The Cleveland Orchestra March 24, 26/March 31-April 2 Concerts

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Concert Program: March 24 and 26

WELSER-MÖST CONDUCTS BRUCKNER’S SIXTH — page 29

Concert Program: March 31, April 1 and 2

WAGNER’S GÖTTERDÄMMERUNG — page 69

PERSPECTIVES from the Executive Director — page 7

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2015-16 SEASON

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

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

About the Orchestra Musical Arts Association . . . . . . . . . . . . . . . . . . . . . . . 11 The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . . . 13 Music Director: Franz Welser-Möst . . . . . . . . . . . . 19 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

WEEK 14 WELSER-MÖST CONDUCTS BRUCKNER Program: March 24, 26 . . . . . . . . . . . . . . . . . . . . . . . 29 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 31 KURTÁG Petite musique solennelle . . . . . . . . . . . . . . . . . . . 33 SCHUMANN Cello Concerto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 BRUCKNER Symphony No. 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Guest Soloist: Truls Mørk . . . . . . . . . . . . . . . . . . . . . . . 47

NEWS Cleveland Orchestra News . . . . . . . . . . . . . . . . . . . . . 58

WEEK 15 WAGNER’S GÖTTERDÄMMERUNG Program: March 31, April 1, 2 . . . . . . . . . . . . . . . . 69 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 71 CHEUNG Lyra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72 ADÈS Violin Concerto: Concentric Paths . . . . . . . . . . . 77 WAGNER Excerpts from Götterdämmerung . . . . . . . . . . . . 83 Guest Soloist: Leila Josefowicz . . . . . . . . . . . . . . . . . 81

Support Mellon Challenge Grant . . . . . . . . . . . . . . . . . . . . . . 8-9 Sound for the Centennial . . . . . . . . . . . . . . . . . . 56-57 Annual Support . . . . . . . . . . . . . . . . . . . . . . . . . . . 91-102

Concerts & Calendars Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Concert Calendar . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

WEEKS 14 AND 15

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

All unused books are recycled as part of theOrchestra’s 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

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Virginia Havens loves to learn. Living at Judson Manor, she continues to pursue lifelong learning opportunities at Case Western Reserve University. Judson and Case Western Reserve University recently established an exciting new partnership that offers Judson residents complete access to University events, programs and facilities, like the Kelvin Smith Library and the new state-of-the-art Tinkham Veale University Center.For CWRU alumni considering a move to Judson, there is an attractive discount towards an independent living entry fee and relocation package.Learn more about all the benefits included in the new partnership between Judson and Case Western Reserve University. Call (216) 791-2004 today.

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7Severance Hall 2015-16 7

March-April 2016

I have watched and enjoyed The Cleveland Orchestra from the outside for many years. I’ve listened to radio broadcasts since I was very young. I’ve experienced live performances since I was a student in New York City. Since joining the Orchestra as executive director in January, I have had an amazing vantage point from which to ask questions and witness the vast breadth of what is offered each season.

The Cleveland Orchestra did not become great overnight. It started strong, and kept getting better because this community wanted more. As a result, Cleveland has rightly claimed, for many decades now, a premium spot among the uppermost echelons of the world’s best orchestras. Cleveland’s orchestra has long been synonymous with precision, revered as a well-oiled musical machine. That clarity of sound remains — but today, this Orchestra is also known for the warmth of its sound and an emotional depth and complexity that pairs exactitude with understanding to produce truly great musical experiences. Coming from the outside, what I see as most noteworthy today is the incredible partner-ship that the Orchestra’s musicians now have with Franz Welser-Möst. Fourteen years into this pairing, The Cleveland Orchestra is playing better than at any time in history. Together, Franz and the Orchestra have forged an artistic partnership that brings unique power to the music. Franz chooses repertoire not simply because he wants to perform a certain piece, or because he thinks you will enjoy hearing a particular work, or because he knows The Cleveland Orchestra will play it superbly. All that is very true, but the choices are also made to challenge the musicians onstage — conductor and players alike — to grow ever better together. This Orchestra is not satisfied simply to maintain the highest levels of artistic success. Instead, under Franz Welser-Möst’s leadership it has evolved toward ever greater accomplishment, with flexible and daring artistry. I feel incredibly fortunate to have joined this Orchestra at this time. To be involved, in some small way, in shepherding this great orchestra forward into the future. All of us here in North-east Ohio have the great pleasure of experiencing more of this Orchestra than anyone else in the world. It is a privilege and a joy — and a responsibility. This spring, we have incredible opportunities to hear world premieres and U.S. premieres . . . opera, ballet, theater, and film . . . standard repertoire and pieces lesser known. And such variety in programming is not un-usual for this orchestra. Such diversity is what we all have come to expect, and relish. Thank you so much for recognizing the treasure you possess. Thank you for cherishing and nurturing your Orchestra with your applause and your generosity. By attending concerts, you have a direct role in the musical action and interaction. By supporting the Orchestra through donations, thousands of you are playing a crucial role in making this orchestra The Cleveland Orchestra. And those who have stepped up to support special programming, including April’s Bartók doublebill of opera and ballet, are critical to allowing Franz and his remarkable orchestra to do what they do best. Excellence — the kind that defines and is defined by The Cleveland Orchestra — is possible only because of you.

Perspectives from the Executive Director

André Gremillet

Passion and drama, beauty and spectacle define these artforms. And when opera and ballet are performed by The Cleveland Orchestra . . . every performance is elevated to the very highest level.

Under the leadership of Franz Welser-Möst, the Orchestra is committed to making opera and ballet a part of every season’s programming. And thus helping to secure a rich, vital future for Northeast Ohio’s cultural community.

Ensuring the Orchestra continues presenting the best opera and ballet the world has to offer — right here at home — requires additional philanthropic support each season.

And now, every dollar you contri-bute counts twice . . .

The Andrew W. Mellon Foundation has awarded The Cleveland Orchestra $2.5 million to support opera and ballet.

Through June 2016, $1.25 million of the Foundation’s grant is matching, on a one-to-one basis, gifts from donors designated to support ambitious opera and ballet programming.

Support the future of opera and ballet with The Cleveland Orchestra today! Contact Em Ezell in our Philanthropy & Ad-vancement Office by calling 216-231-7523, or make a donation online by visiting clevelandorchestra.com/donate and choosing to give to opera and ballet.

Time is running out to double your support!

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

Ensuring world-class opera and ballet for Northeast Ohio and the future . . .

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Mr. and Mrs. Charles Abookire, Jr.Ms. Nancy A. AdamsDrs. Nathan A. and Sosamma J. BergerMr. William P. Blair IIIMrs. Barbara Ann DavisMr. and Mrs. Ralph DaugstrupDr. M. Meredith DobynsJack Harley and Judy ErnestAngela and Jeffrey GotthardtIris and Tom HarvieDr. Fred A. HeuplerElisabeth HughRobert and Linda JenkinsMr. and Mrs. Richard W. KlymTim and Linda KoelzMr. Clayton R. KoppesPannonius FoundationAnthony T. and Patricia A. LauriaMr. and Mrs.* Thomas A. Liederbach

Ms. Grace LimElizabeth F. McBrideMs. Nancy W. McCannMr. and Mrs. Stanley A. MeiselDeborah L. NealeDr. and Mrs. Paul T. OmelskyMr. J. William and Dr. Suzanne PalmerMs. MacGregor W. PeckPatricia J. SawvelHarry and Ilene ShapiroMs. Frances L. SharpMr. Marc StadiemMr. and Mrs. William W. TaftMs. Ginger Warner Mrs. Darlene K. WoodruffAnonymous

The Cleveland Orchestra applauds the generous donors listed here, who are making

The Andrew W. Mellon FoundationGeorge* and Becky Dunn

Mrs. Emma S. Lincoln

With Extra Special Thanks . . .

Jim and Karen DakinMr. and Mrs. Dennis W. LaBarreJames and Virginia MeilMs. Beth E. MooneyDr. James and Lynne Rambasek

Blossom Friends of The Cleveland OrchestraJeanette Grasselli Brown and Glenn R. Brown

Judith and George W. DiehlT. K. and Faye A. Heston

Margaret Fulton-MuellerDonald and Alice Noble Foundation, Inc.

Rachel R. SchneiderAnonymous

Listing as of March 2016.

Add your name to this list of opera and ballet supporters today, and double your gift through the Mellon Foundation grant . . . through June 2016.

9

Mr. Larry J. SantonDr. Gerard and Phyllis Estelle Seltzer FoundationDrs. Daniel and Ximena SesslerWomen’s Committee of The Cleveland Orchestra Anonymous

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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, Women’s 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. O’Neill 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-Möst, Music Director André 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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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-Möst, with the 2015-16 season marking his fourteenth year as the ensemble’s music director, The Cleveland Orchestra is acknowledged among the world’s handful of best orches-tras. With Welser-Möst, the ensemble’s 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 Orchestra’s 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 Orchestra’s 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 Cleveland’s 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-na’s Musikverein, and regular appearances at Switzerland’s Lucerne Festival, at New York’s 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 Orchestra’s ongoing collaboration with Welser-Möst 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 Orchestra’s 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

13Severance Hall 2015-16 13About the Orchestra

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116,801Likes on Facebook (as of March 20, 2016)

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 Dohnányi, and Franz Welser-Möst.

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The 2015-16 season will mark Franz Welser-Möst’s 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

Under 18s Free ticketing — making up 20% of audiences.

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Over half of The Cleveland Orchestra’s 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, “America’s most beautiful concert hall,” opened in 1931

as the Orchestra’s 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-Möst 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-tra’s 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-Möst’s 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 Orchestra’s 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 season’s costs, it is the generos-

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15Severance Hall 2015-16 15About the Orchestra

Franz Welser-Möst leads a concert at John Adams High School. Through such In-School Performances and Education Concerts at Severance Hall, The Cleveland Orchestra 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 ensemble’s 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 Dohnányi, 1984-2002; and Franz Wels-er-Möst, since 2002. The opening in 1931 of Severance Hall as the Orchestra’s permanent home, with later acoustic refi nements and remodeling

of the hall under Szell’s 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 estra’s artistry. Touring performances throughout the Unit-ed States and, beginning in 1957, to Europe and across the globe have confi rmed Cleve-land’s place among the world’s 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 Orchestra’s acclaimed artistry to an enthusiastic, generous, and broad constitu-ency around the world.

16 The Cleveland OrchestraAbout the Orchestra

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

Franz Welser-Möst is among today’s most distin-guished conductors. The 2015-16 season marks his fourteenth year as music director of The Cleveland Orchestra, with the future of this acclaimed partner-ship now extending into the next decade. In 2015, the New York Times declared Cleveland to be the “best American orchestra“ due to its virtuosity, elegance of sound, variety of color, and chamber-like musical co-hesion. The Cleveland Orchestra has been repeatedly praised for its innovative programming, support for new musical works, and for its recent success in semi-staged and staged opera productions. In addition to an unprecedented annual resi-dency in Miami, Franz Welser-Möst and The Cleveland Orchestra are frequent guests at many prestigious concert halls and festivals, including the Salzburg Festival and the Lucerne Festival. The Cleveland Orchestra has been hugely successful in build-ing up a new and, notably, a young audience through its groundbreaking programs involving students and by working closely with universities. As a guest conductor, Mr. Welser-Möst enjoys a close and productive relationship with the Vienna Philharmonic. Recent performances with the Philharmonic include crit-ically-acclaimed opera productions at the Salzburg Festival (Strauss’s Der Rosenkavalier in 2014 and Beethoven’s Fidelio in 2015) and a tour of Scandinavia, as well as appearanc-es at New York’s Carnegie Hall, at the Lucerne Festival, and in concert at La Scala Milan. He has conducted the Philharmonic’s celebrated annual New Year’s Day concert twice, viewed by millions worldwide. This season, he leads the Vienna Philharmonic in two weeks of subscription concerts, and will conduct a new production of Strauss’s Die Liebe der Danae with them at the 2016 Salzburg Festival. Mr. Welser-Möst also maintains relationships with a number of other European orchestras, and the 2015-16 season includes return engagements to Munich’s Bavar-ian Radio Symphony Orchestra and Zurich’s Tonhalle Orchestra. In December, he led the Royal Stockholm Philharmonic in the Nobel Prize concert in Stockholm and conducted the Filarmonica of La Scala Milan in a televised Christmas concert. This season, he also makes his long-anticipated debut with Amsterdam’s Royal Concert-gebouw Orchestra for two weeks of concerts. From 2010 to 2014, Franz Welser-Möst served as general music director of the Vienna State Opera. His partnership with the company included an acclaimed new production of Wagner’s Ring cycle and a series of critically-praised new productions, as well as performances of a wide range of other operas, particularly works by Wagner and Richard Strauss. Prior to his years with the Vienna State Opera, Mr. Welser-Möst led the

Music Director

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20 The Cleveland OrchestraMusic Director

Zurich Opera across a decade-long tenure, conducting more than forty new produc-tions and culminating in three seasons as general music director (2005-08). Franz Welser-Möst’s recordings and videos have won major awards, including a Gramophone Award, Diapason d’Or, Japanese Record Academy Award, and two Gram-my nominations. The Salzburg Festival production he conducted of Der Rosenkavalier was awarded with the Echo Klassik 2015 for “best opera recording.“ With The Cleveland Orchestra, his recordings include DVD recordings of live performances of five of Bruck-ner’s symphonies and a recently-released multi-DVD set of major works by Brahms, fea-turing Yefim Bronfman and Julia Fischer as soloists. For his talents and dedication, Mr. Welser-Möst has received honors that include the Vienna Philharmonic’s “Ring of Honor” for his longstanding personal and artistic relationship with the ensemble, as well as recognition from the Western Law Center for Disability Rights, honorary membership in the Vienna Singverein, appointment as an Academician of the European Academy of Yuste, a Decoration of Honor from the

Republic of Austria for his artistic achieve-ments, and the Kilenyi Medal from the Bruckner Society of America.

AT LEFT

Franz Welser-Möst was invited to lead the prestigious Nobel Prize Concert with the Stockholm Philharmonic in December 2015. Other recent accolades include being singled out in a year-end review of notable performers and perform-ances in 2015 by Deutschland Radio.

“Right now The Cleveland Orchestra may be, as some have argued, the finest in America. . . . The ovations for Mr. Welser-Möst and this remarkable orchestra were ecstatic.” —New York Times

“Franz Welser-Möst has managed something radical with The Cleveland Orch-estra — making them play as one seamless unit. . . . The music flickered with a very delicate beauty that makes the Clevelanders sound like no other orchestra.”

—London Times

“There were times when the sheer splendor of the orchestra’s playing made you sit upright in awestruck appreciation. . . . The music was a miracle of ex-pressive grandeur, which Welser-Möst paced with weight and fluidity.”

—San Francisco Chronicle

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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 BormannAnalisé Denise Kukelhan

SECOND VIOLINSStephen Rose*

Alfred M. and Clara T. Rankin Chair

Emilio Llinas 2

James and Donna Reid ChairEli Matthews 1

Patricia 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*

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 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 JohansenPaul Kushious

BASSESMaximilian Dimoff *

Clarence T. Reinberger ChairKevin Switalski 2

Scott Haigh1

Mary 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 Ö 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

22 The Cleveland Orchestra

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 O’Brien

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 DohnányiMUSIC 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

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

clevelandorchestra.com

Th e generous individuals, corporations, foundations, and government agencies listed here made extraordinary cash contributions of $100,000 or more to Th e Cleveland Orchestra’s annual fund, benefi t events, or special annual donations during the 2014-15 season. Th e Cleveland Orch estra gratefully recognizes the crucial role these funders play in supporting the Orchestra’s ongoing ability to share the world’s fi nest classical music with the greater Northeast Ohio commu-nity. For information about making your own gift to Th e 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


Annual Support 25Severance Hall 2015-16 25

cim.edu

The Cleveland Institute of Music is dedicated to the education of the complete musician of the 21st century. Fill your spring with concerts and performances from our exceptional conservatory student musicians.

For a complete schedule of events, visit cim.edu/events

COME HEAR THE NEXT GENERATION OF CLASSICAL MUSICIANS

Serving preschool through grade 8 www.birchwoodschool.org

216.251.2321Call to schedule your visit today!

Reserve your space in the Blossom Music Festival

programs.

Be a part of one of Northeast Ohio’s classic summer

traditions.Call 216-721-1800

or email [email protected]

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IN THE COMMUN I T Y

Supporting the health, independence and dignity of older adults. www.benrose.org

Serving older adults and their caregivers through service, research and advocacy. To find out how we can help you, call 216.791.8000.


27Severance Hall 2015-16

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 in part by a generous endowment gift from Dorothy Humel Hovorka.

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

March 31, April 2“Meet the Composer” (Musical works by Cheung, Adès, 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 Adès and Wagner) with Rose Breckenridge

April 7, 8, 9, 10“Dark Opera, Murderous Ballet” (Musical works by Bartók) with Michael Strasser, professor of musicology, Baldwin Wallace University Conservatory of Music

April 14, 16“From Dawn to Dusk” (Musical works by Mozart and Haydn) with Rose Breckenridge, administrator and lecturer, Cleveland Orchestra Music Study Groups

LEARNING MORE ABOUT THE MUSIC

The Cleveland Orchestra offers a vari-ety of options for learning more about the music before each concert begins. For each concert, the program book includes program notes commenting on and providing background about the composer and his or her work being performed that week, along with biographies of the guest artists and other information. You can read these before the concert, at intermis-sion, or afterward. (Program notes are also posted ahead of time online at clevelandorchestra.com, usually by the Monday directly preceding the concert.) The Orchestra’s Music Study Groups also provide a way of explor-ing the music in more depth. These classes, professionally led by Dr. Rose Breckenridge, meet weekly in locations around Cleveland to explore the music being played each week and the sto-ries behind the composers’ lives. Free Concert Previews are pre-sented one hour before most subscrip-tion concerts throughout the season at Severance Hall. The previews (see listing at right) feature a variety of speakers and guest artists speaking or conversing about that weekend’s program, and often include the op-portunity for audience members to ask questions.

Concert Previews

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 Theatre’s STEP Education Program

Photo by Steve Wagner


2015-16 SEASON

Severance HallThursday evening, March 24, 2016, at 7:30 p.m.Saturday evening, March 26, 2016, at 8:00 p.m.

Franz Welser-Möst, conductor

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

Concert Program — Week 14

Truls Mørk's appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from The Hershey Foundation.

The Thursday performance is dedicated to The Honorable and Mrs. John Doyle Ong in recognition of their extraordinary generosity in support of The Cleveland Orchestra’s Annual Fund.

The concert will end on Thursday evening at about 9:20 p.m.and on Saturday night at approximately 9:50 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.

GYÖRGY KURTÁG Petite musique solennelle (b. 1926) Homage to Pierre Boulez at 90 UNITED STATES PREMIERE PERFORMANCES

ROBERT SCHUMANN Cello Concerto in A minor, Opus 129 (1810-1856) 1. Nicht zu schnell [Not too fast] — 2. Langsam [Slow] — 3. Sehr lebhaft [Very lively] TRULS MØRK, cello

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

ANTON BRUCKNER Symphony No. 6 in A major (1824-1896) 1. Maestoso 2. Adagio: Sehr feierlich [Very solemn] 3. Scherzo: Ruhig bewegt (etwas gemessen) — Trio: Langsam [Quietly moving (somewhat measured)] [Slow] 4. Finale: Bewegt, doch nicht zu schnell [With motion, but not too fast]

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 Cleveland’s Legacy Society by contacting Carol F. Wolf for a confidential conversation at 216-593-2805 or [email protected].

www.jewishcleveland.org

L’dor V’dor. From Generation to Generation. Create Your Jewish Legacy


W I T H T H I S W E E K ’ S C O N C E R T S , Franz Welser-Möst offers a wide-ranging trio of works written over the course of more than a century and a half, from the Central European tradition of classical music — including one written in tribute to a grand master of contemporary music, who died in January just five months after the work’s premiere.

