The Cleveland Orchestra May 12-14, 19-22 Concerts

2015-16 SEASON

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Concert: May 12, 13, 14

FRANK PETER ZIMMERMANN PLAYS BARTÓK — page 31

Concert: May 19, 20, 21. 22

BEETHOVEN’S EMPEROR CONCERTO — page 65

PERSPECTIVES from the Executive Director — page 7

Musical Relationships, Language and Identity — page 8

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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 . . . . . . . . . . . . . . . . . . . . . . . 15 The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . . . 17 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Severance Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 Concert Calendar . . . . . . . . . . . . . . . . . . . . . . . . 108-109

WEEK 21 ZIMMERMANN PLAYS BARTÓK Program: May 12, 13, 14 . . . . . . . . . . . . . . . . . . . . . 31 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 33 LISZT Orpheus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 BARTÓK Violin Concerto No. 2 . . . . . . . . . . . . . . . . . . . . . . . 39 BARTÓK Music for Strings, Percussion, and Celesta . . . 47

Conductor: Franz Welser-Möst . . . . . . . . . . . . . . . . . 23 Soloist: Frank Peter Zimmermann . . . . . . . . . . . . . 45

NEWS Cleveland Orchestra News . . . . . . . . . . . . . . . . . 58-63

WEEK 22 BEETHOVEN’S EMPEROR CONCERTO Program: May 19, 20, 21, 22 . . . . . . . . . . . . . . . . . 65 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 67 DVOŘÁK The Wood Dove . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 JANÁČEK Suite from From the House of the Dead . . . . . . . 71 BEETHOVEN Piano Concerto No. 5 (“Emperor”) . . . . . . . . . . . 75

Conductor: Franz Welser-Möst . . . . . . . . . . . . . . . . . 23 Soloist: Rudolf Buchbinder . . . . . . . . . . . . . . . . . . . . 81

Support Mellon Challenge Grant . . . . . . . . . . . . . . . . . . . . 12-13 Sound for the Centennial . . . . . . . . . . . . . . . . . . . 56-57 Annual Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87-98

WEEKS 21 AND 22

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

50%

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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7Severance Hall 2015-16 7

Perspectives from the Executive DirectorMay 2016

Throughout the country, there is a yearly ritual at non-profit organiza-tions large and small, to bring the Annual Fundraising campaign to a successful close. It is no small task, yet it is, in fact, what makes each year possible. The Cleveland Orchestra’s Annual Fund reaches back to its earliest history, to a group of founding guarantors who chose, nearly a century ago, to take on shared responsibility for each year’s budget. These were families with strong links to the Orchestra’s founding and

to its subsequent growth and achievements, and to the community’s own success as one of America’s great industrial cities.

The Cleveland Orchestra was founded to serve this community through the art of music — through performances second to none, and with education programs that would inspire new generations. It remains a worthy ideal. Across the decades, like most other non-profit arts organizations of the era, The Cleveland Orchestra also became more and more of a true business — running a year-round schedule of concerts and education programs, oversee-ing the daily operation of a great concert hall and an ambitious summer home. Musical art had become work, requiring not just creativity and enthusiasm, but rigorous implementa-tion, dedicated oversight, and long-term planning.

Across these same decades, the responsibility for ensuring The Cleveland Orchestra’s suc-cess was willingly and happily taken on by a larger and larger group of individuals, each in-vested not just in the artistic rewards and achievements but the financial outcomes of each season as well. The list of guarantors became a community-wide Annual Fund, supported by thousands of gifts large and small, every one making a difference.

The Cleveland Orchestra’s Annual Fund is, in fact, one of the most amazing things about this institution and community. Indeed, as a symbol of how generous — and involved — you are, this Annual Fund is extraordinary. You are more generous than any other in this coun-try in terms of per capita giving. And I believe this is a direct reflection of what happens onstage. Franz and the musicians of this Orchestra push themselves every day to be better, to do more. You recognize this constant striving, and you push yourselves, too — to give just a little more, to support to the utmost. This spring, my wife, Ginette, and I sat down to make our own first Annual Fund pledge to The Cleveland Orchestra, not simply because I work here, but because we fundamentally believe in the future of this extraordinary ensem-ble and want to be a part of this community’s support going forward.

Closing out this year’s Annual Fund at the end of June presents both opportunities and challenges. A strong finish requires the efforts and support of everyone who cares about this Orchestra and is able to contribute. Even with the surging success of recent years, ticket sales cover less than half of the costs for producing the Orchestra’s concerts and programs.

If you have already made your gift or pledge to the Annual Fund, thank you. If you have not, but enjoy and count on what this Orchestra offers you, please . . . give today. Every gift, small or large, makes a difference in carrying this institution forward year by year.

André Gremillet

8 The Cleveland Orchestra

T H I S S P R I N G , Franz Welser-Möst’s con-certs at Severance Hall are featuring a rare grouping together of musical works by composers from what we today call East-ern Europe — including Dvořák, Janáček, Kurtág, and especially Bartók. These Czech and Hungarian works not only add diversity and breadth to the season, they also can remind us of Franz’s fundamental belief that music — the studying, listen-ing to, learning about, the playing of an instrument — are essential to developing (as a child) and maintaining (as an adult) a well-rounded mind.

We might also wonder how the mu-sic of the countries (or peoples) of East-ern Europe are connected to one another and to the larger world of classical music — and to the grand Germanic symphonic traditions of Central Europe (with which these countries were long identified)? How does the language of a country af-fect music and how people listen to it? Relatedly, how do composers of different

countries come to sound “like home” to their compatriots? Does music, in fact, in-fluence how a person thinks? In the 2014 book Whatever Happened to the Metric System?, author John Bemel-mans Marciano notes that those of us still using the “British” Standard of measure instead of the Metric system are now valu-able for maintaining diversity of thought in the world — we actually think different-ly about weights and measures than those raised on the Metric system. We think about the world from a different angle. Although many will argue, neither sys-tem of weights and measures is inherently better in and of itself. They are merely different and each has its advantages and disadvantages. Up to the point at which too much variation (too much converting one system to another) causes misunder-standing or chaos. In other words, dif-ference and diversity help create a more interesting and stimulating world. So it is with language. The dream of

Nationality and Language,

Identity and Music . . .

Cleveland Orchestra concerts this month feature works by Eastern European composers Bartók, Janáček, and Dvořák — allowing concertgoers to ponder the varied influences of spoken language, musical vocabulary, and a composer’s style.

Music and Identity

9Severance Hall 2015-16

a universal language, whether Latin or Es-peranto or English or Chinese is more like a nightmare of impoverishment, of mak-ing everything too much the same. What might be gained in certainty of commu-nication would be erased by all that is lost by not having brains raised with different languages as their baseline, their “normal.” Nuances of meaning, of “untranslatable” words between languages, would not just cease to exist, but the differing ways of viewing and thinking about objects and ideas behind those differences would also be . . . gone. As some scholars and philosophers have suggested, the biggest difference between France and Germany across the centuries is not their cultures per se, but their languages, and that the two cultures are more a byproduct of their differing languages (and ways of actually thinking), not the other way around. So it is with music. The differences of spoken language, and mindset, also af-fect music. Not just in how words are set in differing languages, so as to sound nat-ural, but in the inherent normal rhythms of different languages, of everyday life and hearing. The national music of vary-ing countries, almost without exception, mirrors inflections and rhythms — and ways of thinking — inherent in the lan-guages of its peoples. Music “from home” brings peace of mind and happiness. The music you listen to, the language you speak is as strong a home as any physical structure. Possibly more so. News reports this year have cited studies showing that children raised with dual language skill (bilingual as children) grow up to be more collaborative (less

prone to conflict) as adults. They under-stand more of the possibilities of the world (and the people around them) because their minds were “set” in their formative years with the diverse “views” inherent in two different languages. Conductor Dan-iel Barenboim’s youth-filled West-Eastern Divan Orchestra — including Palestinians and Israelis — is founded on the related notion that making music together brings understanding and commonality and sharing, to those involved, if not to the countries and peoples at large.

E A S T E R N E U R O P E A N R H Y T H M S So what, if anything, do these ideas tell us about the musical works we are hearing this spring — about these com-posers from what we today call Eastern Europe? Eastern now, due to 20th-cen-tury politics, when the democratic West squared off with the communist “East” as adversary. For centuries prior, that swath of Europe was, with Germany and Austria, called Central Europe, a civilized, flourish-ing area of arts and culture and progress. Budapest and Prague and Warsaw were as proudly modern and progressive as Vienna, Berlin, and Paris from the Enlight-

Language and Music

A map of ethnic groupings across Europe. 1897, Hungary.



enment forward into the 20th century, before being cordoned off as Russia’s Eastern Block zone. Their music and arts continued to shine, even under post-World War II authoritarian rulers. As Jan Simon postulates in a col-lection of essays titled The Late Romantic Century, “the importance of language as a factor and criterion of nationality also influenced the practice of composers in east central Europe. The nature of a spo-

ken language inevitably affects the music that sets it . . . and ultimately, if indirectly, leaves its mark on instrumental music too. . . . For Janáček and Bartók, fidelity to the rhythms and inflections of the spoken lan-guage was an article of nationalist, as well as realist, faith.” Bartók together with his friend Zol-tán Kodály spent years cataloging the folk music of their Hungarian homeland, and other countrysides, too. The pro-cess inevitably enriched and altered each composer’s own music vocabulary and, ultimately, helped create their unique mu-sical voices. Indeed, Bartók made folk mu-sic and rhythms wholeheartedly part of his own music — not by direct quotation, but by merging it and synthesizing folk music into the very DNA of his musical ideas. Bartók’s Violin Concerto and Music for Strings, Percussion, and Celesta, or his Concerto for Orchestra, would be very different pieces had he grown up in . . . Scotland or Peru.

Dvořák’s earliest fame came from his Slavonic Dances, perfectly derived from the Czech rhythms and ideals of his upbringing. Yet the mature Dvořák con-tinued to pursue Germanic traditions of symphonic form and character, while al-most unconsciously infusing his scores with aspects of Czech-ness. His great interest during his years as a teacher in America was looking for unique and authentic American music, interviewing former Black slaves and Native Americans. Of course, many composers become multi-lingual in their ability to write in the voices of different nations — some more successfully real and authentic (rather than merely imitative) than others. The Stabat Mater that closes the sea-son with its Latin text, is less Czech than many other of Dvořák’s works, but even in this musical mourning we can iden-tify and recognize moments of a differ-ent mindset. This music, certainly, is not German. But its universality, at least for believers and those willing to suspend disbelief in the face of great musical ex-pression, brings us back to language and identity. And perhaps to that other idea . . . that music itself is a universal lan-guage, or at least one great channel for translating or transferring what it means to be human from one mind to many, to share our emotional insights, to draw strength from our common bond and in-tellect. In this way, art makes a difference and shares our humanity . . . each and ev-ery day. —Eric Sellen

Eric Sellen serves as program book editor for The Cleveland Orchestra — and

believes in the power of music.

Nationality and Music

Difference and diversity help create a more interesting

and stimulating world.


SHARING MUSIC WITH FAMILY AND FRIENDS . . .

“My parents loved The Cleveland Orchestra from the earliest days of their marriage — and introduced me to music’s great power, its gripping depths and joyful highs.”

Ben and Martha Lavin married shortly after World War II. As a young couple, they became Cleveland Orchestra subscribers, making it a routine part of their week — and sharing Saturday nights and the Orchestra with their best friends. Their son, Arthur, began attending with his parents as a teenager, hearing the Orchestra at both Severance Hall and Blossom Music Center. Those early experiences, listening as a young man to great performances by George Szell, left an indelible impression: “In college, I dove deeply into listening — not studying music, for, although I tried, I was too clumsy to master an instrument. But I found my ears were tuned to music, and I have been plumbing its depths ever since!”

