The Cleveland Orchestra February 18, 19, 20/March 3, 5, 6 Concerts

2015-16 SEASON

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Concert Program: February 18, 19, 20 HERBERT BLOMSTEDT CONDUCTS DVOK page 31

Concert Program: March 3, 5, 6 STEPHEN HOUGH PLAYS DVOK page 57

INTRODUCING ANDR GREMILLET page 7

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Proud supporters of The Cleveland Orchestras music education programs for children, making possible the rewards and benets of music in their lives.

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

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

2015-16 SEASON

Upfront Introducing Andr Gremillet . . . . . . . . . . . . . . . . . . . . 7

About the Orchestra Musical Arts Association . . . . . . . . . . . . . . . . . . . . . . . 17 The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . . . 21 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Patron Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

WEEK 12 BLOMSTEDT CONDUCTS DVOK Program: February 18, 19, 20 . . . . . . . . . . . . . . . . 31 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 33 BERWALD Symphony No. 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 DVOK Symphony No. 7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Guest Conductor: Herbert Blomstedt . . . . . . . . . . . 45

NEWS Cleveland Orchestra News . . . . . . . . . . . . . . . . . . . . . 50

WEEK 13 STEPHEN HOUGH PLAYS DVOK Program: March 3, 5, 6 . . . . . . . . . . . . . . . . . . . . . . 57 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 59 SCHUMANN Overture to Byrons Manfred . . . . . . . . . . . . . . . . 61 DVOK Piano Concerto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 NIELSEN Symphony No. 4 (Inextinguishable) . . . . . . . 65

Guest Soloist: Stephen Hough . . . . . . . . . . . . . . . . . 72 Guest Conductor: Alan Gilbert . . . . . . . . . . . . . . . . . 73

Support Extraordinary Support . . . . . . . . . . . . . . . . . . . . . . . . 11 Heritage Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Sound for the Centennial . . . . . . . . . . . . . . . . . . 48-49 Annual Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75-86

Concerts & Calendars Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Concert Calendar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

WEEKS 12 AND 13

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This program is printed on paper that includes 50% recycled content.

All unused books are recycled as part of theOrchestras regular busi-ness recycling program.

These books are printed with EcoSmart certified 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%

COVER PHOTOGRAPHY BY ROGER MASTROIANNI

Copyright 2016 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 Cleveland Orchestra is grateful to the following organizations for their ongoing

generous support of The Cleveland Orchestra: National Endowment for the Arts,

the State of Ohio and Ohio Arts Council, and to the residents of Cuyahoga County

through Cuyahoga Arts and Culture.

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

from the State of Ohio.

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

4 The Cleveland OrchestraTable of Contents

NATIONAL ENDOWMENTFOR THE ARTS

E X P E R I E N C E F O R T O M O R R O W

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BakerHostetler is honored to support The Cleveland Orchestras commitment to world-class performances.

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An Exotic & Alluring Encounter

Q&A Introducing Andr Gremillet

Meet the Executive Director 7Severance Hall 2015-16 7

What are your fi rst impressions of Cleveland and Northeast Ohio? Very positive! Everyone is making me feel really welcome and I am eager to learn more about the city and all of Northeast Ohio. As the one who is new here, I believe it is up to me to reach out, listen and learn, so that I truly un-derstand what is important to this com-munity and what makes it such a unique place. I think it is an intriguing city and region, very refi ned culturally, and clearly ambitious for the future and new oppor-tunities. It feels like it is an exciting time to be here.

What are you going to miss most about Melbourne? I think I will miss the food scene the most, especially the Asian off erings. And I will miss the outdoor olympic-size swim-ming pool that I would swim in all year round because you can do that in Mel-bourne, swim outdoors, even in the mid-dle of winter. Having said that, I did miss cross-country skiing while in Melbourne, which I now plan on resuming.

How did you meet your wife? My wife is Ginette. She has a French fi rst name, but she is very much an Amer-ican. In fact, both our fathers were immi-grants from France to North America.

We met in New Jersey, when I was the head of the New Jersey Symphony, and we have a son Olivier who was born in Australia, and who just turned three in December. Ginette was seven months pregnant when we moved to Australia, which tells you a little something about the great partner she is. She is looking forward to moving here in a few weeks, and to getting involved in her new community. She has also been very im-pressed by how welcoming Clevelanders have been with her during her two visits here. Professionally, Ginette has worked as an event producer, for both for-profi t and non-profi t organizations.

Have you chosen where youre going to live in Northeast Ohio? Not yet. There are a lot of great neighborhoods to choose from. We are, perhaps, leaning towards the Heights. Somewhere close to Severance Hall, be-cause I intend to spend a lot of time at Severance Hall, and it would be nice not to spend very much time commuting. Youve worked in commercial business, in the non-profi t world, and youre a musician. How do all those fi t together? I cant imagine for myself doing this job without either the artistic or the business training. Understanding the

With the new year, The Cleveland Orchestra welcomes new exec-

utive director Andr Gremillet, who most recently headed the

Melbourne Symphony in Australia. Prior to that, he had led the

New Jersey Symphony Orchestra and the Casavant Frres organ

company in Qubec, Canada. He is a conservatory-trained pianist, holding a master's

degree from Mannes College of Music and an MBA from McGill University.

Meet the Executive Director8 The Cleveland Orchestra

delicate balance between the artistic goals and the business imperatives is crucial and is one of the aspects that makes this job both exciting and challenging. I didnt go to business school to work in the for-profi t world. My goal was always to run a great orchestra, or music festival. But the business discipline that I acquired running a for-profi t company I fi nd invaluable. When you are managing a shareholder's or owner's money, you learn quickly about the impact of your de-cisions on the bottomline, and about the importance of being fi scally responsible in order to achieve your goals. And I think that has served me really well, now that I have to make these decisions for a much greater purpose and goal, acting as stew-ard of an invaluable asset for the overall community.

When and why did you fi rst fall in love with classical music? I remember as a child hearing a record-ing of Beethovens Third Piano Concerto with Wilhelm Kempff , and I believe with the conductor Ferdinand Leitner, an old Deutsche Grammophon recording with the Berlin Philharmonic. And during the slow movement of that C-minor concerto, I remember thinking this is it, this is what I love.

What was your fi rst memory or awareness of The Cleveland Orch estra? As a really young kid, I remember hearing Cleveland's weekly broadcasts, carried by the CBC. I have a more recent memory, when I studied in New York with pianist Grant Johannesen after he had been president of the Cleveland Institute of Mu-sic. I remember him lending me a private recording of a rehearsal with Robert Casa-desus and George Szell, of a Mozart piano concerto. And it gave such a vivid sense of

what this orchestra was capable of, and of its incredible work ethic. Having said that, I believe this orchestra has only gotten better since that time, and the artistic partnership between the Orchestra and Franz Welser-Mst is unique in the world.

Please talk about your time with the New Jersey Symphony Orchestra . . . New Jersey was my fi rst orchestra, so it was a big learning experience for me. It is a good example of where my for-profi t and business training was crucial. When I came onboard, the New Jersey Symphony was in a very diffi cult position fi nancially. What made it possible for the orchestra to be in much better shape when I left fi ve years later? First, we were all united, working as a board, staff , and musicians on solving the issues together. That unity of purpose really made the diff erence. Second, we were al-ways focused on the mission of the orches-tra, and made decisions accordingly. And the third thing, New Jersey is where I discovered that this running an orchestra was right for me. And I loved every part of it, whether on the artistic side, or the fundraising side, or working with the community. You often may want to do something, and you think you are going to like it, obviously thats why I got into this business, but until youve actually done it, you dont know.

And about running an organ company . . . The pipe organ world is a very small world, but a very dynamic one. First off , I had the pleasure of discovering the organ music repertoire itself which I did not really know. On the administrative side, this was my fi rst company. I trained with the outgoing president one-on-one for two years, basically in the same way that the artisans were trained in the shop, in the ap-prenticeship system that goes back all the

Meet the Executive Director 9Severance Hall 2015-16 9

way to medieval times. This is how organ builders have been trained throughout his-tory. There was an incredible sense of his-tory at the company, not unlike what I know is the case with The Cleveland Orchestra. It is always interesting to be part of a company with a very proud past, and to dis-cover how to use that past not to hold you back, but to help you look forward. Times change, and change must be embraced, but there are also lessons to learn from the past. What we need are the best ideas new ideas, or old ideas whose time has come.

Favorite composer? Or piece? My answer really changes from month to month, often based on what I am listen-ing to professionally. Most recently, it has been Mahler Three following the incred-ible performance I heard in Vienna in No-vember with Franz and The Cleveland Orch-estra. As someone who plays the piano, other favorites include Albnizs Iberia and works by Chopin and Debussy.

As someone new to town, talk about what you see as The Cleveland Orchestras greatest opportunities and challenges? I think there is no doubt that Cleve-land's biggest strength is the people of this community. This is one of the most gener-

ous and supportive communities anywhere, across the entire world. The people here built this great orchestra and have kept it going because it matters. Great music and quality community programming and music education, all these matter to this commu-nity. The Cleveland Orchestra is one of the best orchestras anywhere. With that great-ness, the next steps forward are to ensure the Orchestras sustainability and stability and fi nancial strength, which involves turn-ing vision and dreams into reality, both artis-tically and in terms of the funding required.