The evening begins with the United States premiere of a work penned by the Hungarian composer György Kurtág. The subtitle for Petite musique solennelle (“A short piece of solemn music”) is in “homage to Pierre Boulez at age 90.” It was premiered this past August during a day-long salute to Boulez at Switzerland’s famed Lucerne Festi-val, where Boulez helped found and teach an academy for modern music. Kurtág and Boulez had worked together and become friends over the years — and the homage is both heartfelt and musically sparse, as befitting Boulez’s own style of music and affection for precision. Boulez’s long and lasting relationship with The Cleveland Orchestra was feted and commemorated in the last years of his life; this unique musical homage, written while he still breathed, reminds us of his special insight into music’s power to speak in so many different directions — emotionally, spiritually, and as pure and mathematical logic. This Satur-day, March 26, would have marked Boulez’s 91st birthday.

Schumann’s Cello Concerto takes center stage next, performed by guest cellist Truls Mørk. Written in a renewed burst of creativity in 1850,

this work presents a lyrical flow of musical ideas, penned by a master artist of 19th-century Romanticism.

Following intermission, Franz leads Bruckner’s Sixth Sym-phony, returning to one of the touchstones of his own musical world. His video and televised recordings of five of Bruckner’s symphonies with The Cleveland Orchestra, made between 2007 and 2012, have been widely acclaimed. Built on small

kernels of music, each symphony is filled with a unique sense of proportion and large-scale architecture, and derived from within

the composer’s devout sense of musical vision and religious faith. The wondrous and harmonious ebb and flow of this music is mesmerizing and satisfying in its completeness.

—Eric Sellen

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

Expressions of Life&Faith

Introducing the Concert

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T H E R E CA N B E F E W truer signs of how times change (or how time changes) than the career of Pierre Boulez. From energetic young composer to revered and beloved musical statesman, from blaring daylight sun to the intense glow of sunset, from revolution to evolution, from accommodation to commendation. It is impossible today to hear the name Pierre Boulez with-out considering all that he has accomplished and in differing roles — as conductor and educator, as theoretician and instiga-tor, as educator and founder, as experimenter and strict stylist, as synthesizer (in all the word’s meanings). In recent decades, as he led Mahler cycles and exemplary performances across the symphonic repertoire, it was even oc-casionally easy to forget that he was once an “angry young man” with compositional ambition (and accomplishment), intensive pent-up energy, and a mind capable of feats of labyrinthine diligence — that what he wrote was partly built on how it was written or performed. And that he was, inside, a musician and man of incredible range, diverse interests, and great humanity. His death this past January, two months before he would have turned 91, signalled, in many ways, the end of the 20th century in classical music — in which Boulez had forged a ca-reer expanding the reach and definition of music within that century and into the next. There are other long-lived compos-ers and musicians still alive, but none touched as many aspects

Kurtág composed this “homage to Pierre Boulez at age 90” in 2015, titling it Petite musique solennelle [“A Small Piece of Solemn Music”]. It was first performed on August 23, 2015, in Lucerne, Switzerland, with the Lucerne Festival Academy Orchestra conducted by Matthias Pintscher. This piece runs just over 5 min-utes in performance. Kurtág scored it for 2 flutes, piccolo, alto flute,

bass flute, 2 oboes, english horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 2 horns, 2 trum-pets, 2 trombones, tuba, timpani, percussion (cimbalom, vibraphone, crotales, campana, cymbals, tam-tam, bass drum), and strings. The Cleveland Orchestra is performing the United States pre-miere of this work at this weekend’s concerts.

About the Music

At a Glance

Petite musique solennelleHomage to Pierre Boulez at 90composed 2015

by GyörgyKURTÁGborn February 19, 1926Lugoj, Romania

resides nearBordeaux, France

About the Music


of modern music-making, or as strongly, as did Boulez. His death was not unexpected, for his health had been in de-cline in recent years. Still, the passing of such an artist stands as a moment for refl ection and taking stock. Not wholly in sadness, for we all must die (and he lived a long life), but for remembering and celebrating all that Pierre Boulez did — for new music and in look-

ing at (and listening to) older music anew. This was especially true here in Cleveland, for his enduring legacy as a teaching conductor and as friend-colleague changed how Cleveland musicians approached music-mak-ing. He added to and enhanced this Orchestra’s already famous clarity of sound. Across nearly half a century of visiting, conducting, recording, and encouraging these musicians to do more and to be better, he also dared and challenged audiences here at Severance Hall to listen more intently to every score. And he rewarded us with keen insight and a new apprecia-tion for music we thought we knew, and scores we’d never heard before.

GYÖ R GY K U R TÁ G ’s Petite musique solennelle (“A short piece of solemn music”) was written just last year and premiered on August 23, 2015, at a day-long celebration of Boulez as part of last summer’s Lucerne Festi-

val, where Boulez had helped found the Lucerne Festival Academy, through which Boulez helped encourage countless new composers and young musicians. This was, in fact, the second time Kurtág had written a piece in homage to Boulez. In his eight volumes of short pieces, or “Games” for piano (two-hand and four-hand), written over the course of several decades, he had titled one, from the late 1990s, “Hommage à Pierre Boulez.” That short work was as much a tribute to Anton Webern’s sparse style, of which Boulez was a great advocate, as to Boulez him-self. Indeed, any and every homage to Boulez — musical, spoken,

About the Music

Cleveland Orchestra musicians

talk about Pierre Boulez . . .

“Music is sort of an organic being in itself. Once we stop playing, it ceases to live and it becomes just an artifact. And I think this is one of the things we learned from Pierre Boulez, that our work, that music . . . is ongoing.” —Jonathan Sherwin

“I’d never before met any conductor who was so careful, and precise. His musicianship combined with his beautiful, clear, honest, pristine beat. It was so easy to make music together and really well, with him. He was probably the greatest in uence on my musi-cal life, of anyone.”

—Joela Jones

Excerpted from interviews created as part of a special Celebration Concert at Severance Hall in January 2015 to mark Boulez’s 90th birthday.


PIERRE BOULEZ

Letter to The Cleveland Orchestra, 2010


ABRAHAMVERGHESE

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37Severance Hall 2015-16 About the Music

written — is almost inevitably centered around his approach to music. Boulez’s own output as a composer slowed considerably in the second half of his life, as he devoted more and more time to conducting — and most often conducting pieces written by others. Kurtág is of Hungarian descent, born in western Romania. Fame came his way only in mid-life, with international success and acclaim growing for him at ages when many of us are thinking of retirement. He was, in fact, born less than a year after Pierre Boulez. So that writ-ing a 90th birthday homage to his friend, whose health was growing noticeably frailer, can only have also been fi lled with thoughts of Kurtág’s mortality — and those aspects of music that were important not just to Boulez but also to Kurtág. In England’s Guardian newspa-per, the reviewer wrote of this 2015 homage: “There is little in the surface of Kurtág’s short piece that owes any-thing to Boulez’s music, apart from the coruscating percussive clang that the composer creates from a cimbalom, harp, accordion, and tubular bells, reminiscent of some of the textures of Boulez’s own composition Sur Incises. The music moves mostly as a slow pro-cessional, unfolding a melodic and harmonic world with absolute econ-omy and clarity — a diff erent world from the decorative splendor of Boulez’s more recent orchestral music. The “solemn-ness” of Kurtág’s music sounds like a memorial. It’s a tribute from one composer in the twilight of his years to another, commemorating their shared history and friendship. It sounds out a space of hieratic meditation and lingering sadness, symbolized by the disembodied echo of the pianissimo accordion notes that are left suspended at crucial points in the work.” These Cleveland Orchestra performances this week represent the United States premiere of this work — and come just when Boulez would have turned 91, on Saturday. Let us rejoice in having known him, so well, and for so long — as we bid farewell and so long.

—Eric Sellen © 2016

Eric Sellen serves as program book editor for Th e Cleveland Orchetsra.

“Pierre Boulez left his fi ngerprint on this Orchestra. He conducted The Cleveland Or-chestra over more than forty years, with his very calm style of teaching the most complex scores. He widened the horizon of all the players individually, but also as a collective. The Cleveland Orchestra today is actually known for playing the music of the past 70 or 80 years with great ease, and I think that is very much thanks to Pierre Boulez. Pierre managed to get the state of mind of this Or-chestra to a place where diffi cult challenges in new music are now seen not as challenges, but simply as part of what these musicians do everyday.” —Franz Welser-Möst


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Pierre Boulez


1. George Szell and Pierre Boulez in 1969, soon after announcing Boulez’s apointment as The Cleveland Orchestra’s fi rst Principal Guest Conductor. 2. Boulez backstage in Paris in 1990, with then Cleveland Orchestra music director Christoph von Dohnányi and former associate conductor Robert Shaw. 3. Boulez taking a curtain call after a concert in Tokyo during the Orchestra’s 1970 tour to Japan and Korea. 4. Boulez conducting a Blossom Festival concert in 1969. 5. A sketch of Boulez drawn by Orchestra member Laszlo Krausz in 1965.

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Photography pages 38-41, from The Cleveland Orchestra Archives — by Don Hunstein, Peter Hastings, Jack van Antwerp, Roger Mastroianni, and others.


1. Pierre Boulez leading a rehearsal of The Cleveland Orchestra on tour in Japan, May 1970.2. A special onstage 85th birthday salute at Severance Hall in 2010, with (left to right) Pierre Boulez, Gary Hanson, Carol Lee Iott, and Franz Welser-Möst, and musicians of The Cleveland Orchestra.3. Boulez with pianist Pierre-Laurent Aimard during rehearsals for recording both of Ravel’s piano concertos in Feb-ruary 2010. 4. Boulez in rehearsal at Severance Hall, circa 1969. 5. Pierre Boulez, circa 1968.

Pierre Boulez

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From the time he made his American professional conducting debut with The Cleveland Orchestra at the invitation of George Szell in 1965, Pierre Boulez led the Orchestra in more than 200 concerts. He was appointed the Orchestra’s fi rst Principal Guest Conductor in 1969, and served as Musical Advisor for two seasons beginning shortly after Szell’s death in 1970. Across fi ve decades, he has recorded a variety of works with The Cleveland Orchestra. Five of these albums have won Grammy Awards. Boulez’s complete recorded cycle of Mahler symphonies features Nos. 4 and 7 with Cleveland. He extended this recorded legacy most recently with albums featuring musical works by Mahler and Ravel.

PIERRE BOULEZ AND THE CLEVELAND ORCHESTRA

Pierre Boulez

2

PIERRE BOULEZborn March 26, 1925died January 5, 2016

WORLD PREMIERE IN CLEVELAND

A Centennial Exhibition

Through June 12Experience Royal Life

Don’t miss amazing masterworks on loan from museums around the world in celebration of our Centennial.

The presentation of Pharaoh: King of Ancient Egypt is a collaboration between the British Museum and the Cleveland Museum of Art.

The exhibition in Cleveland is made possible by Baker Hostetler, with additional support from the Selz Foundation.

Image credits: Head of Pharaoh Tuthmosis III (detail), about 1479–1425 BC. New Kingdom, Dynasty 18, reign of Tuthmosis III. Karnak, Thebes, Egypt. Green siltstone; 46 x 19 x 32 cm. British Museum, EA 986. © Trustees of the British Museum, London. Portrait of Alfonso d’Avalos, Marchese del Vasto, in Armor with a Page, 1533. Titian (Tiziano Vecellio) (Italian, about 1487–1576). Oil on canvas; 110 x 80 cm. The J. Paul Getty Museum, Los Angeles, 2003.486. Mask (Kifwebe). Congolese, Luba. Wood, raffia, bark, pigment, and twine; 92.1 x 60.9 x 30.5 cm. Seattle Art Museum, Gift of Katherine White and the Boeing Company, 81.17.869. Nude Descending a Staircase (No. 2), 1912. Marcel Duchamp (American, born France, 1887–1968). Oil on canvas; 147 x 89.2 cm. Philadelphia Museum of Art, The Louise and Walter Arensberg Collection, 1950-134-59. © Succession Marcel Duchamp / ADAGP, Paris / Artists Rights Society (ARS), New York, 2015. Photograph and digital image © Philadelphia Museum of Art. Portrait of Emy, 1919. Karl Schmidt-Rottluff (German, 1884–1976). Oil on canvas; 71.9 x 65.4 cm. North Carolina Museum of Art, Bequest of W. R. Valentiner. © 2016 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn. Helen Sears, 1895. John Singer Sargent (American, 1856–1925). Oil on canvas; 167.3 x 91.4 cm. Museum of Fine Arts, Boston, Gift of Mrs. J. D. Cameron Bradley, 55.1116. Photograph © 2016 Museum of Fine Arts, Boston.

Marcel DuchampApr 5 – Jul 3

Titian Through Apr 3

Kifwebe MaskMar 25 – Jun 12

John Singer Sargent Sep 1 – Nov 1

Karl Schmidt-Rottluff Aug 25 – Dec 18

ClevelandArt.orgPresenting Centennial Sponsor

Media SponsorSupporting Centennial Sponsor

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R O B E R T S C H U M A N N ’s life was filled with ups and downs, artistically and emotionally. Years of blossoming creativity al-ternated with periods of fallow inactivity and depression. He achieved some stability through the ongoing emotional sup-port of his wife, the great pianist Clara Wieck Schumann, and the family life they created with their children. But a series of mental breakdowns were eventually followed by his attempted suicide at age 44 and two years in an asylum. Schumann’s Cello Concerto was created in a moment of renewed output just as the composer took on his fi rst full-time job as an orchestra conductor, in Düsseldorf, in 1850. Indeed, his appointment promised the beginning of a new career for the forty-year-old composer following a string of severe emotional and artistic crises in the previous decade. Six years earlier, following a serious nervous breakdown, he had sold the newspaper Neue Zeitschrift für Musik — of which he had been the proprietor, editor, and chief music critic — and moved from Leipzig to Dresden with his wife and their two children. (Four more children were born to the Schumanns in Dresden, and another two in Düsseldorf.) The years in Dresden did not fulfi ll Schumann’s expecta-tions. The city’s concert schedule was less active than in Leipzig. The main musical institution for the city was the opera, headed by Richard Wagner, whose conducting was famously inspired across all repertoire. Wagner’s own operas Tannhäuser and Lo-hengrin were both written while the two men were living in the

Schumann wrote his Cello Concerto in October 1850. Although the score was published in 1854, the fi rst performance did not take place until 1860, four years after Schumann’s death. This concerto runs about 25 minutes in performance. Schumann scored it for 2 fl utes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings, plus

the solo cello. The Cleveland Orchestra fi rst performed Schumann’s Cello Con-certo in February 1920, with Nikolai Sokoloff conducting and Pablo Casals as soloist. The work has been occasionally programmed since that time, most recently in March 2005, with Vladimir Fedoseyev conducting and Truls Mørk as soloist.

About the Music

At a Glance

Cello Concerto in A minor, Opus 129composed 1850

About the Music

by RobertSCHUMANNborn June 8, 1810Zwickau, Saxony

diedJuly 29, 1856Endenich, near Bonn


same city (though Lohengrin’s fi rst performance was postponed due to a political revolution that necessitated Wagner’s fl ight from Ger-many). Schumann completed his own opera Genoveva in Dresden in 1848, was not accepted for performance there (and was fi nally produced in Leipzig, Schumann’s old home, in 1850). By that time, however, the call onward to Düsseldorf had come. A friend of Schumann’s, the noted composer and conductor Ferdinand Hiller, was relinquishing his post as music director there and recommended Schumann as his successor. It was diffi cult for Schumann to leave his native Saxony for the Rhineland, about 400 miles to the west. Although he had occasionally conducted orches-

tras before, this was Schumann’s fi rst fulltime appointment as a conductor. He felt he could not turn down this extraordinary off er and, in September 1850, he and his family took up residence in Düsseldorf. The success of his new symphony — completed soon after his arrival in the Rhineland and appropriately nicknamed “Rhenish“ — promised a new beginning for Schumann, who seemed fi nally on his way to recover fully from years of poor physical and mental health. Alas, this promise was not to be fulfi lled; after only two seasons, his relations with the orchestra musicians became troubled (many felt his conducting was inconsisitent and hard to follow). Schumann attempted suicide early in 1854 and spent the rest of his life in an asylum. But back in 1850, Schumann seemed full of energy, thrilled by the prospect of new artistic activities. In three months, he completed two

major orchestral works, the Symphony in E-fl at major (“Rhenish”) and his Cello Concerto. However, while Schumann soon conduct-ed highly-acclaimed performances of the symphony in Düsseldorf and beyond, the concerto, curiously, remained unperformed in the composer’s lifetime. W R I T I N G F O R C E L L O The choice of a concerto for cello and orchestra appears, in itself, to be somewhat surprising. No major composer since Haydn had written such a work, although two lighter pieces for cello and orchestra exist by Carl Maria von Weber. A few lesser-known com-

Schumann’s Cello Concerto

was created in a moment

of renewed output just as

the composer took on his

fi rst full-time job as an or-

chestra conductor, in Düs-

seldorf, in 1850. Indeed,

his appointment promised

the beginning of a new

career for the forty-year-

old composer following a

string of severe emotional

and artistic crises in

the previous decade.

About the Music


posers (most of them cellists themselves) had written concertos, variations, and other concert pieces, but no cellist was actively pursuing a solo concert career in the early 19th century. Schumann had more familiarity with the instrument than did many oth-er composers. He had in fact tried to master the cello for a while as an adult. Having been forced to give up the piano due to an injury to his right hand, he hoped he could learn the cello instead and continue as a performer. We don’t know exactly how far he got in his studies, but the year before the concerto, in 1849, he wrote fi ve short pieces for cello and piano (published as his Opus 102). Schumann’s Cello Concerto is in three movements, to be played straight through without pauses between. The linkage of the movements is further emphasized by transitions and bridge passages unifying the whole compo-sition through a network of motivic similarities. Thus, the three brief chords that open the work also constitute in modifi ed form the transition to the slow movement, and fi nally prepare the last movement’s main melody. The in-troduction to the fi nale, moreover, contains reminiscences of themes from the fi rst and second movements. Aside from such thematic connections, there is another feature in the concerto that almost makes it seem a work in a single movement. This is the fact that the individual movements lack strong melodic and textural contrasts — a more typical concerto would alternate sections of full orchestral playing (tutti) with solo passages, and mix together energetic musical themes with more lyrical “cantabile” ideas. But Schumann clearly had other intentions, for the fi rst movement has only two, relatively short, orchestral sections (they are actually almost identical musically). This is followed by the extremely brief second movement, while the third is based on a single melodic idea. Therefore, each movement develops only one musical characteristic, and the notion of contrasts — so crucial in Classical and Romantic compositions — manifests itself only on the level of the entire work (comparing between the movements, rather than within each one individually). The fi rst movement is dominated by the beautiful solo cello melody with which it opens. The second consists of a single lyrical melody for the solo instrument, accompanied, interestingly enough, by a second solo cello from the orchestra. And although the fi nale does contain a contrasting second theme (with an enchanting dialog between solo cello and woodwind), it is quite au-dibly derived from the brief rhythmic motif that is omnipresent throughout the movement. The only “solo” cadenza in the concerto comes at the end of the third movement, but it has the peculiarity of being accompanied by the orchestra. —Peter Laki © 2016

Copyright © Musical Arts Association

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

About the Music

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Truls MørkNorwegian cellist Truls Mørk is acclaimed for passion, intensity, and grace of his art-istry, establishing him as one of the pre-eminent cellists of our time. He made his Cleveland Orch estra debut in April 1997 (playing Hayden’s Cello Concerto No. 1), and performed with the Orchestra most recently in October 2011 (playing Shosta-kovich’s Cello Concerto No. 1 on tour in Luxembourg). Truls Mørk was born to a cellist father and a pianist mother, who began teach-ing him piano when he was seven. He also took up the violin, but soon switched to cello, taking lessons from his father. At age 17, he began studying with Frans Hel-merson, and later studied with Heinrich Schiff and Natalia Shakhovskaya. In 1982, at the age of 21, Truls Mørk was a prizewinner at the International Tchaikovsky Competition. He was also a winner at the 1983 Cassado Cello Compe-tition and 1986 Naumberg Competition, UNESCO Prize at the European Radio-Union Competition, and received the 2010 Sibelius Prize. Mr. Mørk has appeared with many of the world’s best-known orchestras and conductors, in standard repertoire and with new works by composers including Pavel Haas, Hafl iði Hallgrímsson, Krzysztof Penderecki, and Einojuhani Rautavaara. He has performed the world premieres of more than thirty works. Truls Mørk is also an active chamber musician and appears in festivals through-

out the world. At the 2015 Verbier Festival, his collaborators included Daniil Trifonov, Ilya Gringolts, and Jan Lisiecki. Upcoming appearances include the 2016 Piatigorsky International Cello Festival. He founded the International Chamber Music Festival in Stavanger, Norway, serving as its direc-tor during its fi rst 13 years. He is a professor at the Norwegian Acad-emy of Music in Oslo. Mr. Mørk’s discography in-cludes albums on the Bis, Lyrinx, Simax, and Virgin Classics labels. His recordings — including works by Bach, Britten, Dvořák, Dutilleux, Elgar, Haydn, Miasovsky, Prokofi ev, Rautavaara, and Shostakovich — have received the Diapason d’Or, Le Choc, Gramophone, and Midem awards. His recording of Shosta-kovich’s Cello Concertos Nos. 1 and 2 was nominated for a Grammy Award, and his album of concertos by C.P.E. Bach won an Echo Klassik Award. Truls Mørk plays a 1723 Domenico Montagnana cello purchased for him by the SR Bank of Norway.