“Above all, it is the nearly infinite power of great music to transform the mind and soul that is what I most appreciate, and the gift I so enjoy sharing with others.” Celebrate the power of music, and help build The Cleve-land Orch estra’s future with your friends and community, by supporting the Annual Fund. Call Elizabeth Arnett, Manager of Leadership and Individual Giving, at 216-231-7522 today.

clevelandorchestra.com/AnnualFund

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

Dr. Arthur Lavin Subscriber and Annual Fund donor

Ben and Martha Lavin

Passion and drama, beauty and spectacle defi ne 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 off er — 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 Offi ce 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!


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 Jeff rey 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. Woodruff Anonymous

The Cleveland Orchestra applauds the generous donors listed here, who are making possible presenta ons of ar s cally

ambi ous programming of opera and ballet every year.

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.

13

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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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

17Severance Hall 2015-16 17About the Orchestra

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

The Orchestra was founded in 1918 and performed its

fi rst concert on December 11.

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

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The 2015-16 season marks 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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19Severance Hall 2015-16 19About 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.

20 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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24 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 fi ve of Bruck-ner’s symphonies and a recently-released multi-DVD set of major works by Brahms, fea-turing Yefi m 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 fi nest 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 fl ickered 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 fl uidity.”

—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


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

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2015-16 SEASON

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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

“I believe in ideastream because it’s the thread that carries through to positively address our community’s challenges.”

- Robert W. Briggs

I BELIEVE IN

Find out more at ideastream.org/support



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.

May 12, 13, 14“Of Musical Tales and Strings” (Musical works by Liszt and Bartók) with guest speaker Michael Strasser, professor of musicology, Baldwin Wallace University Conservatory of Music

May 19, 21, 22“Death and Glory”(Musical works by Dvořák Janáček, Beethoven) with guest speaker Cicilia Yudha, associate professor of piano, Youngstown State University

May 26, 28“Music for the Sorrowful Mother”(Dvořák’s Stabat Mater) with guest speaker David J. Rothenberg, chair, department of music, Case Western Reserve University

LEARNING MORE ABOUT THE MUSIC

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

Concert Previews

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Your Investment: Strengthening Community

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Photo by Steve Wagner

31Severance Hall 2015-16 Concert Program — Week 21

2015-16 SEASON

Severance HallThursday evening, May 12, 2016, at 7:30 p.m.Friday evening, May 13, 2016, at 8:00 p.m. Saturday evening, May 14, 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

FRANZ LISZT Orpheus (Symphonic Poem No. 4) (1811-1886)

BÉLA BARTÓK Violin Concerto No. 2 (1881-1945) 1. Allegro non troppo 2. Theme and Variations: Andante tranquillo 3. Rondo: Allegro molto FRANK PETER ZIMMERMANN, violin

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

BÉLA BARTÓK Music for Strings, Percussion, and Celesta 1. Andante tranquillo 2. Allegro 3. Adagio 4. Allegro molto

Saturday’s concert is sponsored by Tucker Ellis.

Frank Peter Zimmermann’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from the Margaret R. Griffi ths Trust.

The Thursday performance is dedicated to Mrs. Marguerite B. Humphreyin recognition of her extraordinary generosity in support of The Cleveland Orchestra’s Annual Fund.

The concert will end on Thursday evening at about 9:05 p.m.and on Friday and Saturday nights at approximately 9:35 p.m.

LIVE RADIO BROADCAST — SATURDAY EVENING Saturday evening’s concert is being broadcast live on WCLV (104.9 FM). The concert will be rebroadcast as part of regular weekly programming on WCLV on Saturday evening, July 30, at 8:00 p.m. and again on Sunday afternoon, September 4, at 4:00 p.m.

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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


T H I S W E E K E N D ’ S C O N C E R T S feature three works by two infl uential Hungarian composers, one a towering giant of the 19th century, the other a master of the fi rst half of the 20th century. In diff ering eras, both pushed

hard in new and intriguing directions, prodding the mainstream of Central European classical music toward new channels of invention and creativity. The concerts begin with one of Franz Liszt’s sym-phonic poems, Orpheus from 1853-54. Written in the decade after Liszt gave up his career as a mesmerizing piano virtuoso, this is one of a widely varied set of twelve symphonic poems that Liszt created across his life, ex-ploring an orchestra’s abilities at storytelling — “pro-gram music” (with a program or story behind or within it) rather than the “absolute music” (a symphony or con-certo without specifi c meaning) of earlier generations.

Here he portrays the Greek Orpheus, whose lyrical music-making could call together and tame beasts of all kinds and persuasions. Two works by Béla Bartók follow, bringing us further into the sound-world of this composer, whose doublebill of opera and ballet was so in-triguingly and forcefully presented under Franz Welser-Möst’s baton at the beginning of April. Now we hear the great Second Violin Concerto, with violinist Frank Peter Zimmermann taking up the solo role. This lyrical work from 1937-38 was the result of the composer’s long friendship with the vio-linist Zoltán Székely, and sparkles with life and verve. (This concerto’s U.S. premiere was given right here at Severance Hall, in 1943.) The concerts ends with Bartók’s Music for Strings, Percussion, and Ce-lesta. Franz believes that this work is Bartók’s greatest masterpiece. Writ-ten in 1936, this uniquely titled composition calls for a specifi c group of instruments (divided and seated onstage into specifi c groupings). Here, the composer followed careful patterns and relationships of musical keys and chords — casting movements in traditional forms of fugue, rondo (varia-tions), etc. — to derive a piece of perfected proportions. It off ers intriguing soundscapes and interplays, and an unusual but very satisfying experience for players and audience alike. —Eric Sellen

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

Poetry, Concerto, &Creative Invention

Introducing the Concert


F R A N Z L I S Z T was a man of exceptional energy. He was ac-tive throughout his life as pianist, composer, conductor, and teacher, with constant commitments in France, Germany, Italy, and Hungary. He was also a lifelong reviser of his own music, so that it is not clear to us a century and more past his death which piece he was working on at any given moment. Liszt sketched, drafted, completed, revised and revised again many of his works, before they were published or per-formed — and even then were often subject to more revision. His output of original compositions and transcriptions of various kinds (of his own and others’ works) being so vast, it is likely that his mind, if not his desk, was a traffi c-jam of complete and incomplete pieces at all times. The symphonic poem Orpheus is an exception to this, how-ever, and enjoyed a relatively simple birth, for it was never revised. While Liszt was known for his brilliance on the piano and for the great virtuosity of many of his compositions, this work presents a total contrast in tone and sensibility. In this work is the con-templative Liszt, absorbed not by his religious devotions (a major element throughout his life), but by the legacy of Greek culture. In the printed score, this beautiful work is prefaced by a short essay in which Liszt explains how, as conductor of Wei-mar’s opera house in the 1850s, he was preparing a performance of Gluck’s opera Orfeo ed Euridice. The “sublime simplicity” of Gluck’s music led him to think of the symbolism of Orpheus as representing the essence of art. Calling to mind an Etruscan vase

Liszt composed his Orpheus in 1853-54 in the midst of preparing for a staged presentation of Gluck’s opera Orfeo ed Euridice. He conducted the fi rst performance of it, placing it as the overture to the new produc-tion, on February 16, 1854, in Weimar. Later that same year, he conducted it as a concert work, and subsequently designated it as “Symphonic Poem No. 4” in a series of twelve of his orchestral

works given that title or subtitle. This piece runs about 10 minutes in performance. Liszt scored it for an orchestra of 2 fl utes plus piccolo, 2 oboes plus english horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, 2 harps, and strings. The Cleveland Orchestra previous-ly played Liszt’s Orpheus at concerts in 1928.

About the Music

At a Glance

Orpheus (Symphonic Poem No. 4)composed 1853-54

About the Music

by FranzLISZTborn October 22, 1811Doborján, Hungary(now Raiding, Austria)

died July 31, 1886Bayreuth, Germany


he had seen at the Louvre in Paris, Liszt pictured “the fi rst poet-musician, draped in a star-studded robe, his brow crowned with a mystically royal bandeau, his lips

open to utter divine words and music, and his long, slender fi ngers energetically plucking the strings of his lyre.” Around the fi gure of Orpheus on the vase lie the wild beasts whose ferocity he has tamed with the beauty of his singing; all nature is subdued by the power of art. The essay pursues this image by insisting that the modern world has much to learn from this ideal vision of the supreme effi cacy of art. And Liszt would continue to insist on this, if he were around today. In his symphonic poem, he made his point by composing music not in an imagined style from ancient Greece, but in modern — for the 19th century — orchestral language. Liszt’s craft in orchestral music has sometimes been derided as being derived from Hector Berlioz or ghosted by his disciple Raff , but in works such as Orpheus his mastery of orchestration and orchestral sound is surely both personal and obvious; it is a short step from here to the new sound world of Richard Wag-ner’s music dramas. For this work, the two harps are important throughout in representing Orpheus’s lyre. The opening sections are scored with the character of chamber music, giving expressive solo entries to the woodwinds. Solo violin and solo cello also con-tribute, and the mood remains serene and abstracted until a

About the Music

Nothing is as contagious as enthusiasm.It is the real allegory of the myth of Orpheus;it moves stones, and charms brutes.It is the genius of sincerity, and truth accomplishes no victories without it.

—Samuel Taylor Coleridge

Orpheus, with his lute, made treesAnd mountain tops that freezeBow themselves, when he did sing.

—William Shakespeare, in Henry VIII

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.)


certain quickening of the pace generates a modest climax for the full orchestra. The calm returns, and the fi nal page has a visionary quality with string and wind chords alternating in unmistakably ce-lestial harmony. The work was fi rst performed as the overture to a performance of Gluck’s opera in the theater. Orfeo actually has its own overture, but by common consent that somewhat bland piece, marked Alle-gro, has little in common with the marvelously moving music of the opera itself. Liszt would have had no compunction in substituting his own much more appropriate piece; such shifting and substitu-tion was quite normal in the 19th century. Later in the same year, Liszt’s Orpheus was performed in Wei-mar as a concert work, and in due course it took its place as “No. 4” in the series of twelve published symphonic poems — composed by Liszt throughout the 1850s as part of his enduring legacy from the years he lived in Weimar after giving up concertizing as one of the century’s greatest virtuoso pianists.

—Hugh Macdonald © 2016Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music

at Washington University in St. Louis. He has written bookson Beethoven, Berlioz, Bizet, and Scriabin.

About the Music

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

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39Severance Hall 2015-16 About the Music

Bartók wrote his Second Violin Concerto between August 1937 and December 1938. It was written as a commission for violinist Zoltán Székely, who was for many years the fi rst violinist of the Hungarian String Quartet. Székely was soloist in the fi rst performance, given by the Concertge-bouw Orchestra of Amsterdam under the direction of Willem Mengelberg on March 23, 1939. The fi rst performances in the United States were given by The Cleveland Orchestra under the baton of Artur Rodzinski, in January 1943, with concertmaster Tossy Spivakovsky as soloist. This concerto runs about 35

minutes in performance. Bartók scored it for an orchestra of 2 fl utes (second doubling piccolo), 2 oboes (second doubling english horn), 2 clarinets (second doubling bass clarinet), 2 bassoons (second doubling contrabassoon), 4 horns, 2 trumpets, 3 trombones, timpani, percussion (2 side drums, bass drum, 2 cymbals, triangle, tam-tam), harp, celesta, and strings, plus solo violin. Since giving the United States premiere, The Cleveland Orchestra has performed this concerto with some fre-quency, most recently in May and June 2002, under Christoph von Dohnányi’s direction, with Gil Shaham as soloist.