How will you know youre doing the right things for The Cleveland Orchestra? That the Orchestra continues to grow artistically. That we talk about the things that really matter. That what we do as an orchestra matters to the community. That we continue having an impact on people on more people, and on young people.

Hobbies? Interests outside of music? I love history, reading in general, good food, and I love travelling. Also, exercising is important to me. I am a runner, and I like to swim.

Favorite foods? French food, which is no surprise given my heritage as well as Asian food, Thai in particular. I also have a sweet tooth, having grown up with good pastries. My father is a pastry chef.

What books are on your nightstand? Im just fi nishing Margaret MacMillans The War that Ended Peace: The Road to 1914, about the run-up to the First World War.

Favorite television/streaming indulgence? House of Cards talk about indul-gence! And Homeland.

Andr and Ginette

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

clevelandorchestra.com

11Severance Hall 2015-16 11

The generous individuals, corporations, foundations, and government agencies listed here made extraordinary cash contributions of $100,000 or more to The Cleveland Orchestras annual fund, benefit events, or special annual donations during the 2014-15 season. The Cleveland Orch estra gratefully recognizes the crucial role these funders play in supporting the Orchestras ongoing ability to share the worlds finest classical music with the greater Northeast Ohio commu-nity. For information about making your own gift to The Cleveland Orchestra, please call 216-231-7558.

BakerHostetlerThe Cleveland FoundationCuyahoga County residents through Cuyahoga Arts & CultureGeorge* and Becky DunnEatonFirstEnergy FoundationForest City Enterprises, Inc.GAR FoundationThe George Gund FoundationHyster-Yale Materials HandlingNACCO Industries, Inc.Jones DayThe Walter and Jean Kalberer FoundationMr. and Mrs. Joseph P. KeithleyKeyBankKulas FoundationMr. and Mrs. Dennis W. LaBarreMrs. Norma Lerner and The Lerner Foundation

Mrs. Emma S. LincolnMilton and Tamar MaltzElizabeth F. McBrideMedical Mutual of OhioThe Andrew W. Mellon FoundationJohn P. Murphy FoundationDavid and Inez Myers FoundationThe Eric & Jane Nord Family FundNordson Corporation FoundationOhio Arts CouncilPNC BankMr. and Mrs. Albert B. RatnerJames and Donna ReidThe Kelvin and Eleanor Smith FoundationMr. and Mrs. Richard K. SmuckerThe J. M. Smucker CompanySquire Patton Boggs (US) LLPThompson Hine LLPMs. Ginger Warner

Extraordinary Thanks to each of these supporters

Extraordinary Operating Support giving of $100,000 or more during the 2014-15 season

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

Annual Support 11

. . . to hear The Cleveland Orchestra for the fi rst time?

Yoash and Sharon Wiener believe there is nothing better than listen-ing to beautiful music played by a world-class orchestra in an internationally-renowned concert hall just a short drive from your home. And theyve been enjoying The Cleveland Orchestra for nearly half a century.

In addition to being long-time season subscribers to The Cleveland Orch estra at both Severance Hall and each summers Blossom Music Festival, Yoash and Sharon are supporting the Orch-estras future through the gift annuity program. In exchange for their gift, Yoash and Sharon receive income for life and a charitable tax deduction.

Our very fi rst date was 46 years ago at a Cleveland Orchestra performance in Sev-erance Hall. The date was great and so was the music, and The Cleveland Orch estra has been a central part of our lives together, says Yoash. Participating in the gift annuity program is our way of thanking the Orchestra for all it has meant to us.

To fi nd out how you can create a gift annuity and join Yoash and Sharon in supporting The Cleveland Orchestras future, call our offi ce of Legacy Giving at 216-231-8006.


clevelandorchestra.com/cga

Remember how it felt . . . ?

13Severance Hall 2015-16


H E R I T A G E S O C I E T Y

Legacy GivingLegacy Giving

Lois A. AaronLeonard AbramsShuree Abrams*Gay Cull AddicottStanley* and Hope AdelsteinSylvia K. Adler*Gerald O. Allen*Norman and Marjorie* AllisonGeorge N. Aronoff Herbert Ascherman, Jr.Jack and Darby AshelmanMr. and Mrs. William W. BakerRuth Balombin*Mrs. Louis W. Barany*D. Robert and Kathleen L. Barber*Jack L. BarnhartMargaret B. and Henry T.* BarrattNorma E. Battes*Rev. Thomas T. Baumgardner and Dr. Joan BaumgardnerFred G. and Mary W. BehmBertram H. Behrens*Dr. Ronald and Diane BellBob BellamyJoseph P. BennettMarie-Hlne BernardIla M. BerryHoward R. and Barbara Kaye BesserDr.* and Mrs. Murray M. BettDr. Marie BielefeldRaymond J. Billy (Biello)Dr. and Mrs. Harold B. Bilsky*Robert E. and Jean Bingham*Mr. William P. Blair IIIMadeline & Dennis Block Trust Fund Mrs. Flora BlumenthalMr. Richard J. Bogomolny and Ms. Patricia M. KozerefskiMr. and Mrs. Charles P. BoltonKathryn Bondy*Loretta and Jerome* BorsteinMr. and Mrs.* Otis H. Bowden IIRuth Turvy Bowman*Drs. Christopher P. Brandt and Beth Brandt SersigMr. D. McGregor Brandt, Jr.David and Denise BrewsterRichard F. Brezic*Robert W. BriggsDr. Jeanette Grasselli Brown and Dr. Glenn R. BrownRonald and Isabelle Brown*Mr. and Mrs. Clark E. Bruner*Mr. and Mrs.* Harvey BuchananRita W. Buchanan*

Joan and Gene* BuehlerGretchen L. BurmeisterStanley and Honnie Busch*Milan and Jeanne* BustaMrs. Noah L. Butkin*Mr. and Mrs. William C. ButlerMinna S. Buxbaum*Gregory and Karen CadaRoberta R. Calderwood*Jean S. Calhoun*Harry and Marjorie M. CarlsonJanice L. CarlsonDr.* and Mrs. Roland D. CarlsonMr. and Mrs. George P. Carmer*Barbara A. Chambers, D. Ed.Arthur L. Charni*Ellen Wade Chinn*NancyBell CoeKenneth S. and Deborah G. CohenRalph M. and Mardy R.* CohenVictor J. and Ellen E. CohnRobert and Jean* ConradMr. and Mrs. Gerald A. ConwayJames P. and Catherine E. Conway*Rudolph R. Cook*The Honorable Colleen Conway Cooney and Mr. John CooneyJohn D. and Mary D.* CorryDr. and Mrs. Frederick S. Cross*Martha Wood CubberleyDr. William S. Cumming*In Memory of Walter C. and Marion J. CurtisWilliam and Anna Jean CushwaAlexander M. and Sarah S. CutlerHoward CutsonMr.* and Mrs. Don C. DanglerMr. and Mrs. Howard J. DanzingerBarbara Ann DavisCarol J. DavisCharles and Mary Ann DavisWilliam E. and Gloria P. Dean, Jr.Mary Kay DeGrandis and Edward J. DonnellyNeeltje-Anne DeKosterCarolyn L. DessinWilliam R. Dew*Mrs. Armand J. DiLellioJames A. Dingus, Jr.Dr. and Mrs. Richard C. DistadMaureen A. Doerner and Geoff rey T. WhiteHenry and Mary DollGerald and Ruth DombcikBarbara Sterk Domski

Mr.* and Mrs. Roland W. DonnemNancy E. and Richard M. DotsonMrs. John DrollingerDrs. Paul M.* and Renate H. DuchesneauGeorge* and Becky DunnWarren and Zoann Dusenbury*Mr. and Mrs. Robert DuvinPaul and Peggy EdenburnRobert and Anne Eiben*Mr. and Mrs. Alfred M. Eich, Jr.Mr. and Mrs. Ramon Elias*Roger B. EllsworthOliver and Mary EmersonLois Marsh EppPatricia EspositoMargaret S. Estill*Dr. Wilma McVey Evans*C. Gordon and Kathleen A.* EwersPatricia J. FactorSusan L. Faulder*Dr. and Mrs. Frederick Fennell*Mrs. Mildred FieningGloria and Irving B. FineJules and Lena Flock*Joan Alice FordDr. and Mrs. William E. Forsythe*Mr.* and Mrs. Ralph E. FountainGil and Elle FreyArthur and Deanna FriedmanMr.* and Mrs. Edward H. FrostDawn FullHenry S. Fusner*Dr. Stephen and Nancy GageCharles and Marguerite C. Galanie*Barbara and Peter GalvinMr. and Mrs. Steven B. GarfunkelDonald* and Lois GaynorBarbara P. Geismer*Albert I. and Norma C. GellerCarl E. Gennett*Dr. Saul GenuthJohn H.* and Ellen P. GerberFrank and Louise GerlakDr. James E. GibbsIn Memory of Roger N. Giff ordDr. Anita P. Gilger*S. Bradley GillaughMr.* and Mrs. Robert M. GinnFred and Holly GlockRonald* and Carol GodesWilliam H. Goff Mr. and Mrs. Henry J. GoodmanJohn and Ann GoskyMrs. Joseph B. Govan*

Th e Heritage Society honors those individuals who are helping to ensure the future of Th e Cleveland Orchestra with a Legacy gift . Legacy gift s come in many forms, including bequests, charitable gift annuities, and insurance policies. Th e following listing of members is current as of October 2015. For more information, please call the Orchestras Legacy Giving Offi ceat 216-231-8006.