Guest Artist


G U S TAV M A H L E R famously said “My time will come.” Anton Bruckner spent much of his life wondering if his music would ever be recognized and embraced. More than a century after his death, Bruckner’s place in popular and critical appraisal remains a moving target. While Mahler’s anguished music went main-stream, Bruckner’s slowly arching sympho-nies became something of an acquired taste. Many conductors embraced him as a supreme symphonist. Others too easily pigeonholed his symphonies as “gothic ca-thedrals in sound,” the work of a devoutly religious man who understood nothing but his own faith. In recent decades, the real Bruckner has been gaining ground. The veneers of slick editing that early on rendered a num-ber of his scores more “understandable,” more Wagnerian, more mainstream, have slowly been wiped clean. His legacy as a serious organist and thoughtful musician has been reexamined. The bolder ideas of his later symphonies have been viewed as looking forward to the 20th century rather than awkward missteps at the end of the 19th. With this weekend’s performances, Franz Welser-Möst returns to the music of Bruckner — having recorded fi ve of his symphonies with The Cleveland Orches-tra between 2007 and 2012, to critical ac-claim.

Welser-Möst comes by his interest and understanding of Bruckner’s music naturally. He, like Bruckner, grew up near Linz, Austria, and was steeped in Bruck-ner’s music from an early age. He very clearly remembers eminent conductors from previous generations leading Bruckner performances at the Abbey of Saint Florian, where Bruckner studied and later served as organist. He remembers a vinyl LP of Bruck-ner’s Second, which he nearly wore out as a young boy (along with his mother’s pa-tience). Indeed, Welser-Möst has been conducting and thinking about Bruck-ner nearly all his life. He has studied the scores — the early published versions ed-ited by assistants as well as the autograph manuscripts and later critical editions. He has led performances of diff ering versions and wrestled with the questions of which notes were really Bruckner and which were someone else’s suggestions. If Welser-Möst’s focused approach to these works proves nothing else, one thing should be abundantly clear: Bruck-ner was more than a simple man devoutly writing musical love letters to God. The composer was, certainly, at times social-ly awkward. Yes, he too often accepted others’ advice about his own music. And, very much, his Catholic faith anchored him through life. But Bruckner’s musical breadth was exceptional. He was a mag-

Back to Bruckner — Musical Reality and Meaning

About Bruckner


nifi cent organist, who mesmerized audi-ences in performances across Europe with his abilities to improvise — interweaving together, for instance, themes from the Adagio of his own Seventh Symphony with those of Siegfried’s Funeral March from Wagner’s Götterdämmerung. Bruckner studied all his life. He knew musical history, trends, ideas, infl u-ences. He almost certainly saw real and potent meaning behind his compositional choices (of key signatures, for example) in the relationships between musical notes and the messages to be conveyed. Like Bach, Bruckner was fascinated by num-bers — an obsession he shared with his counterpoint teacher Simon Sechter. In conversation and rehearsal, Welser-Möst uses such points to make a case for Bruck-ner symphonies being “about something,” not just long pieces of lovely church mu-sic. Life and love, God and mercy, death’s approach — all are in these symphonies. Welser-Möst points out that Bruck-ner didn’t just admire Wagner’s music, he studied it. And, Welser-Möst believes, he was not blind to Wagner’s many short-comings, including, for Bruckner, a lack of religious faith. His borrowings from Wagner were not uncomplicated admira-tion, but choiceful decisions for his own symphonies. For Bruckner, musical his-tory was a deliberate palette from which to work, not simply a collection of pleas-

ant or favorite ideas to string together. In this week’s concerts, March 24 and 26, Wel ser-Möst again juxtaposes Bruckner with other music — Schumann’s Cello Concerto from a couple decades ear-lier, and a newer piece by a master mod-ern composer. For Wel ser-Möst, all music is connected, as parent, grandparent, cousin or child. From Bruckner’s rhythmic intensity and repetition, the “small little elements Bruckner uses to build something much larger and extremely powerful” is a cornerstone of much music building, from the past and into the future.

—Eric Sellen

Cleveland + Welser-Möst:Bruckner on DVDBetween 2007-12, The Cleveland Orchestra and Franz Welser-Möst recorded fi ve of Bruckner’s symphonies in historic and acoustically important venues. The Fifth Symphony was recorded at the Abbey of St. Florian in Linz, Austria, and the Ninth Symphony at Vienna’s Musikverein. Bruckner’s Symphonies Nos. 4, 7, and 8 were recorded at Severance Hall in Cleveland. This series of fi ve Bruckner DVD recordings featuring The Cleveland Orchestra under Franz Welser-Möst’s direction was created in partnership and with generous support from Raiff eisenlandes-bank Oberösterreich and Clasart.

About Bruckner

Anton Bruckner, 1885, oil painting by Hermann Kaulbach

“ANTON BRUCKNER : There is arguably no other com-

poser who spent so many years studying his art before es-

tablishing his unique voice. He remained a devout Catholic

for the whole of his life, and his faith pervades all his music,

even though it was with the traditionally secular symphony

— Gothic cathedrals in sounds, as they have often been

described — that his originality was established.”

—The Rough Guide to Classical Music


“ I C O U L D B E B O U N D E D in a nutshell, and count myself a king of infi nite space . . .” Hamlet’s words sum up the life and works of Anton Bruckner, a man of simple faith from a small vil-lage whose musical thoughts were big. Very big. The vast spaces that Bruckner’s symphonies traverse are unlike anything else in the orchestral repertoire. There is a the-matic and harmonic structure to it all, which lifts and carries the listener through a symphonic experience lasting, in some cases, over an hour. But most of all, in the music of this devout believer, there is a feeling of the paradox at the heart of all re-ligions — the moment of greatest devotion is the moment of liberation of the spirit. Although Bruckner gave the title “Romantic” to his Fourth Symphony, his relation to the Romantic movement is as complex as the man was simple in his manners. Romanticism, it must be remembered, was an urban phenomenon. Like today’s environ-mental movement, it drew its energy from city-dwellers’ feelings of loss. In a bourgeois, scientifi c, industrial age, what was the answer to Wordsworth’s sonnet on the “getting and spending”

Bruckner began work on his Sixth Symphony in September 1879, and completed the score in September 1881. During the composer’s life-time, the work was performed only in part — on February 11, 1883, the Vienna Philharmonic played the two middle movements. The fi rst “com-plete” performance took place in February 1899, three years after the composer’s death, utilizing a heavily cut and revised score, with Gustav Mahler conducting the Vienna Philharmonic. A more complete performance was given in 1901, still with many revised sections made by others. The Bruckner Society published a new score in 1935, edited by Robert Haas that closely followed

the composer’s original score. The standard score text, being used for this weekend’s performances, was edited by Leopold Nowak and issued in 1951; it diff ers only slightly from the Haas Edition. This symphony runs about one hour in performance. Bruckner scored it for 2 fl utes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, tuba, timpani, and strings. The Cleveland Orchestra fi rst performed Bruckner’s Sixth Sym-phony in December 1974, led by guest conductor Vaclav Neumann. The most recent performances were in October 1991 under the direction of Christoph von Dohnányi.

About the Music

At a Glance

Symphony No. 6 in A majorcomposed 1879-81

by AntonBRUCKNERborn September 4, 1824Ansfelden, on the outskirts of Linz, Upper Austria

diedOctober 11, 1896Vienna

About the Music


that was “too much with us”? Rediscover the beauty of nature, said the Romantics. Get back to the land, like your pagan an-cestors, and be charmed by the brook, mystifi ed by the forest, awed by the stars.

A M A N O F T H E L A N D Anton Bruckner didn’t need Romantic poems to tell him about life on the land. His ancestors had been serfs, then ten-ant farmers, then schoolteachers —and even this last involved an obligation to work in the fi elds. Bruckner spent the fi rst half of his life near his birthplace in rural Austria, near Linz, follow-

ing his father’s humble profession of teacher-organist and sometime fi eld hand. His Austrian conservatism was bred in the bone; he knew his place in the social hierarchy and before his God, as taught by the Catholic Church. His life didn’t lack meaning; it was satu-rated with meaning. Hard work, study, and faith were his constant companions. Even after his industriousness had earned him, at age 44, a professorship at the Vienna Conservatory and the post of organist at the Imperial Chapel, his deferential manner and social gaff es caused the ever-so-civilized Viennese to look down on him as a bumpkin. Bruckner’s good manners also made him easy prey for anyone who wanted to enlist him in a musical movement, with or without asking him fi rst. He was one of music’s rare originals,

a disciple of no one but God — although his openly-expressed admiration for Wagner’s long melodies and chromatic modu-lations (generously, but unwisely, he dedicated his Third Sym-phony to Wagner, and referred to him as “the Master”) earned him enthronement as “the Wagnerian symphonist” and impla-cable derision from the critic Eduard Hanslick and the rest of the anti-Wagner party. He was moved by, and emulated, the spaciousness of Beethoven’s symphonies, especially the Ninth; for his pains, he was, cruelly and often, compared invidiously to Beethoven in how he carried out the rigors of “sonata form.” Evidently, this same unselfconscious delight in musical beau-ty, from whatever source, is what led Bruckner to the Romantic movement. Although his religion left no room for Beethoven’s

Anton Bruckner didn’t need

Romantic poems to tell

him about life on the land.

His Austrian conservatism

was bred in the bone; he

knew his place in the social

hierarchy and before his

God, as taught by the Cath-

olic Church. His life didn’t

lack meaning; it was satu-

rated with meaning. Hard

work, study, and faith were

his constant companions.

About the Music

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54 The Cleveland OrchestraAbout the Music

Promethean humanism — not to mention far-out stuff like Ber-lioz’s drug-induced visions or Liszt’s diabolism — Bruckner did love nature, not because it was invigorating or scary or magical or populated with wood nymphs, but because it revealed God at work in the world.

C O N F I D E N C E A N D T E X T U R A L C L A R I T Y The other paradox in Bruckner’s life is that, despite the rock of faith on which his music is founded, the composer himself was deeply lacking in self-confi dence. He subjected his works to endless revisions, and even allowed his pupils to do so, often in an eff ort to make them more orthodox and pleasing to critics. As a result, arriving at an authentic text of a Bruckner symphony can be a vexing problem for scholars and conductors. Fortunately, Bruckner’s Symphony No. 6, composed in 1879-81 and left alone thereafter, exists in a manuscript bearing the (shaky) signature of the composer in his old age, indicating that this was his fi nal word on the subject. As a result, the work comes down to us mostly free of textual controversies, in the post-World War II edition of the International Bruckner Society, prepared under the supervision of the Society’s director, Leo-pold Nowak. (The Nowak edition, rather than the earlier, some-what more speculative one by Robert Haas and Alfred Orel, is the basis for this weekend’s performances.) T H E M U S I C O F T H E S I X T H S Y M P H O N Y How Bruckner works his spiritual magic in this symphony is more easily intuited by the ear than analyzed in print (not that scholars haven’t tried, at great length!). It’s best to get settled in one’s seat before the symphony’s soft opening, because the composer gets right down to business in these fi rst few notes of the fi rst movement — a tick-tick of triplet rhythm that will drive much of the movement, and a broad theme in low strings that will loom large in this movement’s development and coda. Although the symphony is in A major, that fi rst theme already contains notes not in the A-major scale, pointing toward the dark shadings of so-called “Neapolitan” harmonies, and generally enabling much sideslipping into unexpected keys, to dramatic eff ect. Three distinct theme groups make up the exposition; the artful transitions between them are as interesting as the themes themselves. To describe the Adagio second movement, Bruckner

A silhouette cut-out ofBruckner conducting, by Otto Böhler.


uses the word feierlich, a word with no good English equivalent, meaning a combination of “solemn” and “festive.” The striking oboe solo near the beginning, entering on a plangent fl atted-sixth, points to more restless harmonies, and yet the movement follows sonata form (an expected outline throughout the 19th century) and settles into periods of deep serenity, with gorgeous, even hummable themes. The scherzo third movement has a curiously split personality, with its delicate play of wood sprites repeatedly blasted by massive full orchestral (tutti) passages marked triply loud (ff f ). In the trio, introduced by horn calls reminiscent of Beethoven’s “Eroica” Symphony (No. 3), strings and woodwinds engage in a desultory conversation. The fi nale fourth movement opens with a version of the Adagio’s plain-tive oboe theme, but a snapping march rhythm gradually emerges, punctuated by a somewhat menacing motif in the brass. Thus the table is set for a harmonic confl ict between the Neapolitan darkness of that brass motif and the light of the symphony’s home key, A major. The journey to the light is long and eventful, includ-ing a dramatic development section with fi erce, octave-leaping brass calls. During the symphony’s fi nal blaze of A major, the fi rst movement’s opening theme can be heard joining in the festivities. —David Wright © 2016

David Wright served as program annotator for the New York Philharmonic, and is now a writer about music for orchestras and festivals in North America and Europe.

About the Music

The vast spaces that Bruck-

ner’s symphonies traverse are

unlike anything else in the or-

chestral repertoire. There is a

thematic and harmonic struc-

ture to it all. More important,

in the music of a devout be-

liever, there is a feeling of the

paradox at the heart of all re-

ligions — the moment of great-

est devotion is the moment of

liberation of the spirit.

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Sound for the Centennial THE CAMPAIGN FOR THE CLEVELAND ORCHESTRA


In anticipation of The Cleveland Orchestra’s 100th anniversary in 2018, we have em-barked on an ambitious fundraising campaign. The Sound for the Centennial Campaign seeks to build the Orchestra’s Endowment through cash gifts and legacy commitments, while also securing broad-based and 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 Orchestra’s 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 Orchestra’s Philanthropy & Advancement Offi ce at 216-231-7558. Listing as of March 10, 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* Kitson

Virginia M. and Jon A. LindsethMs. 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. DiehlErnst & 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. Daniel R. HighMr. and Mrs. Donald M. Jack, Jr.Bernie and Nancy Karr

Mr. and Mrs.* S. Lee KohrmanKenneth M. Lapine and Rose E. MillsDr. David and Janice LeshnerLitigation Management, Inc.Jeffrey LitwillerLinda and Saul LudwigDr. and Mrs. Sanford E. MarovitzMr. Thomas F. McKeeThe Miller Family: Sydell Miller Lauren and Steve Spilman Stacie and Jeff HalpernThe Margaret Clark Morgan FoundationThe Nord Family FoundationOlympic Steel, Inc.Park-Ohio Holdings Corp. Helen Rankin Butler and Clara Rankin Williams The Reinberger FoundationAmy and Ken RogatAudra and George RoseRPM International Inc.Mr. Larry J. SantonRaymond T. and Katherine S. Sawyer

Mrs. David SeidenfeldDavid ShankNaomi G. and Edwin Z. SingerDrs. Charles Kent Smith and Patricia Moore SmithSandra and Richey SmithGeorge R. and Mary B. StarkMs. Lorraine S. SzaboVirginia and Bruce TaylorTucker EllisDorothy Ann TurickThe Denise G. and Norman E. Wells, Jr. Family FoundationMr. Max W. WendelPaul and Suzanne WestlakeMarilyn J. WhiteThe Edward and Ruth Wilkof FoundationKatie and Donald WoodcockWilliam Wendling and Lynne WoodmanAnonymous (3)

GIFTS OF $100,000 TO $250,000

Randall and Virginia BarbatoJohn P. Bergren* and Sarah S. EvansThe William Bingham FoundationBlossom Friends of The Cleveland OrchestraMr. and Mrs.* Harvey BuchananCliffs Natural ResourcesThe George W. Codrington Charitable FoundationThe Helen C. Cole Charitable TrustThe Mary S. and David C. Corbin

FoundationMr. and Mrs. Matthew V. CrawfordWilliam and Anna Jean CushwaNancy and Richard DotsonGeorge* and Becky Dunn Patricia Esposito

Sidney E. Frank FoundationAlbert I. and Norma C. GellerThe Gerhard FoundationMary Jane HartwellDavid and Nancy HookerMrs. Marguerite B. HumphreyJames D. Ireland III*Trevor and Jennie JonesElizabeth B. JulianoMr. Clarence E. Klaus, Jr.Giuliana C. and John D. KochDr. Vilma L. Kohn*Mrs. Emma S. LincolnMr. and Mrs. Alex MachaskeeRobert M. Maloney and Laura Goyanes

Elizabeth Ring Mather and William Gwinn Mather Fund Mr. Donald W. MorrisonMargaret Fulton-MuellerNational Endowment for the ArtsRoseanne and Gary OateyWilliam J. and Katherine T. O’NeillQuality Electrodynamics (QED)Mr. and Mrs. James A. SaksHewitt and Paula ShawThe Skirball FoundationRichard and Nancy SneedR. Thomas and Meg Harris StantonMr. and Mrs. Jules Vinney*David A. and Barbara Wolfort

GIFTS OF $250,000 TO $500,000

* deceased

Sound for the Centennial Campaign


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

Cleveland Orchestra News

Cleveland Orchestra draws admiring reviews from the press in performances at Carnegie Hall in January and February

The Cleveland Orchestra performed at New York’s Carnegie Hall earlier this year, first in January with Franz Welser-Möst and then in February with Mitsuko Uchida. The follow-ing excerpts from reviews and commentary represent the kind of admiration and acclaim that these performances engendered:

“It’s not often that a performance of a challenging new piece receives the kind of ovation typically awarded star virtuosi. But that’s what happened on Sunday night at Carnegie Hall when the conductor Franz Welser-Möst led The Cleveland Orchestra in the New York premiere of the Danish composer Hans Abrahamsen’s ‘let me tell you.’ . . . Sunday’s program also offered an outstanding performance of Shostakovich’s formidable Fourth Symphony. . . . Mr. Welser-Möst and his great or-chestra just played the piece to the hilt. In this incisive, brilliant performance, the symphony seemed a purposeful entity, however shocking and excessive.”

