The Cleveland Orchestra October 13-15

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Table of Contents4 The Cleveland Orchestra

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

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WEEK 3

9 About the Orchestra Musical Arts Association . . . . . . . . . . . . . . . . . . . . . . 9

Music Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Conductors and Musicians . . . . . . . . . . . . . . . . . . 17

Guest Information . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Severance Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . 92

21 In the News

Perspectives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Distinguished Service Award . . . . . . . . . . . . . . . . 22

Orchestra News . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Community and Education . . . . . . . . . . . . . . . . . . 67

In Focus: A Look Back . . . . . . . . . . . . . . . . . . . . . . . 93

34 Concert — Week 3 Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Program (Thursday/Saturday) . . . . . . . . . . . . . . 34

Program (Friday) . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

KeyBank Fridays@7 . . . . . . . . . . . . . . . . . . . . . . . . 36

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

WEBER

Overture to Euryanthe . . . . . . . . . . . . . . . . . . . . 39

MENDELSSOHN

Symphony No. 3 (“Scottish”) . . . . . . . . . . . . . . . 41

STRAVINSKY

Agon (complete ballet music) . . . . . . . . . . . . . . 47

TCHAIKOVSKY

Violin Concerto . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

RAVEL

Boléro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Conductor: Franz Welser-Möst . . . . . . . . . . . . . . . . 13

Soloist: Nikolaj Znaider . . . . . . . . . . . . . . . . . . . . . . 57

Friday@7 Performers . . . . . . . . . . . . . . . . . . . . . . . . . 63

48 Future Concerts Concert Calendar . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

In the Season Spotlight . . . . . . . . . . . . . . . . . . . . . . 71

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

77 Donors and Sponsors Corporate Honor Roll . . . . . . . . . . . . . . . . . . . . . . . . 77

Foundation / Government Honor Roll . . . . . . . . 79

Patron Listings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Copyright © 2011 by The Cleveland Orchestra and the Musical Arts Association

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

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

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

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

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

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

This program book isprinted on paper thatincludes 10% recycled post-consumer content.All unused books are recycled as part of theOrchestra’s regular busi-ness recycling program.

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OUR INDEPENDENCEIS YOUR PEACE OF MIND

Musical Arts Association

THE MUSICAL ARTS ASSOCIATION operating Th e Cleveland Orchestra, Severance Hall, and Blossom Festival

NON-RESIDENT TRUSTEES Virginia Nord Barbato (NY) Laurel Blossom (SC) Richard C. Gridley (SC)

George Gund III (CA) Loren W. Hershey (DC) Mrs. Gilbert W. Humphrey (FL)

Herbert Kloiber (Germany)Ludwig Scharinger (Austria)

TRUSTEES EX-OFFICIO Iris Harvie, President, Volunteer Council of Th e Cleveland Orchestra

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

Phyllis Knauf, State Chair, Blossom Women’s Committee

Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee

Dr. Lester Lefton, President, Kent State University

Barbara R. Snyder, President, Case Western Reserve University

PAST PRESIDENTS D. Z. Norton 1915-21

John L. Severance 1921-36

Dudley S. Blossom 1936-38

Thomas L. Sidlo 1939-53

Percy W. Brown 1953-55

Frank E. Taplin, Jr. 1955-57

Frank E. Joseph 1957-68

Alfred M. Rankin 1968-83

Ward Smith 1983-95

Richard J. Bogomolny 1995-2002, 2008-09

James D. Ireland III 2002-08

T H E C L E V E L A N D O R C H E S T R A Gary Hanson, Executive Director

clevelandorchestra.com

S E V E R A N C E H A L L11001 Euclid AvenueCleveland, Ohio 44106Telephone (216) 231-7300

HONORARY TRUSTEES FOR LIFE Francis J. Callahan Mrs. Webb Chamberlain Oliver F. Emerson Allen H. Ford

Robert W. GillespieDorothy Humel HovorkaRobert F. Meyerson

TRUSTEES EMERITI David A. Ruckman Naomi G. Singer

RESIDENT TRUSTEES Gay Cull Addicott George N. Aronoff Dr. Ronald H. Bell Richard J. Bogomolny Charles P. Bolton Jeanette Grasselli Brown Helen Rankin Butler Scott Chaikin Paul G. Clark Owen M. Colligan Robert D. Conrad Matthew V. Crawford Alexander M. Cutler Bruce P. Dyer Terrance C. Z. Egger Hiroyuki Fujita Paul G. Greig Robert K. Gudbranson Jeffrey A. Healy Stephen H. Hoffman David J. Hooker Michael J. Horvitz Marguerite B. Humphrey

David P. Hunt Christopher Hyland James D. Ireland III Clifford J. Isroff Trevor O. Jones Jean C. Kalberer Nancy F. Keithley Douglas A. Kern John D. Koch S. Lee Kohrman Charlotte R. Kramer Dennis W. LaBarre Norma Lerner Virginia M. Lindseth Alex Machaskee Robert P. Madison Nancy W. McCann Thomas F. McKee Samuel H. Miller Beth E. Mooney John C. Morley Donald W. Morrison Meg Fulton Mueller

Gary A. OateyKatherine T. O’NeillThe Honorable John D. OngLarry Pollock Alfred M. Rankin, Jr. Clara T. RankinAudrey Gilbert Ratner Charles A. RatnerJames S. Reid, Jr.Barbara S. Robinson Paul RoseSteven M. RossRaymond T. SawyerLuci ScheyNeil SethiHewitt B. Shaw, Jr. David L. Simon Richard K. SmuckerR. Thomas StantonThomas A. WaltermireGeraldine B. WarnerPaul E. Westlake Jr.David A. Wolfort

OFFICERS AND EXECUTIVE COMMITTEE Dennis W. LaBarre, President

Richard J. Bogomolny, Chairman

The Honorable John D. Ong, Vice President

Norma Lerner, Honorary Chair

Raymond T. Sawyer, Secretary

Beth E. Mooney, Treasurer

Jeanette Grasselli Brown Matthew V. Crawford 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

B O A R D O F T R U S T E E SB O A R D O F T R U S T E E S as of Setember 2011

9Severance Hall 2011-12

HOLIDAYFESTIVAL

DECEMBER

11-23Visitclevelandorchestra.comfor full concert details.

© 2011 University Hospitals RBC 00438

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

THE 2011-1 2 SEASON marks Franz Welser-Möst’s

tenth year as Music Director of Th e Cleveland Or-

chestra, with a long-term commitment extending to

the Orchestra’s centennial in 2018. Under his direc-

tion, the Orchestra is acclaimed for its continuing

artistic excellence, is enlarging and enhancing its

community programming at home, is presented in

a series of ongoing residencies in the United States

and Europe, continues its historic championship

of new composers through commissions and pre-

mieres, and has re-established itself as an important

operatic ensemble. Concurrently with his post in

Cleveland, Mr. Welser-Möst became General Music

Director of the Vienna State Opera in September 2010.

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

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

performances in collaboration with the Cleveland Metropolitan School District.

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

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

chestra Youth Orchestra and partnerships with music conservatories and universi-

ties across Northeast Ohio.

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

lished an ongoing biennial residency in Vienna at the famed Musikverein con-

cert hall and at the Lucerne Festival in Switzerland. Together, they have appeared

in residence at Suntory Hall in Tokyo, Japan, and at the Salzburg Festival, where

a 2008 residency included fi ve sold-out performances of a staged production of

Dvořák’s opera Rusalka. In the United States, Mr. Welser-Möst has established

an annual multi-week Cleveland Orch estra Miami Residency in Florida and

launched a new biennial residency at New York’s Lincoln Center Festival in 2011.

Under Franz Welser-Möst’s direction, Th e Cleveland Orchestra has per-

formed thirteen world and fi ft een United States premieres. Th rough the Roche

Commissions project, he and the Orchestra have premiered works by Harrison

Birtwistle, Chen Yi, Hanspeter Kyburz, George Benjamin, and Toshio Hosokawa

in partnership with the Lucerne Festival and Carnegie Hall. In addition, the Dan-

iel R. Lewis Young Composer Fellow program has brought new voices to the rep-

ertoire, including Marc-André Dalbavie, Matthias Pintscher, Susan Botti, Julian

Anderson, Johannes Maria Staud, Jörg Widmann, and Sean Shepherd.

Franz Welser-Möst has led opera performances each season during his

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Music Director 13Severance Hall 2011-12

tenure in Cleveland, re-establishing the Orchestra as an im-

portant operatic ensemble. Following six opera-in-concert

presentations, he brought fully staged opera back to Severance

Hall with a three-season cycle of Zurich Opera productions of

the Mozart-Da Ponte operas. He leads concert performances

of Strauss’s Salome at Severance Hall and at Carnegie Hall dur-

ing the 2011-12 season.

Franz Welser-Möst became General Music Director of

the Vienna State Opera with the 2010-11 season. His long

partnership with the company has included acclaimed perfor-

mances of Tristan and Isolde, a new production of Wagner’s Ring cycle with stage

director Sven-Eric Bechtolf, and, in his fi rst season in the post, critically praised

new productions of Hindemith’s Cardillac and Janáček’s Katya Kabanova. During

the 2011-12 season, he continues his survey of the operas of Janáček with a

new production of From the House of the Dead and also leads a new production

of Verdi’s Don Carlo.

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

harmonic. Recent performances with the Philharmonic include appearances at the

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

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

in seventy countries worldwide. Across a decade-long tenure with the Zurich Opera,

culminating in three seasons as General Music Director (2005-08), Mr. Welser-Möst

led the company in more than 40 new productions and numerous revivals.

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

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

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

recordings of live performances of four Bruckner symphonies, presented in three

accoustically distinctive venues: Symphony No. 5 in the Abbey of St. Florian in

Austria, Symphony No. 9 in Vienna’s Musikverein, and Symphonies Nos. 7 and 8

at Severance Hall. With Cleveland, he has also released a recording of Beethoven’s

Ninth Symphony as well as an all-Wagner album featuring soprano Measha Brueg-

gergosman. DVD releases on the EMI label have included Mr. Welser-Möst leading

Zurich Opera productions of Th e Marriage of Figaro, Così fan tutte, Don Giovanni,

Der Rosenkavalier, La Bohème, Fierrabras, and Peter Grimes.

