (7)

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listings continued

Dr. and Mrs. D. P. AgamanolisMr. and Mrs. Robert H. BakerMs. Delphine BarrettMr.* and Mrs. Russell BearssMr. and Mrs. Jules BelkinDr. Ronald and Diane BellSuzanne and Jim BlaserDr. Ben H. and Julia BrouhardDr. and Mrs. William E. CappaertMs. Mary E. ChilcoteDrs. Mark Cohen and Miriam Vishny

Diane Lynn CollierMarjorie Dickard ComellaPete and Margaret DobbinsPeter and Kathryn EloffMr. Brian L. Ewart

and Mr. William McHenryMrs. Joan Getz (Miami)Robert N. and Nicki N. GudbransonMr. Robert D. HartMatthew D. Healy and Richard S. AgnesHazel Helgesen and Gary D. Helgesen

Mr. David and Mrs. Dianne HuntDr. and Mrs. Scott R. InkleyDonna L. and Robert H. JacksonMr. and Mrs. Richard A. JanusHelen and Erik JensenJoela Jones and Richard WeissDr. Gilles and Mrs. Malvina KlopmanDr. James and Mrs. Margaret KreinerRonald and Barbara LeirvikMr. and Mrs. Irvin A. Leonard



PHOTO COURTESY OF CLEVELAND PUBLIC ART, RYAN DIVITA PHOTOGRAPHER

WWW.CACGRANTS.ORG 216 515 8303

CUYAHOGA ARTS & CULTURE IS PROUD TO SUPPORT

APOLLO'S FIRE BAYARTS BECK CENTER FOR THE ARTS CHAGRIN VALLEY LITTLE THEATRE CLEVELAND

BOTANICAL GARDEN CLEVELAND INTERNATIONAL FILM FESTIVAL CLEVELAND JAZZ ORCHESTRA

CLEVELAND MUSEUM OF ART CLEVELAND MUSEUM OF NATURAL HISTORY THE CLEVELAND ORCHESTRA

CLEVELAND PLAY HOUSE CLEVELAND PUBLIC THEATRE DANCECLEVELAND GREAT LAKES SCIENCE

CENTER GREAT LAKES THEATER GROUNDWORKS DANCETHEATER HEIGHTS YOUTH THEATRE IDEASTREAM

KARAMU HOUSE MALTZ MUSEUM OF JEWISH HERITAGE MUSEUM OF CONTEMPORARY ART NATURE

CENTER AT SHAKER LAKES PLAYHOUSESQUARE ROCK AND ROLL HALL OF FAME AND MUSEUM SPACES

WESTERN RESERVE HISTORICAL SOCIETY & MANY OTHERS

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Mr. Lawrence B. and Christine H. LeveyDr. Alan and Mrs. Joni LichtinAnne R. and Kenneth E. LoveRobert and LaVerne LugibihlElsie and Byron LutmanJoel and Mary Ann MakeeMartin and Lois MarcusSusan and Reimer MellinDr.* and Mrs. Hermann Menges, Jr.Dr. Susan M. MerzweilerMr. and Mrs. Peter R. OsenarMrs. Ingrid PetrusMr. and Mrs. John S. PietyMr. and Mrs. Richard W. PogueIn memory of Henry PollakWilliam and Gwen PreucilDr. Robert W. Reynolds

Mrs. Charles RitchieAmy and Ken RogatFred Rzepka and Anne Rzepka

Family FoundationBob and Ellie ScheuerMs. Freda SeavertCharles Seitz (Miami)Ginger and Larry ShaneMr. Richard ShireyDr. Marvin and Mimi SobelMr. and Mrs. William E. SpatzHoward Stark M.D.

and Rene Rodriguez (Miami)Mrs. Barbara Stiefel (Miami)Dr. Elizabeth SwensonMs. Lorraine S. SzaboMr. and Mrs. Leonard K. Tower