—New York Times, January 18, 2016

“Both works require utmost precision and high-level solo contributions, abun-dantly provided by the magnificent Clevelanders.”

—Wall Street Journal, January 19, 2016

“The mighty Clevelanders turned their formidable attention to the often gro-tesque, ultimately sublime, hour-long ramblings and rumblings of Shostakovich’s rarely performed Fourth Symphony.” —Financial Times, January 19, 2016

“Less than a month after bringing an astonishing, hair-trigger program to Carn-egie Hall — a wintry new vocal cycle by Hans Abrahamsen and a sensitive yet turbocharged Shostakovich performance — the Cleveland Orchestra returned on Sunday with something completely different . . . an evening of Mozart. Clarity, enthusiasm, commitment, a cohesion that’s warmly responsive rather than coldly exact. You always get the sense that this is a quartet in symphony orchestra’s clothing. The redoubtable Mitsuko Uchida . . . led two concertos from the piano. . . .Perceptive, receptive music-making. . . . The glory of The Cleveland Orchestra remains its balances: the smooth yet complex blend of its winds, the way the low-er strings offer subtle depth to the higher ones.”

—New York Times, February 16, 2016




. W . E . L . C . O . M . E .New cellist joins Orchestra The Cleveland Orchestra welcomes cellist Dane Johansen, who began playing as a member of the Orch estra for the subscription con-certs on March 3-6. Johansen was cellist with the Escher String Quartet for five years, during which he and his colleagues were BBC Radio 3 New Generation Artists, and also recipients of an Avery Fisher Career Grant and the Martin Segal Award from Lincoln Center. He has performed as a soloist and chamber musician around the world. He made his Lincoln Center debut in a perfor-mance of Elliott Carter’s Cello Concerto under the direction of James Levine in celebration of the composer’s centennial. He made his Carn-egie Hall debut as first winner of the Juilliard Leo Ruiz Memorial Award. For many years, Dane has dedicated much energy and time exploring Johann Sebastian Bach’s Six Suites for Solo Cello. He performed them at New York’s Alice Tully Hall in 2010 and also throughout his 580-mile pilgrimage on the “Walk to Fistera” along the Camino de Santiago in Northern Spain in 2014 — the story of his adventure on the Camino with Bach is being made into a documentary film and ac-companying recording, scheduled for release in 2016. A native of Fairbanks, Alaska, Johansen studied at the Cleveland Institute of Music, Conservatoire National Supérieur de Paris, and at the Juilliard School, where he earned his art-ist diploma. He studied privately with Bernard Greenhouse.

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.

Blossom Friends help introduce André Gremillet with special benefit event on Tuesday, April 5

The Hudson chapter of Blossom Friends of The Cleveland Orchestra hosts a special benefit evening welcoming new Cleveland Orchestra ex-

ecutive director André Gremillet to Northeast Ohio on Tuesday, April 5. Mr. Gremillet will discuss his life and professional achieve-ments with Robert Conrad, co-founder and president of WCLV. He will reflect on his time leading orchestras in New Jersey and Melbourne, Australia, as well as

sharing his impressions on The Cleveland Orches-tra and the community he now serves.

“We are beginning a new era,” says Elisa-beth Hugh, President of Blossom Friends of The Cleveland Orchestra. “Not just with André, but as a volunteer group. Our updated name, changed this past October from Blossom Women’s Com-mittee, reflects our drive to be more welcoming and representative of our entire community. We feel hearing from André early in his tenure repre-sents an important moment in Blossom Friends’ long-standing history of supporting The Cleve-land Orchestra in a spectacular way.”

The evening benefit begins at 6:00 p.m. with wine and hors d’oeuvres, followed by the conversation at 7:15 p.m. The evening takes place at Steinway Piano Gallery Cleveland (334 East Hines Hill Road in Boston Heights). Tickets start at $75 per person, with proceeds benefiting The Cleveland Orchestra. For more information please contact Connie Van Gilder at 216-513-3075 or [email protected]. Seating is limited, RSVPs recommended by Friday March 25th. Blossom Friends of The Cleveland Orchestra, formerly known as the Blossom Women’s Com-mittee, was founded in 1968 to support the Or-chestra’s presentations at Blossom Music Center, the summer home of The Cleveland Orchestra. Open to men as well as women, Blossom Friends continues its support of the Orchestra through volunteer service and fundraising. For member-ship information, please contact Connie Van Gilder at 216-513-3075 or [email protected].

listing as of February 2016


FIRST VIOLINKeiko Furiyoshi 2005 — 34 yearsAlvaro de Granda 2 2006 — 40 yearsErich Eichhorn 2008 — 41 yearsBoris Chusid 2008 — 34 yearsGary Tishkoff 2009 — 43 yearsLev Polyakin 2 2012 — 31 years SECOND VIOLINRichard Voldrich 2001 — 34 years Stephen Majeske * 2001 — 22 years Judy Berman 2008 — 27 years Vaclav Benkovic 2009 — 34 yearsStephen Warner 2016 — 37 years VIOLALucien Joel 2000 — 31 yearsYarden Faden 2006 — 40 years CELLOMartin Simon 1995 — 48 years Diane Mather 2 2001 — 38 yearsStephen Geber * 2003 — 30 yearsHarvey Wolfe 2004 — 37 yearsCatharina Meints 2006 — 35 yearsThomas Mansbacher 2014 — 37 years BASSLawrence Angell * 1995 — 40 yearsHarry Barnoff 1997 — 45 years Thomas Sepulveda 2001 — 30 yearsMartin Flowerman 2011 — 44 years HARPLisa Wellbaum * 2007 — 33 years FLUTE/PICCOLOWilliam Hebert 1988 — 41 yearsJohn Rautenberg § 2005 — 44 years Martha Aarons 2 2006 — 25 years

OBOERobert Zupnik 2 1977 — 31 years Elizabeth Camus 2011 — 32 years CLARINETTheodore Johnson 1995 — 36 yearsThomas Peterson 2 1995 — 32 years Franklin Cohen ** 2015 — 39 years BASSOONRonald Phillips 2 2001 — 38 years Phillip Austin 2011 — 30 years HORNMyron Bloom * 1977 — 23 years Richard Solis * 2012 — 41 years TRUMPET/CORNETBernard Adelstein * 1988 — 28 years Charles Couch 2 2002 — 30 years James Darling 2 2005 — 32 years TROMBONEEdwin Anderson 1985 — 21 yearsAllen Kofsky 2000 — 39 yearsJames De Sano * 2003 — 33 years PERCUSSIONJoseph Adato 2006 — 44 yearsRichard Weiner * 2011 — 48 years LIBRARIANRonald Whitaker * 2008 — 33 years

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

Appreciation

R E T I R E D M U S I C I A N S

Listed here are the living members of The Cleveland Orchestra who served more than twenty years. Appointed by and playing under four music directors, these 45 musicians collectively completed a total of 1596 years of service — representing the Orchestra’s ongoing service to music and to the greater Northeast Ohio community.

Listed by instrument section and within each by retirement year, followed by years of service.


Musicians Emeritus of


New DVD Brahms cyclereleased and available at Severance HallFollowing their critically-acclaimed releases of Anton Bruckner symphonies with Clasart, Franz Welser-Möst and The Cleveland Orch estra have released an all-Brahms DVD box set. The set features all four symphonies, Piano Concer-tos Nos. 1 and 2 with Yefi m Bronfman and the Violin Concerto with Julia Fischer, and selected other orchestral works. The set was released in Europe in October and is now in general release worldwide. All performances were recorded live — at Severance Hall, during a BBC Proms concert at Royal Albert Hall in London, and in Vienna’s Musikverein. The set was specially available for purchase at the Cleveland Orchestra Store in December, prior to the general U.S. release.

Silence is golden As a courtesy to the performers onstage and the audience around you, all patrons are reminded to turn off cell phones and to dis-engage electronic watch alarms prior to each concert.

Committed to AccessibilitySeverance 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.

Mark AthertonMartha BaldwinCharles BernardKatherine BormannLisa BoykoCharles CarletonHans ClebschPatrick ConnollyRalph CurryMarc DamoulakisAlan DeMattiaVladimir DeninzonScott DixonElayna DuitmanBryan DummMark Dumm Tanya EllMary Kay FinkKim GomezWei-Fang GuScott HaighDavid Alan HarrellMiho HashizumeMark JackobsJoela JonesRichard KingAlicia KoelzStanley KonopkaMark KosowerPaul KushiousMassimo La RosaJung-Min Amy LeeYun-Ting LeeTakako MasameEli MatthewsJesse McCormick

Michael MillerSonja Braaten MolloyIoana MissitsEliesha NelsonPeter OttoChul-In ParkJoanna Patterson ZakanyHenry PeyrebruneAlexandra PreucilLynne RamseyJeff rey RathbunJeanne Preucil RoseStephen RoseFrank RosenweinMichael SachsMarisela SagerJonathan SherwinSae ShiragamiEmma ShookJoshua SmithThomas SperlBarrick SteesRichard StoutJack SutteKevin SwitalskiBrian ThorntonIsabel TrautweinRobert VernonCarolyn Gadiel WarnerScott WeberRichard WeissBeth WoodsideRobert WoolfreyDerek ZadinskyJeff rey Zehngut

M.U.S . I .C . I .A .N S .A .L .U .T .E

The Musical Arts Association gratefully acknow ledges the artistry and dedication of all the musicians of The Cleveland Orch-estra. In addition to rehearsals and concerts throughout the year, many musicians donate performance time in support of commun-ity engagement, fundraising, education, and audience development activities. We are pleased to recognize these musicians, listed below, who have volunteered for such events and presentations during the 2014-15 and 2015-16 seasons.



lec.edu1.855.GO.STORM

LAKE ERIECOLLEGE


March is “Music In Our Schools” Month! For nearly a century, education has remained a cen-tral part of The Cleveland Orchestra’s mission, and partnerships with Cleveland-area schools remain at the heart of the institution’s ongoing approach. Learning Through Music is The Cleveland Orchestra’s K-5 program that brings core cur-riculum to life through classical music. Currently in its 19th season, LTM works with teachers in Cleveland and East Cleveland classrooms to help them integrate music into daily instructional time. Individual Orchestra musicians teach les-sons linking music to math, science, social stud-ies, and language arts — and even lead students in composing and performing their own original pieces. This spring, musicians from the Orches-tra will make over 170 classroom visits, collabo-rate with 70 teachers, and bring over 1,200 stu-dents to Severance Hall for a live performance. Year after year, LTM continues to be a classroom favorite. As one 4th grader commented, “I had so much fun. I even got to play an instrument. That was the best time ever.” In November 2015, Mayfair Elementary in the East Cleveland School District (LTM pilot school) was selected to present at the Student Achievement Fair at the Ohio School Board As-sociation (OSBA) Conference and Trade Show, featuring their collaboration with The Cleveland Orchestra through LTM. The OSBA Capital Conference is Ohio’s premier continuing education program. Part of this conference is the Student Achievement Fair, which showcases innovative projects and programs that boost student achievement and engage youngsters in learning and growth. Fourth-grade Mayfair Elementary teacher Irene Spraggins and three of her students created a vi-

brant display of the books, CDs, and instruments provided to them as well as samples of student work created through LTM lessons (photo above). In addition to Learning Through Music, The Cleveland Orchestra also partners with schools through PNC Grow Up Great for Cleveland Metro-politan Pre-K classrooms, and In School Perfor-mances (ISPs), bringing The Cleveland Orchestra itself into area schools. This year’s ISP took place on February 23 at Patrick Henry School in Glen-ville. In-School Performances are made possible in part through the Alfred M. Lerner In-School Performance Fund, generously endowed in her husband’s memory by Norma Lerner. For additional information about all of The Cleveland Orchestra’s education programs, visit www.clevelandorchestra.com/education-and-community.

March is “Music in Our Schools” Month — Cleveland Orchestra’s education programs include “Learning Through Music” tying music to core curriculum

62 The Cleveland OrchestraCleveland Orchestra News

63Severance Hall 2015-16 63Cleveland Orchestra News


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 goldenAs a courtesy to the performers onstage and the audience around you, all patrons are reminded to turn off cell phones and to disengage electronic watch alarms prior to the concert.

Cleveland Orchestra offers gift ideas all year 'round . . . Music and gift-giving are a perfect match. The Cleveland Orchestra Store offers a host of musical treats every day of the year, including the Orchestra’s latest DVDs and CDs, as well as releases by Orchestra musicians. Musical gifts for children of all ages, and Cleveland Orchestra logo apparel are also on sale at the Store. In addition, Cleveland Orchestra Gift Certificates and Blossom Lawn Ticket Books for the Orchestra’s 2016 Blossom Music Festival are available at the Severance Hall Ticket Office by calling 216-231-1111 or 800-686-1141, or at clevelandorchestra.com.

A.R.O.U.N.D T .O .W.N Recitals and presentations featuring Orchestra musicians Upcoming local performances by members of The Cleveland Orchestra include:

Retired Cleveland Orchestra member Frank-lin Cohen (principal clarinet emeritus, 1975-2015), who is co-founder of ChamberFest Cleveland, joins together with pianist Szolt Bognár to pres-ent an evening of music on Saturday, April 9, at 7 p.m. The evening’s performance at Near West Theatre (6702 Detroit Ave in Cleveland) includes late works of several composers, includ-ing Mozart and Schubert, taking audiences on a musical journey exploring creative expressions of destiny and mortality. Tickets are $60 concert only, or $75 with reception. To order tickets or for more information, call 216-229-595 or write to [email protected].

The bassoon quartet Men Who Don’t Bite presents a benefit concert for Family Promise of Lorain County, on Sunday afternoon, April 10, at 3 p.m. The quartet includes Cleveland Orchestra bassoonists Jonathan Sherwin and Barrick Stees. Admission is free to the event at the Meeting House of First Church Oberlin (Main and Lorain Streets in Oberlin), but contributions toward the organization’s work for the homeless will be grate-fully accepted.

The Women’s Committee of The Cleveland Orchestra presents a special Meet the Artist luncheon on Friday, April 15, with a program featuring the Orchestra’s principal viola Robert

Vernon. Vernon retires at the end of the current season in August, as the

longest-serving string principal in the Orchestra’s history. For the

April program, he will be interviewed by The Cleveland Orchestra’s artistic

administrator, Ilya Gidalevich, about his years and memories onstage. The event begins at 11:30 with a patron reception with Vernon, continues with lunch at noon, and then the pro-gram itself at 1 p.m. The cost is $40 for Women’s Committee members, $50 for non-members. Reservations are required; the event takes place at Westwood Country Club in Rocky River.

Blossom season announced Dates and programming for the 2016 Blossom were announced on February 7. Look for details online at clevelandorchestra.com.

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. . . 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 they’ve 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 summer’s Blossom Music Festival, Yoash and Sharon are supporting the Orch-estra’s 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 Orchestra’s future, contact our Legacy Giving Offi ce by calling 216-231-7522.


clevelandorchestra.com/cga

Remember how it felt . . . ?



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-Hélène 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 contact the Orchestra’s Legacy Giving Offi ceby calling Liz Arnett at 216-231-7522.

LISTING CONTINUES

Leagcy Givimg




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. László and Maureen O’Neill-LászlóAnthony 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. O’NeillThe 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




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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 Orchestra’s endowment. Said to be

Elisabeth Severance’s favorite fl ower, the lotus is found as a

decorative motif in nearly every public area of Severance Hall.

Legacy Giving

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2015-16 SEASON

Severance HallThursday evening, March 31, 2016, at 7:30 p.m.Friday morning, April 1, 2016, at 11:00 a.m. * Saturday evening, April 2, 2016, at 8:00 p.m.

Franz Welser-Möst, conductor

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

ANTHONY CHEUNG Lyra (b. 1982)

THOMAS ADÈS Violin Concerto: Concentric Paths (b. 1971) 1. Rings 2. Paths 3. Rounds LEILA JOSEFOWICZ, violin

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

RICHARD WAGNER Orchestral Selections (1813-1883) from Götterdämmerung Dawn and Siegfried’s Rhine Journey — Siegfried’s Death and Funeral Music — Brünnhilde’s Immolation

Concert Program — Week 15

This weekend’s concerts are supported through the generosity of the BakerHostetler Guest Artist Series sponsorship.

The concert will end on Thursday evening at about 9:15 p.m.and on Saturday night at approximately 9:45 p.m.

The Cleveland Orchestra’s Friday Morning Concert Series is endowed by the Mary E. and F. Joseph Callahan Foundation.

*The Friday morning concert is performed without intermission and features the works by Adès and Wagner. The concert ends at about 12:05 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.


F O R T H I S W E E K E N D O F C O N C E R T S , Franz Welser-Möst has cho-sen three cutting-edge works by three composers — two from the 21st century and one whose visionary work in the 19th century was both revolutionary and evolutionary, in orchestral sounds and in op-eratic storytelling.

To open the evening concerts, Severance Hall audiences get a first listen to the sound-world of An-thony Cheung, The Cleveland Orchestra’s new Daniel R. Lewis Young Composer Fellow. Cheung is the ninth composer-in-residence working with the Orchestra through this far-reaching and forward-looking fellow-ship program to explore and encourage new genera-tions of musical creativity. In this week’s concerts, we hear Cheung’s modern take on the Orpheus legend — of music’s power to enthrall any and all of us. Next, violinist Leila Josefowicz returns to encore

her performances of Thomas Adès’s challengingly difficult violin con-certo, titled Concentric Paths, which she first played with The Cleveland Orchestra in 2010. This is a beautifully-conceived concerto, filled with rewarding ideas, sonic heights, and thrilling de-mands on the soloist. To close the concert, Franz leads the Orches-tra though major orchestral selections from the final opera, Götterdämmerung (or “Twilight of the Gods”), from Wagner’s epic four-opera Ring of the Nibelung cycle. The composer’s expansive view for an enlarged orchestra narrates the mythical tale of Siegfried, sounding out heroic themes, broad vistas, life-and-death struggles, multi-generational jealousies, and . . . the unyielding and protective power of love. The Cleveland Orchestra has a long and famed history playing Wagner’s music, in excerpts, recordings, and production (with a staged presentation of Tristan and Isolde slated for the Orchestra’s centennial season in 2017-18). This week, we have a delectable foretaste of Franz and the Orches-tra’s masterly abilities with Wagner’s epic musical vocabulary.

—Eric Sellen

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

Rings, Strings&Circles

Introducing the Concert


The composer has written the following comments about this work:

T H E S T R U M M I N G or plucking of a lyre — if Western music has an origin myth, the lyre is inextricably linked to it . . . Apollo with his lyre, truth emanating from its well-proportioned vibrations . . . Orpheus soothing all manner of fl ora and fauna, as well as the keepers of the

underworld. From a simple action upon an instrument comes the mythology of music’s power to tame, sway, placate, and console. With Beethoven, modern and ancient mythology were conjoined. When the composer supposedly chan-nels the Orpheus narrative into his Fourth Piano Concerto, he put the soloist in the heroic role, pitting it against an orchestra of Furies, and makes a lyre of the piano. Or so the modern myth-making accounts of Beethoven’s unannounced program for this concerto would like us to believe — from A.B. Marx and Franz Liszt to E.M. Forster (in Abinger Harvest), to musicologists like Joseph Kerman and especially Owen Jander, who argues that the whole concerto is, in fact, an Orphic retelling.