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

include recognition from the Western Law Center for Disability Rights, honorary

membership in the Vienna Singverein, appointment as an Academician of the Euro-

pean Academy of Yuste, a Gold Medal from the Upper Austrian government for his

work as a cultural ambassador, and the Kilenyi Medal from the Bruckner Society of

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

lished in a German edition in 2007.

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Music Director14 The Cleveland Orchestra

Like a world-class orchestra, business in Cleveland works best when it’s well conducted. And with its convenient proximity to downtown, Burke Lakefront Airport is a vital destination for the corporations, executives, and health care systems that are growing their business here. Which should be music to all of our ears.

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It’s time to start building towards an economic crescendo.

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


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

Kelvin Smith Family Chair

Christoph von DohnányiMUSIC DIRECTOR LAUREATE

Giancarlo GuerreroPRINCIPAL GUEST CONDUCTOR

THE CLEVELAND ORCHESTRA MIAMI RESIDENCY

James FeddeckASSISTANT CONDUCTOR

Elizabeth Ring and William Gwinn Mather Chair

MUSIC DIRECTOR, CLEVELAND ORCHESTRA YOUTH ORCHESTRA

Sasha MäkiläASSISTANT CONDUCTOR

Sidney and Doris Dworkin Chair

Robert PorcoDIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

Lisa WongASSISTANT DIRECTOR OF CHORUSES

Ann UsherDIRECTOR, CLEVELAND ORCHESTRA CHILDREN’S CHORUS

Frank BianchiDIRECTOR, CLEVELAND ORCHESTRA YOUTH CHORUS

Lisa ManningASSISTANT DIRECTOR, CLEVELAND ORCHESTRA YOUTH CHORUS

FIRST VIOLINSWilliam PreucilCONCERTMASTER

Blossom-Lee Chair

Yoko MooreASSISTANT CONCERTMASTER

Clara G. and George P. Bickford Chair

Peter OttoFIRST ASSOCIATE CONCERTMASTER

Jung-Min Amy LeeASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith Chair

Lev PolyakinASSISTANT CONCERTMASTER

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

Takako MasamePaul and Lucille Jones Chair

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

Kim GomezElizabeth and Leslie Kondorossy Chair

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

Miho HashizumeTh eodore Rautenberg Chair

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

Alicia KoelzOswald and Phyllis Lerner Gilroy Chair

Yu YuanPatty and John Collinson Chair

Isabel TrautweinTrevor and Jennie Jones Chair

Mark DummGladys B. Goetz Chair

Alexandra Preucil DolanKatherine BormannYing Fu

SECOND VIOLINSStephen Rose*

Alfred M. and Clara T. Rankin Chair

Emilio Llinas 2

James and Donna Reid Chair

Eli Matthews 1

Patricia M. Kozerefski and Richard J. Bogomolny Chair

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

VIOLASRobert Vernon*

Chaillé H. and Richard B. Tullis Chair

Lynne Ramsey1

Charles M. and Janet G. Kimball Chair

Stanley Konopka 2

Mark JackobsJean Wall Bennett Chair

Arthur KlimaRichard WaughLisa BoykoLembi VeskimetsEliesha NelsonJoanna Patterson ZakanyPatrick Connolly

CELLOSMark Kosower*

Louis D. Beaumont Chair

Richard Weiss1

Th e GAR Foundation Chair

Charles Bernard2

Helen Weil Ross Chair

Bryan Dumm Muriel and Noah Butkin Chair

Tanya EllRalph CurryBrian ThorntonDavid Alan HarrellPaul KushiousMartha BaldwinThomas Mansbacher

BASSESMaximilian Dimoff *

Clarence T. Reinberger Chair

Kevin Switalski 2

Scott Haigh1

Mary E. and F. Joseph Callahan Chair

Mark AthertonThomas SperlHenry Peyrebrune

Charles Barr Memorial Chair

Charles CarletonScott Dixon

HARPTrina Struble*

Alice Chalifoux Chair

FLUTESJoshua Smith*

Elizabeth M. andWilliam C. Treuhaft Chair

Saeran St. ChristopherMarisela Sager 2

Austin B. and Ellen W. Chinn Chair

Mary Kay Fink

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

The Orchestra

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

18 The Cleveland Orchestra

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

PICCOLOMary Kay Fink

Anne M. and M. Roger Clapp Chair

OBOESFrank Rosenwein*

Edith S. Taplin Chair

Jeffrey Rathbun 2

Everett D. and Eugenia S. McCurdy Chair

Robert Walters

ENGLISH HORNRobert Walters

Samuel C. and Bernette K. Jaff e Chair

CLARINETSFranklin Cohen*

Robert Marcellus Chair

Robert WoolfreyDaniel McKelway 2

Robert R. and Vilma L. Kohn Chair

Linnea Nereim

E-FLAT CLARINETDaniel McKelway

Stanley L. and Eloise M. Morgan Chair

BASS CLARINETLinnea Nereim

BASSOONSJohn Clouser *

Louise Harkness Ingalls Chair

Barrick Stees2

Sandra L. Haslinger Chair

Jonathan Sherwin

CONTRABASSOONJonathan Sherwin

HORNSRichard King *

George Szell Memorial Chair

Michael Mayhew §

Knight Foundation Chair

Jesse McCormickHans ClebschRichard SolisAlan DeMattia

TRUMPETSMichael Sachs*

Robert and Eunice Podis Weiskopf Chair

Jack SutteLyle Steelman2

James P. and Dolores D. Storer Chair

Michael Miller

CORNETSMichael Sachs*

Mary Elizabeth and G. Robert Klein Chair

Michael Miller

TROMBONESMassimo La Rosa*

Gilbert W. and Louise I. Humphrey Chair

Richard StoutAlexander andMarianna C. McAfee Chair

Shachar Israel2

BASS TROMBONEThomas Klaber

EUPHONIUM AND BASS TRUMPETRichard Stout

TUBAYasuhito Sugiyama*

Nathalie C. Spence and Nathalie S. Boswell Chair

TIMPANIPaul Yancich*

Otto G. and Corinne T. Voss Chair

Tom Freer 2

PERCUSSIONJacob Nissly*

Margaret Allen Ireland Chair

Donald MillerTom FreerMarc Damoulakis

KEYBOARD INSTRUMENTSJoela Jones*

Rudolf Serkin Chair

Carolyn Gadiel WarnerMarjory and Marc L. Swartzbaugh Chair

LIBRARIANSRobert O’BrienDonald Miller

ORCHESTRA PERSONNELCarol Lee IottDIRECTOR

Rebecca VineyardMANAGER

ENDOWED CHAIRS CURRENTLY UNOCCUPIEDASSISTANT PRINCIPAL HARP

Sunshine Chair

The Orchestra


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Over the course of 2011, we’ve seen regular news reports about the challenges faced by orchestras in cities around the country. As Detroit, Denver, Honolulu, Louisville, Philadelphia, San An-tonio, Syracuse, and others have struggled, many people have asked me about how we’re doing here in Cleveland.

What’s going on? As entertainment, information, and cultural options proliferate, membership and subscription rates are in

decline for many leisure pursuits, including orchestras. Endowment and pension funds are compromised by market downturns, and persistent economic uncertain-ty dampens philanthropy. To survive In America today, orchestras must change.

For us in Cleveland, the regional economy, corporate landscape, and local popula-tion growth have been challenged for years. But The Cleveland Orchestra is one of very few symphony orchestras with the willingness and the proven ability to change. That’s why, in covering the story last spring, the Toronto Star reported “. . . Cleveland is giving fellow orchestras lessons in staying alive.”

The Cleveland Orchestra began to change in earnest more than fi ve years ago, with residency programs outside Cleveland, artistic initiatives such as ballet and opera, new audience development programs, accelerated community activities, frequent benefi t events, and more aggressive fundraising.

Our changes are driving revenue growth, especially philanthropy in Cleveland and operating revenues outside Cleveland. Yet even with record annual revenues, we still remain signifi cantly under-endowed. On June 30, 2011, The Cleveland Orchestra endowment stood at $129 million, down from an all-time high of $157 million in the year 2000. For us to be fi nancially healthy today would require a $300 million en-dowment, in keeping with other orchestras of our scope, scale, and quality. Without it, we have an unsustainable structural defi cit that threatens the Orchestra’s survival.

What must we do? We must stay true to our core purpose of serving the art of music at the highest levels of excellence. We must be even more innovative and relevant to the communities we serve. And, above all else, we must increase our Endowment Fund by successfully soliciting transformational philanthropy from everyone who cares about the community, loves The Cleveland Orchestra, and be-lieves in the power of great music to change lives.

As we launch Franz’s tenth season, we are grateful for our passionate concertgoers, for the generous annual gifts from individuals, foundations, and corporations, and for ongoing support from our county and state arts agencies, all among the most supportive anywhere. We are blessed with worldwide recognition for artistic pre-eminence and innovation — a credit to a great music director, fantastic musicians, a dedicated staff, and inspiring Trustee leadership.

I look forward to seeing you throughout the season and to discussing your partici-pation in the effort to build our all-important Endowment Fund.