LISTING CONTINUES

Leagcy Givimg

14 The Cleveland Orchestra



H E R I T A G E S O C I E T YHarry and Joyce GrahamElaine Harris GreenTom and Gretchen GreenAnna Zak Greenfi eldRichard and Ann GridleyNancy Hancock Griffi thDavid E.* and Jane J. Griffi thsDavid G. Griffi ths*Ms. Hetty Griffi ths*Margaret R. Griffi ths*Bev and Bob GrimmJudd and Zetta Gross*Candy and Brent GroverMrs. Jerome E. Grover*Thomas J.* and Judith Fay GruberMr. and Mrs. David H. GunningMr. and Mrs. William E. GuntonJoseph E. Guttman*Mrs. John A Hadden Jr.Richard* and Mary Louise HahnJames J. HamiltonKathleen E. HancockDouglas Peace Handyside*Holsey Gates HandysideNorman C. and Donna L. HarbertMary Jane HartwellWilliam L.* and Lucille L. HasslerPeter and Gloria Hastings*Mrs. Henry Hatch (Robin Hitchcock)Virginia and George HavensGary D. HelgesenClyde J. Henry, Jr.Ms. M. Diane HenryWayne and Prudence HeritageRice Hershey*T. K. and Faye A. HestonGretchen L. HickokMr. and Mrs.* Daniel R. HighEdwin R. and Mary C. Hill*Ruth Hirshman-von Baeyer*Mr. and Mrs. D. Craig Hitchcock*Bruce F. HodgsonGoldie Grace Hoff man*Mary V. Hoff manFeite F. Hofman MD*Mrs. Barthold M. HoldsteinLeonard* and Lee Ann HolsteinDavid and Nancy HookerGertrude S. Hornung*Patience Cameron HoskinsElizabeth HosmerDorothy Humel HovorkaDr. Christine A. Hudak, Mr. Marc F. CymesDr. Randal N. Huff Mrs. Marguerite B. HumphreyAdria D. Humphreys*Ann E. Humphreys and Jayne E. SissonKaren S. HuntMr. and Mrs. G. Richard HunterRuth F. IhdeMr. and Mrs. Jonathan E. IngersollPamela and Scott IsquickMr. and Mrs.* Cliff ord J. Isroff Mr. and Mrs. Donald M. Jack, Jr.Carol S. JacobsMilton* and Jodith Janes

Alyce M. Jarr*Jerry and Martha Jarrett*Merritt JohnquestAllan V. JohnsonE. Anne JohnsonNancy Kurfess Johnson, M.D.Paul and Lucille Jones*Mrs. R. Stanley Jones*William R. Joseph*David and Gloria KahanJulian and Etole KahanBernie and Nancy KarrDrs. Julian* and Aileen KassenMilton and Donna* KatzPatricia and Walter Kelley*Bruce and Eleanor KendrickMalcolm E. KenneyMr. and Mrs. Douglas A. KernNancy H. Kiefer*Charles M. and Janet G. Kimball*James and Gay* KitsonMr. Clarence E. Klaus, Jr.Mary Elizabeth and G. Robert Klein*Julian H. and Emily W. Klein*Thea Klestadt*Fred* and Judith KlotzmanPaul and Cynthia KlugMartha D. KnightMr. and Mrs. Robert KochDr. Vilma L. Kohn*Elizabeth Davis Kondorossy*Mr. Clayton KoppesMr.* and Mrs. James G. Kotapish, Sr.LaVeda Kovar*Margery A. KowalskiBruce G. Kriete*Mr. and Mrs. Gregory G. KruszkaThomas* and Barbara KubyEleanor and Stephen KushnickMr. and Mrs. Dennis W. LaBarreJames I. LaderMr. and Mrs. David A. LambrosDr. Joan P. Lambros*Mrs. Carolyn LamplMarjorie M. LamportLouis LaneKenneth M. Lapine and Rose E. MillsCharles K. Lszl and Maureen ONeill-LszlAnthony T. and Patricia LauriaCharles and Josephine Robson Leamy FundTeela C. LelyveldMr. and Mrs. Roger J. LerchJudy D. LevendulaGerda LevineDr. and Mrs. Howard LevineBracy E. LewisMr. and Mrs.* Thomas A. LiederbachRollin and Leda LindermanRuth S. LinkDr. and Mrs. William K. LittmanJeff and Maggie LoveDr. Alan and Mrs. Min Cha LubinAnn B. and Robert R. Lucas*Linda and Saul Ludwig

Kate LunsfordMr. and Mrs. Thomas E. Lynch*Patricia MacDonaldAlex and Carol MachaskeeJerry MaddoxMrs. H. Stephen MadsenAlice D. MaloneMr. and Mrs. Donald Malpass, Jr.Lucille Harris Mann*Mr. and Mrs. Richard A. Manuel*Clement P. MarionMr. Wilbur J. Markstrom*Dr. and Mrs. Sanford E. MarovitzDavid C.* and Elizabeth F. MarshDuane and Joan Marsh*Florence Marsh, Ph.D.*Mr. and Mrs. Anthony M. MartincicKathryn A. MatesDr. Lee Maxwell and Michael M. PruntyAlexander and Marianna* McAfeeNancy B. McCormackMr. William C. McCoyMarguerite H. McGrath*Dorothy R. McLeanJim and Alice Mecredy*James and Virginia MeilMr. and Mrs.* Robert F. MeyersonBrenda Clark MikotaChristine Gitlin MilesChuck and Chris MillerEdith and Ted* MillerLeo Minter, Jr.Mr. and Mrs. William A. MitchellRobert L. MoncriefMs. Beth E. MooneyBeryl and Irv MooreAnn Jones MorganMr. and Mrs. Stanley L. Morgan*George and Carole MorrisMr. and Mrs. Thomas W. MorrisMr. and Mrs.* Donald W. MorrisonJoan R. Mortimer, PhDFlorence B. MossSusan B. MurphyDr. and Mrs. Clyde L. Nash, JrDeborah L. NealeMrs. Ruth Neides*David and Judith NewellDr.* and Mrs. S. Thomas NiccollsSteve Norris and Emily GonzalesRussell H. Nyland*Katherine T. ONeillThe Honorable and Mrs. John Doyle OngAurel Fowler-Ostendorf*Mr. J. William and Dr. Suzanne PalmerR. Neil Fisher and Ronald J. ParksNancy* and W. Stuver ParryMrs. John G. Pegg*Dr.* and Mrs. Donald PensieroMary Charlotte PetersMr. and Mrs. Peter Pfouts*Janet K. Phillips*Florence KZ PollackJulia and Larry PollockVictor and Louise PreslanMrs. Robert E. Price*

Legacy Giving




H E R I T A G E S O C I E T YLois S. and Stanley M. Proctor*Mr. David C. Prugh*Leonard and Heddy RabeM. Neal RainsMr. George B. RamsayerJoe L. and Alice Randles*Mrs. Alfred M. Rankin, Sr.Mrs. Theodore H. Rautenberg*James and Donna ReidMrs. Hyatt Reitman*Mrs. Louise Nash Robbins*Dr. Larry J.B.* and Barbara S. RobinsonMargaret B. RobinsonDwight W. RobinsonJanice and Roger RobinsonAmy and Ken RogatMargaret B. Babyak* and Phillip J. RoscoeAudra and George RoseDr. Eugene and Mrs. Jacqueline* RossHelen Weil Ross*Robert and Margo RothMarjorie A. RottHoward and Laurel RowenProfessor Alan Miles Ruben and Judge Betty Willis RubenFlorence Brewster RutterMr. James L. Ryhal, Jr.Renee SabreenMarjorie Bell SachsDr. Vernon E. Sackman and Ms. Marguerite PattonSue SahliMr. and Mrs. James A. SaksMr. and Mrs. Sam J. SanFilipo*Larry J. SantonStanford and Jean B. SarlsonSanford Saul FamilyJames Dalton SaundersPatricia J. SawvelRay and Kit SawyerRichard Saxton*Alice R. SayreIn Memory of Hyman and Becky SchandlerRobert ScherrerSandra J. SchlubMs. Marian SchluembachRobert and Betty SchmiermundMr.* and Mrs. Richard M. SchneiderLynn A. Schreiber*Jeanette L. SchroederFrank SchultzCarol* and Albert SchuppRoslyn S. and Ralph M. SeedNancy F. SeeleyEdward SeelyOliver E. and Meredith M. SeikelRussell Seitz*Reverend Sandra SelbyEric SellenThomas and Ann SeplvedaElsa Shackleton*B. Kathleen ShampJill Semko ShaneDavid ShankDr. and Mrs. Daniel J. Shapiro*