Robert and Marti VagiMr. and Mrs. Mark Allen WeigandMr. Peter and Mrs. Laurie WeinbergerRobert C. WepplerNancy V. and Robert L. WilcoxMs. Rosina Horvath

INDIVIDUAL GIFTS OF $3,500 TO $4,999 CONTINUED


Ms. Nancy A. AdamsStanley I. and Hope S. AdelsteinNorman and Rosalyn Adler Family

Philanthropic FundMr. Gerald O. AllenNorman and Helen AllisonMr. and Mrs. Robert J. AmsdellRev. Dr. and Mrs. Kenneth J. AndersonMr. and Mrs. Jeffrey R. AppelbaumMr. and Mrs. Stanley H. Arkin (Miami)Geraldine and Joseph BabinMr. Roger G. BerkKerrin and Peter Bermont (Miami)Barbara and Sheldon BernsJulia & David Bianchi

(Cleveland, Miami)Carmen Bishopric (Miami)Bill and Zeda BlauMr. Doug BletcherMr. and Mrs. Dennis A. BlockJohn and Anne BourassaLisa and Ron BoykoMrs. Ezra BryanMs. Mary R. Bynum

and Mr. J. Philip CalabreseMrs. Millie L. CarlsonMr. and Mrs. Frank H. CarpenterLeigh and Mary* CarterMr. and Mrs. James B. ChaneyDr. and Mrs. Ronald ChapnickMs. Suzan ChengDr. and Mrs. Chris ChengelisMr. and Mrs. Homer D. W. ChisholmMr. and Mrs. Robert A. ClarkMr. and Mrs. David J. CookDr. Dale and Susan CowanMrs. Frederick F. DannemillerCharles and Fanny Dascal (Miami)Jeffrey and Eileen DavisMrs. Lois Joan DavisDr. and Mrs. Richard C. DistadMs. Maureen A. Doerner

and Mr. Geoffrey T. White

Mr. George and Mrs. Beth DownesMs. Mary Lynn DurhamGeorge* and Mary EatonDavid and Margaret EwartHarry and Ann FarmerCarl and Amy FischerScott Foerster, Foerster and BohnertJoan Alice FordMrs. Amasa B. FordMr. Monte Friedkin (Miami)Marvin Ross Friedman and Adrienne

bon Haes (Miami)Arthur L. FullmerPeggy and David* FullmerRichard L. FurryJeanne GallagherBarbara and Peter GalvinJoy E. GarapicMrs. Georgia T. GarnerBarbara P. Geismer*Mr. Wilbert C. Geiss, Sr.Dr. Kevin and Angela GeraciAnne and Walter GinnMr. and Mrs. David GoldbergMr. and Mrs. David A. GoldfingerDr. and Mrs. Ronald L. GouldMr. and Mrs. Robert T. GrafNancy Green (Miami)Mr. and Mrs. Brent R. GroverThe Thomas J. and Judith Fay Gruber

Charitable FoundationNancy and James GrunzweigMr. Davin and Mrs. Jo Ann GustafsonDr. Phillip M. and Mrs. Mary HallNorman C. and Donna L. HarbertMr. and Mrs. George B. P. HaskellMr. and Mrs. Jerry HerschmanMr. Robert T. HexterDr. and Mrs. Robert L. HinnesMr. and Mrs. Edmond H. HohertzThomas and Mary HolmesDr. Keith A. and Mrs. Kathleen M. HooverMark and Ruth Houck (Miami)