Perspectives from the Executive Director

Gary Hanson

22 The Cleveland OrchestraDistinguished Service Award22

Distinguished Service Award Committee

Marguerite B. Humphrey, Chair

Ambassador John D. Ong, Vice Chair

Richard J. Bogomolny

Dr. Jeanette Grasselli Brown

Robert Conrad

Gary Hanson

Carol Lee Iott

Dennis W. LaBarre

Robert P. Madison

Clara Taplin Rankin

PREVIOUS RECIPIENTS

Robert Conrad 2010-11

Clara Taplin Rankin 2009-10

Louis Lane 2008-09

Gerald Hughes 2007-08

John D. Ong 2006-07

Klaus G. Roy 2005-06

Alex Machaskee 2004-05

Thomas W. Morris 2003-04

Richard J. Bogomolny 2002-03

John Mack 2001-02

Gary Hanson 2000-01

Christoph von Dohnányi 1999-2000

Ward Smith 1998-99

David Zauder 1997-98

Dorothy Humel Hovorka 1996-97

The Cleveland Orchestra

DistinguishedService AwardThe Musical Arts Association is proud to honor Richard Weiner as the 2011-12 recipient of the Distinguished Service Award, recognizing extraordinary service to The Cleveland Orchestra.

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Presented to Richard Weiner at the concert of October 13, 2011

RICHARD WE INE R retired from Th e Cleveland Orchestra at the end of the 2011

Blossom Festival season, completing a 48-year career with the ensemble. He was ap-

pointed to the percussion section in 1963 by George Szell, who in 1968 made him the

fi rst leader of that section to hold the title principal. Mr. Weiner served as principal

percussionist of the Orchestra for 43 years, leading the section longer than anyone else

in the Orchestra’s history. He held the Margaret Allen Ireland Principal Percussion En-

dowed Chair, established in 1974.

As principal percussionist, Richard Weiner has exemplifi ed Th e Cleveland

Orchestra’s devotion to the highest standards of artistic excellence. His leadership off -

stage in representing the musicians’ interests and viewpoint was off ered with integrity

and fairness throughout more than four decades of institutional growth and change.

Rich served with passion and interest on numerous Cleveland Orchestra commit-

tees, including the Negotiation Committee (which he chaired for many years), Artistic

Advisory Committee, Pension Committee, Travel Committee, and the Severance Hall

Renovation Committee. With the exception of the 1957 tour, Mr. Weiner has partici-

pated in every major foreign tour that the Orchestra has undertaken, performing with

the Orchestra in 44 countries, including the Soviet Union, Japan, Australia, New Zea-

land, and China, as well as throughout Europe and in South and Central America. He

has participated in more than 100 world or U.S. premieres with the Orchestra as well

as more than 100 recordings.

A native of Philadelphia, Richard Weiner was raised in a family fully embrac-

ing their son’s interest in music. He performed in school and youth orchestras and

ensembles. He holds a bachelor of science in music degree from Temple University,

where he studied with Charles Owen (principal percussionist of the Philadelphia

Orchestra) and a master of music degree, with distinction, from Indiana University,

where he studied with George Gaber (former timpanist and percussionist with the

NBC Symphony under Toscanini). In addition, Mr. Weiner was the fi rst percussion-

ist to be awarded the Indiana University School of Music Performer’s Certifi cate.

Several years aft er joining Th e Cleveland Orchestra, he earned a Juris Doctor degree,

magna cum laude, from Cleveland State University.

As a teacher, Mr. Weiner has chaired the timpani and percussion department at

the Cleveland Institute of Music for more than four decades. Although now retired

from Th e Cleveland Orchestra, Rich plans to continue teaching and presenting clin-

ics and masterclasses. He has volunteered to assist the Orchestra, speaking about his

career at private and public events, while fi nding time to travel with his wife, Jacque-

line, and to spend time with their extended family, including four grandchildren.

In all that he has done across nearly fi ve decades of service, Rich has focused

himself on fi nding and fostering excellence, in art and in working with others.

With gratitude, aff ection, and sincere admiration, the Musical Arts Association

presents Richard Weiner with its highest award for distinguished service.

Distinguished Service Award

24 The Cleveland OrchestraCleveland Orchestra News

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Franz Welser-Möst and Orchestra prepare for European Tour and Vienna Residency

Music Director Franz Welser-Möst and The Cleveland Orchestra embark on their eleventh international tour together later this month, including the Orchestra’s fi fth biennial residency in Vienna’s historic Musikverein concert hall. The Orchestra

will appear in thirteen performances in Europe from October 20 through November 5. In addition to the Vienna Musikverein Residency, the tour includes two concerts in Madrid, Paris, and Luxembourg, and single concerts in Valencia, Cologne, and Linz. During the four-concert Musikverein Residency, the Orchestra will give two performances of Mozart’s “Great” Mass in C

minor, featuring soprano Malin Hartelius, soprano Juliane Banse, tenor Martin Mit-terrutzner, baritone Ruben Drole, and the Vienna Singverein. Cellist Truls Mørk performs as soloist with the Orchestra in a concert in Luxembourg. The thirteen-concert, seven-city tour begins with per-formances in Madrid, Spain, on October 20 and 21 and ends with a concert at the Musikverein on November 5. Tour sponsors include Raiffeisenlan-desbank Oberösterreich, Tele München Group, Jones Day, LNE Group / Lee Wein-gart, Miba AG, and SEMAG GmbH, with additional support from a group of gen-erous individuals.

LEARN MORE ABOUT THE TOUR Follow the Orchestra on tour by reading regular reports on The Cleveland Orchestra Blog, listening to reports on WCLV radio (104.7 FM), or reading The Plain Dealer.

Welcome to new musicians

The Cleveland Orchestra welcomes three new musicians who have joined the Orchestra in the past two months. Jacob Nissly joins The Cleveland Orchestra as principal percussion with the start of the 2011-12 season. Mr. Nissly pre-viously served as principal percussion of the Detroit Symphony and has per-formed with ensembles in-cluding the New World Sym-phony, Metropolitan Opera Orchestra, and the Chicago Symphony Orchestra. He holds a bachelor of music and jazz studies degree from Northwestern University and a master of music degree from the Juilliard School, and was recently appointed to the faculty of the Eastman School of Music. Also joining the Orchestra at the start of the season is Ying Fu, as a member of the fi rst violin section. A na-tive of Shanghai, China, Mr. Fu has won prizes in compe-titions in Europe, China, and the United States. He holds a bachelor of music degree from the Shanghai Conserva-tory and a master of music degree from Rice University. He is currently a doctor of musical arts de-gree candidate at Rice University, studying with Cho-Liang Lin and Sergiu Luca. The Cleveland Orchestra welcomed Jeffrey Zehngut as a new member of the second violin section in August dur-ing this summer’s Blossom Festival concerts. Zehngut served as associate principal second violin of the San Di-ego Symphony 2005-11 and as principal second of the Canton Symphony Orchestra 2002-05. He holds degrees from the Cleveland Institute of Music, where he studied with William Preucil and Paul Kantor.

News

Orchestra News


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OrchestraNewsNews

Franz Welser-Möstgiven “Key to the City”by Cleveland Mayorat Opening Night Gala

The Cleveland Orchestra’s OpeningNight Gala at Severance Hall on October1 featured a special surprise moment forFranz Welser-Möst, when Cleveland May-or Frank Jackson presented the Orches-tra’s conductor with a ceremonial “key tothe city” (above). The award was givento recognize the value of Franz’s workin extending and enhancing Cleveland’sreputation internationally. The gala evening, presented underthe leadership of gala chair Norma Lernerand gala corporate chair Beth Mooney,marked the official start of Franz Welser-Möst’s tenth season as music director. Theevent, which included an hour-long con-cert by The Cleveland Orchestra, raised$650,000. Proceeds from the evening willbe used to create an education fund inFranz’s name, honoring his initiatives onbehalf of music education. Of Ravel’s Boléro from the evening’sconcert, The Plain Dealer wrote: “Prov-ing he holds the key to Ravel as well asCleveland, Welser-Möst offered a hard-hitting performance, one that began withnear-silent tapping . . . and ended with acataclysmic punch.”

Cleveland Orchestra now available as an app for mobile phones

The Cleveland Orchestra’s websiteis now available in a streamlined formatas an application for cell phones. The“app” can be downloaded in versions foriPhone or Android phones, and many ofits features also display on other web-ready mobile phones.

The new app offersfans a convenient andstreamlined way to pur-chase tickets, listen toCleveland Orchestra ra-dio broadcasts, and con-nect to the Orchestra’ssocial media. Createdin partnership withInstantEncore.com, aleading performing artsdigital platform, theapp connects fans to TheCleveland Orchestra Blog,Facebook, YouTube, andinformation about theOrchestra (including musicians’ photosand biographies) and venues. The appalso allows on-demand, streaming broad-casts from WCLV of performances by TheCleveland Orchestra and Cleveland Or-chestra Youth Orchestra.

This latest tech innovation is an ad-dition to the Orchestra’s ongoing socialmedia platforms and website, includingThe Cleveland Orchestra Blog (viewedby readers in all 50 states and more than100 countries), Facebook, Twitter, Flickr,and YouTube. The Cleveland Orchestra’swebsite offers convenient online seatselection and print-at-home ticketing.Additional features to the mobile appwill be added in the coming months.

The app can be downloaded freefrom the iTunes Stores or Android Mar-ketplace. Links for downloading can alsobe found on the Orchestra’s homepage.

Cleveland Orchestra News

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26 The Cleveland OrchestraCleveland Orchestra News

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

Upcoming performances by members of The Cleveland Orchestra in Northeast Ohio include:

Cleveland Orchestra musicians Dan-iel McKelway and Lembi Veskimets join with musical friends to perform at the 14th Annual Instrumental Evening for the Earth, held on Thursday evening, November 10. The event runs from 6:00 to 9:30 p.m. at West Shore Unitar-ian Universalist Church (20401 Hilliard Blvd, Rocky River). For more informa-tion, visit earthdaycoalition.org or call 216-281-6468.

Orchestra violist has new CD release

Following the success of her Grammy award-winning last album, Cleveland Orchestra violist Eliesha Nel-son has a new album titled Russian Viola Sonatas, featur-ing the music of Varvara Gaigerova, Alexander Winkler, and Paul Juon and released in July on the Sono Luminus label. Music from the album was featured on Cleveland Orchestra showcase on WCLV on October 7. The CD is available for purchase at the Cleve-land Orchestra Store at Severance Hall.