Helen and Fred D. ShapiroNorine W. SharpNorma Gudin ShawElizabeth Carroll Shearer*Dr. and Mrs. William C. SheldonJohn F. Shelley and Patricia Burgess*Frank* and Mary Ann SherankoKim SherwinMr. and Mrs. Michael SherwinReverend and Mrs. Malcolm K. ShieldsRosalyn and George SievilaMr.* and Mrs. David L. SimonDr.* and Mrs. John A. SimsNaomi G. and Edwin Z. SingerLauretta SinkoskyH. Scott Sippel and Clark T. KurtzEllen J. SkinnerRalph* and Phyllis SkufcaJanet Hickok SladeAlden D. and Ellen D. Smith*Drs. Charles Kent Smith and Patricia Moore SmithMr.* and Mrs. Ward SmithM. Isabel Smith*Sandra and Richey SmithNathan Snader*Sterling A. and Verdabelle Spaulding*Barbara J. Stanford and Vincent T. LombardoGeorge R. and Mary B. StarkSue Starrett and Jerry SmithLois and Tom Stauff erWillard D. Steck*Saundra K. Stemen Merle SternDr. Myron Bud and Helene* SternMr. and Mrs. John M. StickneyNora and Harrison Stine*Mr. and Mrs. Stanley M. StoneMr.* and Mrs. James P. StorerRalph E. and Barbara N. StringThe Irving Sunshine FamilyVernette M. Super*Mr. and Mrs. Herbert J. Swanson*In Memory of Marjory SwartzbaughDr. Elizabeth SwensonLewis Swingley*Lorraine S. SzaboNorman V. TagliaferriSusan and Andrew Talton*Frank E. Taplin, Jr.*Charles H. Teare* and Cliff ord K. Kern*Mr. Ronald E. TeareNancy and Lee TenenbaumPauline Thesmacher*Dr. and Mrs. Friedrich ThielMrs. William D. Tibbetts*Mr. and Mrs. William M. Toneff Marlene and Joe TootAlleyne C. ToppinJanice and Leonard TowerDorothy Ann TurickMr. and Mrs. Robert A. Urban*Robert and Marti VagiRobert A. ValenteJ. Paxton Van Sweringen

Mary Louise and Don VanDykeElliot Veinerman*Nicholas J. Velloney*Steven VivarrondaHon. William F.B. VodreyPat and Walt* WahlenMrs. Clare R. WalkerJohn and Deborah WarnerMr. and Mrs. Russell WarrenJoseph F. and Dorothy L. WasserbauerCharles D. Waters*Reverend Thomas L. WeberEtta Ruth Weigl*Lucile WeingartnerEunice Podis Weiskopf*Max W. WendelWilliam Wendling and Lynne WoodmanMarilyn J. WhiteRobert and Marjorie Widmer*Yoash and Sharon WienerAlan H. and Marilyn M. WildeElizabeth L. Wilkinson*Helen Sue* and Meredith WilliamsCarter and Genevieve* WilmotMiriam L. and Tyrus W.* WilsonMr. Milton Wolfson* and Mrs. Miriam Shuler-WolfsonNancy L. WolpeMrs. Alfred C. WoodcockKatie and Donald WoodcockDr.* and Mrs. Henry F. Woodruff Marilyn L. WozniakNancy R. WurzelMichael and Diane WyattMary YeeEmma Jane Yoho, M.D.Libby M. YungerDr. Norman Zaworski*William L. and Joan H. Ziegler*Carmela Catalano Zoltoski*Roy J. Zook*Anonymous (106)

Th e lotus blossom is the symbol of the Heritage Society.

It represents eternal life and recognizes the permanent benefi ts of legacy gift s to

Th e Cleveland Orchestras endowment. Said to be

Elisabeth Severances favorite fl ower, the lotus is found as a

decorative motif in nearly every public area of Severance Hall.

Legacy Giving

Everything takes off at ClevelandAirport.com

Please fasten your seat belts; were about to take off. CLE offers nonstop service to a medley of more than 35 markets including Boston,

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Musical Arts Association

* deceased

TE Trustee Emeritus


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

Richard C. Gridley (SC) Loren W. Hershey (DC)

Herbert Kloiber (Germany)

TRUSTEES EX-OFFICIO Faye A. Heston, President, Volunteer Council of Th e Cleveland Orchestra Dr. Patricia Moore Smith, President, Womens Committee of Th e Cleveland Orchestra Elisabeth Hugh, President, Blossom Friends of Th e Cleveland Orchestra

Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee Beverly J. Warren, 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 1983-95Richard J. Bogomolny 1995-2002, 2008-09James D. Ireland III 2002-08

RESIDENT TRUSTEES George N. Aronoff Dr. Ronald H. Bell Richard J. Bogomolny Charles P. Bolton Jeanette Grasselli Brown Helen Rankin Butler Irad Carmi Paul G. Clark Robert D. Conrad Matthew V. Crawford Alexander M. Cutler Hiroyuki Fujita Paul G. Greig Robert K. Gudbranson Iris Harvie Jeffrey A. Healy Stephen H. Hoffman David J. Hooker Michael J. Horvitz Marguerite B. Humphrey David P. Hunt Betsy Juliano Jean C. Kalberer Nancy F. Keithley

Christopher M. Kelly Douglas A. Kern John D. Koch S. Lee Kohrman Charlotte R. KramerTE Dennis W. LaBarre Norma Lerner Virginia M. Lindseth Alex Machaskee Milton S. Maltz Nancy W. McCann Thomas F. McKee Loretta J. Mester Beth E. Mooney John C. Morley Donald W. Morrison Meg Fulton Mueller Gary A. OateyTE Katherine T. ONeill The Honorable John D. Ong Rich Paul Larry Pollock Alfred M. Rankin, Jr. Clara T. Rankin

Audrey Gilbert Ratner Charles A. RatnerZoya ReyzisBarbara S. Robinson Paul RoseSteven M. RossRaymond T. SawyerLuci ScheyHewitt B. Shaw Richard K. SmuckerJames C. SpiraR. Thomas StantonJoseph F. Toot, Jr.Daniel P. WalshThomas A. WaltermireGeraldine B. WarnerJeffery J. WeaverMeredith Smith WeilJeffrey M. WeissNorman E. WellsPaul E. Westlake Jr.David A. Wolfort

OFFICERS AND EXECUTIVE COMMITTEE Dennis W. LaBarre, President Richard J. Bogomolny, Chairman The Honorable John D. Ong, Vice President

Norma Lerner, Honorary Chair Hewitt B. Shaw, Secretary Beth E. Mooney, Treasurer

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

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

Larry PollockAlfred M. Rankin, Jr.Audrey Gilbert RatnerBarbara S. Robinson

THE MUSICAL ARTS ASSOCIATION as of January 2016 operating Th e Cleveland Orchestra, Severance Hall, and Blossom Music Festival

THE CLEVELAND ORCHESTRA Franz Welser-Mst, Music Director Andr Gremillet, Executive Director

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

Robert W. Gillespie Dorothy Humel Hovorka Robert P. Madison

Robert F. MeyersonJames S. Reid, Jr.

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OF CLEVELANDJewish Federation

Caring for those in need never goes out of style. Whether we are feeding the hungry, comforting the sick, or caring for the elderly, our Jewish values have always inspired us to act. Those same values teach us to care for the next generation. By making a legacy gift, you leave your children and grandchildren a precious inheritance and a lasting testimony to your values.

Find out how you can become a member of the Jewish Federation of Clevelands Legacy Society by contacting Carol F. Wolf for a condential conversation at 216-593-2805 or [email protected].

www.jewishcleveland.org

Ldor Vdor. From Generation to Generation. Create Your Jewish Legacy

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A S I T N E A R S T H E C E N T E N N I A L O F its founding in 2018, The Cleveland Orch estra is undergoing a new trans-formation and renaissance. Under the leadership of Franz Welser-Mst, with the 2015-16 season marking his fourteenth year as the ensembles music director, The Cleveland Orchestra is acknowledged among the worlds handful of best orches-tras. With Welser-Mst, the ensembles musicians, board of directors, staff , volun-teers, and hometown are working togeth-er on a set of enhanced goals for the 21st century to continue the Orchestras legendary command of musical excel-lence, to renew its focus on fully serv-ing the communities where it performs through concerts, engagement, and music education, to develop the young-est audience of any orchestra, to build on its tradition of community support and fi nancial strength, and to move forward into the Orchestras next century with an unshakeable commitment to innovation and a fearless pursuit of success. The Cleveland Orchestra divides its time each year across concert seasons at home in Clevelands Severance Hall and each summer at Blossom Music Center. Additional portions of the year are devot-ed to touring and to a series of innovative and intensive performance residencies. These include an annual set of concerts and education programs and partnerships in Florida, a recurring residency at Vien-nas Musikverein, and regular appearances at Switzerlands Lucerne Festival, at New Yorks Lincoln Center Festival, and at Indi-ana University.

Musical Excellence. The Cleve-land Orchestra has long been commit-ted to the pursuit of musical excellence in everything that it does. The Orchestras ongoing collaboration with Welser-Mst is widely-acknow ledged among the best orchestra-conductor partnerships of to-day. Performances of standard repertoire and new works are unrivalled at home, in residencies around the globe, on tour across North America and Europe, and through recordings, telecasts, and radio and internet broadcasts. Its longstand-ing championship of new composers and commissioning of new works helps audi-ences experience music as a living lan-guage that grows and evolves with each new generation. Recent performances with Baroque specialists, recording proj-ects of varying repertoire and in diff erent locations, fruitful re-examinations and juxtapositions of the standard repertoire, and acclaimed collaborations in 20th- and 21st-century masterworks together en-able The Cleveland Orchestra the ability to give musical performances second to none in the world. Serving the Community. Pro-grams for students and community en-gagement activities have long been part of the Orchestras commitment to serving Cleveland and surrounding communities, and have more recently been extended to its touring and residencies. All are be-ing created to connect people to music in the concert hall, in classrooms, and in everyday lives. Recent seasons have seen the launch of a unique At Home neigh-borhood residency program, designed to

21Severance Hall 2015-16 21About the Orchestra

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B Y T H E N U M B E R S

The Orchestra was founded in 1918 and performed its

fi rst concert on December 11.