About the Music

At a Glance

Violin Concerto No. 2composed 1937-38

About the Music

J U S T O V E R A D E C A D E A F T E R his death in 1945, it came to light that Bartók had composed a violin concerto in 1907-08 for a young violinist, Stefi Geyer, with whom, it is said, he had been in love. He had given her the manuscript, but she did not play it — and it remained unknown until her death in 1956. Although Bartók had implicitly repudiated that early con-certo by adapting many of its musical ideas for other pieces, it has been played and recorded many times since its discovery and is now accepted as a fi ne product of his early years. Until that revelation, the Bartók violin concerto for which he was known was a mature masterpiece written for the great Hungarian violinist Zoltán Székely in 1937-38, and now desig-nated as No. 2. The friendship of these two musicians is one of the most fascinating partnerships of 20th-century music. It lasted from 1921, when Bartók’s colleague Zoltán Kodály ar-ranged a meeting between the 39-year-old composer and the 17-year-old violinist, until Bartók’s death in 1945. Even thereaf-ter, Székely continued to interpret and promote Bartók’s music until the violinist died in 2001 at the age of 97. In 1937, Székely was long established as a leading Europe-an virtuoso. In that year, he became the leader of the Hungar-

by BélaBARTÓKborn March 25, 1881Nagyszentmiklós, Hungary

died September 26, 1945New York


Violinist and composer —Zoltán Székely and Béla Bartók,circa 1935.

ian Quartet, which then moved to Holland, where Székely and his Dutch wife lived, because the political situation in Hungary was daily getting more diffi cult. After the Quartet disbanded in 1970, Székely settled in Canada, where he became the leading teacher at the Banff Centre’s School of Fine Arts. He continued to teach and coach chamber ensembles in his new home for a further quarter century.

C R E AT I N G T H E C O N C E R T O Székely’s collaboration with Bartók produced some remark-

able music, including the Violin Concerto (No. 2). He studied all of Bartók’s violin works and string quartets with the composer, so it was no surprise that he should ask for a concerto of his own. Bartók was at fi rst reluctant to write such a thing, but he eventually agreed to do so, taking a rather hard-headed view of what Székely intended to be a friendly arrangement, fi xing the exclusive right to play the work for a certain length of time in return for an honorarium. Having fi nished the Music for Strings, Percus-sion, and Celesta in 1936, Bartók turned his atten-tion to creating the Violin Concerto. At fi rst, he had in mind merely a set of variations. But even-tually he agreed to compose a piece that would last between 21 and 25 minutes. In the end, Bartók exceeded the planned duration and wrote a work in a conventional three-movement design, but infused with some new ideas he had for orchestration and with his own unique reaction to the violin’s lyrical voice. Living in his villa in Budapest, he was thor-

oughly disturbed throughout this time by the deterioration of the political situation, wondering when and how he should emi-grate, and where. He was also negotiating to replace his Aus-trian publisher (Universal Edition) with a London one (Boosey & Hawkes). “Neither while I am alive nor after my death,” he wrote, “do I want any German publisher to have any of my work, even if it means that no work of mine will ever be published again. This is fi xed and fi nal.” The concerto was fi nished at the end of 1938 and quickly scheduled into the Concertgebouw Orchestra’s Amsterdam

About the Music


season. Composer and soloist met in Paris to work through it together, then parted, not knowing that they would never meet again. Bartók and his wife had an engagement in Budapest on the day of the concert, March 23, and although the concerto was repeated that year in a number of Dutch cities, he never heard Székely play it. Bartók eventually left for America in 1940, and the com-plicated arrangements the two musicians had made for the exclusive rights to the concerto had to be abandoned so that other violinists could play it. Thus it was that Tossy Spivakovsky, the concertmaster of The Cleveland Orchestra, was the fi rst to play it in the United States, giving the concerto its U.S. debut at Severance Hall under Artur Rodzinki’s baton in 1943. When Spivakovsky played it at Carn-egie Hall later that year with the New York Philhar-monic, Bartók was there to hear it for the fi rst and only time. “The performance was really marvelous,” he wrote (in English), “all the 3 factors (soloist, conductor, orchestra) were the best a composer could wish for his work.” Meanwhile Székely, listening to the BBC on his clandestine radio in occupied Holland, heard it performed by Yehudi Menuhin.

T H E M U S I C The most striking feature of this concerto’s music is the kaleidoscopic range of moods and language. The pure, throbbing chords laid down by the harp at the opening of the fi rst movement prepare us perhaps for the lovely, wide-ranging theme with which the soloist opens, but not for the squealing and snorting that occasionally intrude. Yet the tone is predominantly lyrical, as all violin concertos almost have to be, alternating with a vigorous brilliance that marks all of Bartók’s music. There are some remarkable sounds, includ-ing glissandos, quarter-tones, and wild chromaticism. But the harp’s quiet chords keep returning to remind us of a gentler mood. The violinist’s solo cadenza precedes a forceful ending, as in the great concertos of Beethoven and Brahms. The central second movement is a set of six variations on a beautiful short theme, each variation clearly distinguishable from the next. (Bartók supplies precise timings for each varia-tion in the score.) The orchestra’s closing echo at the end of the fi rst statement of the theme is vintage Bartók, a preview of

In completing the concer-

to, Bartók exceeded

its planned duration of

20-25 minutes and wrote

in a conventional three-

movement design, but

infused with some new

ideas he had for orches-

tration and with his own

unique reaction to the

violin’s lyrical voice.

About the Music


the kind of haunting phrases that will recur in all his last works. The theme is restated at the end in the violin’s upper register, and this time the closing echo is quiet and enclosed, with a little help from the soloist and two soft strokes from the timpani. The fi nale third movement has a theme that is a sprightly version of the theme from the very beginning of the concerto. Bartók was pleased with this relationship. The brisk pace is broken by a central slow section in which the soloist alternates with some remarkable mirror-writing on the strings, the upper octaves being an exact refl ection of the lower voices. As in the Concerto for Orchestra, Bartók’s last major work, the printed score includes two versions of the closing measures. Székely described the ending, as he fi rst saw it, as a “big fortissimo orchestral apotheosis, more like the conclusion of a symphony.” So he wrote to Bartók about this and was astonished to get a reply to say that he had rewritten the end of the concerto, incorporat-ing some orchestral eff ects he didn’t want to lose, but aiming at a more favorable role for the soloist. “Now everyone plays it in the version he corrected,” said Székely, with some satisfaction.

—Hugh Macdonald © 2016

About the Music

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COME HEAR THE NEXT GENERATION OF CLASSICAL MUSICIANS


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German violinist Frank Peter Zimmermann is widely regarded as one of the foremost violinists of his generation. He regularly performs in the major concert venues and international music festivals of Australia, Europe, Japan, South America, and the United States. His Cleveland Orchestra de-but was in January 1987, and most recent appearance here was in April 2013. Highlights of Mr. Zimmermann’s recent and upcoming schedule include concerts with Amsterdam’s Royal Con-certgebouw Orchestra, Bavarian State Orchestra, Berlin Philharmonic, Czech Phil-harmonic, Gustav Mahler Youth Orchestra, London Philharmonic Orchestra, New York Philharmonic, Orchestre Philharmonique de Radio France, and the Swedish Radio Symphony Orchestra. Among the world premieres Frank Peter Zimmermann has performed are Magnus Lindberg’s Violin Concerto No. 2 (2015), Augusta Read Thomas’s concerto Juggler in Paradise (2009), and Brett Dean’s The Lost Art of Letter Writing (2007). He also premiered en sourdine by Matthias Pintscher (2003), and then presented its U.S. premiere with The Cleveland Orches-tra and Franz Welser-Möst. In recital, Mr. Zimmermann performs widely with pianists Piotr Anderszewski, Emanuel Ax, Enrico Pace, and Christian Zacharias. Trio Zimmermann, created in 2007 with violist Antoine Tamestit and cellist Christian Poltéra, appears through-out Europe and at the Edinburgh and Salzburg festivals. For BIS Records they have recorded three award-winning al-bums, of works by Beethoven, Mozart, and

Schubert. Mr. Zimmermann and Heinrich Schiff can be heard in duos for violin and cello on ECM Records. Frank Peter Zimmermann’s recent album releases include concertos by Dvořák, Hindemith, and Mozart, on Decca, BIS, and Hänssler Classic. For Sony Classi-cal, he has recorded concertos by Brit-ten, Bruch, Busoni, Szymanowski, and Tchaikovsky, as well as Bach’s and Busoni’s sonatas. His discography includes nearly all the major vio-lin concertos and many recital works for EMI Classics, as well as albums on Ondine and Teldec Classics. Among Mr. Zimmermann’s honors are the Premio del Accademia Mu-sicale Chigiana, Siena (1990), Rheinischer Kulturpreis (1994), Musikpreis of the city of Duisburg (2002), and the Bundesver-dienstkreuz 1. Klasse der Bundesrepublik Deutschland (2008). He plays a Général Dupont, Grumiaux Stradivari (1727), on loan to him by Heng Yu. Born in 1965, Frank Peter Zimmer-mann started playing violin when he was fi ve and made his orchestral debut at age 10. He completed his studies with Sasch-ko Gawriloff , Valery Gradov, and Herman Krebbers in 1983.

Guest Artist

Frank Peter Zimmermann

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Conservatory of Music

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#4 in the nation“The Top 10 Liberal Arts Colleges for Music in the U.S.” – College Magazine

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Bartók wrote his Music for Stringed Instruments, Percussion and Celesta in 1936, on a commission from Swiss conductor Paul Sacher, to celebrate the tenth anniversary of the Basel Chamber Orchestra. The premiere was given by that orchestra, under Sacher’s direction, in Basel on January 21, 1937. This work runs about 30 minutes in performance. Bartók scored it for strings (divided in two groups), piano,

harp, timpani, percussion (snare drum, side drum, cymbals, tam-tam, bass drum, xylophone), and celesta. The Cleveland Orchestra fi rst per-formed this work in January 1954, at Severance Hall concerts led by Ernest Ansermet. It has been performed on several occasions since that time, most recently at concerts in January and February 2011 under the direction of Franz Welser-Möst.

About the Music

At a Glance

Music for Strings, Percussion, and Celestacomposed 1936

About the Music

B A R T Ó K is often represented as a major composer and pianist who was also interested in folk music. This is extremely mislead-ing, since his pursuit of folksong was an obsession that gripped him all his life. Years were entirely devoted to the collection and recording of folk music in various countries of eastern Europe, not to mention Turkey and northern Africa. He was thus a na-tionalist both in his standing as Hungary’s leading composer and also as an authority on Hungarian national music. But he was equally drawn to related traditions in other countries. He published books on Hungarian, Rumanian, Serbo-Croat, Slovak, Turkish, and other countries’ music. During the years when he was regularly touring Europe and America, he held a position as teacher at the Budapest Academy of Music. But he did not enjoy teaching either com-position or the piano, and he was greatly relieved when in 1934 he was employed as ethnographer by the Hungarian Academy of Sciences and could devote himself full-time to his research. He arranged a collection of 2500 Rumanian folksongs, traveled to Turkey and Anatolia, and gave lectures on his fi ndings. He was also, piece by piece, composing his collection of graduated piano pieces to be called Mikrokosmos, begun when his young son Peter began to learn the piano. That Bartók had little self-urge to compose “serious” music at this time is borne out by the fact that all the major composi-tions of this period were written in response to commissions. The Fifth String Quartet (1934) was composed for Elizabeth

by BélaBARTÓKborn March 25, 1881Nagyszentmiklós, Hungary

died September 26, 1945New York


This is a work from the

height of Bartók’s matur-

ity in which his full genius

is displayed. Many musi-

cians would describe it as

his masterpiece, fl awless

in proportions and struc-

ture, its creativity and

contrasts. Bartók might

have seen it more simply

as a tribute to the name-

less inhabitants of central

Europe who had inspired

him with their playing,

singing, stamping,

shouting, and dancing.