My orchestral piece Lyra begins with such a reading of Beethoven’s fourth concerto, taking the very opening of that piece — one that holds special meaning to me as a pianist — as an invocation: a sin-gle major chord, transformed into a strum, out of which poetry and lyricism can emanate. These uses and associations seem to hold true across most cultures and ways of music making, so the multiple lyrae of my com-position include the Chinese Guzheng, the Turkish Kanun, and the West African Kora, among others. Symbolic elements of the myth’s narrative come to the fore, as do fl eeting moments from the vast Orphean musical repertoire of the past four centuries, beginning with Monteverdi’s L’Orfeo, in which La Musica herself appears with her lyre to remind us: “I am Music, who, in sweet accents, / can calm every troubled heart, / now with noble anger, now with love / can I infl ame the coldest minds.”

—Anthony Cheung MARCH 2014

Composer’s NoteAbout LyraTHURSDAY AND SATURDAY

About the Music


Cheung wrote Lyra in 2013 on a commission from the New York Philharmonic, with generous fund-ing support from the Marie-Josée Kravis Prize for New Music. The work was given its world premiere performances by the New York Philharmonic under Alan Gilbert’s direction, June 11-14, 2014. The piece is dedicated in memory of the composer Henri Dutilleux. This work runs about 20 minutes in performance. Cheung scored it for 3 fl utes (one doubling piccolo and alto fl ute; one tuned a quarter-tone lower than normal), 3 oboes (one tuned a quarter-tone low), 3

clarinets (one tuned a quarter-tone low), 3 bassoons (one tuned a quar-ter-tone low), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percus-sion (tam-tam, wood blocks, Thai gongs, low gongs, orchestra bells, triangle, sizzle cymbal, suspended cymbals, chimes, crotales, spring coil, cowbells, guiro, bass drum, side drum, hi-hat, low log drums, tom-toms, tambourine, vibraphone, marimba, large metal sheet), harp, piano, synthesizer, and strings. The Cleveland Orchestra is per-forming music by Anthony Cheung for the fi rst time with this weekend’s concerts.

At a Glance

A N T H O N Y C H E U N G is the new Daniel R. Lewis Young Com-poser Fellow, thus serving as composer-in-residence for The Cleveland Orchestra and continuing a program conceived in 1998 and now approaching its twentieth anniversary. Includ-ing Cheung, nine composers have served in a sequence of these two-year fellowships (see page 75). Each has been introduced to Severance Hall audiences through the performance of one or more of their existing works, followed by the culmination of their Lewis Fellowship in the world premiere of a brand-new work written especially for The Cleveland Orchestra. Cheung’s commissioned work is scheduled for performances next spring, at Severance Hall concerts on May 18 and 20, 2017. Cheung claims many interests and infl uences in his music, including jazz and improvisation, alternate tunings, microtonali-ties (the pitches between the normal Western tuning of a piano‘s notes), the varied tuning of instruments and music in cultures around the world, and his experiences as a performer. Like many of his generation, he freely admits to borrow-ing — or reinterpreting, or sampling — musical moments or ideas from other works or cultures, although some are more easily heard or identifi ed in a performance than others. As he

Lyracomposed 2013

THURSDAY AND SATURDAY

About the Music

by AnthonyCHEUNGborn January 17, 1982San Francisco

living inChicago

About the Music


has said, “I think we’re in an exciting time where so many of the sonic characteristics that once connoted acceptance within a clearly defi ned aesthetic have been lifted, recontextualized, and re-invented, and that there isn’t a taboo surrounding their re-appropriation. Of course, there is still the matter of being inventive and in good taste about it, but the fact that it’s harder to point to unifi ed schools of thought based on na-tionality or region in today’s world is defi nitely a healthy thing.” Considering all of this, Cheung’s musical works may sound across a wider range than that of some other composers, and he may have more than one recognizable style. About his own infl uences or tendencies, Cheung says “I would like to think that regional infl uences

can and should be tapped into, without neces-sarily being the primary defi ning characteristic of a composer’s output. The important question is whether there is something musically interest-ing and relevant about putting these things in dialogue with one another.” As Cheung discusses in his program note (page 72), his Lyra took as a starting point both the opening chord of Beethoven’s Fourth Piano Concerto and a proposed way of interpreting that concerto as a retelling of the legend of Orpheus (and Orpheus’s strumming of a lyre or

stringed instrument). He thus includes quotations — or echoes or interpretations — of other pieces written about Orpheus. Sev-eral instruments in the orchestra are tuned a quarter-tone below normal, giving what we may hear as extra bite or dissonance when some of these instruments are played at the same time as the “normal” orchestra. In addition, Lyra also features some pre-recorded or sampled music played via the synthesizer, including samplings from some of those other Orpheus works. With Lyra, Cheung gave this piece a rather straight-forward title. A man who relishes language and its subtleties, and also cares about how a musical score looks on the page, many of his work titles include glancing inferences or slynesses, just as his pieces do in the language of music. Beyond this background, it can often be best, when hear-ing a new composer, when meeting someone new, to let them speak for themselves. Sit back, listen, think about what you are hearing, and look forward to getting better acquainted.

—Eric Sellen © 2016

The myth of Orpheus is powered through his ability to charm all living things with his music, played on a lyre. (Roman era mosaic, in the collection of Istanbul’s Archaeology Museums.)

About the Music


A N T H O N Y C H E U N G is a composer, pianist, and teacher. As a performer and advocate for new music, he is artis-tic director of the Talea Ensemble, which he co-founded in 2007. He is serving as the Daniel R. Lewis Young Composer Fellow of The Cleveland Orchestra for the 2015-16 and 2016-17 seasons. Cheung says that his primary musi-cal interests include notational aesthet-ics, jazz improvisation and transcription, microtonality and alternate tunings, rhythmic polyphony, and temporal perception. His musical ideas also engage poetic imagery, syntax and rhetoric, natural phenomena, and the visual arts. As a writer and scholar, his works include a disser-tation on composer György Ligeti, as well as articles on con-temporary music for specialists and for a general readership. Commissions have included the creation of new works for the Ensemble Modern, Ensemble Intercontemporain, New York Philharmonic, Frankfurt Radio Symphony Orches-tra, and Scharoun Ensemble Berlin. Commissions have also come from the Koussevitzky and Fromm foundations. His works have been performed by ensembles and at festivals across North America and in Europe. Cheung has received awards from the American Acad-emy of Arts and Letters and ASCAP, as well as fi rst prize in the Sixth International Dutilleux Competition (2008), and a Rome Prize from the American Academy in Rome (2012). A portrait album, titled Roundabouts, was released with the Ensemble Modern in 2014, and his music and per-formances have also appeared on New Focus Recordings, Tzadik, and Mode. A number of works can also be heard by visiting his website. Cheung received a bachelor’s degree in music and history from Harvard and a doctorate from Columbia Uni-versity, where he taught and also served as assistant con-ductor of the Columbia University Orchestra. He was a Junior Fellow at the Harvard Society of Fellows, and current-ly teaches as an assistant professor of music at the University of Chicago. For more information, visit www.acheungmusic.com.

About the Composer

About the Composer

Daniel R. LewisYoung Composer Fellows

The Daniel R. Lewis Young Composer Fellows program is made possible by the Young Composers Endowment Fund, created with a generous gift to The Cleveland Orchestra from Jan R. and Daniel R. Lewis. The composers who have served as Young Composer Fellows to date are:

Marc-André Dalbavie 1999-2000

Matthias Pintscher 2001-03

Susan Botti 2003-05

Julian Anderson 2005-07

Johannes Staud 2007-09

Jörg Widmann 2009-11

Sean Shepherd 2011-13

Ryan Wigglesworth 2013-15

Anthony Chueng 2015-17

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T H E CA R E E R O F B R I T I S H C O M P O S E R Thomas Adès must be the envy of all young composers hoping to make their name in the world of classical music. His music has been well received and widely performed ever since graduating from Cambridge University and, almost at the same time, becoming composer-in-residence to Manchester’s Hallé Orchestra. As a composer, Adès (pronounced AH-DESS) has had a bewildering stream of commissions, awards, and recordings — and as a pianist and conductor he has appeared leading the Los Angeles Philharmonic, Boston Symphony Orchestra, and the London Symphony Orchestra, among others. For many years, he was also the artistic director of the Aldeburgh Music festival in England, a prestigious summer gathering of importance and renown. He has composed three operas, the scandalous Powder Her Face in 1995, The Tempest, played at London’s Royal Opera House in 2004 (and at New York’s Metropolitan Opera in 2012), and The Exterminating Angel, due for its premiere later this spring in Salzburg in May. Among his orchestral works, his America: a Prophecy was written for the New York Philharmonic Orchestra in 1998, his Asyla for England’s City of Birmingham Orchestra in 1997 (per-formed by The Cleveland Orchestra in 1999), and Tevot for the Berlin Philharmonic Orchestra in 2007. The violin concerto Con-centric Paths was co-commissioned in 2005 by the Berlin Fest-

Adès wrote his Violin Concerto on a joint commission from the Berlin Festspiele and the Los Angeles Phil-harmonic, with underwriting from Lenore and Bernard Greenberg. The concerto received its fi rst perfor-mance on September 4, 2005, in Ber-lin, with the composer conducting the Chamber Orchestra of Europe and Anthony Marwood as soloist. This concerto runs about 20 min-utes in performance. Adès scored it

for an orchestra of 2 fl utes, 2 oboes, 2 clarinets, 2 bassoons, 3 horns, 2 trumpets, trombone, tuba, timpani, percussion, and strings, plus the solo violin. The Cleveland Orchestra has programmed this work on only one previous occasion, for two week-ends of concerts in January 2010, in Cleveland, Indiana, and Miami, with Leila Josefowicz as soloist under the direction of Franz Welser-Möst.

About the Music

At a Glance

Violin Concerto: Concentric Pathscomposed 2004-05

About the Music

by ThomasADÈSborn March 1, 1971London

currently living in London

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spiele and the Los Angeles Philharmonic Orchestra. An orchestral suite of dances from Powder Her Face was co-commissioned by The Cleveland Orchestra and London’s Philharmonia in 2007. Adès’s music is contemporary music. Which is to say that per-formers like to play and audiences like to listen to it. But . . . it makes no concessions toward being nice — and is extremely diffi cult for performers and challenging for listeners. But this music is also extremely rewarding, as Leila Josefowicz, this weekend’s soloist, has explained. She put it clearly when she said in an interview that her “hands shook after fi rst looking at the score” of this violin concerto. She remembers counting like mad to work out the rhythms when she fi rst tackled it and became totally engrossed in fi guring out how the interlocking pieces fi t together. Having performed it with The Cleveland Orchestra under Franz Welser-Möst in 2010, Josefowicz feels that there is an organic qual-ity that knits the concerto’s complexities together. This is what the composer intended, for although the precise na-ture of the circles on which the work is constructed is not revealed to us either by the composer or by the ear (however sharp and focused), the three movements form a balanced triptych with the longest and weightiest movement at the center. As in a conventional concerto,

About the Music


the middle movement is slow, built, in the composer’s words, “from two large, and very many small, independent cycles, which overlap and clash, sometimes violently, in their motion towards resolution.” The outer movements are also circular in design, Adès has ex-plained; the fi rst is fast, with “sheets of unstable harmony in diff erent orbits, the third playful, at ease, with stable cycles moving in harmony at diff erent rates.” The listener will readily pick up the composer’s fondness for a static line in the so-loist’s part against busy movement in the orchestra, and vice versa. At the start of the first movement, for example, the busy motion is launched by the soloist with “cir-cular” patterns (visually recreated by the bow’s movements), soon passed to the winds while the so-loist reaches stratospherically high in longer notes. If the soloist’s range seems to pass normal limits at the top, the timpani are tuned down below their normal range to produce the characteristic thud that punctuates the end of the movement and parts of the second movement, too. An enormous variety of percussion in-struments are brought into service in this middle movement, whose length is generated by a series of episodes, each defi ned by its tex-ture, much of it very slow and spa-cious. The central climax sets the deep tuba and brass loose, leaving a desolate wasteland as the soloist fi nds solace and refuge in the open G that marks the violin’s lower limit. The fi nal movement off ers a lively rhythm in the orchestra and more serene thoughtfulness from the violin. The end comes suddenly like the abrupt closing of a door or a book, full circle.

—Hugh Macdonald © 2016

Leila Josefowicz

talks about Beethoven,

Adès, and being a musician . . .

“There’s nothing wrong with the Beethoven Violin Concerto,” says Leila Josefowicz. “In fact, it’s a great and wonderful piece. But I often fi nd the rewards of playing new works so much more gratifying. We have to stay ingenious and daring and make sure we keep listening in new ways. It’s important to hear things for the fi rst time.” She describes composer Thomas Adès as “ridiculously bright, and fun.” Adding that he has “an inventiveness and a facility for handling an orchestra that is almost su-perhuman. His point is pushing the limits, and that’s why I like his music.” In studying with Josef Gingold, former concertmaster of The Cleveland Orchestra, Josefowicz says she learned something she has never forgotten: “It’s so important for a young person to see that performing music becomes a way of life. It isn’t, in any way, just a job. That’s what I learned from him, an enthusiasm for this life as a musician.”

About the Music

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Leila JosefowiczCanadian violinist Leila Josefowicz attracts audiences worldwide with her fresh ap-proach to repertoire and dynamic vir-tuosity. She made her debut with The Cleveland Orchestra in July 1991, and most recently performed with the Orchestra in concerts in July 2011. She performs on a del Gesù violin, made in 1724. Ms. Josefowicz regularly performs with orchestras across North America, including those of Atlanta, Baltimore, Chi-cago, Cincinnati, Cleveland, Dallas, Detroit, Houston, Los Angeles, Minnesota, New York, Pittsburgh, Philadelphia, St. Louis, Toronto, and Washington D.C. Her recitals take her to Los Angeles, New York, Phila-delphia, San Francisco, and Toronto. She has also performed throughout Europe, with engagements including con-certs with he BBC Symphony, Czech Phil-harmonic, Finnish Radio Orchestra, Leipzig Gewandhaus Orchestra, London Philhar-monic, London Symphony Orchestra, Mu-nich Philharmonic, Royal Concertgebouw Orchestra, Filharmonica della Scala, Swed-ish Radio Orchestra and Zurich’s Tonhalle Orchestra, as well as in recitals and cham-ber music concerts. Ms. Josefowicz works regularly with living composers and has premiered sev-eral violin concertos written especially for her, including ones by John Adams, Esa-Pekka Salonen, Colin Matthews, and Steven Mackey. Adams’s Scheherazade 2 (for violin and orchestra) was given its world pre-miere by Josefowicz in March 2015 with the New York Philharmonic. Luca Francesconi’s concerto Duende – The Dark Notes was pre-miered in 2014 in Sweden and encored at the 2015 BBC Proms in London.

Leila Josefowicz’s 1994 debut record-ing with the Academy of St. Martin-in-the-Fields for Philips Classics was awarded a Diapason d’Or, as was her album Solo. Her subsequent releases include concertos by Adams, Glazunov, Knussen, Mendelssohn, and Prokofi ev, and two albums with pianist John Novacek. Later albums have earned Grammy nominations and an Echo Award. Her latest record-ing, of Esa-Pekka Salonen’s Violin Concerto, was nominated for a Grammy Award in 2014. In recog-nition of her advocacy of con-temporary music, Leila Josefowicz received a Mac-Arthur Founda-tion Fellowship in 2008, joining a group of prominent scientists, writers, and musi-cians who have been honored for their unique contributions to contemporary life. Born in Ontario and raised in Califor-nia, Leila Josefowicz started playing violin at age three. As a teen, she studied with Jaime Laredo and Jascha Brodsky at the Curtis Institute of Music, from which she graduated in 1997. Ms. Josefowicz came to national attention after her Carnegie Hall debut in 1994, at the age of 16. She received an Avery Fisher Career Grant that year and, in 2007, was awarded a United States Artists Cummings Fellowship. For more information, please visit www.leilajosefowicz.com.

Guest Aritst

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

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

J. S. Bach: Fürchte dich nicht, BWV 228 David Lang: the little match girl passion Dirk Garner, conductor

A two-time winner of the International Bach Keyboard Competition featuring the works of J. S. Bach and Beethoven’s Hammerklavier Sonata

Dr. Dirk Garner, Bach Festival Artistic Director

Dashon Burton, Christus Rufus Müller, 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


A F T E R C R E AT I N G the opera Lohengrin in 1848, Richard Wag-ner wrote almost no music for fi ve years. His life was violently disrupted by his involvement in the revolutionary uprising in Dresden in 1849, from which he was lucky to escape unharmed and un-jailed. He made an exile’s home in Zurich and there drafted the outline of his next opera, which was to tell the story of the death of the mythic German hero Siegfried. He didn’t immediately start refi ning the libretto or writing the music, however, as he would normally have done. Instead, he embarked on an im-mense series of essays and articles setting out his views on art, opera, theater, and almost everything else, sensing that his own vision of and understanding of opera — or what it could be — was undergoing a radical realignment. He used these writings to analyze his deepest instincts about “the opera of the future.” Not until he had worked through this process did he re-turn to drafting the poem of his Siegfried opera, with its title changed from “Siegfried’s Death” to “Twilight of the Gods” (in German: Götterdämmerung). But the story now needed, he re-alized, a preliminary opera — or two, or three, as he kept think-ing about it — to establish the background to Siegfried’s death (why was his death important in the scheme of the overall story? where had this Siegfried come from, to be a meaningful hero?)

Wagner began composing the music for Götterdämmerung in October 1869 while simultaneously fi nishing the score to the previous opera, Sieg-fried. He completed the entire orches-tral score of the opera by November 1874. The opera was fi rst performed on August 17, 1876, as part of the fi rst Bayreuth Festival, which featured the inaugural presentation of the entire four-opera Ring of the Nibelung cycle. Hans Richter conducted.

The orchestral selections (from Act I and Act III) run 35-40 minutes in per-formance. Wagner’s orchestral forces for this opera are 3 fl utes, piccolo, 3 oboes, english horn, 3 clarinets, bass clarinet, 3 bassoons, 8 horns (three doubling Wagner tubas), 3 trumpets, bass trumpet, 4 trombones, tuba, 2 sets of timpani, percussion (including cymbal, suspended cymbal, triangle, tam-tam), 6 harps (doubling on 2 parts), and strings.

About the Music

At a Glance

Orchestral Selectionsfrom Götterdämmerungcomposed 1869-74, completing a project begun in 1848

About the Music

by RichardWAGNERborn May 22, 1813Leipzig

died February 13, 1883Venice


and to widen the bigger story’s philosophical scope by embracing profound moral issues of power, loyalty, and evil. No opera had ever attempted a fraction of what Wagner now felt impelled to create. Most of his friends thought he was mad, or at best reckoned that he would never be able to set to music the four long librettos — which he was bold enough not just to write, but to have printed on fi ne paper and circulated to friends (and to read through dramatically outloud for gatherings of acquaintances, speaking all the roles himself).

A N E W M U S I C A L L A N G U A G E Such a new concept of opera required a new language in the music, and only a genius of Wagner’s kind could have envisioned the extraordinary stage experience of these operas at the same time as radically enlarging the harmonic, structural, and orchestral dimensions of the music he was writing. This was a new sound. And it came into being when he began to compose the fi rst of the four operas, Das Rheingold, in November 1853. Wagner thought the whole task — of writing all four operas — would take him three or four years. In reality, he needed twen-ty-one years. With such “minor interruptions” as the composition of two other operas, Tristan and Isolde and Die Meistersinger (with

about fi ve hours of music in each), the Ring of the Nibelung (as he called the four-opera group)

was eventually completed in 1874. Finishing the four-opera Ring cycle was itself

a superhuman achievement, but Wagner dared even further. He also succeeded in helping design and getting

built a special theater for his operas, and founded a special summer festival for the single purpose of performing his works

— and somehow raising or begging for the funds to do so. Both the theater and the festival survive today, still serving that same purpose. The Bayreuth Festspielhaus (or “Festival House”) opened in August 1876 with the fi rst performances of the complete Ring of the Nibelung.