Seven music directors have led the Orchestra, including George Szell,Christoph von Dohnnyi, and Franz Welser-Mst.

52%

The 2015-16 season will mark Franz Welser-Msts 14th year as music director.

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Over 40,000 young people attend Cleveland Orch estra concerts each year via programs funded by the Center for Future Audiences, through student programs and

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Over half of The Cleveland Orchestras funding each year comes from thousands of generous donors and spon-sors, who together make

possible our concert presenta-tions, community programs, and education initiatives.

SEVERANCE HALL, Americas most beautiful concert hall, opened in 1931 as the Orchestras permanent home.

each year

bring the Orchestra and citizens together in new ways. Additionally, a new Make Music! initiative is being developed, cham-pioned by Franz Welser-Mst in advocacy for the benefi ts of direct participation in making music for people of all ages. Future Audiences. Standing on the shoulders of more than nine decades of presenting quality music educa-tion programs, the Orchestra made national and international headlines through the creation of its Center for Future Audi-ences in 2010. Established with a signifi cant endowment gift from the Maltz Family Foundation, the Center is designed to provide ongoing funding for the Orches-tras continuing work to develop interest in classical music among young people. The fl agship Un-der 18s Free program has seen unparalleled success in increas-ing attendance and interest with 20% of attendees now comprised of concertgoers age 25 and under. Innovative Programming. The Cleveland Orchestra was among the fi rst American orchestras heard on a regular series of radio broadcasts, and its Sever-ance Hall home was one of the fi rst concert halls in the world built with recording and broadcasting capabilities. Today, Cleve-land Orchestra concerts are presented in a variety of formats for a variety of audiences including popular Friday night concerts (mixing onstage symphonic works with post-concert entertainment), fi lm scores performed live by the Orchestra, collabora-

tions with pop and jazz singers, ballet and opera presentations, and standard reper-toire juxtaposed in meaningful contexts with new and older works. Franz Wels-er-Msts creative vision has given the Orchestra an unequaled opportunity to explore music as a universal language of communication and understanding.

An Enduring Tradition of Com-munity Support. The Cleveland Orches-tra was born in Cleveland, created by a group of visionary citizens who believed in the power of music and aspired to having the best performances of great orchestral music possible anywhere. Generations of Clevelanders have supported this vision and enjoyed the Orchestras concerts. Hun-dreds of thousands have learned to love music through its education programs and celebrated important events with its music. While strong ticket sales cover just under half of each seasons costs, it is the generos-

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23Severance Hall 2015-16 23About the Orchestra

Franz Welser-Mst leads a concert at John Adams High School. Through such In-School Performances and Education Concerts at Severance Hall, The Cleveland Orchestra has introduced more than 4 million young people to symphonic music over the past nine decades.

ity of thousands each year that drives the Orchestra forward and sustains its extraor-dinary tradition of excellence onstage, in the classroom, and for the community. Evolving Greatness. The Cleveland Orchestra was founded in 1918. Over the ensuing decades, the Orch estra quickly grew from a fi ne regional organization to being one of the most admired sympho-ny orchestras in the world. Seven music directors have guided and shaped the ensembles growth and sound: Nikolai Soko loff , 1918-33; Artur Rodzinski, 1933-43; Erich Leins dorf, 1943-46; George Szell, 1946-70; Lorin Maazel, 1972-82; Christoph von Dohnnyi, 1984-2002; and Franz Wels-er-Mst, since 2002. The opening in 1931 of Severance Hall as the Orchestras permanent home, with later acoustic refi nements and remodeling

of the hall under Szells guidance, brought a special pride to the ensemble and its home-town, as well as providing an enviable and intimate acoustic environment in which to develop and refi ne the Orch estras artistry. Touring performances throughout the Unit-ed States and, beginning in 1957, to Europe and across the globe have confi rmed Cleve-lands place among the worlds top orches-tras. 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 facili-ties in the United States. Today, concert performances, com-munity presentations, touring residencies, broadcasts, and recordings provide access to the Orchestras acclaimed artistry to an enthusiastic, generous, and broad constitu-ency around the world.

24 The Cleveland OrchestraAbout the Orchestra

T H E C A M PA I G N F O R U N I V E R S I T Y H O S P I TA L S

Discover the Difference

Thanks to the generosity of more than 70,000 friends

and benefactors, we are truly making a difference

in our community by providing the highest level of care

for patients in need. With your continued support, we will

keep moving forward as a national leader in medical

advancement and extraordinary care.

Please join us as we continue to advance our timeless mission

To Heal. To Teach. To Discover.

Every gift has the power to impact lives and provide

hope to families in our community. Learn how your support

can make a difference at UHGiving.org.

Your generosity is inspiring.

The difference is lifesaving.

2015 University Hospitals

Orchestra Roster

FIRST VIOLINSWilliam PreucilCONCERTMASTER

Blossom-Lee ChairYoko MooreASSISTANT CONCERTMASTER

Clara G. and George P. Bickford Chair

Peter OttoFIRST ASSOCIATE CONCERTMASTER

Jung-Min Amy LeeASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith 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 BormannAnalis Denise Kukelhan

SECOND VIOLINSStephen Rose*

Alfred M. and Clara T. Rankin Chair

Emilio Llinas 2James and Donna Reid Chair

Eli Matthews 1Patricia M. Kozerefski and Richard J. Bogomolny Chair

Sonja Braaten MolloyCarolyn Gadiel WarnerElayna DuitmanIoana MissitsJeffrey Zehngut Vladimir DeninzonSae ShiragamiScott WeberKathleen CollinsBeth WoodsideEmma ShookYun-Ting Lee

VIOLASRobert Vernon*

Chaill H. and Richard B. Tullis Chair

Lynne Ramsey1Charles 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 ChairRichard Weiss1

Th e GAR Foundation ChairCharles Bernard2

Helen Weil Ross ChairBryan Dumm

Muriel and Noah Butkin ChairTanya Ell

Th omas J. and Judith Fay Gruber Chair

Ralph CurryBrian Thornton

William P. Blair III ChairDavid Alan HarrellMartha BaldwinDane Johansen (starting February 29)

Paul Kushious

BASSESMaximilian Dimoff *

Clarence T. Reinberger ChairKevin Switalski 2

Scott Haigh1Mary E. and F. Joseph Callahan Chair

Mark AthertonThomas SperlHenry Peyrebrune

Charles Barr Memorial ChairCharles CarletonScott DixonDerek Zadinsky

HARPTrina Struble*

Alice Chalifoux Chair

This roster lists the fulltime mem-bers of The Cleveland Orchestra. The number and seating of musicians onstage varies depending on the piece being performed.

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

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


Orchestra Roster

FLUTESJoshua Smith*

Elizabeth M. andWilliam C. Treuhaft Chair

Saeran St. ChristopherMarisela Sager 2

Austin B. and Ellen W. Chinn ChairMary Kay Fink

PICCOLOMary Kay Fink

Anne M. and M. Roger Clapp Chair

OBOESFrank Rosenwein*

Edith S. Taplin ChairCorbin StairJeffrey Rathbun 2

Everett D. and Eugenia S. McCurdy Chair

Robert Walters

ENGLISH HORNRobert Walters

Samuel C. and Bernette K. Jaff e Chair

CLARINETSRobert 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 ChairGareth ThomasBarrick Stees2 *

Sandra L. Haslinger ChairJonathan Sherwin

CONTRABASSOONJonathan Sherwin

HORNSMichael Mayhew

Knight Foundation ChairJesse McCormick

Robert B. Benyo ChairHans ClebschRichard KingAlan 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 ChairTom Freer 2

Mr. and Mrs. Richard K. Smucker Chair

PERCUSSIONMarc Damoulakis*

Margaret Allen Ireland ChairDonald MillerTom FreerThomas Sherwood

KEYBOARD INSTRUMENTSJoela Jones*

Rudolf Serkin ChairCarolyn Gadiel Warner

Marjory and Marc L. Swartzbaugh Chair

LIBRARIANSRobert OBrien

Joe and Marlene Toot ChairDonald Miller

ENDOWED CHAIRS CURRENTLY UNOCCUPIEDSidney and Doris Dworkin ChairDr. Jeanette Grasselli Brownand Dr. Glenn R. Brown Chair Sunshine ChairRobert Marcellus ChairGeorge Szell Memorial Chair

* Principal Associate Principal 1 First Assistant Principal 2 Assistant Principal * on sabbatical leave

CONDUCTORSChristoph von DohnnyiMUSIC DIRECTOR LAUREATE

Giancarlo GuerreroPRINCIPAL GUEST CONDUCTOR,CLEVELAND ORCHESTRA MIAMI

Brett MitchellASSOCIATE CONDUCTOR

Elizabeth Ring and William Gwinn Mather Chair

Robert PorcoDIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

O R C H E S T R A


2015-16 SEASON

MARCH 3-6in CLEVELAND, SHAKER HEIGHTS, ROCKY RIVER & BATH T i c k e t s a t 8 0 0 . 3 1 4 . 2 5 3 5 | w w w. a p o l l o s f i r e . o r g

BAROQUE ORCHESTRAj e a n n e t t e s o r r e l l

J.S. BachST. JOHN PASSIONPassio secundum JohannemA Dramatic Presentation

Bursting out of the gates from the agitated opening chorus Jeannette Sorrell, Apollos Fire, a world-class array of soloists, and the renowned Apollos Singers present Bachs most dramatic and theatrical oratorio.