Dr. Randal N. Huff and Ms. Paulette Beech

Ms. Charlotte L. HughesMs. Luan K. HutchinsonRuth F. IhdeDr. Michael and Mrs. Deborah JoyceBarbara and Michael J. KaplanDr. and Mrs. Richard S. KaufmanRev. William C. KeeneMr. Karl W. KellerElizabeth KelleyAngela Kelsey

and Michael Zealy (Miami)The Kendis Family TrustBruce and Eleanor KendrickMr. James KishNatalie KittredgeFred and Judith KlotzmanEllen Brad and Bart KovacDr. Ronald H. Krasney

and Ms. Sherry* LatimerMr. Donald N. KrosinMr. and Mrs. S. Ernest KulpMrs. Carolyn LamplMr. and Mrs. Israel LapciucKenneth M. LapineAnthony T. and Patricia A. LauriaMr. Jin-Woo LeeMichael and Lois A. LemrDr. Edith LernerDr. Stephen B. and Mrs. Lillian S. LevineRobert G. LevyMr. Jon E. Limbacher

and Patricia J. LimbacherIsabelle and Sidney* LobeHolly and Donald LoftusMartha Klein LottmanMary LoudMarianne Luedeking (Miami)Herbert L. and Rhonda MarcusDr. and Mrs. Sanford E. MarovitzDavid and Elizabeth Marsh


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listings continued


1-866-UH4-CARE | 1-866-844-2273UHhospitals.org/musicandmedicine

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Mr. and Mrs.* Duane J. MarshMrs. Meredith T. MarshallDr. Ernest and Mrs. Marian MarsolaisMr. Julien L. McCallJim and Diana McCoolWilliam and Eleanor McCoyStephen and Barbara MessnerMr. Stephen P. MetzlerMr. and Mrs. Roger Michelson (Miami)MindCrafted SystemsMr. Raymond M. MurphyJoan Katz Napoli

and August NapoliRichard B. and Jane E. NashMr. David and Mrs. Judith NewellMort and Milly Nyman (Miami)Richard and Jolene O’CallaghanNedra and Mark Oren (Miami)James P. Ostryniec (Miami)Mr. and Mrs. Robert D. PaddockDeborah and Zachary ParisDr. Lewis and Janice B. PattersonDr. Roland S. Philip

and Dr. Linda M. SandhausDr. Marc and Mrs. Carol PohlMr. Richard and Mrs. Jenny ProeschelK. PudelskiMs. C. A. ReaganAlfonso Conrado Rey (Miami)David and Gloria RichardsMichael Forde RipichDr. Barbara RisiusCarol Rolf and Steven AdlerDr. and Mrs. Michael Rosenberg (Miami)Michael and Roberta RusekMrs. Florence Brewster RutterDr. Harry S. and Rita K. RzepkaNathan N. and Esther Rzepka Family

Philanthropic FundDr. and Mrs. Martin I. SaltzmanMs. Patricia E. SayMr. Paul H. ScarbroughMr. James SchutteDr. John Sedor and Ms. Geralyn PrestiLee G. and Jane SeidmanDrs. Daniel and Ximena SesslerHarry and Ilene ShapiroNorine W. SharpDr. and Mrs. William C. SheldonMs. Linda M. SmithMr. and Mrs.* Jeffrey H. SmytheMrs. Virginia SnappMs. Barbara SnyderMr. John C. Soper

and Dr. Judith S. BrennekeMr. John D. SpechtMr. and Mrs.* Lawrence E. StewartMs. Evelyn H. Stroud

Dr. Kenneth F. SwansonMr. Taras G. Szmagala Jr.Mr. Nelson S. TalbottMs. Suzanne ThaxtonMr. Karl and Mrs. Carol TheilParker D. Thomson Esq. (Miami)Mr. and Mrs. Robert J. TomsichMr. and Mrs. Lyman H. TreadwaySteve and Christa TurnbullMiss Kathleen TurnerRobert A. ValenteBrenton Ver Ploeg (Miami)Mr. and Mrs. Joaquin Vinas (Miami)Mr. and Mrs. Les C. VinneyRicky & Sarit Warman

— Papa John’s Pizza (Miami)Mr. and Mrs. Joseph F. WasserbauerMs. Laure A. WasserbauerPhilip and Peggy WasserstromEric* and Margaret WayneMr. and Mrs. Jerome A. WeinbergerMrs. Mary Wick BoleRichard Wiedemer, Jr.Dr. Paul R. and Mrs. Catherine WilliamsMr. and Dr. Ann WilliamsRichard and Mary Lynn WillsMichael H. Wolf and Antonia Rivas-WolfMr. Robert Wolff

and Dr. Paula SilvermanRad and Patty YatesFred and Marcia ZakrajsekMr. Kal Zucker

and Mrs. Mary Frances HaerrAnonymous (10)

member of the Leadership Council (see page 76)