About the Music

Sprague Coolidge, the Sonata for Two Pianos and Percussion (1937) for the Basel ISCM, and the Violin Concerto No. 2 (1938) for the violinist Zoltán Székely. A leading arts patron of the period was the Swiss conduc-tor Paul Sacher, who devoted millions of dollars to commission-ing works from all the prominent composers of the time, and establishing an archive in Basel which is today a major center for the study of twentieth-century music. Sacher’s money came through his marriage to Jaja Stehlin, a widow whose fi rst hus-

band, Emanual Hofmann, had inherited shares in the Hoff man-La Roche pharmaceutical com-panies; following World War II, Sacher captured a majority stake in the fi rm, eventually becoming one of the wealthiest men in the world. From Bartók, Sacher commissioned both Music for Strings, Percussion, and Celesta (1936) and the Divertimento for string orchestra (1939) — and led the fi rst performances of both works. The somewhat awkwardly titled Music for Strings, Percussion, and Celesta could perhaps have been titled a symphony. Its four parts fi t the symphonic model of contrasting movements reasonably well, but for Bartók the word “Music” was a suitably abstract title and the fact that no wind instruments are involved is at least implied. Even without winds, the palette of colors in this piece is remarkably rich, in part because the percussion includes a xylophone and the strings include a harp. The piano can be classed as either strings or percussion, and the strings themselves are divided into two full bodies in

fi ve parts each. Bartók specifi ed that the two string orchestras should be positioned respectively at the left and right sides of the platform, with the percussion in between and the double basses at the back.

T H E M U S I C This is a work from the height of Bartók’s maturity in which his full genius is on display. Many musicians would describe it as his masterpiece, fl awless in proportions and structure, in its creativity and contrasts, and utterly secure in its uniqueness. Bartók would have seen it more simply as a tribute to the


nameless inhabitants of central Europe who had inspired him with their playing, singing, stamping, shouting, and dancing. The natural rhythms and common intervals of folksong are evident throughout the work. Bartók’s grafting of these materi-als on to traditional procedures of classical music — including fugue, canon, and variation — is masterly, and the resulting musical language has a truly modern fl avor. The fi rst and third movements are slow, the second and fourth fast. The fi rst movement opens with a Bach-like fugue on a tight, angular theme that generates a marvelously atmo-spheric cloud of sound. Percussion is introduced in light touches; the theme is inverted, the entries get closer together, and the ending is a perfect resolution of the argument. The division of two string orchestras is important in the brusque second movement. Piano and timpani are important too, the latter exploiting the glissando eff ect obtained from pedal timpani. The strings have “snap” pizzicatos from time to time. The tempo changes constantly without losing the high energy created by bracing rhythms of every kind. The slow third movement is a superb example of the kind of “night music” style that Bartók adopted on several occasions. He was a passionate lover of nature and could sometimes be found absorbed in studying the wings of a butterfl y or a single blade of grass. In this music, the eerie sounds of nature are captured over an intense dialogue of the strings. When celesta, harp, and piano all set up a whirring sound, Bartók’s brilliance as an orchestral painter is at its peak. The movement leads to a climax and fi nally back to the lonely music of the night. How much can be made from a simple scale descending then ascending is revealed in the vigorous fi nale, with its strum-ming and stamping on jerky lop-sided rhythms, recalling the peasant dances Bartók had studied, recorded, and participated in all his life. In this case, he is mixing together folksong ideas from diff erent nationalities, creating a truly new mix.

—Hugh Macdonald © 2016


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CONCERTS

Celebra ng Life & Music The Cleveland Orchestra performs all varie es of music, gathering family and friends together in celebra on of the power of music. The Orchestra’s music marks major milestones and honors special moments, helping to provide the soundtrack to each day and bringing your hopes and joys to life.

From free community concerts at Severance Hall and in downtown Cleveland . . . to picnics on warm summer evenings at Blossom Music Center . . .

From performances for crowds of students, in classrooms and auditoriums . . . to opera and ballet with the world’s best singers and dancers . . .

From holiday gatherings with favorite songs . . . to the wonder of new composi ons performed by music’s rising stars . . .

Music inspires. It for fi es minds and electrifi es spirits. It brings people together in mind, body, and soul.

Each year, thousandsof Northeast Ohioans experience The ClevelandOrchestra for the fi rst me.Whether you are a seasoned concertgoer or a fi rst- mer,these pages give you waysto learn more or get involvedwith the Orchestra and to explore the joys of music further.

Created to serve Northeast Ohio, The Cleveland Orchestra has a long and proud history of sharing the value and joy of music.

To learn more, visit clevelandorchestra.comPHOTOGRAPHY BY ROGER MASTROIANNI

Severance Hall 2015-16 51

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EXCELLENCE

Ambassador to the WorldThe Cleveland Orchestra is one of the world’s most acclaimed and sought-a er performing arts ensembles. Whether performing at home or around the world, the musicians carry Northeast Ohio’s commitment to excellence and strong sense of community with them everywhere the Orchestra performs. The ensemble’s es to this region run deep and strong:

• Two acous cally-renowned venues — Severance Hall and Blossom — anchor the Orchestra’s performance calendar and con nue to shape the ar s c style of the ensemble.

• More than 60,000 local students par cipate in the Orchestra’s educa on programs each year.

• Over 350,000 people a end Orchestra concerts in Northeast Ohio annually.

• The Cleveland Orchestra serves as Cleveland’s ambassador to the world — through concerts, recordings, and broadcasts — proudly bearing the name of its hometown across the globe.

A FOCUS ON YOUNG PEOPLE

Changing LivesThe Cleveland Orchestra is building the youngest orchestra audience in the country. Over the past fi ve years, the number of young people a ending Cleveland Orchestra concerts at Blossom and Severance Hall has more than doubled, and now makes up 20% of the audience!

• Under 18s Free, the fl agship program of the Orchestra’s Center for Future Audiences (created with a lead endowment gi from the Maltz Family Founda on), makes a ending Orchestra concerts aff ordable for families.

• Student Advantage and Frequent FanCard programs off er great deals for students.

• The Circle, our new membership program for ages 21 to 40, enables young professionals to enjoy Orchestra concerts and social and networking events.

• The Orchestra’s casual Friday evening concert series (Fridays@7 and Summers @Severance) draw new crowds to Severance Hall to experience the Orch-estra in a context of friends and musical explora ons.



53

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EDUCATION

Inspiring MindsEduca on has been at the heart of The Cleve land Orchestra’s community off erings since the ensemble’s founding in 1918. The arts are a core subject of school learning, vital to realizing each child’s full poten al. A child’s educa on is incomplete unless it includes the arts, and students of all ages can experience the joy of music through the Orchestra’s varied educa on programs.

The Orchestra’s off erings impact . . .

. . . the very young, with programs including PNC Musical Rainbows and PNC Grow Up Great.

. . . grade school and high school students, with programs including Learning Through Music, Family Concerts, Educa on Concerts, and In-School Performances.

. . . college students and beyond, with programs including musician-led master classes, in-depth explora ons of musical repertoire, pre-concert musician interviews, and public discussion groups.

YOUR ORCHESTRA

Building CommunityThe Cleveland Orchestra exists for and because of the vision, generosity, and dreams of the Northeast Ohio commun-ity. Each year, we seek new ways to meaningfully impact Cleveland’s ci zens.

• Convening people at free community concerts each year in celebra on of our country, our city, our culture, and our shared love of music.

• Immersing the Orchestra in local commun i es with special performances in local businesses and hotspots during our annual “At Home” neighborhood residencies.

• Collabora ng with celebrated arts ins tu ons — from the Cleveland Museum of Art and PlayhouseSquare to Chicago’s Joff rey Ballet — to bring inspira onal performances to the people of Northeast Ohio.

• Ac vely partnering with local schools, neighborhoods, businesses, and state and local government to engage and serve new corners of the community through neighborhood residencies, educa on off erings, and free public events.



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VOLUNTEERING

Get InvolvedThe Cleveland Orchestra has been supported by many dedicated volunteers since its founding in 1918. You can make an immediate impact by ge ng involved.

• Over 100,000 friends of The Cleveland Orchestra par cipate online in our news, concerts, and performances through Facebook and Twi er.

• The Women’s Commi ee of The Cleveland Orchestra and the Blossom Friends of The Cleveland Orchestra support the Orchestra through service and fundraising. For further informa on, please call 216-231-7557.

• Over 400 volunteers assist concertgoers each season, as Ushers for Orchestra concerts at Severance Hall, or as Tour Guides and as Store Volunteers. For more info, please call 216-231-7425.

• 300 professional and amateur vocalists volunteer their me and ar stry as part of the professionally-trained Cleveland Orchestra Chorus and Blossom Fes val Chorus each year. To learn more, please call 216-231-7372.

A GENEROUS COMMUNITY

Suppor ng ExcellenceThe Cleveland Orchestra is in the midst of the Sound for the Centennial Campaign, a ten-year ini a ve that seeks to sustain the musical excellence and community engagement that sets this ensemble apart from every other orchestra in the world.

Ticket sales cover less than half the cost of The Cleveland Orchestra’s concerts, educa on presenta ons, and community programs. Each year, thousands of generous people make dona ons large and small to sustain the Orchestra for today and for future genera ons.

Every dollar donated enables The Cleveland Orchestra to play the world’s fi nest music, bringing meaningful experiences to people throughout our community — and acclaim and admira on to Northeast Ohio.

To learn more, visit clevelandorchestra.com/donate



Get Involved


GET INVOLVED

Learn MoreTo learn more about how you can play an ac ve role as a member of The Cleveland Orchestra family, visit us at Blossom or Severance Hall, a end a musical performance, or contact a member of our staff .

VISIT Severance Hall 11001 Euclid Avenue Cleveland, OH 44106

Blossom Music Center 1145 West Steels Corners Road Cuyahoga Falls, OH 44223

CONTACT USAdministra ve Offi ces: 216-231-7300

Ticket Services: 216-231-1111 or 800-686-1141 or clevelandorchestra.comGroup Sales: 216-231-7493 [email protected]

Educa on & Community Programs: 216-231-7355 educa [email protected] Orchestra Archives: 216-231-7356 [email protected]: 216-231-7372 [email protected]: 216-231-7557 [email protected]

Individual Giving: 216-231-7556 [email protected] Giving: 216-231-8006 [email protected] & Founda on Giving: 216-231-7523 [email protected]

Severance Hall Rental Offi ce: 216-231-7421 [email protected]

ACTIVE PARTICIPATION

Making MusicThe Cleveland Orchestra passionately believes in the value of ac ve music-making, which teaches life lessons in teamwork, listening, collabora on, and self expression. Music is an ac vity to par cipate in directly, with your hands, voice, and spirit.

• You can par cipate in ensembles for musicians of all ages — including the Cleveland Orchestra Chorus, Children’s Chorus, Youth Chorus, and Blossom Fes val Chorus, and the Cleveland Orchestra Youth Orchestra.

• Each year, the Orchestra brings people together in celebra on of music and events, giving voice to music at community singalongs and during holiday performances.