Silence is golden

As a courtesy to the performers on-stage and the audience around you, all patrons are reminded to turn off cell phones and to disengage electron-ic watch alarms prior to the concert.

News

OrchestraNewsGary Hanson invited to joinNestlé and Salzburg Festival Young Conductors Award Jury

Cleveland Orchestra Executive Direc-tor Gary Hanson will join the jury for the Nestlé and Salzburg Festival Young Con-ductors Award in 2012. He joins a panel of 13 jurors invited to participate, including chairman Ingo Metzmacher and American baritone Thomas Hampson.

The Nestlé and Salzburg Festival Young Conductors Award was created in 2010 as an initiative of Nestlé and the Salzburg Fes-tival under the patronage of Pierre Boulez. The competition aims to give career mo-mentum to highly talented young conduc-tors. German conductor David Afkham (who made his Cleveland Orchestra debut at the 2011 Blossom Festival) was the first prize-winner in 2010, and Ainars Rubikis from Latvia won the award in 2011. In 2012, the three final candidates will each conduct a concert during a weekend in April in the famous Felsenreitschule in Salzburg. In three public concerts, the partner orchestras of the weekend will be the Camerata Salzburg, the Salzburg Mo-zarteum Orchestra, and the Munich Radio Orchestra. The prize of € 15,000 is award-ed annually to a conductor ages 22 to 35.

“I am honored to join my distin-guished colleagues on the jury for this award, and to have this unique chance to discover and promote the best among the next generation of orchestral conductors,” Gary Hanson said upon his selection.

F.A.M. I .L .Y N .E .W.S Please join in extending congratula-tions and warm wishes to: Sonja Braaten Molloy (violin)and Owen Molloy, whose baby daughter, Annika Swede, was born on October 10. Alicia Koelz (violin) and Chris Georgalis, whose baby daughter, Penelo-pe Maria Georgalis, was born on Septem-ber 30.

27Severance Hall 2011-12 Cleveland Orchestra News

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News

Orchestra NewsNews

2011-12 Celebrity Serieson sale now — featuringvariety of artists withTh e Cleveland Orchestra

The Cleveland Orchestra’s season of Celebrity Series was announced over the summer and is now on sale as series subscriptions or on an individual concert basis. The Celebrity Series features the Orchestra and guest artists performing popular, fi lm, and jazz music. The season’s four programs are: Singer-songwriter Randy Newman (December 3), known for his scores for such fi lms as Toy Story and hit singles such as “Short People,” performs with The Cleveland Orchestra. The Colors of Christmas (De-cember 20), featuring vocalists Peabo Bryson, Jennifer Holliday, Lea Salonga, and Ben Vereen performing Christmas and holiday favorites with the Orchestra. Charlie Chaplin’s City Lights (March 31), a timeless romantic comedy, shown on a large screen with the fi lm score performed live by The Cleveland Orchestra, with guest conductor William Eddins. John Pizzarelli (April 10), jazz gui-tarist and vocalist, joins the Orchestra to pay tribute to Nat “King” Cole with favorites from the Great American Song-book.

Cleveland Orchestraeducation programs discussed at White House conference

Cleveland Orchestra Director of Edu-cation & Community Programs Joan Katz Napoli was included in a group of per-forming artists and leaders invited to the White House in July as part of a program titled Champions of Change. While there, she shared information about the ways The Cleveland Orchestra serves more than 70,000 people annually through programs including school fi eldtrip concerts, youth performing ensembles, and Music Study Groups for adults, as well as Music Men-tors and Music Masters programs to sup-port instrumental music programs in local schools. As part of the one-day event, Katz Napoli (shown at right, at the White House with Minnie Driver and Patricia Arquette) discussed how The Cleveland Orchestra was among the fi rst symphony orchestras in the country to imple-ment an arts integra-tion program, Learning Through Music, which is now in its fourteenth year. Learning Through Music supports learning across the K-5 curriculum utilizing music as a tool.

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Orchestra NewsNews

The Cleveland Orchestra Blog

Looking for the latest news about The Cleveland Orchestra? Or behind-the-scenes information about an upcom-ing artist or event? Photographs from a recent event? Learn more online at clevelandorchestrablog.com. Check out recent postings to: — Learn which Cleveland Orchestra musician previously performed in the orchestra at La Fenice Opera House, and about another who has been spending time at Marlboro Music; — Admire a local artist’s rendering of Severance Hall—number 93 in a series of 100 depictions of Cleveland sights; — Connect to a Plain Dealer preview

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of Franz’s 10th season — and remember what our music director looked like when he took the helm; — View photos from the Orchestra’s 9/11 Commemoration Concert; — Meet the new members of the Orchestra.

Read all this and more at our Blog.You can post your own comments, too. Or visit the Orchestra at Facebook, follow us on Twitter, and watch us on YouTube!


Blog presents more Cleveland Orchestra news online

(7:30 p.m.)

Severance Hall | 11001 Euclid Avenue

Tickets: $45/$55/$65

800-686-1141 or tricpresents.com

still open for business.”Time Magazine

An Evening with Garrison

Keillor10-27-11

29Severance Hall 2011-12 Cleveland Orchestra News

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Orchestra NewsNews

Youth Orchestra preparesfor the new season

The Cleveland Orchestra Youth Or-chestra held its annual overnight retreat in early September. The retreat at Hiram House Camp in Moreland Hills featured rehearsals, special clinic sessions, and a chance to get acquainted through social activities. The group’s fi rst Severance Hall concert is on Sunday, November 20, with music director James Feddeck con-ducting.

Bruckner Society of Americapresents Franz Welser-Möstwith special award

The Bruckner Society of America chose Franz Welser-Möst to receive the Society’s Julio Kilenyi Medal of Honor for his “understanding, advocacy, and dedica-tion to Bruckner’s music.” The award was fi rst given in 1933 to Arturo Toscanini, Serge Koussevitsky, and Bruno Walter. Since that time, the Society has continued to present it to conductors, scholars, and musicologists who have helped to further the understanding and appreciation of Anton Bruckner’s life and work. The award was presented on

July 13 during a rehearsal at Avery Fisher Hall in

New York. In addition to four DVD record-ings of Bruckner symphonies made with The Cleveland

Orch estra in the past four years, Welser-Möst

has recorded Bruckner symphonies with the London

Philharmonic and the Gustav Mahler Youth Orchestra. He leads The Cleveland Orchestra in performances of Bruckner’s Fourth this season at Severance Hall, on April 26, 27, and 28, 2012.

Family Concerts begin withHalloween Spooktacular!on October 30

The Cleveland Orch estra’s 2011-12 Family Concert Series, for young people ages 7 and older, begins with a special Halloween Spooktacular! concert on Sunday afternoon, October 30. Families are invited to wear Halloween costumes and come to Severance Hall to be chilled,

thrilled, and fi lled with the sounds of memorable mysterious mystical magi-cal macabre music for this deliciously spooky con-cert. Carl Topilow leads the Cleveland Institute of Music Orchestra for this

concert, stepping in for The Cleveland Or-chestra (who will be on tour). In addition to the concert, each of the season’s four Family Concerts features free pre-concert activities and post-concert treats. The activities, starting one hour before each concert, include Instrument Discovery, where children can try various instruments. After each performance, families are invited to enjoy a free treat compliments of series sponsor Giant Eagle. The series features three more con-certs after Halloween — Scenes from Tchaikovsky’s Nutcracker (with Academy Trainees from The Joffrey Ballet) in De-cember, Carnival of the Animals in April, and Beethoven Lives Upstairs (with Clas-sical Kids Live!) in May. Family Concert Series subscriptions and individual tickets are now available at clevelandorchestra.com or thru the Severance Hall Ticket Offi ce.

Silence is golden

As a courtesy to the performers on-stage and the audience around you, all patrons are reminded to turn off cell phones and to disengage electron-ic watch alarms prior to the concert.


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Women’s Committee celebrates ninety yearswith special fashion show

The Women’s Committee of The Cleveland Orchestra celebrated their 90th anniversary with a fashion revue and luncheon at Severance Hall on July 18, attended by more than 300 members and guests. President Beth Schreibman Gehring welcomed the Ursuline College School of Fashion Design in a presenta-tion of fashions from the past 90 years. The Women’s Committee is dedicated to providing support for The Cleveland Orchestra through volunteer service, edu-cation activities, and fundraising oppor-tunities. For additional information on volunteering, please call 216-231-7557.

“Endless Summer” galacelebrates Blossom and Th e Cleveland Orchestra

The State Blossom Women’s Com-mittee staged an end-of-summer gala on Friday, September 9, in Twinsburg to ben-efi t The Cleveland Orchestra and Blossom. Titled “Endless Summer,” the benefi t commemorated the 2011 Blossom Festival season and all things musical. State Chair-man Phyllis Knauf notes that the event was a collaboration of all chapters of BWC and was their most ambitious fundraising effort in the 43-year history of the orga-nization. The “Endless Summer” gala evening featured a Strolling Supper prepared by nine Celebrity Chefs from Northeast Ohio. Among the evening’s fundraising items were six steamer trunks once belonging to Cleveland Orchestra musicians, which had been restored and decorated by lo-cal artists commissioned by the Blossom Women’s Committee.

News

Orchestra News


New Cleveland Orchestrarecording features live performance of “Rusalka”from Salzburg Festival

The Cleveland Orchestra’s newest recording is a live audio recording of Dvořák’s opera Rusalka, performed under

Franz Welser-Möst’s direc-tion as part of the 2008 Salzburg Festival. The album on the Orfeo la-bel was released at the end of September and comes in CD format or as a music download. The CD version is available from the Cleveland Or-

chestra Store at Severance Hall. The August 2008 performances of Rusalka marked the fi rst time that The Cleveland Orchestra played from the orchestra pit for an opera production at the Salzburg Festival. The fi ve soldout Rusalka performances were part of a Fes-tival Residency that also included Welser-Möst conducting the Orchestra in three different concert programs. Prior to the staged Salzburg performances, Welser-Möst and the Orchestra presented in-con-cert performances of Rusalka in Cleveland in June 2008. The reviewer for London’s Sunday Times praised the Salzburg production, calling it “the most spellbinding account of Dvořák’s miraculous score I have ever heard, either in the theatre or on record. . . . I doubt this music can be better played than by the Clevelanders, the most ‘European’ of the American orchestras, with wind and brass soloists to die for and a string sound of superlative warmth and sensitivity.” The London Sunday Telegraph review said, “the playing of the Cleveland Orchestra under Franz Welser-Möst is sumptuously beautiful and exqui-sitely detailed, allowing Dvořák’s operatic masterpiece to weave a strong spell at its fi rst-ever Salzburg showing.”