A revelatory performance impassioned singing and playing bringing bringing Bachs score to life

OPERA NEWS

The Mocking of Christ, Gerrit van Honthorst (1590-1656) / Oil on canvas Gift of The Ahmanson Foundation / Los Angeles County Museum of Art (LACMA)

Nicholas PhanEvangelist

Jesse BlumbergJesus

Jeffrey StraussPilate

Amanda Forsythesoprano

Terry Weycountertenor

Christian Immlerbaritone

Jeannette Sorrellconductor


Concert Previews Cleveland Orchestra Concert Previews are presented before every regular subscription con-cert, and are free to all ticketholders to that days performance. Previews are designed to enrich the concert-going experience for audience members of all levels of musical knowledge through a vari-ety of interviews and through talks by local and national experts. Concert Previews are made possible by a generous endowment gift from Dorothy Humel Hovorka.

February 18, 19, 20Lets Talk About Music (Musical works by Berwald and Dvok) a discussion between Brett Mitchell, associate conductor and Mark WIlliams, director of artistic planning

March 3, 5, 6Duels, Deceptions, and Dvoks Neglected Piano Concerto (Musical works by Schumann, Dvok, Nielsen) with guest speaker Timothy Cutler, professor of music theory, Cleveland Institute of Music

March 24, 26Revisions and Second Thoughts (Musical works by Kurtg, Schumann, Bruckner) with Rose Breckenridge, administrator and lecturer, Cleveland Orchestra Music Study Groups

March 31, April 2Meet the Composer (Musical works by Cheung, Ads, and Wagner) with composer Anthony Cheung in conversation with Rabbi Roger Klein of The Temple Tiffereth Israel

April 1 (Friday Morning)Of Gods and Heavenly Spheres (Musical works by Ads and Wagner) with Rose Breckenridge

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 Orchestras Music Study Groups also provide a way of explor-ing the music in more depth. These classes, professionally led by Dr. Rose Breckenridge, meet weekly in locations around Cleveland to explore the music being played each week and the sto-ries behind the composers lives. Free Concert Previews are pre-sented one hour before most subscrip-tion concerts throughout the season at Severance Hall. The previews (see listing at right) feature a variety of speakers and guest artists speaking or conversing about that weekends program, and often include the op-portunity for audience members to ask questions.

Concert Previews

Dreams can come true

... WITH INVESTMENT BY CUYAHOGA ARTS & CULTURE

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

Visit cacgrants.org/impact to learn more.

Your Investment: Strengthening Community

Cleveland Public Theatres STEP Education Program

Photo by Steve Wagner


2015-16 SEASON

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 S T M U S I C D I R E C T O R

Severance HallThursday evening, February 18, 2016, at 7:30 p.m.Friday evening, February 19, 2016, at 8:00 p.m. Saturday evening, February 20, 2016, at 8:00 p.m.

Herbert Blomstedt, conductor

FRANZ BERWALD Symphony No. 3 in C major (1796-1868) (Sinfonie singulire) 1. Allegro fuocoso 2. Adagio 3. Finale: Presto

I N T E R M I S S I O N

ANTONN DVORV K Symphony No. 7 in D minor, Opus 70 (1841-1904) 1. Allegro maestoso 2. Poco adagio 3. Scherzo: Vivace Poco meno mosso 4. Finale: Allegro

Concert Program Week 12

Thursdays concert is sponsored by Hahn Loeser & Parks LLP.

The concert will end on Thursday evening at about 9:00 p.m.and on Friday and Saturday at approximately 9:30 p.m.

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

CALL FOR RESERVATIONS 216.707.4045

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W I T H T H I S W E E K S C O N C E R T S we welcome back guest con-ductor Herbert Blomstedt for an all-orchestral program comprised of two symphonic gems from the 19th century. Neither work is as well-known as it should be and Blomstedt is a strong advo-cate for rekindling passion for these pieces, one by a lesser-known Swedish composer, one by a famous Czech.

The evening begins with the Third Sym-phony from 1845 by Franz Berwald, a Swede born within a year of Franz Schubert. Berwald, how-ever, lived considerably longer than Schubert and also tried many things in life beyond music. In fact, music was nearly akin to a hobby for him, while his eclectic business career included man-aging a saw-mill, overseeing a glass factory, and working in ortho pedics for children with spinal defects. Much of his music was unknown until after his death and the beauty and interesting

clarity of his work has only come into fo-cus in the past half-century or so, in part through the ability of recordings to carry his voice throughout the world. His Third Symphony is a strong statement in a sin-gular voice, well worth the hearing. Antonn Dvoks Seventh Sym-phony is a much-acclaimed masterpiece too often overshadowed by its more popular (at least in America) New World sibling. It is an emotional work, filled with craft and artistry, and beguiling

rhythms and melodic lines. In the midst of winter, let us take warmth from these sym-

phonic works, led by a master conductor and played by our very own world-famous orchestra.

Eric Sellen

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

Symphonic Expressions

Introducing the Concert


M O S T O F T H E S C A N D I N AV I A N N AT I O N S have a major representative in the world of classical music Grieg in Nor-way, Nielsen in Denmark, Sibelius in Finland. Such outstanding examples, however, have sometimes had the eff ect of obscuring other good composers from those same countries. In Sweden, meanwhile, no single name has been elevated to representing the country around the globe, even though the country is par-ticularly rich in music from the early part of the 20th century. In the 19th century, the name of one Swedish composer does stand out, that of Franz Berwald. But his distinction was not recognized in his lifetime and it has taken the passing of many decades before his music was regularly treated with the respect it clearly deserves. For many years now, Berwalds four symphonies have made regular, if infrequent, appearances at concerts. Yet his immense output in operas, choral music, and chamber music is still far from familiar, even in Sweden. This spotty record may in part be attributed to the uncertain direction of the composers career during his own lifetime, which prevented him from be-ing taken seriously as a composer by his contemporaries. They were mostly of the opinion that anyone living for so many years abroad and employed in commercial business as much as in music was not to be regarded as a leading musician of his time and of his country. Berwald came from a family of musicians, originally immi-

Berwald composed this Symphony in C major in 1845, but it went unper-formed at that time. The composer designated it with the title sinfonie singulire, meaning unique sym-phony. The manuscript was pur-chased by the Stockholm Academy of Music in the 1870s, in the decade after Berwalds death. It was fi rst performed on January 10, 1910, by the Stockholm Konsertfreningen, conducted by Tor Aulin.

This symphony runs 30 minutes in performance. Berwald scored it for 2 fl utes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, and strings. The Cleveland Orchestra has performed this work on only one previous occasion, when Louis Lane led three performances on a concert weekend in April 1972 at Severance Hall.

About the Music

At a Glance

Symphony No. 3 (Sinfonie singulire)composed 1845

by FranzBERWALDborn July 23, 1796Stockholm,Sweden

diedApril 3, 1868Stockholm

About the Music

36 The Cleveland OrchestraAbout the Music

Berwalds immense musi-

cal output is still far from

well-known, even in Swe-

den. This may in part be

attributed to the uncertain

direction of the compos-

ers career, which left few

of his contemporaries tak-

ing him seriously as a mu-

sician. He was at various

times an orthopaedic con-

sultant, a brickmaker, and

manager of a glass factory.

grants from Germany, and to start with he worked as a violinist in Stockholm, composing freely at the same time. In 1829, in his early thirties, he moved to Berlin where, after a few years as a musician, he opened an orthopaedic institute where he spe-cialized in treating spinal deformities in children. In 1841, he moved his practice to Vienna, where he also gave a concert of his own music. From 1842 to 1846, Berwald was living back in Sweden, composing some of his most important works, including the Sinfonie singulire. Then he went abroad again, this time to Paris and Vienna. In 1849, he returned, taking up a position as

manager of a glassworks in ngermand, in northern Sweden. He subsequently managed a saw-mill and, in 1860, he turned to the manu-facture of bricks. He was evidently more successful as a businessman than as a musician, for he was turned down from a number of musical posi-tions he applied for. Not until one year before his death did he win an official position as teacher of composition at the Royal Academy of Music in Stockholm. From the evidence available, we have to conclude that Berwald possessed an abrasive character. He was constantly cold-shouldered by the musical fraternity, and even the normally generous Mendelssohn did not care for him. To support his teaching, Berwald wrote some instructions for young composers, which

emphasized the need to be original and not to fall into the com-mon rut of contemporary style. This was a maxim he followed himself, for his music is unusual but not truly eccentric, full of character but hard to pin down. On fi rst hearing, it is often mistaken for a lesser-known work by Mendelssohn or Berlioz or Beethoven but the style, in actuality, shares some aspects of, but it not very close to, any of those. Berwald liked to modulate (change keys) in surprising directions, much like Berlioz; he used predominantly short, pithy musical ideas, like Beethoven; and in his orchestral works he has a natural feeling for instruments, writing melodies that very much suit a symphonic style, but might not have made much sense in an opera. His most important orchestral works are a series of sym-

37Severance Hall 2015-16 About the Music

phonic poems (anticipating the symphonic poems of Franz Liszt by ten years) and four symphonies, all four of which have descriptive adjectival titles:

No. 1: Sinfonie srieuse, in G minor, 1842 No. 2: Sinfonie capricieuse, in D major, 1842 No. 3: Sinfonie singulire, in C major, 1845 No. 4: Sinfonie nave, in E-fl at major, 1845

The nicknames are not really very helpful, since the later symphonies are clearly more serious than the fi rst, and all of them are unique or singulire. Furthermore, there is very little navet about the Fourth. And Berwald himself seems to have been in general uncer-tainty about what titles to give each. Yet for convenience of identi-fi cation the names were published and have stuck. Composed in two highly productive bursts, the symphonies fall into pairs, the Third and Fourth being a good deal more accom-plished than the fi rst two. Only the First was ever performed in the composers lifetime it appeared in a concert he gave in Stockholm in 1843, baffl ing the critics who at least noticed that the conductor (Berwalds ill-disposed cousin) had taken little trouble to rehearse it properly. The other three were not performed or published until after

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T H E M U S I C All four symphonies are composed for the standard orchestra of the time without any unusual or new instruments, and he uses the trombones boldly, like Schubert. They all fall into the standard four movements, with the exception of the Singulire, whose second movement combines features of both a slow movement and a scher-zo (a procedure occasionally used by Mozart and Beethoven and on several occasions by Brahms). Also, unusually for a work designated to be in a major key, the fi nale is in the minor mode (Mendelssohns Italian Symphony is a well-known other example of doing this). The most striking features of the fi rst movement are the pro-fusion of short musical motifs, each sharply characterized, and the skill with which Berwald builds a complete movement from them. There are occasional attempts to generate longer melodies, but the little motifs always intervene. Berwald is most at home in his devel-opment sections, where the interplay of diff erent materials is what is supposed to happen and, in fact, he begins developing his ideas from the very beginning, so that the movement continues to grow in complexity and meaning throughout, until there is a clear simplifi ed reprise of the opening bars at the close. The Adagio second movement gives the violins a wide-ranging theme to begin, then later another, equally expressive, that circles close to itself as contrast. The Scherzo section suddenly intrudes as rapid dialogue between strings and winds, exhibiting Berwalds or-chestral skill at its best. The Adagio returns to close the Scherzo with reminiscences of both its main themes. Berwald was probably right not to confront the people of Stock-holm with this symphony if only because the fi nale is belligerent and unsettled to the point where genteel audiences from the 19th cen-tury might have been alarmed. The minor key adds to the feeling of disturbance. A comfortable melody eventually arrives, but it is soon broken up, as if it were by Beethoven. The winds introduce a Bruck-ner-like hymn; then the timpani violently intrude. A tranquil passage recalls the second melody of the Adagio; and eventually the major key arrives with a triumphant declaration of the hymn.

Hugh Macdonald 2016

Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis. He has written books

on Beethoven, Berlioz, Bizet, and Scriabin.

About the Music

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W H E N DVO K embarked on his Seventh Symphony, in 1884, only three of the previous six symphonies had been performed and only one had been published. Yet, even if his early works were to remain in obscurity for many years yet, he had reached a point of celebrity where each new piece was performed and published at once not just in his home city of Prague, but also in Germany and England. Dvoks career breakthrough occurred in 1877, when Jo-hannes Brahms and Eduard Hanslick (Viennas leading music critic) told Dvok that his talent deserved to be spread abroad, not just in the Czech lands. Hanslick, who himself came from Prague, regarded Bohemia as a backwater, while Germany (and Vienna) was the true platform for modern music. Brahms intro-duced Dvok to his Berlin publisher, Simrock, who accepted this new composers works but in print translated the Czech fi rstname Antonn to a plainer Germanic Anton. For Dvok, the celebrity of success in Germany was a pow-erful stimulus, and his style became accordingly more personal and original. From Germany, his fame spread to England, and eventually to the New World (while other Czech composers, notably Smetana, remained little known outside their own bor-ders). At the same time, Dvok felt ever more strongly that he

Dvok composed this symphony between December 13, 1884, and March 17, 1885, on a commission from the Philharmonic Society of London (later the Royal Philharmon-ic Society). It was fi rst performed on April 22, 1885, at St. James Hall in London at one of the Societys concerts, with Dvok conducting. This symphony was originally known as Symphony No. 2, des-ignated with that number as the second of Dvoks symphonies to be published. The symphonies were renumbered in chronological order in the 1950s as part of the publica-

tion of the critical edition of the composers works. This symphony runs about 40 minutes in performance. Dvok scored it for 2 fl utes (second dou-bling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, and strings. The Cleveland Orchestra fi rst performed this symphony in October 1940 under the direction of Artur Rodzinski. The Orchestras most recent performances were in April 2011 at Severance Hall, conducted by Ji Blohlvek.

About the Music

At a Glance

Symphony No. 7 in D minor, Opus 70composed 1884-85

About the Music

by AntonnDVOKborn September 8, 1841Nelahozeves, Bohemia

diedMay 1, 1904Prague


belonged to his homeland, producing a tension that distressed him for years, most notably during his time in New York (1892-95), when the nostalgia in his music is most marked. Urged to write operas in German, he insisted on setting Czech librettos. His Slavonic Dances, imbued with the essence of musical Czech-ness, fl owed from his pen and found their way onto every Ger-man and English piano. The Sixth Symphony, of 1880, in D major, revealed the ben-efi ts of Dvoks new cosmopolitan status, for the infl uence of Brahmss Second Symphony, also in D major, is clear in a work otherwise full of Czech character and an independent approach

to structure. When this work was performed in London in 1884, the Philharmonic Society were so impressed that they asked Dvok for a new symphony. He responded at once by creating the Seventh. He chose a key, D minor, fraught with potential danger (or at least nerves) because of the iconic shadow of Beethovens Ninth Symphony, written in that key. Dvok disregarded the imagined threat of writing too like Beethoven, however, and looked instead to Brahmss Third Symphony in F, which he knew from a meeting in October 1883 when Brahms played him the fi rst and last movements on the piano, and from an or-chestral performance in Berlin in January 1884, which impressed him greatly. In February 1885, Dvok wrote to his publisher: I have been engaged on the new

symphony for a long, long time; after all it must be something re-ally worthwhile, for I dont want Brahms to say to me I imagine your symphony to be quite diff erent from your last one and be proved wrong. Dvoks visit to London in 1885 was an enormous success, leading to more commissions although the press considered the new symphony inferior to the previous one. Posterity has taken the opposite view, with many awarding the Seventh top prize among his nine symphonies, a view with which Dvok himself seems to have agreed when he accepted a much lower fee from his publisher for the New World Symphony (No. 9) than for the Seventh.

Dvorv

ks visit to London in

1885 was an enormous suc-

cess, leading to more com-

missions although the

press considered the new

symphony inferior to the

previous one. Posterity has

taken the opposite view,

with many awarding the

Seventh top prize among

his nine symphonies, a view

with which Dvorv

k himself

seems to have agreed.

About the Music


T H E M U S I C The New World may be the more popular, but the Seventh has an unequaled potency and drive. All four movements are per-meated with Dvoks personality, rich in melody, bold in harmony, and satisfying both in parts and as a whole. The fi rst movements opening theme, whispered by violas and cellos, is decidedly melancholy, with its emphasis on the fl atness of the minor key. It was supposedly suggested to the composer when he witnessed the arrival of a trainload of Hungarian nationalists vis-iting Prague for a National Theater Festival. Later themes are much more likely to induce a smile, for example a beautiful entry for a solo horn near the beginning, and the main second subject presented by fl ute and clarinet, perhaps a lilting version of a theme from Brahmss Second Piano Concerto. The movement eventually reaches a tre-mendous climax, but the ending is subdued and desolate. A hymn-like melody for winds opens the slow second move-ment, a declaration of innocence that is quickly elaborated into something more searching, even sinister, as low trombones support some mysterious chords. This is a clear nod towards a similar pas-sage in Brahmss Third. The opening melody reappears at the end, but its simple tone is the very opposite of the intensity that drives the rest of the movement. Relaxation after intensity is the goal of the Scherzo third movement, alive with an irresistible Czech lilt and the subtle cross-rhythms of the Slavonic Dances. The key of D minor is hammered home, while the movements Trio section off ers a change of key and a soft, delicate texture throughout. Eventually the dance returns, and its fi nal notes seem to proclaim the fi rst notes of the fi nale fourth movement: these are rising octave As landing on a tense G-sharp, a gesture that colors the whole movement despite the profusion of other themes and ideas. One of the greatest is a tune for the cellos, perhaps another homage to Brahms, this time a lovely cello melody in the fi nale of his Second Symphony. Dvoks fi nale is long and complex, and although its ending chords are unequivocally major, the minor key dominates much of the action, leaving the listener drained as if some mighty force has passed through. The great British critic Donald Tovey had no hesitation in setting this symphony, along with Schuberts Great C-major Symphony and the four symphonies of Brahms as among the greatest and purest examples in this art-form since Beethoven.

Hugh Macdonald 2016

About the Music

February 21, 2016 SECOND TO NONE

FACTORY SECONDS BRASS TRIOJack Sutte, Richard Stout,

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March 13, 2016 FEATURED YOUNG ARTIST

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April 10, 2016ONE PIANO, FOUR HANDS

WESTHUIZEN DUOSophi & Pierre van der Westhuizen

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Our journey continues...

Please join us for our last three concerts of the 201516 season.