• We partner with local schools and businesses to teach and perform, in ensembles and as soloists, encouraging music-making across Northeast Ohio.

Music has the power to inspire, to transform, to change lives. Make music part of your life, and support your school’s music programs.



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


H A I L A N D F A R E W E L L

Please join with the entire Cleveland Or-

chestra family as we bid farewell to two

long-time musicians with the ending of

the 2015-16 contract season. Their com-

bined service totals 74 seasons.

Robert Vernon retires at the close of

the Orchestra’s European Festivals Tour in

August, after 40 years as principal viola

of The Cleveland Orchestra, making him

the longest-serving string principal in the

ensemble’s history.

Yoko Moore retires at the end of May

with the close of the 2015-16 Severance

Hall season, following 34 years as as-

sistant concertmaster, and including 19

seasons as a coach for the Cleveland Or-

chestra Youth Orchestra. She was one of

the first women appointed assistant con-

certmaster of a major American orchestra.

Upon leaving the Orchestra, both

musicians will become a member of the

ensemble’s Musicians Emeritus roster, rec-

ognizing their long and dedicated service

to the Orchestra and all of Northeast Ohio.

Thank you! And best wishes in the

years ahead as you continue teaching,

performing, and pursuing your dreams.

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

Cleveland Orchestra News

Special thanks to musicians for supporting the Orchestra’s long-term financial strength The Board of Trustees extends a special acknowledgement to the members of The Cleveland Orch estra for supporting the institu-tion’s programs by jointly volunteering their musical services for several concerts each sea-son. These donated services have long played an important role in supporting the institu-tion’s financial strength, and were expanded with the 2009-10 season to provide added opportunities for new and ongoing revenue-generating performances by The Cleveland Orchestra. “We are especially grateful to the mem-bers of The Cleveland Orchestra for this ongo-ing and meaningful investment in the future of the institution,” says André Gremillet, execu-tive director. “These donated services each year make a measureable difference to the Orchestra’s overall financial strength, by ensur-ing our ability to take advantage of opportuni-ties to maximize performance revenue. They allow us to offer more musical inspiration to audiences around the world than would oth-erwise be possible, supporting the Orchestra’s vital role in enhancing the lives of everyone across Northeast Ohio.”


Robert VernonPrincipal ViolaChaillé H. and Richard B. Tullis Endowed ChairThe Cleveland Orchestra

Robert Vernon has served as principal viola of The Cleveland Orchestra since 1976 and is the longest-tenured string principal in the Orches-tra’s history. He has performed more than 4,500 concerts with the Orchestra and has recorded more than 300 works — virtually the entire standard repertoire — with five different record labels, and has made more than 110 concert tours with The Cleveland Orchestra.

As a soloist, Bob has appeared in seventeen different works in over 120 concerts at home in Severance Hall, including three works commis-sioned for him by The Cleveland Orchestra. He has also appeared as soloist on tour and with a number of other ensembles across the United States.

A teacher as well as a performer, Bob is a member of the faculty and co-chair of the viola department at the Cleveland Institute of Music. For the past seven years, he has also served as a member of the viola faculty at New York’s Juilliard School, from which he graduated with honors. Bob’s students hold positions as cham-ber musicians and teachers, and have won posi-tions in more than 50 major orchestras in North America and Asia — including eight positions in the viola section of The Cleveland Orchestra.

Bob retires from The Cleveland Orchestra — but not, he says, from his life as a performer and teacher — in August following the ensem-ble’s European tour. He and his wife, Valerie, have been married for 35 years and have three grown children. He looks forward to spending more time with his family in the normal course of daily life, while continuing to perform and teach.

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


Yoko Moore Assistant Concertmaster Clara G. and George P. Bickford Endowed Chair The Cleveland Orchestra

Yoko Moore joined The Cleveland Orchestra in 1982 as one of the first women appointed assistant concertmaster of a major American ensemble. Prior to coming to Cleveland, she was a member of the Dallas Symphony Orchestra for five years and concertmaster of the Tulsa Philhar-monic for one year. Born in Shimane, Japan, Yoko was encour-aged by parents who believed that girls, as well as boys, should achieve. Shortly before her fourth birthday, she started playing the violin and, at age 12, she won her first prize. She set her sights on a music career and received her degree from Toho Music School in Tokyo and studied with Toshiya Eto. While in Tokyo, she performed with the New Japan Philharmonic under the direction of Seiji Ozawa and was a soloist with the Tokyo Symphony Orchestra and the Tokyo Solisten. Ozawa urged her to move to the United States, where there were more opportunities for women. Although her first love is orchestral playing, Yoko frequently performs in chamber music with friends and colleagues, and has also returned to Japan to appear as soloist on a number of occa-sions. She has performed as a soloist with The Cleveland Orchestra several times. Yoko says she has been fortunate to work with a succession of wonderful concertmasters, from the late Danny Majeske to William Preucil. “I’ve learned so much from all of them. My assis-tant concermaster position has never been just a job. Music is my joy. It expresses all my feelings.” Yoko looks forward to having more time to read and to listen to music, and to share more life experiences with her daughter and grand-daughter.




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, fi rst 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 off ered 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 magnifi cent 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 diff erent . . . 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 off er subtle depth to the higher ones.”

—New York Times, February 16, 2016




Modern Snare Drum Competition takes place May 27-28, with sessions open to the publicCleveland Orchestra percussionist Thomas Sherwood is presenting his ninth annual “Modern Snare Drum Competition,” this year to be held in Cleveland May 27 and 28 in University Circle. The competition features two divisions, for those 26 or older, and for those 19 and younger. The contestants, limited to 35 entrants, compete through a series of performances, including newly commissioned works. The rounds are open free to the public. Preliminary rounds begin at the Cleveland Institute of Music on Friday, May 27, with the semi-final and final rounds taking place the next day at the Cleve-land Museum of Art. This year’s jury of profes-sional percussionists includes Sherwood and fellow Cleveland Orchestra members Marc Da-moulakis and Tom Freer, as well as members of the Atlanta Symphony Orchestra, Third Coast Percussion, and eighth blackbird. For additional information, please contact by email to [email protected].

Blossom tickets on sale Dates and programming for the 2016 Blossom Music Festival were announced in February. And individual tickets are now available through the Severance Hall Ticket Officer or online by visiting clevelandorchestra.com.

BBBLLLOOOSSSSSSOOOMMM 22OO1166

Family Concerts for2016-17 season announced

The Cleveland Orchestra has announced details of its Family Concerts series for the 2016-17 season. The series, for children ages 7 and older, are designed to introduce young people to classical music and feature performances by The Cleveland Orchestra with special guest art-ists. Subscriptions are now available through the Severance Hall Ticket Office.

The three Family Concerts take place on Sunday afternoons in October, March, and April, with each featuring a program of music around a special theme. Prior to each 3:00 p.m. concert, an hour of free family-friendly pre-concert activi-ties takes place throughout Severance Hall.

The season’s concerts are:On Sunday, October 30, Halloween Spook-

tacular: Superman at the Symphony cel-ebrates the first comic book superhero ever cre-ated (right here in Cleveland). The afternoon will feature the annual Halloween Costume Contest, with attendees encouraged to dress up.

On Sunday, March 5, The Magic Firebird presents an imaginative production of the clas-sic Russian tale of The Firebird, set to Igor Stravin-sky’s dynamic ballet music. The Orchestra is joined by Enchantment Theatre Company, who will bring the story to life with large puppets, masks, and magic.

The series concludes on Sunday, April 2, with Prokofiev’s “Peter and the Wolf,” in which the characters in the story are portrayed by various instruments as told by the guest art-ists of Magic Circle Mime Co.

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




Accolades and celebrations surround Robert Vernon as violist prepares to retire On January 10, 2016, over twenty pro-fessional violists gathered at the Cleveland Institute of Music to play a concert in honor of Robert Vernon, who is retiring as principal viola of The Cleveland Orchestra this com-ing summer. The special concert celebrated Vernon as a teacher and recognized his legacy of forty seasons as principal. Seven members of The Cleveland Orchestra’s viola section, all of whom are former students of Vernon, performed in various small ensembles. As a large group ensemble, the twenty played as a “viola orchestra” to perform three larger works conducted by former viola student Ted Kuchar. The participants represented the orchestras of Atlanta, Boston, Cleveland, and South Dakota, as well as many teachers from major university music schools from around the country. This coming summer, Vernon’s tenure, accomplishments, and artistry as an orchestral player and teacher will also be recognized by the American Viola Society, which is bestowing its Career Achievement Award on him during their annual Festival meeting, this year being held in Oberlin in June.

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.

Mark AthertonMartha BaldwinCharles BernardKatherine BormannLisa BoykoCharles CarletonHans ClebschPatrick ConnollyRalph CurryMarc DamoulakisAlan DeMattiaVladimir DeninzonMaximilian DimoffScott 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 MolloyYoko MooreIoana MissitsEliesha NelsonPeter OttoChul-In ParkJoanna Patterson ZakanyHenry PeyrebruneAlexandra PreucilLynne RamseyJeffrey 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 ZadinskyJeffrey 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.


BakerHostetler is proud to present Rudolf Buchbinder, piano.

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We are proud to partner with

The Cleveland Orchestra to build

audiences for the future through an

annual series of BakerHostetler

Guest Artists.


bakerlaw.com


2015-16 SEASON

Severance HallThursday evening, May 19, 2016, at 7:30 p.m.Friday morning, May 20, 2016, at 11:00 a.m. * Saturday evening, May 21, 2016, at 8:00 p.m. Sunday afternoon, May 22, 2016, at 3:00 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

antonín dvorv

ák The Wood Dove, Opus 110 * (1841-1904)

leosv janác

v

ek Suite from the opera (1854-1928) From the House of the Dead (arranged by František Jílek)

1. Moderato — Allegro — Presto — 2. Andante — Allegro con moto — Allegretto — Andante — 3. Tempo I — Moderato — Maestoso

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

ludwig van beethoven Piano Concerto No. 5 (“Emperor”) (1770-1827) in E-flat major, Opus 73 1. Allegro 2. Adagio un poco mosso — 3. Rondo: Allegro RUDOLF BUCHBINDER, piano

Concert Program — Week 22

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

Saturday’s concert is co-sponsored by RPM International Inc.

The Thursday performance is dedicated to Mr. and Mrs. Alfred M. Rankin, Jr.in recognition of their extraordinary generosity in support of The Cleveland Orchestra’s Annual Fund.

The Saturday performance is dedicated to The Walter and Jean Kalberer Foundationin recognition of their extraordinary generosity in support of The Cleveland Orchestra’s Annual Fund.

The concert will end on Thursday evening at about 9:15 p.m., on Saturday night at approximately 9:45 p.m., and on Sunday afternoon at about 4:45 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 Janáček and Beethoven. The concert will end at about 12:10 p.m.

BakerHostetler is proud to present Rudolf Buchbinder, piano.

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We are proud to partner with The Cleveland Orchestra to build audiences for the future through an annual series of BakerHostetler Guest Artists.


bakerlaw.com


PRESENTED WITH MEMBERS OF THE CLEVELAND ARTS EDUCATION CONSORTIUM:

CLEVELANDARTSEDUCATIONCONSORTIUMin Residence at Cleveland State University

2016 CREATIVE VOICES SUMMIT &ARTS EDUCATION DAY LUNCHEON

CELEBRATE CREATIVITY IN CLEVELAND!