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Join the B-W Conservatoryfor Free Fall Concerts . . .

Symphonic Wind Ensemble Fri., Oct. 28, 8:00 p.m.

Dwight Oltman, conductorMendelssohn: Overture for Wind Band Hindemith: Symphony in B-flat Major

Grainger: Colonial Song Gorb: Away Day

Concert Wind Ensembleand B-W Men’s Chorus

Sat., Oct. 29, 8:00 p.m. Vincent Danner and

Frank Bianchi, conductorsFocusing on the theme of peace,

hope and remembrance, the concert begins with the National Anthem and ends with God Bless America

Symphony Orchestra Fri., Nov. 4, 8:00 p.m.

Dwight Oltman, conductorDebussy: Prelude to the

Afternoon of a FaunHigdon: Blue CathedralRespighi: Pines of Rome

All concerts will be held inGamble Auditorium

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Concert Previews Cleveland Orchestra Concert Previews are presented before every regular subscrip-tion concert, and are free to all tickethold-ers 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 variety of interviews and through talks by local and national experts. Concert Previews are made possible by a generous endowment gift from Dorothy Humel Hovorka.

October 13 and 15“Mendelssohn’s Travels, Tchaikovsky’s Travails” with Francesca Brittan,

assistant professor of music,

Case Western Reserve University

November 11, 12, and 13“Being The Sorcerer’s Apprentice” with Michael Charry,

author of George Szell: A Life of Music

November 17, 18, and 19“Bach’s Music for Court and City” with David J. Rothenberg,

professor of musicology,

Case Western Reserve University

November 25, 26, and 27“Symphonic Opera, Vocal Piano” with Michael Strasser,

professor of musicology,

Baldwin-Wallace College Conservatory of Music

December 8 and 10“Musical Splendor and Radiance” with Rabbi Roger Klein,

The Temple – Tifereth Israel

For future Concert Preview details, visit clevelandorchestra.com

LEARNING MORE ABOUT THE MUSIC

Th e 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 aft erward. (Program notes

are also posted ahead of time online

at clevelandorchestra.com, usually by

the Monday directly preceding the

concert.)

Th e Orchestra’s Music Study

Groups also provide a way of explor-

ing the music in more depth. Th ese

classes, professionally led by Dr. Rose

Breckenridge, meet weekly in loca-

tions around Cleveland to explore the

music being played each week and the

stories behind the composers’ lives.

Free Concert Previews are pre-

sented one hour before most subscrip-

tion concerts throughout the season

at Severance Hall. Th e previews (see

listing at right) feature a variety of

speakers and guest artists speaking or

conversing about that weekend’s pro-

gram, and oft en include the oppor-

tunity for audience members to ask

questions.

Concert Previews


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

Severance HallThursday evening, October 13, 2011, at 8:00 p.m. Saturday evening, October 15, 2011, at 8:00 p.m.

Franz Welser-Möst, conductor

These concerts are sponsored by The Sage Cleveland Foundation.

Nikolaj Znaider’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s

Guest Artist Fund from The Payne Fund.

The concert will end at about 9:55 p.m.

LIVE RADIO BROADCAST 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 Sunday afternoon, November 27, at 4:00 p.m.

CARL MARIA VON WEBER Overture to Euryanthe(1786-1826)

FELIX MENDELSSOHN Symphony No. 3 (“Scottish”)(1809-1847) in A minor, Opus 56 1. Introduction and Allegro agitato — 2. Scherzo assai vivace — 3. Adagio cantabile — 4. Allegro guerriero and Finale maestoso (played without pause)

INTERMISSION

PYOTR ILYICH TCHAIKOVSKY Violin Concerto in D major, Opus 35(1840-1893) 1. Allegro moderato 2. Canzonetta: Andante 3. Finale: Allegro vivacissimo

NIKOLAJ ZNAIDER, violin

Concert Program — Week 3

35Severance Hall 2011-12 Concert Program — Week 3 Friday

IGOR STRAVINSKY Agon (complete ballet score)(1882-1971) 1. Pas-de-quatre 2. Double pas-de-quatre 3. Triple pas-de-quatre Prelude 4. First pas-de-trois: Saraband-Step 5. Gaillarde 6. Coda Interlude 7. Second pas-de-trois: Bransle simple 8. Bransle gai 9. Bransle de Poitou Interlude 10. Pas-de-deux 11. Four duos 12. Four trios

PYOTR ILYICH TCHAIKOVSKY Violin Concerto in D major, Opus 35(1840-1893) 1. Allegro moderato 2. Canzonetta: Andante 3. Finale: Allegro vivacissimo

NIKOLAJ ZNAIDER, violin

MAURICE RAVEL Boléro(1875-1937)


Friday evening, October 14, 2011, at 7:00 p.m.

Franz Welser-Möst, conductor

KeyBank Fridays@7

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

and is also made possible in part through the generous support of The Andrew W. Mellon Foundation.

The concert is performed without intermission and will end at about 8:20 p.m.

Information about the pre-concert performers and the @fter party music can be found on the next page. > > > >


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@fter party the fun continues

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

6:00 p.m. Concert Prelude in Reinberger Chamber Hall: featuring The Jazz Unit read about The Jazz Unit on page 63 > > >

7:00 p.m. The Cleveland Orchestra conducted by Franz Welser-Möst

< < < biographical information on page 13

with guest violinist Nikolaj Znaider biographical information on page 57 > > >

“BOLÉRO!” featuring works by Stravinsky, Tchaikovsky, and Ravel

< < < musical selections details listed on previous page

read commentary about the music: Stravinsky (page 47), Tchaikovsky (page 55), Ravel (page 59) > > >

after the concert ends, the evening continues . . .

@fter party DanceParty8:30 p.m. PolkaFest in Smith Lobby with special guest Eddie Rodick Orchestra

biographical information on page 65 > > >

8:30 p.m. Hoedown in Bogomolny-Kozerefski Grand Foyer with special guests Back Porch Swing Band featuring square dance caller Larry Ward and with Cleveland Federation of Dance Clubs

biographical information on page 65 > > >

bars are open around the performances

Fridays@7 Media Partners: WQAL (Q104) and WNWV (V107.3)

Each Fridays@7 evening features a Cleveland Orchestra concert followed by a post-concert music presentation curated by world percussionist Jamey Haddad.

KeyBank Fridays@7 — October 1436 The Cleveland Orchestra


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 RFridays@7 concert + @fter party

OCTOBER 14 friday evening SEVERANCE HALL


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

Musical Ideas&VariationsT H I S W E E K ’ S C O N C E R T S feature five musical works (three each

evening) from across a century and a half. All were daring and mod-

ern in their day. Some may sound old-fashioned now, although a good

performance will still sharpen our ears to details and ideas representing

great musical creativity — and enlightening and delightful listening.

On all three evening concerts, guest soloist Nikolaj Znaider per-

forms Tchaikovsky’s Violin Concerto, a work panned at its premiere in

Vienna in 1881 but today viewed as a genuine masterpiece.

On Thursday and Saturday, two works from earlier in the 19th

century present symphonic views from the burgeoning German Roman-

tic movement. Weber’s Overture to Euryanthe comes from an opera in

which the trust of faithful lovers is sorely

tested. Its cumbersome libretto has

doomed it to few staged performances,

while the strength of its music has made

the overture an audience favorite.

Even more so, Mendelssohn’s

“Scottish” Symphony is a stalwart part of

the symphonic repertoire. Inspired by a

youthful trip across Scotland, this great

symphony deftly balances the composer’s

desire for a careful balance of strong mu-

sical architecture with the Romantic era’s

impulse for more passionate outbursts.

On Friday evening, the Tchai-

kovsky concerto is showcased alongside

two 20th-century works. Stravinsky’s ballet music for Agon is a master-

ful work of modern angles and sometimes strident harmonies, created in

concept with one of the 20th century’s greatest choreographers, George

Balanchine.

And to close, Ravel’s Boléro is, according to the composer, “orches-

tration without music” — merely an exercise in varying which instru-

ments play an ongoing (and hypnotic) melody against an incessant

snare-drum rhythm across a long, building crescendo. It’s built to per-

fection, to an astounding release of tension. Enjoy!

About the Music

A sketch by Felix Mendelssohn drawnin his travel notebook during his

trek across Scotland in 1829.

Chinese Art in an Age of Revolution

FU BAOSHIOrganized by the Cleveland Museum of Art with the Nanjing Museum. Mountain Spirit, 1946. Fu Baoshi. Nanjing Museum. Heaven and Earth Glowing Red, 1964.Nanjing Museum.Baker Hostetler

Presenting sponsor:

Fu Baoshi Exhibition ProgramsMODERN CHINA: A Multidisciplinary Exploration Saturday, October 29, 1:30–4:00. Wen-hsin Yeh, University of California, Berkeley, Peter Galassi Museum of Modern Art, and Julia Andrews, Ohio State University.

Book Club: The White-Haired Girl 3 Wednesdays, November 2, 9, 16, 1:30–2:45.

China: Art and Technology Art Cart 3 Sundays, November 6, December 4, January 8, 1:00–3:00.

Perspectives on Contemporary Chinese Art Wednesday, November 30, 6:30. Artist Ji Yunfei and Paola Morsiani, Curator of Contemporary Art

Two films on the Three Gorges DamUp the Yangtze Friday, December 2, 7:00 and Still Life Sunday, December 4, 1:30.