O R C H E S T R A L S T O R Y T E L L I N G One of the most striking features of Wagner’s new style was the prominence and strength of the orchestra, itself vastly enlarged (eight horns!). Indeed, bigger and stronger singing voices were needed to balance against the extraordinary orchestral ensemble Wagner was writing for.

About the Music

The ValkyrieBrünnhilde as drawn by Arthur Rackham.


Another article of “Wagnerian faith” in this new operatic style was the continuous fl ow of music from beginning to end of each act, abandoning the older practice of composing op-eras in separate and distinct numbers — arias, duets, choruses, trios, and so on, which audiences had come to expect. Wag-ner’s music, in contrast, was an organic substance that advances continuously with the action, using themes and musical motifs that are often attached to — or comment on — characters in the action or concepts in the drama. Wagner’s invention is so rich and creative that the repetition of these motifs is never without dramatic purpose. The same motif, or group of ideas, is remolded (or textured in the orchestration) to be heroic, or menacing, threatening or passion-ate, anguished or triumphant. The musical progress of Wag-ner’s operas is thus symphonic in its argument, and the fact that the voices are deliberately not given phrases that might be mistaken for Italian bel canto melodies means that many sections of Wagner’s operas can be performed in excerpts with-out the voices. The drama is strongly articulated in the orchestra. Indeed, as Wagner himself began doing in concerts (in part to raise money to build his new opera house), such excerpts work satisfyingly in per-formance — rather like narrative symphonic poems in which the ac-tion is represented in the orchestra alone.

O R C H E S T R A L E X C E R P T S The three selections from Götterdämmerung being performed in this weekend’s concerts represent Wagner’s mighty orchestra at its most powerful, in the fi nal climactic drama of the Ring. At the start of the opera, Siegfried has rescued Brünnhilde from the fi re-surrounded rock

Cleveland and

Welser-Möst playing Wagner . . .

“This live album of Wagner orchestral ex-cerpts is noteworthy for the conducting of Franz Welser-Möst and the truly remark-able playing of The Cleveland Orchestra. I have seldom heard an ensemble sound so beautiful on a recording. The strings shim-mer like satin, the reeds are clean and clear, the brass warm and burnished.” —Parterre Box

“Welser-Möst charts climaxes unerringly, sucks the listener in to the line and expectan-cy of the music.” —ClassicalSource.com

“The strictly orchestral passages on this al-bum, all familiar preludes or interludes, em-phasize tight rhythms and crisp articulation, both beautifully exemplifi ed by the Cleveland musicians. Legato lines unfold with precision and subtlety. . . . Under-the-hood details have unusual clarity and elegance. . . . The “Ride of the Valkyries” gets a boost from the conduc-tor’s preference for buoyancy over bombast.” —Opera News

About the Music


on which Wotan (leader of the gods) placed her, and the pair are instantly in love. Wotan has withdrawn from bat-tling for his own world vision, defeated in his quest for absolute power by the curse put on the fatal Ring in the open-ing opera. Having wrested the Ring from Fafner the dragon, Siegfried now gives it to Brünnhilde as his bride. (Yes, sometimes brief synopses of Wagner’s operas, and the Ring in particular, sound rather fantastical or outlandishly silly in outline — as several stand-up comics, including Anna Russell, have memorably lampooned — but the power inherent within the music changes the storyline from cartoon to human reality and truth, as you allow yourself to fl ow along with the music’s intensity and strength.)

“Dawn” and “Siegfried’s Rhine Journey” After a scene in which the three

Norns (tellers of Fate) lament the state of the world and foresee its end, dawn rises over the Rhine. As the fi rst excerpt begins, Siegfried’s horn-call is heard in the distance and a clarinet and bass clarinet give out a motif associated with Brünnhilde’s fulfi ll-ment in love. This rises majestically to a full-blown statement of Siegfried’s heroic theme and continues as a rapturous love duet for the two of them. Her motif as a Valkyrie (winged women warriors who escort heroes at their deaths to the afterlife) is also interwoven into the musical fabric. Her fi rst words here are “To new deeds of glory I let you go,” as Siegfried has to leave her to continue the saga (he takes her mighty horse as his means of transport). With a breathtak-ing change of key, Siegfried leaves their mountain-top rock and heads down the Rhine Valley. She watches him leave and hears his horn-call recede in the distance. A vigorous section — rather like the scherzo movement of a symphony — carries him along the banks of the Rhine, whose surging waters roll the music for-ward to a serene close. (For orchestral excerpts in concert, this music melds into the next selection.)

Brünnhilde waves farewell, as Siegfried’shorn-call signals thestart of the adventures on his Rhine Journey,from Arthur Rackham’s1910 illustrations forThe Ring of the Nibe-lung.

About the Music


“Siegfried’s Death and Funeral Music” Siegfried is tricked by a potion into betraying Brünnhilde and stealing back the all-powerful Ring. His memory of Brünnhilde is erased and he trades her to Gunther in exchange for a diff er-ent bride, Gunther’s sister Gutrune. Brünnhilde, unaware of the potion, swears revenge. The evil Hagen is intent on destroying Siegfried in order to recover the Ring and its power for himself. In the fi nal act of the opera, Siegfried is persuaded to re-count his adventures to a group of hunters — and is given a sec-ond potion that brings back his memory. Just as he begins to recount how he rescued Brünnhilde from the rock and realizes that he has betrayed her, Siegfried is killed by Hagen for touch-ing Gunther’s bride. Siegfried dies with Brünnhilde’s name on his lips. With its weightiest emphasis and darkest colors, the orches-tra stamps out the rhythm of a solemn procession as Siegfried’s lifeless body is carried over the cliff top. In Wagner’s stage di-rections, the moon breaks though the clouds and lights up the funeral procession ever more brightly as it reaches the summit of the cliff . Mists rise from the Rhine and gradually fi ll the whole stage, concealing the procession. Many of the opera’s themes are heard, including Siegfried’s horn-call and Brünnhilde’s love.

“Brünnhilde’s Immolation” Back at the castle, Hagen kills Gunther in a fi ght, reaches for the Ring on the dead Siegfried’s fi nger, but is forced back by Siegfried’s dead arm rising in threat. Brünnhilde enters, and she addresses them all with praise

About the Music

Siegfried’s Funeral Processsion, as illustrated by the American aritst Howard Pyle (1853-1911).


of her lost hero. She takes the Ring from Siegfried’s hand and slips in onto her fi nger. She turns to the pile of logs on which Siegfried’s body is laid. She calls her horse, mounts it and rides to a glorious death, leaping into the blazing pyre. When the whole scene is fi lled with fi re, according to Wagner’s written stage directions, the Rhine bursts its banks and overfl ows across the stage. Hagen is drowned and the Ring is restored to its right-ful owners, the Rhinemaidens. In the distance, the home of the gods, Valhalla, is seen in fl ames. With the gods’ plans for the earth in ruins, humanity is left to a future without interference (or assistance) from the immortals. In “Brünnhilde’s Immolation,” the music conveys all of this in a stupendous display of orchestral wizardry. Themes from the entire cycle are brought back in a kaleidoscope of interlocking

motifs and musical keys. And the fi nal de-struction of everything, which can hardly be explained in terms of the drama’s ac-tion, creates a sense of total fulfi llment — which must have been felt by Wagner himself in 1874 as he completed the fi nal pages of the longest and most ambitious cycle of operas in history.

—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.

LEFT: From Arthur Rackham’s 1910 illustrations for Wagner’s Ring of the Nibelung. Brünnhilde astride her horse Grane, riding into Siegfried’s funeral pyre at the end of Götterdämmerung.

About the Music

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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 musical excellence at the highest level.

PARTNERS IN EXCELLENCE$300,000 AND MORE

Hyster-Yale Materials HandlingNACCO Industries, Inc.KeyBankRaiffeisenlandesbank Oberösterreich (Europe) The J. M. Smucker Company

PARTNERS IN EXCELLENCE$200,000 TO $299,999BakerHostetlerEatonFirstEnergy FoundationJones DayPNC Bank

PARTNERS IN EXCELLENCE$100,000 TO $199,999American Greetings CorporationForest CityThe Lincoln Electric FoundationMedical Mutual of OhioNordson Corporation Foundation Squire Patton Boggs (US) LLPThompson Hine LLPWhite & Case (Miami)

$50,000 TO $99,999

Dollar Bank FoundationParker Hannifin FoundationQuality Electrodynamics (QED)voestalpine AG (Europe)Anonymous

$25,000 TO $49,999Buyers Products CompanyFirstMerit BankAdam Foslid / Greenberg Traurig (Miami)Litigation Management, Inc.The Lubrizol CorporationOlympic Steel, Inc.RPM International Inc.

$2,500 TO $24,999Akron Tool & Die CompanyAmerican Fireworks, Inc.ArtsMarketing Services Inc.Bank of AmericaBDIBrothers Printing Co., Inc. Brouse McDowellEileen M. Burkhart & Co LLCCalfee, Halter & Griswold LLPCarlton Fields (Miami)Cleveland ClinicThe Cleveland Wire Cloth & Mfg. Co.Cohen & Company, CPAsConsolidated SolutionsDominion FoundationErnst & Young LLPEvarts TremaineThe Ewart-Ohlson Machine Company Feldman Gale, P.A. (Miami) Ferro CorporationFrantz Ward LLPArthur J. Gallagher & Co.The Giant Eagle FoundationGreat Lakes Brewing CompanyGross BuildersHahn Loeser & Parks LLPHuntington National BankKPMG LLP Lakewood Supply Co.Littler Mendelson, P.C.Live Publishing CompanyMacy’s Materion CorporationMiba AG (Europe)MTD Products, Inc.North Coast Container Corp.Northern HaserotOatey Ohio CATOhio Savings Bank, A Division of New York Community BankOswald CompaniesPark-Ohio Holdings Corp.The Plain DealerPolyOne CorporationThe Prince & Izant CompanyThe Sherwin-Williams CompanySouthern Wine and Spirits (Miami)Stern Advertising AgencyStruktol Company of America Swagelok CompanyTucker EllisUBS United Automobile Insurance (Miami)University HospitalsVer Ploeg & Lumpkin, P.A. (Miami)WCLV Foundation Westlake Reed LeskoskyMargaret W. Wong & Assoc. Co., LPA Anonymous (2)

Annual Supportgifts of $2,500 or more during the past year, as of March 5, 2016

Cumulative Giving

$5 MILLION AND MORE

KeyBankPNC Bank

$1 MILLION TO $5 MILLION

BakerHostetlerBank of AmericaEatonFirstEnergy FoundationForest City The Goodyear Tire & Rubber CompanyHyster-Yale Materials HandlingNACCO Industries, Inc.Jones DayThe Lubrizol Corporation / The Lubrizol FoundationMedical Mutual of OhioParker Hannifin FoundationThe Plain DealerPolyOne CorporationRaiffeisenlandesbank Oberösterreich (Europe) The J. M. Smucker CompanyUBS

The John L. Severance Society recognizes the generosity of those giving $1 million or more in cumulative support. Listing as of March 2016.

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.


91Severance Hall 2015-16 91Corporate Annual Support

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$1 MILLION AND MORE

The Cleveland FoundationCuyahoga County residents through

Cuyahoga Arts & CultureThe Andrew W. Mellon Foundation

$500,000 TO $999,999The George Gund FoundationOhio Arts CouncilTimken Foundation of Canton

$250,000 TO $499,999Knight Foundation (Miami)Kulas FoundationJohn P. Murphy FoundationThe Eric & Jane Nord Family Fund

$100,000 TO $249,999GAR FoundationElizabeth Ring Mather and William Gwinn Mather FundDavid and Inez Myers FoundationThe Kelvin and Eleanor Smith Foundation

$50,000 TO $99,999Paul M. Angell Family FoundationThe George W. Codrington Charitable FoundationThe Gerhard Foundation, Inc.Ann and Gordon Getty FoundationMartha Holden Jennings FoundationMyra Tuteur Kahn Memorial Fund of The Cleveland FoundationMiami-Dade County Department of Cultural Affairs (Miami)The Nord Family FoundationThe Payne FundThe Sage Cleveland Foundation

Annual Support gifts of $2,500 or more during the past year, as of March 5, 2016

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.

$20,000 TO $49,999The Batchelor Foundation, Inc. (Miami) Eva L. and Joseph M. Bruening FoundationMary E. and F. Joseph Callahan FoundationThe Helen C. Cole Charitable TrustThe Mary S. and David C. Corbin FoundationMary and Dr. George L. Demetros Charitable TrustThe Helen Wade Greene Charitable TrustNational Endowment for the ArtsThe Frederick and Julia Nonneman FoundationPeacock Foundation, Inc. (Miami)The Reinberger FoundationJames G. Robertson Fund of Akron Community FoundationSandor FoundationHarold C. Schott FoundationThe Sisler McFawn FoundationThe Veale Foundation

$2,500 TO $19,999The Abington FoundationThe Ruth and Elmer Babin FoundationDr. NE & JZ Berman FoundationThe Bernheimer Family Fund of The Cleveland FoundationElisha-Bolton FoundationThe Conway Family FoundationThe Cowles Charitable Trust (Miami)The Harry K. Fox and Emma R. Fox Charitable FoundationFunding Arts Network (Miami)The Hankins FoundationThe William Randolph Hearst FoundationThe Muna & Basem Hishmeh FoundationRichard H. Holzer Memorial FoundationThe Laub FoundationVictor C. Laughlin, M.D. Memorial Foundation TrustThe Lehner Family FoundationThe G. R. Lincoln Family FoundationBessie Benner Metzenbaum Foundation The Margaret Clark Morgan FoundationThe M. G. O’Neil Foundation Paintstone FoundationThe Charles E. & Mabel M. Ritchie Memorial FoundationThe Leighton A. Rosenthal Family FoundationSCH FoundationAlbert G. & Olive H. Schlink FoundationJean C. Schroeder FoundationKenneth W. Scott FoundationLloyd L. and Louise K. Smith Memorial FoundationThe South Waite FoundationThe George Garretson Wade Charitable TrustThe S. K. Wellman FoundationThe Welty Family FoundationThomas H. White Foundation, a KeyBank TrustThe Edward and Ruth Wilkof FoundationThe Wuliger FoundationAnonymous (2)

Cumulative Giving

$10 MILLION AND MORE

The Cleveland FoundationCuyahoga County residents through Cuyahoga Arts & CultureKulas FoundationMaltz Family FoundationState of OhioOhio Arts CouncilThe Kelvin and Eleanor Smith Foundation


The George Gund FoundationKnight Foundation (Cleveland, Miami)The Andrew W. Mellon FoundationJohn P. Murphy Foundation


The William Bingham FoundationThe George W. Codrington Charitable Foundation GAR FoundationAnn and Gordon Getty FoundationThe Louise H. and David S. Ingalls FoundationMartha Holden Jennings FoundationElizabeth Ring Mather and William Gwinn Mather FundDavid and Inez Myers FoundationNational Endowment for the ArtsThe Eric & Jane Nord Family FundThe Payne FundThe Reinberger FoundationThe Sage Cleveland Foundation

The John L. Severance Society recognizes the generosity of those giving $1 million or more in cumulative support. Listing as of March 2016.


93Severance Hall 2015-16 93Foundation and Government Annual Support

The Cleveland Orchestra gratefully recognizes 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 Giving

$10 MILLION AND MORE

Daniel R. Lewis (Miami, Cleveland)Jan R. Lewis (Miami, Cleveland)Mrs. Alfred M. Rankin, Sr.


Mr. Richard J. Bogomolny and Ms. Patricia M. KozerefskiMr. and Mrs. Alexander M. CutlerMrs. Norma Lerner and The Lerner FoundationMr. and Mrs. Albert B. Ratner


Irma and Norman Braman (Miami) Mr. Francis J. Callahan*Mrs. M. Roger Clapp*Mr. George Gund III *Francie and David Horvitz (Miami)Mr. and Mrs. Michael J. Horvitz Mr. James D. Ireland III *The Walter and Jean Kalberer Foundation Mr. and Mrs. Joseph P. Keithley Mr. and Mrs. Dennis W. LaBarre Sue 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 Peter B. Lewis* and Janet Rosel Lewis (Miami)The Ralph and Luci Schey FoundationMr.* and Mrs. Ward SmithMr. and Mrs. Richard K. SmuckerAnonymous (2)

The John L. Severance Society is named to honor the philanthropist and business leader who dedicated his life and fortune to creating The Cleveland Orch-estra’s home concert hall, which stands today as an emblem of unrivalled quality and community pride.

Lifetime giving listing as of March 2016.

Giving Societiesgifts during the past year, as of March 5, 2016

In celebration of the critical role individuals play in supporting The Cleveland Orchestra each year, donors of $2,500 and more are recognized as members of special Leadership Giving Societies. These societies are named to honor important and inspirational leaders in the Orchestra’s history.

The Adella Prentiss Hughes Society honors the Orchestra’s founder and first manager, who from 1918 envisioned an ensemble dedicated to community service, music education, and performing excellence. The George Szell Society is named after the Orchestra’s fourth music director, who served for twenty-four seasons (1946-70) while refining the ensemble’s international reputation for clarity of sound and unsurpassed musical excellence. The Elisabeth DeWitt Severance Society honors not only the woman in whose memory Severance Hall was built, but her selfless sharing, including her insistence on nurturing an orches-tra not just for the wealthy but for everyone. The Dudley S. Blossom Society honors one of the Orchestra’s early and most generous benefactors, whose dedication and charm rallied thousands to support and nurture a hometown orchestra toward greatness. The Frank H. Ginn Society honors the man whose judicious management of Severance Hall’s finances and construction created a beautiful and welcoming home for Cleveland’s Orchestra. The 1929 Society honors the vibrant com-munity spirit that propelled 3,000 volunteers and donors to raise over $2 million in a nine-day campaign in April 1929 to meet and match John and Elisabeth Severance’s challenge gift toward the building of the Orchestra’s new concert hall.