JOIN US WEDNESDAY, JUNE 1

HONORARY CHAIR:Henry J. Goodman

“THE CURIOUS MIND”CREATIVE VOICES SUMMIT MODERATOR:

Studio 360Kurt Andersen

KEYNOTE SPEAKER:Judith JamisonKennedy Center honoree, former principal dancer andexecutive director, Alvin Ailey Dance Theater

RSVP online at www.csuohio.edu/cai.

PRESENTED BY CLEVELAND STATE’S CENTER FOR ARTS AND INNOVATION


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 ’ S C O N C E R T S , Franz Welser-Möst has chosen three contrasting works from across a range of more than a century, by three masterful composers. The first half pairs two very different but grim tales, told in music of different styles by two Czech composers — one from the mainstream of 19th-century European concert music, the other a 20th-century master whose unique musical vocabulary remains restless and refreshing. The concert opens with The Wood Dove by Antonín Dvořák, from 1896. This symphonic poem from the last decade of Dvořák’s life tells a ghoulish children’s tale, wrapped in a Romantic orchestra’s burnished tones and dis-tinguishing sounds. Akin to Edgar Allan Poe’s “The Telltale Heart,” it tells the story of a woman who kills her husband, falls in love again, but then feels — or imagines — that her dead husband has returned as a wood dove, mocking her new happiness. Guilt wracks her mind, and a second funeral march begins as wife joins husband — and wood dove happily goes on about his own life.

A bird is also part of the plotline in the con-cert’s second piece, a suite from Leoš Janáček’s opera From the House of the Dead, written 1927-28. Based on Dostoyevsky’s memoirs of his time in a Si-

berian prison camp, the opera’s episodes paint a dark and gritty tale of human misery mixed with hope. In the

fi nal act, the prisoners’ take heart in releasing a bird to free-dom, even as they must remain imprisoned. This week’s suite, told

in Janáček’s uniquely personal vocabulary, gives us a glimpse of the prisoners’ neverending darkness, pierced by small hopes and brief joys

— all from this enigmatically mesmerizing early 20th-century opera score. The concert ends with Beethoven’s gloriously impassioned Fifth Piano Concerto from 1809. Nicknamed the “Emperor” (we don’t really know why) in English-speaking countries, this fi nal concerto from the master’s pen shines with inventiveness, from its grand opening through the gentle quietude of its slow movement, to the fusillade of joy that bursts forth in the fi nale. Rudolf Buchbinder is soloist in this genuine masterpiece. —Eric Sellen

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

Death, Guilt&Freedom

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A F T E R C O M P L E T I N G his ninth symphony, nicknamed “From the New World,” in 1893, Dvořák composed no more symphonies. In the last ten years of his life, he turned his attention instead toward opera, writing three that last decade of his life, and to symphonic poems, of which he wrote fi ve in close succession in 1896-97. The fi rst four symphonic poems, including The Wood Dove, were based on narrative folk-ballads by the Czech poet Karel Jaromir Erben (1811-1870). The last, A Hero’s Song, was of a diff erent kind, representing a general image of heroism. It is somewhat surprising that Dvořák had not written sym-phonic poems before. Franz Liszt had shown how much could be done in this genre at least forty years earlier, compressing the expressive range of a symphony into a single movement and reaching out for the most romantic forms of expression without using words. French and Russian composers wrote symphonic poems in abundance, and in Bohemia both Smetana and Fi-bich had contributed a number of works to the genre, including Smetana’s strongly nationalist cycle of six symphonic poems, Má Vlast (or “My Homeland”), completed in 1880. By the time Dvořák embarked on his fi rst, The Water Goblin, in 1896, Richard Strauss had created a sensation with such pieces as Don Juan and Till Eulenspiegel, both with vivid action depict-ed in orchestral language. Dvořák was also intending to create pieces with a story depicted in the music, and it is possible that he intended a set of six symphonic poems as Czech folk stories to match Smetana’s set of six historical-national poems. The fi rst three Erben-inspired symphonic poems were

Dvořák wrote Holoubek [The Wood Dove] in the fall of 1896 as the fourth of a series of symphonic poems he created that year. It was fi rst performed on March 20, 1898, in Brno conducted by Leoš Janáček. The fi rst performance in America took place the next year, with Theodore Thomas leading the New York Philharmonic. This work runs nearly 20 minutes

in performance. Dvořák scored it for 2 fl utes plus piccolo, 2 oboes plus eng-lish horn, 2 clarinets plus bass clari-net, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (triangle, cymbals, tambourine, bass drum), harp, and strings. The Cleveland Orchestra is per-forming Dvořák’s The Wood Dove for the fi rst time with this week’s concerts.

At a Glance

The Wood Dove [Holoubek], Opus 110composed 1896

About the Music

About the Musicby AntonínDVOŘÁKborn September 8, 1841Nelahozeves, Bohemia

diedMay 1, 1904Prague


sketched in rapid succession in a little over two weeks between January 6 and 22, 1896, and the fourth, The Wood Dove, followed in October and November of the same year, with A Hero’s Song composed in 1897.

The Erben stories are graphic and sometimes grue-some tales of kings and princesses, magic castles, and golden rings, which Dvořák re-told in musical form. At times, he set Erben’s lines to music and then simply removed the words. In other parts, he more simply represented the main fi gures in the story by portraying their mood and personality and actions through music. He put The Wood Dove in this latter category, while also identifying fi ve major episodes or parts of the story with tempo changes in the score itself. The story of The Wood Dove concerns a young widow who sorrowfully follows her husband’s coffi n to the grave. She then meets a young man who distracts her from her grief. They are married, but when she hears a wood dove cooing in an oak tree above her husband’s grave, she is smitten with remorse and drowns herself. Erben reveals at the very end that she had poisoned her fi rst husband. Most of Dvořák’s musical themes in The Wood Dove have a similar outline, rising a few notes and then falling, so it is more the character and pace of the music rather than the themes that guide the action. The opening represents the husband’s funeral. Soon after the trumpet enters, we hear the widow’s crocodile tears in the fl utes and violins. The young man is announced by a distant trumpet, and their wedding is a boisterous scherzo with strong hints of the composer’s popular Slavonic Dances. The festivities over, the couple are on their own (strings alone) when the wood dove can be heard (fl utes, oboe, and high harp), answered by a sinister bass clarinet. Driven to distraction by her conscience, the new bride drowns herself. An epilogue portrays a second funeral march, watched over by the now satisfi ed wood dove. The Wood Dove was fi rst performed under the direction of Leoš Janáček, who had asked Dvořák if he had a new piece that his orchestra in Brno could play. It was swiftly followed by performances abroad — conducted by Mahler in Vienna,

Oskar Nedbal in Berlin, Henry Wood in London, and Theodore Thomas in New York. —Hugh Macdonald © 2016

About the Music

The opening

represents the

husband’s fu-

neral. We then

hear the widow’s

crocodile tears

in the fl utes and

violins. Her

new suitor is an-

nounced by a

distant trumpet,

followed by their

wedding. Driven

to distraction by

her conscience,

the new bride

drowns herself.

An epilogue por-

trays a second

funeral march,

watched over by

the now satisfi ed

wood dove.


J A N ÁČE K ’ S F I N A L O P E R A is one of the most unusual stage dramas written to that time. As an opera, created in 1927-28, it was exceptional in having no principal singers (but many roles), no normal plotline (just episodes or tales by individual prisoners that, together, signify prison life in Siberia), no women charac-ters (though there is a mezzo-soprano role, of a young prisoner, usually sung by a woman), and an unrelenting mood of oppres-sion and suff ering. Janáček was always obsessed by Russian literature and culture, and from Memoirs from the House of the Dead, the novel Dostoyevsky wrote ten years after his four horrifying years in a Siberian prison camp, Janáček crafted his own highly episodic libretto in Czech. Dostoyevsky’s experience not unnaturally changed his attitude to many things, awakening him to the hu-man capacity for tenderness in a world of unrelieved brutality, a glimpse of light that at times shines out of the opera, making it an unforgettably moving drama. Janáček was 72 when he began the opera. He had devel-oped a highly idiosyncratic way of writing music down, using blank paper and drawing seemingly random fi ve-line staves here and there across the paper. Two faithful copyists, who came to understand most of what he intended through his markings,

Janáček wrote his fi nal opera, From the House of the Dead [Z mrtvého domu] in 1927-28, based on Dos-toyevsky’s novel Memoirs from the House of the Dead and writing his own libretto in Czech. He completed the fi rst two acts, but left the third act sketched but incomplete at his death. The opera was premiered on April 12, 1930, in Janáček’s hometown of Brno. Conductor František Jílek created this suite from the opera in 1978-79. It was published in 1990. This suite runs about 25 minutes in performance. It calls for an

orchestra of 4 fl utes (third and fourth doubling piccolo), two oboes plus english horn, three clarinets plus bass clarinet, 3 bassoons plus contra-bassoon, 4 horns, 3 trumpets, bass trumpet (doubling tenor tuba), 3 trombones, tuba, timpani, percus-sion (triangle, metal chains, cymbals, snare drum, tam-tam, rattle, anvil, bass drum, xylophone, glockenspiel), celesta, harp, and strings. The Cleveland Orchestra has previously performed the Overture to From the House of the Dead, at concerts in 1992 led by Libor Pešek.

At a Glance

Suite from From the House of the Dead [Z mrtvého domu]from the opera composed 1927-28, arranged by František Jílek 1978-79

About the Music

About the Music

by LEOŠJANÁČEKborn July 3, 1854Hukvaldy, Moravia

diedAugust 12, 1928Ostrava, Czechoslovakia


The opera’s last

act had to be

pieced together

from sketches

after Janácek’s

death, without

certainty that

the result was

what the com-

poser intended.

This has not,

however, pre-

vented it from

making regular

appearances

in the world’s

opera houses —

and leaving

an unfailing im-

pression of the

power of music

to humanize a

dark world.

The Russian novelist Fyodor Dostoyevsky spent part of a decade as a prisoner in a Si-berian work camp in the 1850s. His novel about his time there formed the basis of Janáček’s opera.

About the Music

then produced the fair copy of the full score under the com-poser’s guidance. The fi rst two acts were completed in this way, but then the composer died. So the last act had to be put together without clear certainty that the result was what the composer intended, for Janáček could not review the fi nal score. It is thus an opera that has been edited in many versions. But this has not prevented it from making regular appearances in the world’s opera houses — and leaving an unfailing im-pression of the power of music to humanize a dark world. The stage drama was fi rst performed in 1930 in the National Theatre in Brno, Janáček’s hometown. In 1945, the theater was renamed the Janáček Theater. Its conductor from 1952 to 1977 was František Jílek, well known for his interpretations of Smetana’s and Janáček’s music. In 1979, Jílek devised an orchestral suite from three sections of the opera, making his own reading of the sources where nec-essary. (Suites have also been created by other musicians.) The fi rst movement (of three) is the opera’s Prelude. This was originally conceived as a violin concerto titled, fi rst, Soul, and then The Wandering of a Little Soul — hence the prominence of a solo violin. Janáček’s characteristic sound world is immediately evident, and for those who experienced The Cunning Little Vixen at Severance Hall two seasons ago, the soundscape will feel somewhat familiar. Once again, the composer employs short pithy motifs repeated but not really developed, extreme high and low sounds often with little in the middle, rich low chords on trombones and tuba, active melodic timpani, and important percussion. In this instance,

the percussion includes metal chains, of unspecifi ed size. The second movement is the music that accompanies a play within the play in Act II. Prisoners are working outside on the construction of a riverboat. On an improvised stage, they


perform two plays, mostly in mime. The fi rst is the Don Juan story, with the Don being carried off by devils at the end, and the second is “The Miller’s Beautiful Wife,” based on a short story by Gogol about a wife who hides her lovers around the room while her husband is away. The last lover turns out to be Don Juan, who dances off with the miller’s wife before the fl ames consume him. The last movement represents the original ending of the opera. The leader of the group of prisoners, Alexandr Petrovič, is to be released along with an eagle that the prisoners caught earlier. So there is a sense of freedom and triumph, even though at the close the prison guards order the remaining prisoners back to work. —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.