Holiday Film Festival: Recent Chinese Cinema 1:30 each afternoon, December 26–31.

Chinese Art Music: Yang Wei and Ensemble Friday, December 9, 7:30.

Mandarin and Cantonese language tours Sunday, October 23, Saturday, November 26, and Wednesday, December 28, 1:00–2:00 (Mandarin) and 2:00–3:00 (Cantonese).

Chinese Painting DemonstrationSunday, December 4, 1:30-3:30

The Art of Reinvention: China, Ohio, and the New Global Economy January 4, 2012.

Rembrandt in AmericaFebruary 19–May 28, 2012

This exhibition brings together about 50 autograph paintings by Rembrandt as well as others thought to be by the artist when they entered American collections. Adults $14, members free.

Organized by the Cleveland Museum of Art, the North Carolina Museum of Art, Raleigh, and the Minneapolis Institute of Arts. The exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. Additional support provided by the Samuel H. Kress Foundation. Sponsored by KeyBank. Self-Portrait, 1659. Rembrandt van Rijn. National Gallery of Art, Washington 1937.1.72

Additional support from:

39Severance Hall 2011-12 About the Music

B E C A U S E O F the “von” in his name, Carl Maria Friedrich

Ernst von Weber always believed he was descended from no-

bility. He apparently never knew that his father, a composer

himself of some note, had adopted the “von” on no authority

whatsoever. Despite their lack of a noble lineage, the family’s

musical background was strong. Frau von Weber was a singer

and actress; two of Carl’s elder half-brothers had studied with

Joseph Haydn. Yet it was Carl who would achieve the family’s

greatest fame. He was only twenty-six when, in 1813, he was

named director of the opera in Prague, a position that included

not only conducting but also scheduling rehearsals and super-

vising the wardrobe. Th ere, he would begin two new chapters

in his life. He met and married the soprano Caroline Brandt,

and became the champion of German Romantic opera, a style

distinct from the Italian operas then personifi ed by Rossini.

Not only was German Romantic opera sung in German. It

was also based in German legend and literature, and borrowed

the powerful, emotional spirit of German symphonic works by

Beethoven and others. Th ere in Prague, and later in Dresden,

Berlin, and Vienna, Weber came to represent German opera,

wearing that crown at a time when the future sovereign of the

form, Richard Wagner, was still just a child.

Euryanthe, the composer’s second to last stage work, was

written at the request of Vienna’s Kärntnertortheater, which

requested something similar to Weber’s immensely popular

Der Freischütz (“Th e Freeshooter,” or “Th e Marksman”). We-

ber, however, wanted to try something new — a grand opera,

rather than the folk-fl avored operetta-like piece that Freischütz

had been. Given his proven sense of theater, he might have

succeeded, had he not ended up working with Helmina von

Chézy as his librettist, for even the most electrifying score could

not give wings to the Dresden-based poet’s feeble text and an

absurd storyline. Euryanthe premiered October 25, 1823, but

only lasted twenty performances. Th e score nonetheless fea-

tures some strong writing on Weber’s part, and the overture

in particular, with its exemplary impulses in the new German

Romantic style, remains a popular piece in the concert hall.

—Betsy Schwarm © 2011

Overture to Euryanthecomposed 1823

by Carl Maria vonWEBERborn November 18, 1786Eutin, Holstein(now part of Germany)

diedJune 5, 1826London

THURSDAY AND SATURDAY


Th e Cleveland Orchestra

gratefully acknowledges

Th e Sage Cleveland Foundation

for supporting this

weekend’s concerts.

Family Open HouseWednesday, October 12Sunday, November 20

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F E L I X M E N D E L S S O H N ’s reputation has undergone a steadi-

ly evolving course over the past century and a half. Upon his

early death in 1847 — aged only 38 years — he was hailed as

one of music’s greatest practitioners. He was an accomplished

pianist, extraordinarily gift ed organist, celebrated composer,

and one of the fi rst great conductors. Add to these his keen

interest in science and literature, his ability to draw and paint,

and his well-practiced skills for entertaining and socializing

— Mendelssohn was very much a quintessential renaissance

man of the Romantic era.

Th e next hundred years, how ever, saw his reputation tarnish

and fade, and much of his music was all but forgotten. Wag-

ner began a violent attack — on Mendelssohn’s music and family

— as early as 1850. Changing tastes and lush “new” music oft en

made Mendelssohn’s pieces seem quaintly out of step. Only in

the past fi ft y years, with more thoughtful and objective studying

of Mendelssohn’s work and contributions to 19th-century music,

have the depth and range of his art begun to shine anew.

Born into a well-to-do German family (his father and

uncle were bankers, his grandfather a famous Jewish philos-

opher), Felix’s early abilities at the piano and as a composer

echoed so closely Mozart’s talents from fi ft y years before that

he was hailed as the “second Mozart” in his youth. Before he

was twenty years old, he had composed music of incomparable

beauty and form (his Overture to A Midsummer Night’s Dream,

his String Octet, and his Symphony No. 1 are but three of the

youthful masterpieces created by the time he was 17). More

daringly, as a student he had organized and led — against the

by FelixMENDELSSOHNborn February 3, 1809Hamburg

diedNovember 4, 1847Leipzig

Symphony No. 3 (“Scottish”) in A minor, Opus 56composed 1829-42

THURSDAY AND SATURDAY

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advice of his own teacher — one of the fi rst performances of

the St. Matthew Passion in at least fi ft y years, helping to ignite

a widespread revival of interest in Bach’s music.

Within weeks of his success with Bach’s St. Matthew, the

20-year-old Mendelssohn departed Berlin for Great Britain on

the fi rst part of a planned “grand tour” around Europe. Arriv-

ing in London in April 1829, Felix was met by his childhood

friend Karl Klingemann and set about getting acquainted with

the city. Arranged introductions from his father, uncle, and

teachers during the next three months gave Mendelssohn ac-

cess to many of London’s fi nest musical artists and resulted in

his successful London debuts both as a composer and piano so-

loist (performances included his own two-piano concerto and

First Symphony, as well as Beethoven’s “Emperor” Concerto,

played from memory).

S C O T T I S H I N S P I R AT I O N

At the end of the London concert season, Mendelssohn

and Klinge mann set off to walk across parts of Scotland. Its

“wild and rugged” landscapes held particular appeal for any-

one with Romantic ideas of nature and art in the early 19th

century, and the two friends fi lled the composer’s notebook

— with Mendelssohn drawing landscape scenes and Klinge-

mann writing accompanying poetic verses. From Edinburgh

on July 30, Mendelssohn sent a letter to his family about his

visit to the Palace of Holyrood House: “In the mists of twilight

today, we went to the palace where Queen Mary lived and loved;

the chapel . . . has now lost its roof . . . and it is at that broken-

down altar that Mary was crowned Queen of Scots. Everything

there is crumbling and decaying. . . . I think I may have found

the beginnings of my Scottish Symphony.”

In Mendelssohn’s notebook from that same day, he wrote

out the musical phrase that now opens the symphony. Later

that year, back home in Berlin, he created an outline for an en-

tire “Scottish Symphony,” but it would be more than ten years

before he managed to complete this new work. More quickly, he

used impressions and musical sketches from his trip to Scotland

to write the Hebrides Overture, at fi rst known as Fingal’s Cave,

which the composer premiered on his second trip to London,

in 1832. (Th e success of Hebrides over the following decade,

as well as its thematic similarities to the eventual symphony,

hinted at the symphony’s Scottish-ness even before Mendels-

Mendelssohn’s

“Scottish” Sym-

phony is not

some kind of

musical Brave-

heart, recount-

ing in sound

various battles

and victories

in history.

Rather, it is

a classically

formed sym-

phony agree-

ably touched

by Romantic

impressions

from a visit

to Scotland.


sohn publicly admitted any connection.)

During the decade between 1830 and 1840, while occasionally try-

ing to advance his Scottish symphony, Mendelssohn completed and pre-

miered his three other mature symphonies (now known as Nos. 5, 4, and

2, numbered in the order in which they were published rather than when

they were written).

Additionally, through his work as chief conductor — fi rst in Düssel-

dorf and then of Leipzig’s Gewandhaus Orchestra — Mendelssohn gained

important practical perspective on how scores come to life in performance.

In Leipzig, in addition to his own works, he conducted the symphonies of

Beethoven, works by Mozart, Berlioz, and Weber, the posthumous premiere

of Franz Schubert’s newly discovered “Great” C-Major Symphony in 1839,

and the premiere of Robert Schumann’s First Symphony in 1841.

Th us, by the time Mendelssohn fi nally sat down to complete his

“Scottish Symphony” in 1841, he had achieved new understanding and ma-

turity as an orchestral composer. Th e completion came easily. He signed

the new score in mid-January 1842 and scheduled its premiere for the fol-

lowing month. It was fi rst performed as “Symphony in A minor” and fi rst

published later that year as “No. 3.” (Although Mendelssohn had always

referred privately to the work as his “Scottish” Symphony, the title was not

offi cially added until aft er his death.)

T H E M U S I C

To help underline the cohesiveness of his new symphony’s thematic

materials, Mendelssohn instructed that the four movements be performed

attacca, without pauses. Th e lack of customary breaks between movements

caused some confusion for the audience at the premiere in Leipzig. Th e fact

was so commented on in reviews that, at the work’s second performance

three weeks later, the audience anticipated the breaks and stopped the per-

formance with applause aft er each of the two middle movements, completely

foiling the composer’s intentions. Later composers have picked up on the

idea, however, and modern audiences are now much more used to having

movements conjoined for the greater sense of continuity it aff ords.

Th e Symphony is cast in the usual four movements, with two shorter

movements between the opening and fi nale. Th e second movement fea-

tures a dance-like lilt, in contrast to the slower and quieter third movement.

While no musical themes are actually shared between movements, the ma-

terial throughout the symphony is thematically related and carries a strong

unity of sound and atmosphere.