Concerts begin at 5:00 pm at Christ Church Episcopal, 21 Aurora Street in Hudson.

Ticket price of $18 includes post concert reception. Students admitted free. Tickets may be purchased at the door on concert night.

Visit our website to learn of otherorgan performances in Cleveland

agocleveland.org

The Cleveland Chapter of the American Guild of Organists

announces two great concerts on the King of Instruments

Stephen Cleobury, CBE Director of Music, Kings College, Cambridge

performing at St. Pauls Episcopal Church 2747 Fairmount Blvd., Cleveland Hts.Friday, February 26 at 7:30 p.m.216-932-5815

Christian Lane Grand Prize winner, Canadian International Organ Competition

performing at Plymouth Church, UCC 2860 Coventry Rd, Shaker HeightsTuesday, April 12 at 7:30 p.m.216-921-3510

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

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Herbert BlomstedtSwedish-American conductor Herbert Blomstedt has been leading orchestras for more than half a century. His artistry and leadership is especially associated with the San Francisco Symphony, Leipzig Gewandhaus Orchestra, and Dresden Sta-atskapelle. Mr. Blomstedt fi rst conducted The Cleveland Orchestra in April 2006, and has returned regularly since that time. His most recent concerts with the Orchestra were in April 2014. Born in Springfi eld, Massachusetts, to Swedish parents, Herbert Blomstedt began his musical education at the Royal Academy of Music in Stockholm and at the University of Uppsala. He later studied conducting at the Juilliard School, con-temporary music in Darmstadt, and renais-sance and baroque music at the Schola Cantorum Basiliensis. He also worked with Igor Markevich in Salzburg and Leonard Bernstein at Tanglewood. In 1954, Mr. Blomstedt made his con-ducting debut with the Stockholm Philhar-monic Orchestra. He subsequently served as music director of the Danish Radio Symphony Orchestra, Oslo Philharmonic, Staatskapelle Dresden, and the Swed-ish Radio Symphony Orchestra. Today he holds the title of conductor laureate with the San Francisco Symphony, where he served as music director from 1985 to 1995. He was subsequently music direc-tor of Hamburgs NDR Symphony Orches-tra, and, in 1998, became music director of Leipzigs Gewandhaus Orchestra, serving through the 2004-2005 season. In recent years, Herbert Blomstedt has been named honorary conductor of

the Bamberg Symphony Orchestra, LeipzigGewandhaus Orchestra, NHK Symphony, and the Danish and Swedish radio sympho-ny orchestras. In addition to these, he has guest conducted many of the worlds great orchestras, including Amsterdams Royal Concertgebouw Orchestra, Berlin Philhar-monic, London Philharmonic, and the Vien-na Philharmonic, as well as those of Boston, Chicago, Los Ange-les, Montreal, New York, and Philadel-phia. Herbert Blomstedts exten-sive discography includes over 130 works with the Dresden Staats-kapelle, and the complete works of Carl Nielsen with the Danish Radio Symphony. His recordings with the San Francisco Symphony are available on Dec-ca/London; many received major awards. His collaborations with other ensembles, including the Leipzig Gewandhaus Or-chestra, can be heard on Decca, Deutsche Grammophon, and RCA Red Seal. Mr. Blomstedt is currently in the midst of re-cording the complete Bruckner sympho-nies with the Gewandhaus Orch estra for the German label Querstand. Among Mr. Blomstedts honors are several doctorate degrees and member-ship in the Royal Swedish Music Academy. In 2003, he received the German Federal Cross of Merit.

Guest Conductor

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View complete schedule and purchase tickets at www.bw.edu/bachfest or call 440-826-8070.

April 15-17, 2016Masterful tradition with a contemporary perspectivejoin us for Baldwin Wallaces celebrated 84th annual Bach Festival featuring the St. Matthew Passion (BWV 244) under the direction of Dirk Garner.

V jra?^ y^ J. S. Bach: Frchte dich nicht, BWV 228 David Lang: the little match girl passion Dirk Garner, conductor

V .j?~~?^? .?a?^ ^ A two-time winner of the International Bach Keyboard Competition featuring the works of J. S. Bach and Beethovens Hammerklavier Sonata

V . ?j+?^87|| .?a?^ ^

Dr. Dirk Garner, Bach Festival Artistic Director

Dashon Burton, Christus Rufus Mller, Evangelist Teresa Wakim, soprano

Luthien Brackett, mezzo-soprano Matthew Anderson, tenor Jason Steigerwalt, baritone

Concerts are ticketed. Other exciting programs are free and open to the public including master classes, a neuroscience lecture, and a lively discussion focused on Anti-Semitism and the St. Matthew Passion.

4


Sound for the Centennial THE CAMPAIGN FOR THE CLEVELAND ORCHESTRA


In anticipation of The Cleveland Orchestras 100th anniversary in 2018, we have em-barked on an ambitious fundraising campaign. The Sound for the Centennial Campaign seeks to build the Orchestras Endowment through cash gifts and legacy commitments, while also securing broad-based and increasing annual support from across Northeast Ohio. The generous individuals and organizations listed on these pages have made long-term commitments of annual support, endowment funds, and legacy declarations to the

Campaign. We gratefully recognize their extraordinary commitment toward the Orchestras future success. Your participation can make a crucial diff erence in helping to ensure that future generations of concertgoers experience, embrace, and enjoy performances, collaborative presentations, and education programs by The Cleveland Orchestra. To join this growing list of visionary contributors, please contact the Orchestras Philanthropy & Advancement Offi ce at 216-231-7558. Listing as of January 20, 2016.

Art of Beauty Company, Inc.BakerHostetlerMr. William P. Blair IIIMr. Richard J. Bogomolny and Ms. Patricia M. KozerefskiMrs. M. Roger Clapp*EatonFirstEnergy FoundationForest City The George Gund FoundationMr. and Mrs. Michael J. HorvitzHyster-Yale Materials Handling NACCO Industries, Inc. Jones DayThe Walter and Jean Kalberer FoundationMr. and Mrs. Joseph P. KeithleyKeyBankKulas FoundationMr. and Mrs. Dennis W. LaBarreMrs. Norma LernerThe Lubrizol CorporationThe Andrew W. Mellon Foundation

Ms. Beth E. MooneySally S.* and John C. MorleyJohn P. Murphy FoundationDavid and Inez Myers FoundationThe Eric & Jane Nord Family FundOhio Arts CouncilThe Honorable and Mrs. John Doyle OngThe Payne FundPNC BankJulia and Larry PollockMr. and Mrs. Alfred M. Rankin, Jr.James and Donna ReidBarbara S. RobinsonThe Leighton A. Rosenthal Family Foundation The Sage Cleveland FoundationThe Ralph and Luci Schey FoundationThe Kelvin and Eleanor Smith FoundationMr. and Mrs. Richard K. SmuckerThe J. M. Smucker CompanyJoe and Marlene TootAnonymous (3)

GIFTS OF $5 MILLION AND MORE

The Cleveland FoundationMr. and Mrs. Alexander M. CutlerCuyahoga County residents through Cuyahoga Arts and CultureNancy Fisher and Randy Lerner in loving recognition of their mother, Norma Lerner

Maltz Family FoundationMrs. Alfred M. Rankin, Sr.Mr. and Mrs. Albert B. RatnerAnonymous

GIFTS OF $1 MILLION TO $5 MILLION

Sound for the Centennial Campaign

Dennis W. LaBarre, President, Musical Arts Association Richard J. Bogomolny, MAA Chairman and Fundraising Chair Nancy W. McCann, Fundraising Vice Chair Alexander M. Cutler, Special Fundraising Beth E. Mooney, Pension Fundraising John C. Morley, Legacy Giving Hewitt B. Shaw, Annual Fund


Gay Cull AddicottAmerican Greetings CorporationJeanette Grasselli Brown and Glenn R. Brown Robert and Jean* ConradDr. and Mrs. Hiroyuki Fujita GAR FoundationRichard and Ann GridleyThe Louise H. and David S. Ingalls FoundationMartha Holden Jennings FoundationMyra Tuteur Kahn Memorial Fund of The Cleveland FoundationMr. and Mrs. Douglas A. KernJames and Gay* KitsonVirginia M. and Jon A. Lindseth

Ms. Nancy W. McCannMedical Mutual of OhioNordson Corporation FoundationParker Hannifi n FoundationCharles and Ilana Horowitz RatnerSally and Larry SearsSquire Patton Boggs (US) LLP Thompson Hine LLP Timken Foundation of CantonMs. Ginger Warner Anonymous (4)

GIFTS OF $500,000 TO $1 MILLION

The Abington FoundationAkron Community FoundationMr. and Mrs. George N. AronoffJack L. BarnhartFred G. and Mary W. BehmMadeline & Dennis Block Trust FundBen and Ingrid BowmanDr. Christopher P. Brandt and Dr. Beth SersigBuyers Products CompanyMr. and Mrs. David J. CarpenterMary Kay DeGrandis and Edward J. DonnellyJudith and George W. DiehlGeorge* and Becky Dunn Ernst & Young LLPMr. Allen H. FordFrantz Ward LLPDr. Saul GenuthThe Giant Eagle FoundationJoAnn and Robert GlickHahn Loeser & Parks LLPIris and Tom HarvieJeff and Julia HealyThe Hershey FoundationMr. Danie

Documents

The Cleveland Orchestra February 18, 19, 20/March 3, 5, 6 Concerts