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Il trovatore

VERDI

The TroubadourOPERA CIRCLE CLEVELAND

Saturday, June 11, 2016 at 7:30 pm

The Ohio Theatre, PlayhouseSquare

1511 Euclid Avenue, CLEVELAND Ohio 44115

TICKETS at 216-241-6000 or online at PlayhouseSquare.org

After its sold-out Madama Butterfly 2015, Opera Circle Cleveland is returning to The Ohio Theatre

with the Verdi masterpiece Il trovatore, fully staged with English translation projected.

SMIRNOFFConductor

SCHUTZAThe Met

SOBIESKAOpera Circle Cleveland

WETZELArizona Opera

CARRCentral City Opera

SKOOGOpera Circle Cleveland

After its sold-out Madama Butterfly 2015, Opera Circle Cleveland is returning to The Ohio Theatre

with the Verdi masterpiece Il trovatore, fully staged with English translation projected.


by Ludwig vanBEETHOVENborn December 16, 1770Bonn

diedMarch 26, 1827Vienna

Piano Concerto No. 5 (“Emperor”) in E-fl at major, Opus 73composed 1809

L I K E M O Z A R T before him, Beethoven wrote his concertos for piano and orchestra as vehicles for displaying his own dazzle as a performer. In those times — before radio and recordings and copyright, and when public concerts were less frequent than to-day — new music was all the rage. Composing your own ensured that you had fresh, unique material to perform. Your biggest hits, from last year or last week, were meanwhile quickly appropriated by others through copied scores. The best tunes were arranged for street organ grinders and local wind ensembles and in other ways that made your melodies popular, but gave you the com-poser no income. It is little wonder, then, that Mozart kept some scores under lock and key, and left the cadenzas for many of his concertos blank, so that only he could fi ll them in authentically with his own brand of extemporaneous perfection. Beethoven moved to Vienna at the age of 22 in 1792, the year after Mozart died. He’d hoped to get to Europe’s musical capital sooner and to study with Mozart, but family circum-stances had kept him at home in Bonn helping raise his two younger brothers (around a father who drank too much and was frequently unpleasant). It was as a performer that Beethoven forged his reputation in Vienna, and within a year he was widely known as a red-hot piano virtuoso.

Beethoven composed his Piano Con-certo No. 5 in 1809. The fi rst known performance was given in Leipzig on November 28, 1811, with Friedrich Schneider as soloist and Johann Philipp Christian Schulz leading the Gewandhaus Orchestra. This concerto runs about 40 minutes in performance. Beethoven scored it for 2 fl utes, 2 oboes, 2 clari-nets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings, plus the solo piano. The “Emperor” Concerto was the fi rst of Beethoven’s fi ve piano

concertos to be performed by The Cleveland Orchestra, in January 1922, with pianist Josef Hofmann under the direction of Nikolai Sokoloff . Since that time, it has been a frequent work on the Orchestra’s programs, at home and on tour, with many of the world’s greatest pianists, including Arthur Rubinstein, Artur Schnabel, Claudio Arrau, Rudolf Serkin, Rudolf Firkusny, Robert Casadesus, Leon Fleisher, Dan-iel Barenboim, Emil Gilels, Alicia de Larrocha, Murray Perahia, Vladimir Ashkenazy, Horacio Gutiérrez, and Radu Lupu.

About the Music

At a Glance

About the Music


This set the stage for writing his own concertos. For the fi rst three, written between 1795 and 1802, he followed more or less in Mozart’s footsteps with the form. In the 1780s, Mozart

had turned the concerto into a fully-realized and indepen-dent genre, sometimes churning out three or four charm-ingly new ones each season. But whereas Mozart, over the course of thirty or more works for solo piano or violin, had developed the concerto into sublime products, Beethoven (who completed just fi ve works for piano and one for violin) strived to make the form individual and handmade again. Mozart created the molds and set the standards, and only occasionally over-fi lled or over-fl owed them. Beethoven at fi rst worked within and around those earlier defi nitions, but the thrust of his musi-cal creativity eventually shattered tradition in order to off er up the fi rst magnifi cently supercharged concertos of the Romantic 19th century.

B I G G E R P I A N O S A N D C O N C E R T O S Beethoven’s last piano concerto (No. 5) marked a change in the composer’s life onstage. The Fourth — which daringly begins with the piano playing alone, against all tradition — was the last concerto that Beethoven premiered publicly. By the time of the Fifth’s debut, his hearing was so far gone that, even if able to play the solo part, he could no longer hear and coordinate the orchestra playing around him. For the premiere in November 1811, the solo part was handled by Friedrich Schneider in Leipzig, and for the fi rst Viennese performance Beethoven’s student Carl Czerny played it, in February 1812. Between the Fourth and Fifth concertos, however, something even more important happened than the further closing off of Beethoven’s hearing. In 1809, he was given a brand-new piano (the manufacturer saw the gifting as a pro-motional opportunity), which, despite his increasing deafness, helped paved the way for the overwhelming grandness of his last concerto. The fortepiano — the two Italian words together mean “loud-soft” — as an instrument had been invented at the start

of the 18th century, transforming the earlier harpsichord and clavichord, which could play each note at one set volume, into a sensitive and dynamic instrument that could play any note softly

About the Music

Mozart had written his concertos very carefully, so that the piano would not be drowned out by too many instru-ments playing at the same time. Because of changes to the instrument itself, however, Beethoven, concerto by concerto, was able to write more and more for an instru-ment that could play directly against a full orchestra.


or loudly or anywhere in between. While the new instrument took some time to catch on, it also underwent some evolution-ary changes in design at the end of the century (including the introduction of an iron sounding board and steel strings), which gave it an expanded range of notes and dynamics. Mozart had written his concertos very carefully, so that the piano would not be drowned out by too many instruments play-ing at the same time. But as the piano itself got bigger and louder, Beethoven, concerto by concerto, was able to write more and more for an instrument that could play directly against a full orchestra. And in the Fifth Piano Concerto, the fi rst move-ment opens big — with orchestral chords and piano fl ourishes. This is not, however, just ornamentation, for the thematic material of the entire movement derives out of these opening calls and response. Ingeniously, Beethoven builds the movement (the longest he wrote in any concerto) on a sense of increasing tension and cli-max, and with notable use of rhythms of two beats set against three. After this big opening comes one of the most heav-enly of slow middle movements ever written, with the orchestra integrally interwoven into the piano’s lovely, lovingly, longing, lingering phrases. This is directly con-nected to the third-movement fi nale, which features one of classical music’s most irresistible and memorable tunes — although this characterization is not to suggest that it would be easy to sing a song to the jaunty step-ping phrases of this movement’s main theme. Orchestra and piano share a discourse over this compelling material and its derivations, bringing the work to a close with requisite bluster and bang, and showing off soloist, orchestra, and Beethoven in equal proportions.

N A M E S A N D I N N O VAT I O N S The origins of the nickname “Emperor” for this concerto are uncertain. Until the latter half of the 20th century, the name was not well-known or often-used outside of English speaking countries. Handed-down explanations for the nickname include a story that at the fi rst Viennese performance (February 12, 1812) a French offi cer was: 1.) so overwhelmed by the concerto that he proclaimed it “an emperor among concertos” (or words to that

About the Music

19th-century lithograph

of Beethoven as a

“gentleman.”


eff ect), or 2.) that the same mythical (or intoxicated) French soldier was so moved by some of the march-like music in the concerto or recognized a short phrase in the concerto so similar to La Marseillaise that he stood up and/or proclaimed that Emperor Napoleon’s presence was in the music. An early publisher or performer is a more likely, if less poetic, source for the name, which, whatever its origins, seems well justi-fi ed by the concerto’s size and grandeur. In the context of listening to any of Beethoven’s fi ve piano concertos, and while contemplating the composer’s innovations and evolution in the artform, it is occasionally worthwhile noting that there is a sixth piano concerto by Beethoven. This is an arrangement that he made (or helped supervise) of his own Violin Concerto, Opus 61, for a gener-ous Italian publisher. Known as Opus 61a, it is infrequently programmed. Few soloists have bothered to learn the part, and, admittedly, some portions of it don’t really work. It is, nonetheless, a strangely interesting work to hear in perfor-mance or recording — and a sure way for many modern listeners who feel too well-acquainted with Beethoven’s concertos to be startled again, as his audiences were, on hearing something unexpectedly familiar but diff erent.

—Eric Sellen © 2016

About the Music

Music is a higher revela-

tion than all wisdom and phil -

o sophy. It is the wine of new

creation and I am Bacchus who

presses out this glorious wine

for all and makes them drunk

with the spirits.

—Ludwig van Beethoven

Ludwig van Beethoven, 1815, painted by W. J. Mähler

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Rudolf BuchbinderAustrian pianist Rudolf Buchbinder is ac-claimed among the world’s foremost musicians and frequently performs with major orchestras and at festivals around the globe. His fi rst appearance with The Cleveland Orchestra was in August 1983, and his most recent was in April 2014. Mr. Buchbinder is known for his meticulous study of musical sources. He owns 35 complete editions of Beethoven’s sonatas and an extensive collection of autographed scores, fi rst editions, and original documents. His performances of Beethoven’s complete sonatas are eagerly anticipated and discussed; he has played cycles in cities across the globe, including Beijing, Berlin, Buenos Aires, Milan, Mu-nich, St. Petersburg, Vienna, and Zurich. A discography of more than 100 re-cordings testifi es to the scope and diver-sity of Rudolf Buchbinder’s repertoire. His Teldec album of Haydn’s complete works for piano earned the Grand Prix du Disque in 1977. In recent years, he has favored recordings from his live performances. Examples of these albums include the Brahms piano concertos with the Royal Concertgebouw Orchestra, two DVDs featuring six Mozart concertos with Mr. Buch binder conducting the Vienna Phil-harmonic from the keyboard, the Brahms piano concertos with the Israel Philhar-monic, and Mozart concertos with Con-centus Musicus Wein. Rudolf Buchbinder’s performance of Beethoven’s piano sona-

tas at Dresden’s Semperoper was record-ed live by Sony/RCA Red Seal, and in 2012, won both an Echo Klassik Award and the Choc de l’année. In 2007, Mr. Buchbinder became the founding artistic director of the Grafenegg Music Festival near Vienna. In 2009, he was featured in the award-winning German-Austrian documentary Pi-anomania, about a Steinway & Sons piano tuner. Dur-ing the 2010-11 season, he served as the fi rst artist-in-residence for the Staatskapelle Dresden. Rudolf Bu-chbinder studied with Bruno Se-idlhofer at the Vienna Academy of Mu-sic. Among his many honors and awards are the Austrian Cross of Honor for Sci-ence and Art, Bruckner Ring of the Vienna Konzerthaus, and the Gold Medal of Salz-burg and Vienna. He has a published bi-ography titled Da Capo: An Artist’s Portrait, off ering insights into his life and art. For additional information, please visit www.buchbinder.net.

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U.S. BankAdvantage Consulting Services LTD Constellation BrandsUnitedTHE GEORGE GUND FOUNDATION

83Severance Hall 2015-16 Endowed Funds

Th e generous donors listed here have made endowment gift s to support specifi c artistic initiatives, education and community programming and performances, facilities main-tenance costs, touring and residencies, and more. (Additional endowment funds are recognized through the naming of Orchestra chairs, listed on pages 26-27.) Named funds can be established with new gift s of $250,000 or more. For information about making your own endowment gift to Th e Cleveland Orchestra, please call 216-231-7558.