In the preface to the printed score of the symphony, the composer sug-

gested a particular way of listing the movements in a printed program, as

shown on page 34 of this book. In this, he indicated tempo markings that

About the Music


diff er slightly from those that actually precede each movement,

giving performers a nuance of additional information about his

intentions.

Mendelssohn quotes no actual Scottish melodies, although

in the second movement he does make use of a rhythm known

as a “Scottish snap.” Th is, and an overall feeling similar to his

earlier Hebrides Overture, can give listeners a sense that the

symphony is little more than some additional Scottish land-

scape painting in sound. But, like Mendelssohn’s sunny “Ital-

ian” Symphony, this work is more of an atmospheric piece about

emotional feelings in and around Scotland than any attempt to

depict actual places or — as has also been suggested — historic

events. Th e “Scottish” Symphony is not, therefore, some kind

of musical Braveheart, recounting in sound various battles and

victories in Scottish history. Rather, it is a classically formed

symphony agreeably touched by Romantic impressions from a

visit to Scotland.

Th roughout the work, there are a number of passages that

remind many listeners of the symphonies of Robert Schumann.

Th e two men were certainly well acquainted with one anoth-

er’s works, and Schumann’s First and Fourth Symphonies were

premiered in Leipzig during the year that Mendelssohn was

completing his “Scottish” Symphony (Schumann’s First was con-

ducted by Mendelssohn himself). Exactly who was infl uencing

whom would require an extensive discussion, however, and any

similarities are more an indication of a common approach to

some of the inherent challenges of symphonic writing in the

footsteps of Beethoven and Schubert. Mendelssohn’s passages

oft en feature an airiness of orchestration that took Schumann

several more years to fully capture. Likewise, some energetic

string writing about halfway into the “Scottish” Symphony’s

fi rst movement has strong pre-echoes of the sound of rain-

fi lled windstorms depicted in Richard Wagner’s opera Th e Fly-

ing Dutchman, written only a few years later.

In both the fi rst and last movements, Mendelssohn suc-

ceeds in orchestrating passages that sound, as he wanted them

to, “clear and strong, like a choir of men’s voices,” advancing his

extensive interest in and knowledge of choral writing. Partic-

ularly spirited in the last movement, the “choir” leads directly

into the work’s robust and cheer-fi lled ending.

—ERIC SELLEN © 2011

At a Glance

Mendelssohn conceived

the opening theme for this

symphony while visiting the

Holyrood Palace in Scotland

in August 1829. He sketched

out a plan for a full-length

“Scottish” Symphony in

1830, and then worked on

it sporadically over the next

decade. He returned to it in

1841 and worked steadily on

it throughout much of the

year, completing the score

in Berlin in early 1842. The

fi rst performance took place

on March 3, 1842, at the

Leipzig Gewandhaus, under

the composer’s direction.

Although Mendelssohn often

referred privately to this work

as his “Scottish” Symphony,

it was fi rst presented and

published without any such

title. The score was published

in 1842 with a dedication to

Queen Victoria of England.

This symphony runs

about 35 minutes in per-

formance. Mendelssohn

scored it for 2 fl utes, 2 oboes,

2 clarinets, 2 bassoons,

4 horns, 2 trumpets, timpani,

and strings.


fi rst performed Mendels-

sohn’s Symphony No. 3 in

November 1935, under Artur

Rodzinski’s direction. The

most recent performances

were conducted by Jahja

Ling at Severance Hall con-

certs in May 2009.

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A LT H O U G H S T R AV I N S K Y is unquestionably the leading com-

poser for ballet in the 20th century, his ballet scores are more

oft en heard in the concert hall than in the theater. Th is is partly

for economic reasons, but partly too because, unlike so many

forgotten 19th-century ballet scores, Stravinsky’s scores are far

from being merely “danceable” music — they very much evoke

a strong sense of movement, action, and character. At times,

works like Petrushka or Th e Fairy’s Kiss played as concert works

invariably excite an audience’s imagination to the point where

we might almost believe we have seen the ballet itself.

Stravinsky’s addiction to rhythmic clarity in his long

neo-classic period responded well to dancers’ needs and was

suitable for ballets with antique themes, such as Apollo or Or-

pheus. He was always drawn to the remote frieze-like quality

of ancient myth. But in 1953, when Stravinsky was invited by

Lincoln Kirstein and George Balanchine to write a new work for

the New York City Ballet, he had moved on to a creative phase

where he sought abstraction above all else. Th e composer had

long renounced the conventional gestures of emotional expres-

sion, but he and Balanchine now conceived a truly abstract ballet

without a setting or a story, simply a series of dances for eight

women and four men who wear rehearsal costume and interact

in carefully programmed combinations. Th e Greek word Agon

(it comes close to rhyming with “wagon,” for those wondering

how to pronounce it) suggests a contest, although no actual

contest is specifi ed or implied in the score.

In terms of musical style, abstraction was achieved through

Stravinsky’s close study of the music of Anton Webern. Indeed,

Agon is partly a twelve-tone composition, but it is in no way

reminiscent of Arnold Schoenberg’s pioneering works in that

style. Stravinsky preferred the focus that Webern (Schoen-

berg’s pupil) brought to individual notes, carefully chosen and

spaced, each with its own color. Stravinsky was also drawn to

French courtly dances from the grand siècle, as can be seen in

the Gaillarde in Part II and the Bransles in Part III of the ballet

score, which were suggested by the 1623 collection Apologie de

la Danse by De Lauze.

Rhythmic regularity is now less pronounced than in ear-

lier Stravinsky scores, a certain randomness having aff ected this

Agon (complete ballet music)composed 1953-57

FRIDAY ONLY

by IGORSTRAVINSKYborn June 17, 1882Oranienbaum,near St. Petersburg

diedApril 6, 1971New York

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


48 The Cleveland OrchestraConcert Calendar48 The Cleveland Orchestra

F A L L S E A S O NThursday October 13 at 8:00 p.m.Saturday October 15 at 8:00 p.m.THE CLEVELAND ORCHESTRAFranz Welser-Möst, conductorNikolaj Znaider, violin

WEBER Overture to Euryanthe MENDELSSOHN Symphony No. 3 (“Scottish”) TCHAIKOVSKY Violin Concerto Concert Sponsor: The Sage Cleveland Foundation

Friday October 14 at 7:00 p.m.THE CLEVELAND ORCHESTRAFranz Welser-Möst, conductorNikolaj Znaider, violin

KeyBank Fridays@7 Concert STRAVINSKY Agon TCHAIKOVSKY Violin Concerto RAVEL Boléro followed by post-concert music Fridays@7 Dance Party PolkaFest and Hoedown

Sunday October 30 at 2:00 p.m.Cleveland Institute of Music OrchestraCarl Topilow, conductor

FAMILY CONCERT: Halloween Spooktacular!Back by popular demand! Experi-ence a thrilling chilling afternoon of Halloween fun starting with a pre-concert costume contest followed by a performance of some of the most memorable magical mystical music ever composed.

Concert Sponsor: Giant Eagle

Friday November 11 at 8:00 p.m.Saturday November 12 at 8:00 p.m.Sunday November 13 at 3:00 p.m.THE CLEVELAND ORCHESTRAAlan Gilbert, conductorWilliam Preucil, violin

BEETHOVEN Romance No. 2 (for violin) WEBERN Im Sommerwind BRUCH Adagio appassionato (for violin) SCHOENBERG Pelleas and Melisande Concert Sponsor: The Lubrizol Foundation

Thursday November 17 at 8:00 p.m.Friday November 18 at 8:00 p.m.Saturday November 19 at 8:00 p.m.THE CLEVELAND ORCHESTRATon Koopman, conductorTeresa Wakim, soprano

BACH Brandenburg Concerto No. 1 BACH Cantata No. 202 (“Wedding”) BACH Sinfonia from Cantata No. 209 BACH Sinfonia from Cantata No. 42 BACH Orchestral Suite No. 3 Concert Sponsor: Jones Day

Sunday November 20 at 3:00 p.m.CLEVELAND ORCHESTRA YOUTH ORCHESTRAJames Feddeck, conductor

BRAHMS Academic Festival Overture BACH Prelude and Fugue (“St. Anne”) transcribed by Arnold Schoenberg DVORÁK Symphony No. 8

Friday November 25 at 8:00 p.m.Saturday November 26 at 8:00 p.m.Sunday November 27 at 3:00 p.m.THE CLEVELAND ORCHESTRAFabio Luisi, conductorJonathan Biss, piano

R. STRAUSS Till Eulenspiegel MOZART Piano Concerto No. 17 R. STRAUSS Aus Italien Concert Sponsor: PNC

Friday December 2 at 7:00 p.m.THE CLEVELAND ORCHESTRAJames Feddeck, conductor

FAMILY CONCERT: Scenes from Tchaikovsky’s The Nutcracker

The Joffrey Academy Trainees join The Cleveland Orchestra to capture the magic of the holiday season in scenes from Tchaikovsky’s beloved Nutcracker ballet.

Concert Sponsor: Giant Eagle

Saturday December 3 at 8:00 p.m.THE CLEVELAND ORCHESTRAJames Feddeck, conductorwith Randy Newman

CELEBRITY CONCERT: Randy NewmanAcademy Award-winning songwriter Randy Newman joins the Orchestra for one special evening to perform such chart-toppers as “You’ve Got a Friend in Me” and “Short People.” Plus music from Toy Story, The Natural, Avalon, and more!