94 The Cleveland OrchestraIndividual Annual Support

gifts of $100,000 and more

INDIVIDUAL GIFTS OF $500,000 AND MORE

Mr. and Mrs. Albert B. Ratner Mr. and Mrs. Richard K. Smucker

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

Irma and Norman Braman (Miami) Mr. and Mrs. James A. Haslam IIIThe Walter and Jean Kalberer Foundation Mrs. Norma Lerner and The Lerner Foundation Daniel R. Lewis (Miami)Jan R. Lewis (Miami)Peter B. Lewis* and Janet Rosel Lewis (Miami) Sue Miller (Miami) James and Donna Reid


George* and Becky DunnDr. and Mrs. Hiroyuki Fujita David and Francie Horvitz Family Foundation (Miami) James D. Ireland III* Mr. and Mrs. Joseph P. KeithleyDr. and Mrs. Herbert Kloiber (Europe)Mr. and Mrs. Dennis W. LaBarre Mrs. Emma S. Lincoln Milton and Tamar MaltzElizabeth F. McBride Mary M. Spencer (Miami) Ms. Ginger Warner (Cleveland, Miami) Janet* and Richard Yulman (Miami)



Mr. William P. Blair III Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. and Mrs. Michael J. Horvitz Elizabeth B. Juliano Mr. and Mrs. Douglas A. Kern The Honorable and Mrs. John Doyle Ong Mr. Patrick Park (Miami)Mr. and Mrs. Alfred M. Rankin, Jr. Mr. and Mrs. Franz Welser-Möst


Sheldon and Florence Anderson (Miami) Blossom Friends of The Cleveland Orchestra

Jeanette Grasselli Brown and Glenn R. Brown Mr. and Mrs. Alexander M. Cutler Hector D. Fortun (Miami)T. K. and Faye A. Heston Giuliana C. and John D. KochDr. and Mrs. Jerome KowalToby Devan LewisMr.* and Mrs. Edward A. LozickRobert M. Maloney and Laura Goyanes Ms. Nancy W. McCann Ms. Beth E. Mooney Sally S.* and John C. Morley Margaret Fulton-Mueller Roseanne and Gary Oatey (Cleveland, Miami) The Claudia and Steven Perles Family Foundation (Miami)Mrs. Alfred M. Rankin, Sr.Charles and Ilana Horowitz Ratner Barbara S. Robinson (Cleveland, Miami) Sally and Larry Sears Hewitt and Paula Shaw Barbara and David Wolfort (Cleveland, Miami) Women’s Committee of The Cleveland OrchestraAnonymous (2)



Daniel and Trish Bell (Miami) Dr. and Mrs. Wolfgang Berndt (Europe) Mr. and Mrs. Charles P. Bolton The Brown and Kunze FoundationMr. and Mrs. David J. Carpenter Robert and Jean* Conrad Mr. and Mrs. Geoffrey Gund Mrs. John A. Hadden, Jr.Mr. and Mrs. Jeffrey Healy Milton A. and Charlotte R. Kramer Charitable FoundationVirginia M. and Jon A. LindsethJulia and Larry Pollock

listings continue

The Leadership Council salutes those extraordinary donors who have pledged to sustain their annual giving at the highest level for three years or more. Leadership Council donors are recognized in these Annual Support listings with the Leadership Council symbol next to their name:

95Severance Hall 2015-16 95Individual Annual Support

listings continue


William Appert and Christopher Wallace (Miami) Art of Beauty Company, Inc.Dr. Christopher P. Brandt and Dr. Beth Sersig Dr. Ben H. and Julia BrouhardIrad and Rebecca CarmiJill and Paul ClarkMr. and Mrs. William E. Conway Mrs. Barbara CookPeter D. and Julie F. Cummings (Miami)Do Unto Others Trust (Miami)Dr. and Mrs. Robert Ehrlich (Europe)Mr. Allen H. FordMs. Dawn M. FullRichard and Ann Gridley Gary Hanson and Barbara Klante Sondra and Steve HardisJack Harley and Judy ErnestDavid and Nancy Hooker Richard and Erica Horvitz (Cleveland, Miami)Trevor and Jennie Jones Tati and Ezra Katz (Miami) Mr. Jeff LitwillerMr. and Mrs. Thomas B. McGowanMr. Thomas F. McKee Mr. and Mrs. Stanley A. MeiselEdith and Ted* Miller Lucia S. NashMrs. David Seidenfeld Mr. and Mrs. Oliver E. SeikelJoe and Marlene TootMr. and Mrs. Daniel P. WalshTom and Shirley Waltermire Mr. and Mrs. Jeffrey J. WeaverMr. and Mrs. Jeffrey M. Weiss


INDIVIDUAL GIFTS OF $12,500 TO $14,999 Mrs. Barbara Ann Davis Robert K. Gudbranson and Joon-Li Kim Eeva and Harri Kulovaara (Miami)Mr. and Mrs. Richard A. Manuel*Mr. and Mrs. Stephen MyersPaul A. and Anastacia L. Rose Mr. and Mrs. Alfred Umdasch (Europe)Margaret and Eric* Wayne Sandy and Ted Wiese

listings continued

The Ralph and Luci Schey Foundation Rachel R. Schneider Richard and Nancy Sneed (Cleveland, Miami) R. Thomas and Meg Harris Stanton


Marsha and Brian Bilzin (Miami) In dedication to Donald Carlin (Miami)Martha and Bruce Clinton (Miami)Mr.* and Mrs. Gerald A. ConwayJudith and George W. DiehlJoAnn and Robert Glick Mr. Loren W. HersheyMrs. Marguerite B. Humphrey Mr. and Mrs. Donald M. Jack, Jr.Junior Committee of The Cleveland OrchestraThomas E Lauria (Miami)Susan Morgan Martin, Patricia Morgan Kulp, and Ann Jones Morgan Mrs. Jane B. NordWilliam J. and Katherine T. O’Neill Mr. and Mrs. James A. RatnerMr. and Mrs. David A. Ruckman Mr. and Mrs. James A. Saks Marc and Rennie SaltzbergMr. Larry J. Santon Jim and Myrna SpiraPaul and Suzanne Westlake Anonymous



Gay Cull Addicott Mr. and Mrs. William W. BakerRandall and Virginia BarbatoMr. Yuval BriskerMr. and Mrs. Matthew V. Crawford Jim and Karen DakinMr. Mike S. Eidson, Esq. and Dr. Margaret Eidson (Miami)Jeffrey and Susan Feldman (Miami)Dr. Edward S. Godleski Mary and Jon Heider (Cleveland, Miami)Allan V. JohnsonMr. and Mrs. Christopher Kelly Jonathan and Tina Kislak (Miami) Mr. and Mrs. Moshe Meidar (Miami)The Miller Family Sydell Miller Lauren and Steve Spilman Stacie and Jeff HalpernKim Sherwin Mr. and Mrs. Donald Stelling (Europe)Rick, Margarita, and Steven Tonkinson (Miami) Gary L. Wasserman and Charles A. Kashner (Miami) The Denise G. and Norman E. Wells, Jr. Family Foundation Anonymous gift from Switzerland (Europe)


Ronald H. BellHenry C. DollJudy ErnestNicki GudbransonJack Harley Iris Harvie

Faye A. HestonBrinton L. HydeDavid C. LambLarry J. SantonRaymond T. Sawyer

Barbara Robinson, chairRobert Gudbranson, vice chair

The Leadership Patron Program recognizes generous 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 Elizabeth Arnett, Manager, Leadership Giving, by calling 216-231-7522.


hospicewr.org/donate | /hospicewr

Create a compassionate legacy by making a planned gift with Hospice of the Western Reserve. Your generosity will assist our patients and families for generations to come.

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gifts of $2,500 to $9,999INDIVIDUAL GIFTS OF $7,500 TO $9,999

Dr. and Mrs. D. P. AgamanolisSusan S. AngellMr. William AppAgnes ArmstrongMrs. Elizabeth H. AugustusMr. and Mrs. Robert H. Baker Jennifer Barlament and Ken PotsicFred G. and Mary W. BehmMr. and Mrs. Jules BelkinMr. William BergerDr. and Mrs. Eugene H. BlackstoneSuzanne and Jim BlaserDr.* and Mrs. Jerald S. BrodkeyDr. Thomas Brugger and Dr. Sandra RussFrank and Leslie Buck Mr. and Mrs. William C. ButlerAugustine* and Grace CaliguireMs. Maria Cashy Dr. William and Dottie ClarkKathleen A. Coleman

Diane Lynn Collier and Robert J. Gura Marjorie Dickard ComellaCorinne L. Dodero Foundation for the Arts and Sciences Mr. Kamal-Neil Dass and Ms. Teresa LarsenMr. and Mrs. Ralph DaugstrupMr. and Mrs. Thomas S. DavisPete and Margaret Dobbins Mr. and Mrs. Bernard H. EcksteinDr. and Mrs. Robert ElstonMary and Oliver Emerson* Ms. Karen FethJoseph Z. and Betty Fleming (Miami)Scott A. FoersterJoan Alice FordBarbara and Peter GalvinJoy E. GarapicDr. and Mrs. Adi GazdarBrenda and David GoldbergMr. Albert C. Goldsmith

Mr. and Mrs. Henry J. GoodmanPatti Gordon (Miami)Mr. and Mrs. Randall J. Gordon Robert N. and Nicki N. Gudbranson David and Robin GunningAlfredo and Luz Gutierrez (Miami)Douglas M. and Amy Halsey (Miami)Clark Harvey and Holly Selvaggi Dr. Robert T. Heath and Dr. Elizabeth L. BuchananJanet D. Heil*Anita and William Heller Thomas and Mary Holmes Elisabeth Hugh Ms. Carole HughesMs. Charlotte L. HughesMr. David and Mrs. Dianne Hunt Mr. and Mrs. Christopher Hyland


Robert and Alyssa Lenhoff-BriggsMr. and Mrs. Stanley Cohen (Miami) Ellen E. & Victor J. Cohn Supporting Foundation Bob and Linnet FritzLinda and Lawrence D. Goodman (Miami)Harry and Joyce GrahamMr. Paul GreigIris and Tom Harvie Mrs. Sandra L. HaslingerHenry R. Hatch Robin Hitchcock Hatch Amy and Stephen Hoffman Mr. and Mrs. Brinton L. Hyde

Pamela and Scott Isquick Richard and Michelle JeschelnigJoela Jones and Richard Weiss James and Gay* Kitson Kenneth M. Lapine and Rose E. Mills Judith and Morton Q. Levin Mr. and Mrs. Alex Machaskee Claudia Metz and Thomas Woodworth Georgia and Carlos Noble (Miami) Mr. J. William and Dr. Suzanne Palmer Pannonius Foundation Nan and Bob Pfeifer Rosskamm Family TrustMrs. Florence Brewster Rutter

Patricia J. Sawvel Dr. and Mrs. James L. SechlerDr. Gerard and Phyllis Seltzer and the Dr. Gerard and Phyllis Estelle Seltzer FoundationDrs. Daniel and Ximena Sessler Bill* and Marjorie B. Shorrock Mrs. Gretchen D. SmithDr. Gregory Videtic Robert C. Weppler Dr. and Mr. Ann WilliamsAnonymous (3)


Mr. and Mrs. George N. Aronoff Mr. and Mrs. Dean Barry Drs. Nathan A. and Sosamma J. Berger Jayusia and Alan Bernstein (Miami) Laurel Blossom Mr. and Mrs. Richard L. BowenMr. D. McGregor Brandt, Jr.Paul and Marilyn Brentlinger*Mr. and Mrs. Marshall BrownJ. C. and Helen Rankin Butler Scott Chaikin and Mary Beth Cooper Drs. Wuu-Shung and Amy Chuang Richard J. and Joanne ClarkHenry and Mary* Doll Mr. and Mrs. Paul DomanNancy and Richard DotsonMr. and Mrs. Robert P. Duvin Mary Jo Eaton (Miami)Dr. and Mrs. Lloyd H. Ellis Jr.Mr. Brian L. Ewart and Mr. William McHenry Nelly and Mike Farra (Miami)Mr. Isaac Fisher (Miami)Kira and Neil Flanzraich (Miami) Sheree and Monte Friedkin (Miami) Mr. and Mrs. Richard T. Garrett

Albert I. and Norma C. GellerMr. and Mrs. Robert W. GillespieMr. David J. GoldenKathleen E. HancockMary Jane Hartwell Mr. and Mrs. James A. Haslam IIJoan and Leonard HorvitzRuth and Pedro Jimenez (Miami)Cherie and Michael Joblove (Miami)Andrew and Katherine KartalisAlan Kluger and Amy Dean (Miami)Mrs. Elizabeth R. Koch Tim and Linda Koelz Stewart and Donna KohlShirley and William Lehman (Miami)Dr. David and Janice LeshnerElsie and Byron LutmanMr.* and Mrs. Arch J. McCartneyMr. Donald W. Morrison Joy P. and Thomas G. Murdough, Jr. (Miami) Brian and Cindy MurphyMr. Raymond M. Murphy Dr. Anne and Mr. Peter NeffMrs. Milly Nyman (Miami)Mr. and Mrs. William M. Osborne, Jr.

Douglas and Noreen PowersAndrés Rivero (Miami)Audra and George Rose Dr. and Mrs. Ronald J. RossSteven and Ellen RossMichael and Chandra Rudd (Miami)Dr. Isobel RutherfordDr. and Mrs. Martin I. Saltzman Drs. Michael and Judith Samuels (Miami)Raymond T. and Katherine S. SawyerCarol* and Albert SchuppMr. and Mrs. Joseph H. Serota (Miami)Seven Five FundDr. Marvin* and Mimi Sobel Howard Stark M.D. and Rene Rodriguez (Miami)Lois and Tom StaufferMrs. Jean H. TaberBruce and Virginia Taylor Mr. Joseph F. TetlakDr. Russell A. TrussoMr. and Mrs. Fred A. Watkins Florence and Robert Werner (Miami)Anonymous (4)


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Ms. Nancy A. AdamsMr. and Mrs. Robert J. AmsdellDr. Ronald and Diane Bell Margo and Tom BertinHoward R. and Barbara Kaye BesserMr. and Mrs. David BialoskyCarmen Bishopric (Miami)Mr. and Mrs. Robert R. BroadbentMs. Mary R. Bynum and Mr. J. Philip CalabreseDr. and Mrs. William E. CappaertJohn Carleton (Cleveland, Miami)Mr. and Mrs. Frank H. CarpenterDrs. Mark Cohen and Miriam Vishny Mr. Owen ColliganMr. and Mrs. David G. de RouletMrs. April C. DemingPeter and Kathryn Eloff Mr. William and Dr. Elizabeth FeslerRichard J. FreyPeggy and David* FullmerLoren and Michael GarrutoDr. and Mrs. Edward C. Gelber (Miami)Dr. and Mrs. Ronald L. GouldThe Thomas J. and Judith Fay Gruber

Charitable Foundation

Nancy and James GrunzweigLilli and Seth HarrisMr. Robert D. HartMary S. HastingsIn Memory of Hazel HelgesenMr. and Mrs. Jerry HerschmanDr. Fred A. HeuplerMr. Robert T. HexterDavid Hollander (Miami)Dr. Keith A. and Mrs. Kathleen M. Hoover Dr. and Mrs. Scott R. InkleyBarbara and Michael J. KaplanDr. and Mrs. Richard S. KaufmanMrs. Natalie D. KittredgeDr. Gilles* and Mrs. Malvina Klopman Mr. Donald N. KrosinRonald and Barbara Leirvik Dr. Edith LernerMary LohmanMrs. Idarose S. LuntzHerbert L. and Rhonda MarcusMartin and Lois MarcusMs. Nancy L. MeachamDr. Susan M. MerzweilerBert and Marjorie MoyarSusan B. Murphy

Richard B. and Jane E. NashDavid and Judith NewellMr. and Mrs. Peter R. OsenarDr. Lewis and Janice B. PattersonMr. Carl PodwoskiAlfonso Rey and Sheryl Latchu (Miami)Dr. Robert W. ReynoldsCarol Rolf and Steven AdlerFred Rzepka and Anne Rzepka Family FoundationMr. Paul H. Scarbrough Ginger and Larry ShaneHarry and Ilene ShapiroMr. Richard Shirey Howard and Beth SimonMs. Ellen J. SkinnerMr. Richard C. StairMr. Taras G. Szmagala, Jr.Kathy* and Sidney Taurel (Miami)Mr. Karl and Mrs. Carol TheilErik TrimbleDrs. Anna* and Gilbert TrueRichard Wiedemer, Jr. Mrs. Henietta Zabner (Miami)Marcia and Fred* Zakrajsek Max and Beverly Zupon


Mr. and Mrs. Charles Abookire, Jr. Dr. Jacqueline Acho and Mr. John LeMayStanley I.* and Hope S. AdelsteinMr. and Mrs.* Norman Adler Mr. and Mrs. Monte Ahuja

Mr. and Mrs. James B. Aronoff Joseph BabinMr. Mark O. Bagnall (Miami)Ms. Delphine BarrettMr. and Mrs. Belkin

Mr. Roger G. BerkKerrin and Peter Bermont (Miami)Barbara and Sheldon BernsJohn and Laura Bertsch


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

Donna L. and Robert H. JacksonMr. and Mrs. Richard A. JanusDavid and Gloria KahanRudolf D. and Joan T. KamperMilton and Donna* KatzDr. Richard and Roberta KatzmanMr. John and Mrs. Linda KellyMr. and Mrs. Michael T. KestnerDr. and Mrs. William S. KiserMr. and Mrs.* S. Lee KohrmanMr. Clayton R. KoppesMr. James Krohngold Mr. and Mrs. Peter A. Kuhn Dr. and Mrs. Stephen A. KushnickMr. and Mrs. Arthur J. Lafave, Jr.David C. Lamb Mrs. Sandra S. LaurensonAnthony T. and Patricia A. Lauria Ivonete Leite (Miami)Irvin and Elin Leonard Mr. Lawrence B. and Christine H. LeveyDr. Alan and Mrs. Joni Lichtin Mr. and Mrs.* Thomas A. LiederbachMs. Grace LimMr. Jon E. Limbacher and Patricia J. LimbacherMr. Rudolf and Mrs. Eva Linnebach Anne R. and Kenneth E. LoveRobert and LaVerne* LugibihlMr. and Mrs.* Robert P. Madison Ms. Jennifer R. MalkinMr. and Mrs. Morton L. MandelAlan Markowitz M.D. and Cathy PollardMr. and Mrs. E. Timothy McDonelJames and Virginia Meil

Dr. and Mrs. Eberhard MeineckeMs. Betteann Meyerson Mr. and Mrs. William A. Mitchell Curt and Sara MollDr. R. Morgan and Dr. S. Weirich (Miami)Richard and Kathleen NordMr. Thury O’ConnorMr. Henry Ott-HansenJay Pelham (Miami)Mr. and Mrs. John S. PietyMr. Robert Pinkert (Miami)Mr. and Mrs. Richard W. Pogue In memory of Henry PollakMartin R. Pollock and Susan A. GiffordDr. and Mrs. John N. Posch Ms. Rosella PuskasMr.* and Mrs. Thomas A. QuintrellDrs. Raymond R. Rackley and Carmen M. FonsecaDr. James and Lynne Rambasek Mr. and Mrs. Roger F. RankinBrian and Patricia RatnerMs. Deborah ReadMr. and Mrs. Robert J. ReidMrs. Charles Ritchie Amy and Ken RogatDr. and Mrs. Michael Rosenberg (Miami)Robert and Margo Roth Mr. and Mrs. Robert C. RuhlDavid M. and Betty SchneiderLinda B. SchneiderLee and Jane SeidmanMr. Eric Sellen and Mr. Ron SeidmanMs. Marlene Sharak Mrs. Frances G. Shoolroy*

Naomi G. and Edwin Z. Singer Family Fund

Bruce SmithDrs. Charles Kent Smith and Patricia Moore Smith David Kane Smith Mr. and Mrs. William E. Spatz George and Mary Stark Dr. and Mrs. Frank J. StaubMr. and Mrs. Donald W. Strang, Jr.Stroud Family TrustDr. Elizabeth Swenson Ms. Lorraine S. Szabo Robert and Carol Taller Mr. and Mrs. Bill Thornton Mr.* and Mrs. Robert N. TromblyMiss Kathleen Turner Robert and Marti Vagi Don and Mary Louise VanDykeTeresa Galang-Viñas and Joaquin Viñas (Miami)Mr. and Mrs. Mark Allen Weigand Mr. and Mrs. Michael R. Weil, Jr.Charles and Lucy WellerMr. and Mrs. Ronald E. WeinbergTom and Betsy WheelerDr. Edward L. and Mrs. Suzanne WestbrookNancy V. and Robert L. Wilcox Sandy Wile and Susan NamenBob and Kat WollyungKatie and Donald WoodcockTony and Diane Wynshaw-BorisAnonymous (2)

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The Cleveland Orchestra guide to Fine Shops & Services

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25th ANNIVERSARY SEASON!