* deceased

The Cleveland Orchestra is sustained through the annual

support of thousands of generous patrons, including

members of the Crescrendo Patron Program listed on these

pages. Listings of all 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 for The Cleveland Orchestra’s artistic excellence and

community partnerships, please contact our Philanthro-

py & Advancement Office by calling 216-231-7545.

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

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The Cleveland Orchestra’s catalog of recordings

continues to grow. The newest DVD features Bruckner’s

Eighth Symphony recorded live at Severance Hall under

the direction of Music Director Franz Welser-Möst in 2010

and released in May 2011. And, released in

2012, Dvořák’s opera Rusalka on CD, recorded

live at the Salzburg Festival. Writing of the

Rusalka performances, the reviewer for

London’s Sunday Times praised the perform -

ance as “the most spellbinding account

of Dvořák’s miraculous score I have ever

heard, either in the theatre or on record.

. . . I doubt this music can be better played than by the

Clevelanders, the most ‘European’ of the American or-

chestras, with wind and brass soloists 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.

R E C O R D I N G Sg r e a t g i f t i d e a s


New!

Visit the Cleveland Orchestra Store for

the latest and best Cleveland Orchestra

recordings and DVDs.

P R E S E N T S

Nov 29-30 and Dec 1-2

with The Joff rey Balletand The Cleveland Orchestra

conducted by Tito Muñoz

TICKETS playhousesquare.org | 216-241-6000 | 866-546-1353

at

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.

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

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Severance Hall88 The Cleveland Orchestra


Academic Sponsor

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20

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William H. Dietz, M.D., Ph.D.Expert on fitness, nutrition and obesity

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“The nation’s leading Presidential historian”3.18.13

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

2013 MUSICAL MILESTONES

register onlinewww.case.edu/lifelonglearning

or call 216.368.2090

...for the love of learning

DONALD ROSENBERGMusic and Dance

writer for The Plain

Dealer; President

of the Music Critics

Association of North

America.

Wednesdays, January 9, 16, 23, 30 1:30 – 3:30 p. m.

Registration: $60

Donald Rosenberg’s writing has appeared

in Symphony Magazine, Opera News,

Opera (London), Musical America, and other

publications. An accomplished French horn

player, he has performed at the prestigious

Aspen and Marlboro music festivals. He is a

graduate of the Mannes College of Music and

the Yale School of Music.

KNOW YOUR STUFF

Get the jump on 2013:

Four major celebrations

will be marked in the

world of classical music.

The bicentenary of

the births of Richard

Wagner and Giuseppe

Verdi; the 100th

anniversary of the birth

of Benjamin Britten,

and the centenary of

the notorious 1913 Paris

premiere of The Rite of Spring. This course

will explore all of these milestones through

audio and video recordings that confirm the

timelessness of these artistic phenomena.

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

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

90 The Cleveland OrchestraConcert Calendar

F A L L S E A S O NThursday December 6 at 8:00 p.m.Saturday December 8 at 8:00 p.m.THE CLEVELAND ORCHESTRAGiancarlo Guerrero, conductorBéla Fleck, banjo

ADAMS Short Ride in a Fast MachineFLECK Banjo ConcertoCOPLAND Suite from Billy the KidGERSHWIN An American in Paris

Friday December 7 at 7:00 p.m.THE CLEVELAND ORCHESTRAGiancarlo Guerrero, conductorBéla Fleck, banjo

KEYBANK FRIDAYS@7ADAMS Short Ride in a Fast MachineGERSHWIN An American in ParisFLECK Banjo Concerto

Sponsor: KeyBank

Friday December 7 at 10:00 a.m.Sunday December 9 at 12:30 p.m.