Endowed Funds funds established as of November 2015

ARTISTIC endowed funds support a variety of programmatic initiatives ranging from guest artists and radio broadcasts to the all-volunteer Cleveland Orchestra Chorus.

Artistic ExcellenceGeorge Gund III Fund

Artistic CollaborationJoseph P. and Nancy F. Keithley

Artist-in-ResidenceMalcolm E. Kenney

Young ComposersJan R. and Daniel R. Lewis

Friday Morning ConcertsMary E. and F. Joseph Callahan Foundation

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

Cleveland Orchestra Chorus Jerome and Shirley GroverMeacham Hitchcock and Family

American Conductors FundDouglas Peace HandysideHolsey Gates Handyside

Severance Hall Guest ConductorsRoger and Anne ClappJames and Donna Reid

Cleveland Orchestra SoloistsJulia and Larry Pollock Family

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

Concert PreviewsDorothy Humel Hovorka

International TouringFrances Elizabeth Wilkinson

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

CENTER FOR FUTURE AUDIENCES — Th e Cleveland Orchestra’s Center for Future Audiences, created with a lead gift from the Maltz Family Foundation, is working to develop new generations of audiences for Th e Cleveland Orchestra.

Center for Future AudiencesMaltz Family Foundation

Student AudiencesAlexander and Sarah Cutler

Endowed Funds listing continues


84 The Cleveland OrchestraEndowed Funds

SEVERANCE HALL endowed funds support maintenance of keyboard instruments and the facilities of the Orchestra’s concert home, Severance Hall.

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

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

Severance Hall PreservationSeverance family and friends

EDUCATION AND COMMUNITY endowed funds help support programs that deepen con-nections to symphonic music at every age and stage of life, including training, performances, and classroom resources for thousands of students and adults each year.

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

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

families and by Forest City Enterprises, Inc.

In-School PerformancesAlfred M. Lerner Fund

Classroom ResourcesCharles and Marguerite C. Galanie

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

Musical RainbowsPysht Fund

Community ProgrammingAlex and Carol Machaskee

Endowed Funds continued from previous page

BLOSSOM MUSIC CENTER and BLOSSOM FESTIVAL endowed funds support the Orchestra’s summer performances and maintenance of Blossom Music Center.

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

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

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


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For more information on how to name a seat, please contact Brian Deeds at 216-231-7556 or at [email protected]

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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.

Corporate Support


87Severance Hall 2015-16 87Corporate 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 GivingJOHN L. SEVERANCE

SOCIETY

$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.


Foundation & Government Support

89Severance Hall 2015-16 89Foundation and Government Annual Support

Individual 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 JOHN L. SEVERANCE SOCIETY

$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.

90 The Cleveland OrchestraIndividual Annual Support

Adella Prentiss Hughes Society

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)

George Szell Society



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)

Elisabeth DeWitt Severance Society



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

Leadership Council 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:

91Severance Hall 2015-16 91Individual 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

Frank H. Ginn Society


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

Dudley S. Blossom Society



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.

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listings continue


listings continued

The 1929 Society

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


listings continued

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)

listings continue



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

Call 216-721-1800 or email [email protected]


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

listings continued


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



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

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 Hall100 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

102 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.

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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 . . . ?


Legacy GivingLegacy Giving

Leagcy Givimg


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

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



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 Giving106 The Cleveland Orchestra



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

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

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

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

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

Th e Cleveland 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 107Severance Hall 2015-16 107

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 U M M E R S E A S O Nfeaturing2O16 BLOSSOM MUSIC FESTIVAL

presented by The J.M. Smucker Company

2O16 BLOSSOM MUSIC FESTIVAL1812 OvertureJuly 2 — Saturday at 8:00 p.m. <18s July 3 — Sunday at 8:00 p.m. <18s

THE CLEVELAND ORCHESTRAJohannes Debus, conductor

RIMSKY-KORSAKOV Scheherazade SHOSTAKOVICH Suite No. 1 for Variety Orchestra TCHAIKOVSKY 1812 Overture

2O16 BLOSSOM MUSIC FESTIVALA Salute to AmericaJuly 4 — Monday at 8:00 p.m. <18s BLOSSOM FESTIVAL BANDLoras John Schissel, conductor

Great music, fi reworks, and fun for the whole family! Blossom’s traditional, star-spangled celebration of Amer-ica, including Broadway favorites and Sousa marches, and ending with Tchaikovsky’s 1812 Overture.

Sponsor: KeyBank

2O16 SUMMERS @ SEVERANCEFranz and BrahmsJuly 8 — Friday at 7:00 p.m. <18s THE CLEVELAND ORCHESTRAFranz Welser-Möst, conductorLauren Snouffer, sopranoDashon Burton, bass-baritoneCleveland Orchestra Chorus

BARTÓK Music for Strings, Percussion, and Celesta BRAHMS A German Requiem Sponsor: Thompson Hine LLP

2O16 BLOSSOM MUSIC FESTIVALBeethoven’s Heroic SymphonyJuly 9 — Saturday at 8:00 p.m. <18s THE CLEVELAND ORCHESTRAFranz Welser-Möst, conductor

ADÈS Overture, Waltz, and Finale from Powder Her Face STRAUSS Death and Transfi guration BEETHOVEN Symphony No. 3 (“Eroica”) Sponsor: Blossom Friends of The Cleveland Orchestra

Concert Calendar

2O16 BLOSSOM MUSIC FESTIVALA London SymphonyJuly 16 — Saturday at 8:00 p.m. <18s THE CLEVELAND ORCHESTRAMichael Francis, conductorDavid Fung, piano

ELGAR Introduction and Allegro (for string quartet and orchestra) MOZART Piano Concerto No. 21 VAUGHAN WILLIAMS Symphony No. 2 (“A London Symphony”)

2O16 BLOSSOM MUSIC FESTIVALAn American in ParisJuly 17 — Sunday at 7:00 p.m. <18s THE CLEVELAND ORCHESTRABramwell Tovey, conductorJavier Perianes, piano

RAVEL Rapsodie espagnole COPLAND Suite from Appalachian Spring RAVEL Piano Concerto in G major GERSHWIN An American in Paris Sponsor: Medical Mutual

2O16 SUMMERS @ SEVERANCECooper Piano Competition: Stars of TomorrowJuly 22 — Friday at 7:00 p.m. <18s THE CLEVELAND ORCHESTRAJahja Ling, conductorFinalists, to be announced

Experience the drama as the three fi nalists of the 2016 Thomas and Evon Cooper International Piano Competition each perform a great piano concerto, with the competi-tion’s winner announced at the end of the evening.

Presented in partnership with Oberlin College. Sponsor: Thompson Hine LLP

2O16 BLOSSOM MUSIC FESTIVALThibaudet Plays GriegJuly 23 — Saturday at 8:00 p.m. <18s THE CLEVELAND ORCHESTRAJahja Ling, conductorJean-Yves Thibaudet, piano

STRAVINSKY Four Norwegian Moods GRIEG Piano Concerto SIBELIUS Symphony No. 1

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

D O R C H E S T R A


109Severance Hall 2015-16 109Concert Calendar

2O16 BLOSSOM MUSIC FESTIVALMagic of the MoviesJuly 24 — Sunday at 7:00 p.m. <18s THE CLEVELAND ORCHESTRAMichael Krajewski, conductorCapathia Jenkins, vocalistBlossom Festival Chorus The greatest fi lm scores performed live in a blockbuster tribute to some of the most memorable music of all time. Enjoy favorites from Titanic, Goldfi nger, Star Wars, and more.

FREE DOWNTOWN CONCERTA Star-Spangled Spectacularbrought to you by Cuyahoga Arts & CultureJuly 29 — Friday evening THE CLEVELAND ORCHESTRA

Complete details of The Cleveland Orchestra’s annual free downtown concert — the fi rst large public event on the newly-renovated Public Square — are being announced in mid-May. Free admission, no tickets required.

Sponsor: KeyBank

2O16 BLOSSOM MUSIC FESTIVALZukerman Plays MozartJuly 30 — Saturday at 7:00 p.m. <18s THE CLEVELAND ORCHESTRAHans Graf, conductorPinchas Zukerman, violinwithKent/Blossom Chamber Orchestraconducted by Brett Mitchell

NORMAN The Great Swiftness BEETHOVEN Symphony No. 8 HINDEMITH Overture, Cupid and Psyche MOZART Violin Concerto No. 5 (“Turkish”) TCHAIKOVSKY Symphony No. 6 (“Pathétique”)

2O16 BLOSSOM MUSIC FESTIVALMichael Feinstein’s BroadwayJuly 31 — Sunday at 7:00 p.m. <18s THE CLEVELAND ORCHESTRAJack Everly, conductorMichael Feinstein, vocalist

Back by popular demand, Michael Feinstein returns to the Blossom stage for an unforgettable night of Broadway hits and classic songs by Ellington, Berlin, Gershwin, and more.

Visit clevelandorchestra.com for a complete schedule.

2015-16 SEASON

DVOŘÁK’SSTABAT MATERThursday May 26 at 7:30 p.m.Saturday May 28 at 8:00 p.m.THE CLEVELAND ORCHESTRAFranz Welser-Möst, conductorLuba Orgonášová, sopranoJennifer Johnston, mezzo-sopranoNorbert Ernst, tenorEric Owens, bass-baritoneCleveland Orchestra Chorus

Seeking solace, a grief-stricken Dvořák wrote his Stabat Mater after suff ering the loss of three of his children in rapid and tragic suc-cession. A profound, masterful setting of the expression of loss and sorrow, Dvořák’s work conveys his deep sense of emptiness — and documents his inner struggle and hard-won hope regained through music. Sponsor: Litigation Management, Inc.

ORGONÁŠOVÁ JOHNSTON ERNST OWENS

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 . . . AT BLOSSOM . . .

SUMMERS@SEVERANCEFRANZAND BRAHMSFriday July 8 at 7:00 p.m.THE CLEVELAND ORCHESTRAFranz Welser-Möst, conductorLauren Snouffer, sopranoDashon Burton, bass-baritoneCleveland Orchestra Chorus

Franz-Welser-Möst leads The Cleveland Orchestra and Chorus in one of Brahms’s most touching and achingly beautiful works, his German Requiem. Begun in mourning for his mother, Brahms chose his own texts from the Bible for a deeply personal and human requiem of universal caring. For this concert, the Requiem’s beauty is paired with the star-tlingly intriguing sounds of Bartók’s Music for Strings, Percussion, and Celesta. Sponsor: Thompson Hine LLP

BLOSSOM MUSIC FESTIVALPresented by The J.M. Smucker Company

BEETHOVEN’SHEROIC SYMPHONYSaturday July 9 at 8:00 p.m. <18s

THE CLEVELAND ORCHESTRAFranz Welser-Möst, conductor

Beethoven poured his heart and soul into the Third Symphony. Begun as a work in hon-or of Napoleon and the French people, it eventually became a paen to human free-dom and the fight for justice everywhere — with Napoleon, by then having crowned himself Emperor, erased from the title page. From its opening chords through the passion-ate tread of its funeral march to the blazing glory of the finale, this symphony’s passion knows no bounds. The concert also features an operatic suite by Thomas Adès and Richard Strauss’s tone poem Death and Transfiguration. Sponsor: Blossom Friends of The Cleveland Orchestra

Documents

The Cleveland Orchestra May 12-14, 19-22 Concerts