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2015-16 SEASON

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Concert Program: January 7, 8, 9

ALL-BEETHOVEN— page 31

Concert Program: January 14, 15

SHOSTAKOVICH FOURTH SYMPHONY — page 63

INTRODUCING ANDRÉ GREMILLET— page 7

FROM THE PRESIDENT— page 10

Jaime A. Bianchi and Paige A. Harper (Miami)Ms. Deborah A. BladesBill* and Zeda BlauDoug and Barbara BletcherDr. Charles Tannenbaum and Ms. Sharon BodineMr. and Mrs. Richard H. BoleMrs. Loretta BorsteinMs. Andrea L. BoydLisa and Ron BoykoMr. and Mrs. David BriggsLaurie BurmanRev. Joan CampbellMrs. Millie L. CarlsonLeigh CarterMr. and Mrs. James B. ChaneyDr.* and Mrs. Ronald ChapnickMr. Gregory R. ChemnitzMr. and Mrs. Homer D. W. ChisholmMrs. Robert A. ClarkDr. John and Mrs. Mary CloughKenneth S. and Deborah G. CohenMr. and Mrs. Mark CorradoDr. Dale and Susan Cowan Mr. and Mrs. Manohar Daga Mrs. Frederick F. DannemillerDr. Eleanor DavidsonMr. and Mrs. Edward B. DavisJeffrey and Eileen DavisMrs. Lois Joan DavisDr. and Mrs. Howard Dickey-White Dr. and Mrs. Richard C. DistadWilliam Dorsky and Cornelia HodgsonMr. George and Mrs. Beth Downes Mr. and Mrs. Robert DreshfieldMs. Mary Lynn Durham Mr. and Mrs. Ronald E. DziedzickiEsther L. and Alfred M. Eich, Jr. Erich Eichhorn and Ursel DoughertyDrs. Heidi Elliot and Yuri NovitskyHarry and Ann FarmerMr. Paul C. ForsgrenMichael Frank & Patricia A. SnyderMr. William Gaskill and Ms. Kathleen BurkeMr. Wilbert C. Geiss, Sr.Anne and Walter GinnDr. and Mrs. Victor M. GoldbergMr. and Mrs. David A. Goldfinger Mr. Davin and Mrs. Jo Ann GustafsonDr. Phillip M. and Mrs. Mary HallMr. and Mrs. David P. Handke, Jr.Elaine Harris Green Mr. and Mrs. Donald F. Hastings Matthew D. Healy and Richard S. AgnesMr. and Mrs. Robert D. Hertzberg (Miami)Dr. and Mrs. Robert L. HinnesMr. Larry HolsteinBob* and Edith Hudson (Miami)Dr. Randal N. Huff and Ms. Paulette Beech Ms. Luan K. Hutchinson Ruth F. IhdeMrs. Carol Lee and Mr. James IottMr. Norman E. Jackson (Miami)Ms. LaVerne JacobsonRobert and Linda JenkinsDr. Michael and Mrs. Deborah JoyceMr. Peter and Mrs. Mary JoyceMr. Stephen JudsonRev. William C. KeeneAngela Kelsey and Michael Zealy (Miami)The Kendis Family Trust: Hilary and Robert Kendis and Susan and James Kendis

Bruce and Eleanor KendrickMr. James KishFred* and Judith KlotzmanMarion KonstantynovichJacqueline and Irwin* Kott (Miami)Ellen Brad and Bart KovacDr. Ronald H. Krasney and Vicki Kennedy Dr. Michael E. LammMr. and Mrs. John J. Lane, Jr. Michael LedermanJudy and Donald Lefton (Miami)Mr. Gary LeidichMichael and Lois A. LemrDr. Stephen B. and Mrs. Lillian S. Levine Robert G. Levy Ms. Mary Beth LoudJanet A. MannMr. and Mrs. Raul Marmol (Miami)Dr. and Mrs. Sanford E. Marovitz Ms. Dorene MarshDr. Ernest and Mrs. Marian MarsolaisMr. Fredrick MartinMs. Amanda MartinsekMr. Julien L. McCallWilliam C. McCoyMr. and Mrs. James E. MengerStephen and Barbara Messner Loretta J. Mester and George J. MailathMr. Michael and Mrs. Lynn MillerDrs. Terry E. and Sara S. Miller Jim and Laura MollSteven and Kimberly MyersDeborah L. NealeMarshall I. Nurenberg and Joanne KleinRichard and Jolene O’Callaghan Dr. Guilherme OliveiraMr. Robert D. PaddockGeorge Parras Mr. Thomas and Mrs. Tommie PattonDr. and Mrs. Gosta PetterssonHenry Peyrebrune and Tracy RowellDr. Roland S. Philip and Dr. Linda M. Sandhaus Dale and Susan PhillipMs. Maribel Piza (Miami)Dr. Marc and Mrs. Carol PohlMrs. Elinor G. PolsterMr. Robert and Mrs. Susan PriceKathleen PudelskiMs. C. A. ReaganDavid and Gloria RichardsMichael Forde RipichMr. and Mrs. James N. Robinson II (Miami)Mr. Timothy D. Robson Ms. Linda M. RocchiMiss Marjorie A. Rott*Michael and Chandra Rudd (Miami)Mr. Kevin Russell (Miami)Mrs. Elisa J. Russo Dr. Harry S. and Rita K. RzepkaPeter and Aliki RzepkaDr. Vernon E. Sackman and Ms. Marguerite PattonRev. Robert J. SansonMs. Patricia E. Say Mr. James Schutte Ms. Adrian L. ScottMr. and Mrs. Alexander C. ScovilDr. John Sedor and Ms. Geralyn PrestiMs. Kathryn SeiderCharles Seitz (Miami)Mr. and Mrs. Thomas W. Seitz Ms. Frances L. SharpMs. Jeanne Shatten

Dr. Donald S. SheldonDr. and Mrs. William C. Sheldon Mr. and Mrs. Reginald Shiverick Mr. Robert SieckLaura and Alvin A. SiegalLois H. Siegel (Miami)David* and Harriet SimonDr. and Mrs. Conrad SimpfendorferThe Shari Bierman Singer FamilyGrace Katherine SipusicRobert and Barbara SlaninaRoy SmithSandra and Richey Smith Ms. Barbara SnyderLucy and Dan SondlesMr. Louis StellatoMr. and Mrs. Joseph D. SullivanKen and Martha TaylorDr. and Mrs. Thomas A. TimkoSteve and Christa Turnbull Mrs. H. Lansing Vail, Jr.Robert A. ValenteBrenton Ver Ploeg (Miami)Mr. and Mrs. Les C. VinneyDr. Michael Vogelbaum and Mrs. Judith RosmanBarbara and George von MehrenAlice & Leslie T. Webster, Jr.Mr. and Mrs.* Jerome A. WeinbergerMr. Peter and Mrs. Laurie WeinbergerRichard and Mary Lynn WillsMr. Martin WisemanMichael H. Wolf and Antonia Rivas-WolfElizabeth B. Wright Rad and Patty YatesDr. William ZeleiMr. Kal Zucker and Dr. Mary Frances HaerrAnonymous (6)

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

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member of the Leadership Council (see first page of Annual Support listings)

* deceased

The Cleveland Orchestra is sustained through the support of thousands of generous patrons, including members of the Leadership Patron Program listed on these pages. Listings of all annual donors of $300 and more each year are published in the Orchestra’s Annual Report, which can be viewed online at CLEVELANDORCHESTRA.COM



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 The Cleveland Or-chestra since its opening on February 5, 1931. After 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 tem-ple 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. The interior of the building refl ects a combination of design styles, including Art Deco, Egyp-tian Revival, Classicism, and Modernism. An extensive renovation, restoration, and expansion of the facility was com-pleted in January 2000. In addition to serving as the home of The 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 special 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 Hall104 The Cleveland Orchestra

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


AT SEVERANCE HALLRESTAURANT AND CONCESSION SERVICE Pre-Concert Dining: Severance Restaurant at Severance Hall is open for pre-concert dining for evening and Sunday afternoon performances, and for lunch following Friday Morning Concerts. For reservations, call 216-231-7373, or online by visiting clevelandorchestra.com/opentable. Intermission & Pre-Concert: Concession service of beverages and light refreshments is avail-able before most concerts and at intermissions at a variety of lobby locations. Post-Concert Dining: Severance Restaurant is open after most evening concerts with à la carte dining, desserts, full bar service, and coffee. For Friday Morning Concerts, a post-concert luncheon service is offered.

CLEVELAND ORCHESTRA STORE A variety of items relating to The Cleveland Orchestra — including logo apparel, DVD and com-pact disc recordings, and gifts — are available for purchase at the Cleveland Orchestra Store before and after concerts and during intermissions. The Store is also open Tuesday through Friday from 11 a.m. to 6 p.m. Call 216-231-7478 for more information, or visit the Store online at cleveland-orchestra.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 Orches-

tra, is the perfect location for business meetings and conferences, pre- or post-concert dinners and receptions, weddings, and social events. Catering provided by Marigold Catering. Premium dates are available. Call the Facility Sales Offi ce at 216-231-7420 or email to [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 $15 per concert. This pre-paid parking ensures you a parking space, but availability of pre-paid parking passes is limited. To order pre-paid parking, call the Ticket Offi ce at 216-231-1111. Parking can be purchased (cash only) for the at-door price of $11 per vehicle when space in the Campus Center Garage permits. However, the ga-rage often fi lls up and only ticket holders with pre-paid parking passes are ensured a parking space. Parking is also available in several lots within 1-2 blocks of Severance Hall. Visit the Orchestra’s web-site for more information and details.

FRIDAY MATINEE PARKING Due to limited parking availability for Friday Matinee performances, patrons are strongly en-couraged to take advantage of these convenient off-site parking and round-trip bus options: Shuttle bus service from Cleveland Heights is available from the parking lot at Cedar Hill Baptist Church (12601 Cedar Road). The round-trip service rate is $5 per person. Suburban round-trip bus transportation is availble from four locations: Beachwood Place, Crocker Park, Brecksville, and Akron’s Summit Mall. The round-trip service rate is $15 per person per concert, and is provided with support from the Women’s Committee of The Cleveland Orchestra.

CONCERT PREVIEWS Concert Preview talks and presentations begin one hour prior to most regular Cleveland Orchestra concerts at Severance Hall.

Guest Information

106 The Cleveland OrchestraGuest 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 AND SELFIES,VIDEO AND AUDIO RECORDING Photographs of the hall and selfi es to share with others can be taken when the performance is not in progress. However, audio recording, pho-tography, and videography are prohibited during performances at Severance Hall. And, 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 ac-cordingly. To ensure the listening pleasure of all patrons, please note that anyone creating a distur-bance 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 make arrangement by calling the House Manager in advance at 216-231-7425. Infrared Assistive Listening Devices are avail-able from a Head Usher or the House Manager for most performances. 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 as you buy 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 AND FAMILIES Regardless of age, each person must have a ticket and be able to sit quietly in a seat through-out the performance. Cleveland Orchestra sub-scription concerts are not recommended for chil-dren under the age of 8. However, there are sev-eral age-appropriate series designed specifi cally for children and youth, including: Musical Rainbows (recommended for children 3 to 6 years old) and Family Concerts (for ages 7 and older). Our Under 18s Free ticket program is designed to encourage families to attend together. For more details, visit clevelandorchestra.com/under18.

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 two hours before the concert, the value of each ticket can be a tax-deductible contribution. Patrons who turn back tickets receive a cumulative donation acknowledgement at the end of each calendar year.


A Place to Be Remembered . . . The Cleveland Orchestra is entering the public phase of a major fund-raising eff ort, the Sound for the Centennial Campaign. The campaign is focused on adding more value to our community by securing fi nancial strength for the Orchestra’s second century. The campaign is building the Orch estra’s endowment through cash gi s and legacy commitments, while also securing broad-based and increasing annual support from across Northeast Ohio. Campaign supporters are eligible for special and unique recogni on. From concert dedica ons and program book recogni on to limited-term or permanent naming opportuni es of musician chairs. Plus unique op ons to name spaces and seats in Severance Hall or Blossom Music Center. All available only by suppor ng The Cleveland Orchestra.

You too can play a cri cal part in securing The Cleveland Or ch estra’s role in making the Northeast Ohio community great. To learn more about receiving special recogni on through the Sound for the Centennial Campaign, please contact the Philanthropy & Advancement Department by calling 216-231-7558.

clevelandorchestra.com/100campaign

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


S P R I N G S E A S O N

Welser-Möst Conducts BrucknerMarch 24 — Thursday at 7:30 p.m.March 26 — Saturday at 8:00 p.m. THE CLEVELAND ORCHESTRAFranz Welser-Möst, conductorTruls Mørk, cello

KURTÁG Petite musique solennelle — Homage to Pierre Boulez at 90

SCHUMANN Cello ConcertoBRUCKNER Symphony No. 6

Wagner’s GötterdämmerungMarch 31 — Thursday at 7:30 p.m.April 1 — Friday at 11:00 a.m. <18s

April 2 — Saturday at 8:00 p.m. THE CLEVELAND ORCHESTRAFranz Welser-Möst, conductorLeila Josefowicz, violin

CHEUNG Lyra*ADÈS Violin Concerto: Concentric PathsWAGNER Excerpts from Götterdämmerung * not part of Friday Morning Concert

Sponsor: BakerHostetler

BARTÓK ON STAGE: The Miraculous Mandarin and Bluebeard’s Castle April 7 — Thursday at 7:30 p.m.April 8 — Friday at 8:00 p.m. <18s

April 9 — Saturday at 8:00 p.m. April 10 — Sunday at 3:00 p.m. <18s THE JOFFREY BALLETAshley Wheater, artistic directorand featuring choreography and stage direction by Yuri Possokhovset, lighting, projection design by Alexander V. Nicholscostume design by Mark ZapponeMikhail Petrenko, bassKatarina Dalayman, soprano

and members of the Cleveland Orchestra ChorusTHE CLEVELAND ORCHESTRAconducted by Franz Welser-Möst

The opera event of the season, with two of Bartók’s mas-terful stage works as a doublebill — exploring desire and deception, secrets and death. Two fantastical tales about love . . . and murder! A world premiere collaboration with Chicago’s renowned Joffrey Ballet.Supported with funding from The Andrew W. Mellon Foundation and the National Endowment for the Arts.

Concert Calendar

PNC MUSICAL RAINBOW

April 8 — Friday at 10:00 a.m. <18s

April 9 — Saturday at 10:00 & 11:00 a.m. <18s

with Jack Sutte, trumpetFor ages 3 to 6. Host Maryann Nagel gets attendees sing-ing, clapping, and moving to the music in this series intro-ducing instruments of the orchestra. With solo selections, kid-friendly tunes, and sing-along participation.Sponsor: PNC Bank

Mozart (and Haydn)April 14 — Thursday at 7:30 p.m.April 15 — Friday at 7:00 p.m. <18s

April 16 — Saturday at 8:00 p.m. THE CLEVELAND ORCHESTRAJane Glover, conductorJoshua Smith, Yolanda Kondonassis, harp

HAYDN Symphony No. 6 (“Le Matin”)*MOZART Concerto for Flute and HarpMOZART Symphony No. 39

* not part of Fridays@7 concert.

Sponsors: Squire Patton Boggs (US) LLP KeyBank

FAMILY CONCERTGreen Eggs and HamadeusApril 16 — Saturday at 2:00 p.m. <18s THE CLEVELAND ORCHESTRARob Kapilow, conductorSherry Boone, sopranoJoshua Turchin, boy sopranowith stage direction by Daniel Pelzig

This concert brings together the worlds of Dr. Seuss and Mozart, in a whiz-bang mash-up designed especially for children. The Boston Globe called Green Eggs and Hama-deus Peter and the Wolf and Britten’s Young Person’s Guide to the Orchestra.” You will like it, Sam-I-am! Free pre-concert activities begin one hour before start time.Supported by The Giant Eagle Foundation

<18sUnder 18s Free FOR FAMILIES

Concerts with this symbol are eligible for "Under 18s Free" ticketing. The Cleveland Orchestra is committed to developing the youngest audience of any orchestra. Our "Under 18s Free" program offers free tickets for young people attending with families (one per full-price paid adult for concerts marked with the symbol above).

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

D O R C H E S T R A

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

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

109Severance Hall 2015-16 109Concert Calendar

Beethoven’s Heroic SymphonyApril 21 — Thursday at 7:30 p.m.April 23 — Saturday at 8:00 p.m. April 24 — Sunday at 3:00 p.m. <18s

THE CLEVELAND ORCHESTRAAntoni Wit, conductorJan Lisiecki, piano

WAGNER Polonia Overture CHOPIN Piano Concerto No. 2 BEETHOVEN Symphony No. 3 (“Eroica”) Sponsor: KeyBank

AT THE MOVIESBride of FrankensteinApril 26 — Tuesday at 7:30 p.m. THE CLEVELAND ORCHESTRARichard Kaufman, conductor

She’s alive — and so is the music!!! The 1935 classic

evocative score played live by The Cleveland Orchestra.

a female corpse (Elsa Lanchester) into a bride for the Monster (Boris Karloff).

Sponsor: PNC Bank

A Hero’s LIfeApril 28 — Thursday at 7:30 p.m.April 29 <18s

April 30 — Saturday at 8:00 p.m. THE CLEVELAND ORCHESTRAAntonio Pappano, conductorMarie-Nicole Lemieux, mezzo-soprano*

WAGNER from Tristan and Isolde CHAUSSON Poem of Love and the Sea* STRAUSS Ein Heldenleben [A Hero’s Life] * Sponsor: PNC Bank

AT THE MOVIESBRIDE OFFRANKENSTEINTuesday April 26 at 7:30 p.m.THE CLEVELAND ORCHESTRARichard Kaufman, conductor

She’s alive — and so is the music!!! The 1935 classic horror film with legendary film composer Franz Waxman’s evocative score played live by The Cleveland Orchestra. Frankenstein (Colin Clive) and Dr. Pretorius go back into their laboratory, exhume more bodies, and convert a female corpse (Elsa Lanchester) into a bride for the Monster (Boris Karloff). Sponsored by PNC Bank

2015-16 SEASON

U P C O M I N G C O N C E R T S

T H E C L E V E L A N D O R C H E S T R A2015-16 SEASON

See also the concert calendar listing on previous pages, or visit The Cleveland Orchestra online for a complete schedule of future events and performances, or to purchase tickets online 24/ 7 for Cleveland Orchestra concerts.

TICKETS 216-231-1111 clevelandorchestra.com

110 The Cleveland OrchestraUpcoming Concerts

AT SEVERANCE HALL . . .

BARTÓK ON STAGEThe Miraculous Mandarin andBluebeard’s CastleThursday April 7 at 7:30 p.m.Friday April 8 at 8:00 p.m. <18s

Saturday April 9 at 8:00 p.m.Sunday April 10 at 3:00 p.m. <18s

THE JOFFREY BALLETAshley Wheater, artistic director

choreography and stage direction by Yuri Possokhovset, lighting, projection design by Alexander V. Nicholscostume design by Mark Zappone

THE CLEVELAND ORCHESTRAconducted by Franz Welser-Möst

The opera event of the season! With two of Bartók’s masterful stage works presented as a doublebill — exploring desire and deception and revelation, secrets and murder, life and death! A world premiere new production in collaboration with Chicago’s renowned Joffrey Ballet.

Supported with funding from The Andrew W. Mellon Foundation and a grant from the National Endowment for the Arts.

STRAVINSKY’STHE FIREBIRDThursday May 5 at 7:30 p.m.Friday May 6 at 11:00 a.m.Friday May 6 at 7:00 p.m.Saturday May 7 at 8:00 p.m.THE CLEVELAND ORCHESTRAAndrés Orozco-Estrada, conductorKirill Gerstein, piano

Stravinsky’s ground-breaking ballet was an instant sensation when it was premiered — and remains an audience favorite. Based on a Russian folk legend, it features mesmerizing melodies, fierce rhythmic drive, and one of music’s most breathtaking finales. This week-end of concerts also features Rachmaninoff’s First Piano Concerto, filled with lyricism and passion. Plus Zoltán Kodály’s delightful musi-cal postcard about a village he had lived in, Dances from Galánta.

Friday night sponsor: KeyBank

Documents

The Cleveland Orchestra March 24, 26/March 31-April 2 Concerts