PNC HOLIDAY RAINBOW Music of Chanukah

A special presentation and celebration of the music and traditions of Chanukah, presented at Temple — Tifereth Israel (26000 Shaker Boulevard, Beachwood). For young people and their families, suitable for ages 3 and up.

Sponsor: PNC

Tuesday December 11 at 8:00 p.m.THE CLEVELAND ORCHESTRAWilliam Eddins, conductor

CELEBRITY SERIES Charlie Chaplin’s Modern Times

For a second year, the Orchestra presents a classic silent fi lm with live orchestral accompaniment. Don’t miss this iconic fi lm of the Little Tramp in his adventures amidst the industri-alization of modern life.

Thursday December 13 at 10:00 a.m.PNC HOLIDAY RAINBOW

Celebration of KwanzaaA special Holiday Rainbow celebrating the traditions of Kwan-zaa, presented “on the road” at Karamu House (2355 East 89th Street, Cleveland). For young people and their families, suitable for ages 3 and up.

Sponsor: PNC

Friday December 14 at 10:00 a.m.Saturday December 15 at 11:00 a.m. PNC HOLIDAY RAINBOW Christmas Brass Quintet

Enjoy the Christmas spirit with brass music in this favorite Cleveland Orchestra holiday treat. A festive program of holiday music for young people and their families, suitable for ages 3 and up.

Sponsor: PNC

Tuesday December 18 at 8:00 p.m.Wednesday December 19 at 8:00 p.m.THE CLEVELAND ORCHESTRAJames Feddeck, conductor HOLIDAY FESTIVAL Pink Martini: Joy to the World

The group Pink Martini returns to Severance Hall for a special holiday celebration with a globally-inclusive holiday concert for the 21st century.

W I N T E R S E A S O NThursday January 10 at 8:00 p.m.Friday January 11 at 11:00 a.m.Saturday January 12 at 8:00 p.m.THE CLEVELAND ORCHESTRAFranz Welser-Möst, conductorGarrick Ohlsson, piano

TCHAIKOVSKY Piano Concerto No. 2 * SHOSTAKOVICH Symphony No. 10 * Friday Morning concert includes the concerto and selections from Smetana’s Má Vlast

Sponsor: BakerHostetler

Thursday January 17 at 8:00 p.m.Saturday January 19 at 8:00 p.m.THE CLEVELAND ORCHESTRAFranz Welser-Möst, conductorJoshua Bell, violin

WIDMANN Lied BARTÓK Dance Suite BEETHOVEN Violin Concerto Sponsor: Eaton Corporation

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

O R C H E S T R A 1213SEASON


Friday January 18 at 7:00 p.m.THE CLEVELAND ORCHESTRAFranz Welser-Möst, conductorJoshua Bell, violin

KEYBANK FRIDAYS@7BEETHOVEN Violin Concerto

BARTÓK Dance Suite Sponsor: KeyBank

Sunday January 20 at 7:00 p.m.THE CLEVELAND ORCHESTRATito Muñoz, conductorCentral State University ChorusMartin Luther King Jr. Celebration Chorus

MARTIN LUTHER KING JR. CELEBRATION CONCERT The Cleveland Orchestra’s 33rd annual concert cele-

brating the spirit of Dr. King’s life, leadership, and vision. Presented in collaboration with the City of Cleveland.

TICKETS: Admission is free, but tickets are required. Tickets become available on January 2. Sponsor: KeyBank

Monday January 21 from noon to 5 p.m.

MARTIN LUTHER KING JR. COMMUNITY OPEN HOUSE

Severance Hall joins in a city-wide celebration of Martin Luther King Jr’s life and achievements with a free public open house featuring musical performances by the Cleve-land Orchestra Youth Orchestra, Cleveland Orchestra Youth Chorus, and groups from across Northeast Ohio. Watch clevelandorchestra.com for complete details.

Saturday February 9 at 8:00 p.m.Sunday February 10 at 3:00 p.m.THE CLEVELAND ORCHESTRAGianandrea Noseda, conductorMassimo La Rosa, trombone

RACHMANINOFF The Isle of the Dead ROTA Trombone Concerto PROKOFIEV Symphony No. 6 Sponsor: FirstMerit Bank

Concert Calendar

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

Cleveland OrchestraCHRISTMASFriday December 14 at 8 p.m.Saturday December 15 at 3 & 8 p.m.Sunday December 16 at 3 p.m.Friday December 21 at 8 p.m.Saturday December 22 at 3 & 8 p.m.Sunday December 23 at 3 & 7 p.m.THE CLEVELAND ORCHESTRARobert Porco, conductorCleveland Orchestra ChorusCleveland Orchestra Children’s Chorus

Celebrate the holiday season with a

favorite Cleveland tradition — with The

Cleveland Orchestra and Chorus in these

annual off erings of music for the Christmas

Season. Including sing-alongs and holiday

cheer, all in the festive yuletide splendor

of Severance Hall.

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

Cleveland Orchestra Radio Broadcasts: Radio broadcasts of current and past concert performances by The Cleveland Orchestra can be heard as part of regular weekly programming on WCLV (104.9 FM), with programs broadcast on Saturday at 8:00 p.m. and Sunday at 4:00 p.m.

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 opentable.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 are being offered this season on October 14, November 25, February 10 and 24, and May 5 and 26. For additional information or to re-serve you place for these tours, please call the Sever-ance 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 [email protected]

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. Exclusive catering pro-vided by Sammy’s. Premium dates are available. Call the Facility Sales Offi ce at 216-231-7420 or email to [email protected]

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 $14 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 $10 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 2012-13 93Severance Hall 2012-13 Guest 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


94 The Cleveland OrchestraUpcoming Concerts

JOSHUA BELLPLAYS BEETHOVENThursday January 17 at 8:00 p.m.Friday January 18 at 7:00 p.m.Saturday January 19 at 8:00 p.m.THE CLEVELAND ORCHESTRAFranz Welser-Möst, conductorJoshua Bell, violin

One of today’s great artists performs one of

the greatest concertos ever written, Beethoven’s

timeless Violin Concerto. Superstar violinist

Joshua Bell has enchanted audiences worldwide

with his breathtaking virtuosity and beautiful

tone. Experience his artistry in concert with The

Cleveland Orchestra at Severance Hall.

Fridays@7 Sponsor: KeyBank

KeyBank Fridays@7 World Music —Post-Concert: Pedrito Martinez Group

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 Severance Hall concerts.

TICKETS 216-231-1111 clevelandorchestra.com

At Severance Hall . . .

2012 HOLIDAY FESTIVALPINK MARTINI:JOY TO THE WORLDTuesday December 18 at 8:00 p.m.Wednesday December 19 at 8:00 p.m.THE CLEVELAND ORCHESTRAJames Feddeck, conductorwithPink Martini

The group Pink Martini returns

to Severance Hall for a special holiday

celebration with The Cleveland Orchestra.

In true Pink Martini fashion, the band has

created a globally-inclusive holiday concert

for the 21st century. Their multicultural

concert showcases an intoxicating mix of

cabaret, samba, and jazz. Enjoy the band’s

popular favorites along with holiday classics

such as “White Christmas,” “Santa Baby,”

“Little Drummer Boy,” “We Three Kings,”

and more!

216.861.3810 877.554.5054www.ClevelandFoundation.org

Leave your mark on your community by partnering with the Cleveland Foundation. We are the largest grantmaker in Northeast Ohio, giving about $80 million annually in grants to worthy causes here. You can give to all of your favorite causes through the Cleveland Foundation. For nearly 100 years, we have helped people like you give back in memorable ways. Join us and experience the satisfaction of knowing your gift will keep giving forever.

If you want to be remembered,

do something memorableSM.

Documents

The Cleveland Orchestra December 6-11 Concerts