O R C H E S T R A 1112 clevelandorchestra.com

CLEVELAND ORCHESTRA TICKETS PHONE (216) 231-1111 800-686-1141



Thursday December 8 at 8:00 p.m.Saturday December 10 at 8:00 p.m.THE CLEVELAND ORCHESTRAMarin Alsop, conductorPeter Otto, violinJoela Jones, organ

BARBER Symphony No. 1 BERNSTEIN Serenade (for violin) SAINT-SAËNS “Organ” Symphony Concert Sponsor: Medical Mutual of Ohio

Friday December 9 at 7:00 p.m.THE CLEVELAND ORCHESTRA

KeyBank Fridays@7 Concert BERNSTEIN Serenade (for violin) SAINT-SAËNS “Organ” Symphony followed by post-concert music with Magda Giannikou and Banda Magda

Sunday December 11 at 3:00 p.m.Friday December 16 at 8:00 p.m.Saturday December 17 at 3:00 p.m.Saturday December 17 at 8:00 p.m.Sunday December 18 at 3:00 p.m.Sunday December 18 at 7:00 p.m.Thursday December 22 at 8:00 p.m.Friday December 23 at 3:00 p.m.Friday December 23 at 8:00 p.m.THE CLEVELAND ORCHESTRARobert Porco, conductorCleveland Orchestra Chorusand guest choruses

CLEVELAND ORCHESTRA CHRISTMAS CONCERTS

Celebrate the holiday season with The Cleveland Orchestra and Choruses in these annual offerings of music for the season, including sing-alongs and special guests.

TON KOOPMANCONDUCTS BACH Thursday November 17 at 8:00 p.m.Friday November 18 at 8:00 p.m.Saturday November 19 at 8:00 p.m.THE CLEVELAND ORCHESTRATon Koopman, conductorTeresa Wakim, soprano

The Cleveland Orchestra’s new artist-in-

residence, internationally acclaimed conduc-

tor and early music authority Ton Koopman,

returns to Severance Hall to lead an all-Bach

program. Featuring well-known favorites

and more unusual gems from the greatest

Baroque composer of them all!

Concert Sponsor: Jones Day

Ton Koopman is serving as The Cleveland Orchestra’s artist-in-residence, a position supported by the Orch-estra’s Malcolm E. Kenney Artist-in-Residence Fund.

Concert Calendar

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

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

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

Program Notes for each regular concert are usuallyposted in advance online at clevelandorchestra.com.

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aspect, at least from the listener’s perspective. Th e composer’s

sharp sense of orchestral color, on the other hand, is more acute

than ever. He uses a large orchestra in the manner of a cham-

ber ensemble, each instrument being selected for specifi c du-

ties, and never all heard at once. Each movement has its own

tinta, as the opera composer Giuseppe Verdi would have called

it, with a characteristic sonority or “sound world” derived from

the instruments that take part.

Th ere are twelve movements (equalling the number of

dancers), divided into four parts with three movements each.

Th ree interludes between the groups bring the total up to fi ft een

movements. At the beginning, the four men are seen aligned

across the back of the stage with their backs to the audience.

And at the end, the female dancers leave the stage with the men

back in their original positions. Balanchine’s choreography was

completely abstract; Stravinsky compared it to a painting by

Mondrian, and the work as a whole, although only twenty min-

utes long, was hugely successful at its original performance.

To assist the listener in following the separate movements,

the principal instruments involved are given below:

Part I

Movement 1. Pas-de-quatre for four male dancers. Mostly

brass, playing tag, with separate interjections from harp

and mandolin, and from the lower strings.

Movement 2. Double pas-de-quatre for eight female dancers.

Obsessive little clusters in the winds foreshadow the se-

rial treatment that comes later.

Movement 3. Triple pas-de-quatre for all twelve dancers.

Short, nervous phrases from most of the orchestra. Th e

second violins are given a melody with the characteristic

cluster shape.

Prelude. Timpani, followed by trumpets. Flutes and bas-

soons close the piece.

Part II

Movement 4. First pas-de-trois: Saraband-Step. One male

dancer. Solo violin, xylophone, and two trombones.

Movement 5. Gaillarde. Two female dancers. Flutes, harp,

mandolin, double basses.

Movement 6. Coda. One male and two female dancers. Solo

violin, trombone, fl utes. Many isolated notes.

The Greek

word Agon

suggests

a contest,

although no

actual contest

is specifi ed

or implied in

the score.

In this ballet,

Stravinsky and

Balanchine

conceived a

truly abstract

ballet without

a setting or

a story, sim-

ply a series

of dances for

eight women

and four men

who interact

in carefully

programmed

combinations.

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Cleveland Orchestra Program Book

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Interlude. Ensemble, double bass harmonics, reprise of Prelude’s close.

Part III

Movement 7. Second pas-de-trois: Bransle simple. Two male dancers.

Trumpets, trombone, clarinets.

Movement 8. Bransle gai. One female dancer. Castanets, fl utes, bassoons.

Movement 9. Bransle de Poitou. One female and two male dancers.

Strings, brass, piano.

Interlude. Echoes of the Prelude.

Part IV

Movement 10. Pas-de-deux. Th e longest movement. a.) Solo strings.

b.) Variation. One male, then one female dancer. Horns, piano, fl utes.

c.) Coda. Both dancers. Strings, mandolin, harp, trombones.

Movement 11. Four duos. Male and female dancers in pairs. Pizzicato

strings, trombones.

Movement 12. Four trios. Full company. Spiky strings. Reprise of the

opening. Th e female dancers leave the stage. Th e male dancers take

their position as at the beginning.

—Hugh Macdonald © 2011

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

Stravinsky wrote the music for the ballet Agon

between 1953 and 1957, on a commission

funded by the Rockefeller Foundation for the

New York City Ballet. Stravinsky worked closely

with choreographer George Balanchine in the

conception of the ballet and the outline of its

sections. The completed score was premiered

on June 17, 1957, by the Los Angeles Philhar-

monic conducted by Robert Craft. The ballet

was presented with Balanchine’s choreography

for the fi rst time on December 1, 1957, in New

York City.

This ballet score runs just over 20 minutes

in performance. Stravinsky scored it for 3

fl utes (third doubling piccolo), 2 oboes, english

horn, 2 clarinets, bass clarinet, 2 bassoons, con-

trabassoon, 4 horns, 4 trumpets, 3 trombones,

harp, mandolin, piano, timpani, percussion (3

tom-toms, xylophone, castanets), and strings.

Prior to performances this season, The

Cleveland Orchestra has performed this music

on only two previous occasions: in August

1969 in ballet performances with the New York

City Ballet at Blossom Music Center, and at a

weekend of concerts at Severance Hall in 1972

conducted by Pierre Boulez.

At a Glance

About the Music

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W H E N T C H A I KOVS K Y ’s Fourth Symphony premiered in Mos-

cow in February of 1878, it did so in the composer’s absence,

for he was on a working vacation in Western Europe. Th e trip

had begun with a month in the Swiss resort of Clarens on the

shores of Lake Geneva. Excursions to Paris, Italy, and Vienna

followed, but by the spring of 1878 Tchaikovsky was back in

Clarens at work on a new piano sonata. Th e day aft er his re-

turn, he received a visitor from home, the violinist Yosif Kotek,

a former student of Tchaikovsky’s at the Moscow Conservatory.

Genuinely fond of the young man, Tchaikovsky immediately

set aside the sonata to begin a violin concerto that could serve

the dual purpose of celebrating Kotek’s skill while also giving

Tchaikovsky an outlet for his feelings.

Within eleven days, the sketches were complete. Th en,

Tchaikovsky decided to redo the slow movement and, from all

reports, produced a replacement in a single day. Th e process

of orchestration followed with equal dispatch; from beginning

to end, the Violin Concerto had required less than a month of

eff ort.

Th us far, the path had been smooth, but it was with the

concerto’s completion that trouble arose. A new work requires

a premiere, and Kotek was too little known to do the honors

himself. And so Tchaikovsky chose to dedicate the work to the

renowned soloist Leopold Auer, only to learn that Auer refused

to perform it, rejecting it as “unviolinistic.” A premiere sched-

uled for March 1879 had to be cancelled for lack of a soloist.

Other violinists also turned Tchaikovsky down, before he

fi nally persuaded Adolph Brodsky to premiere the work in Vi-

enna in December 1881. By most accounts, Brodsky performed

well, but the composition itself was less fortunate, attracting the

disdain of Eduard Hanslick, the most infl uential of Viennese

critics, whose infamous review reads, in part, as follows: “Th e

Russian composer Tchaikovsky is surely not an ordinary talent,

but rather an infl ated one, with a genius-obsession without dis-

crimination or taste. Such is also his latest, long and pretentious

Violin Concerto. For a while it moves soberly, musically, and

not without spirit. But soon vulgarity gains the upper hand, and

asserts itself to the end. . . . Th e violin is no longed played; it is

beaten black and blue. . . . Tchaikovsky’s Violin Concerto gives

Violin Concerto in D major, Opus 35composed 1878

THURSDAY-FRIDAY-SATURDAY

by Pyotr IlyichTCHAIKOVSKYborn May 7, 1840near Votkinsk, Russia

diedNovember 6, 1893St. Petersburg


us for the fi rst time the hideous notion that there can be music that

stinks to the ear.”

In Hanslick’s defense, he would later have far kinder things

to say about Tchaikovsky’s “Pathétique” Symphony (No. 6), but

that concession would be aft er the composer’s death. For the mo-

ment, a deeply wounded Tchaikovsky had to face the failure of a

major composition. Refusing to blame Brodsky for the debacle,

he thanked his colleague for championing the piece, changed the

concerto’s dedication from Auer to Brodsky, and chalked it all up to

experience. He then went on to score great triumphs in the realms

of symphony, opera, and ballet. And before long even the Viennese

had come to admire Tchaikovsky’s abilities, and some of his former

enemies repented their earlier attacks.

And the concerto . . . as other violinists took up the score and

new audiences heard it, came to be considered among Tchaikovsky’s

greatest hits — and one of the standard concertos of the repertoire,

much loved and admired by audiences and performers everywhere.

Even Leopold Auer changed his mind, confessing in the fi nal year

of Tchaikovsky’s life that he had misjudged the concerto and chose

to add it to his own repertoire. Fortunately for us, Tchaikovsky’s

inspiration was right from the start.

—Betsy Schwarm © 2011

Betsy Schwarm spent twenty years as a classical radio announcer and producer. She currently teaches music at Metropolitan State College of Denver, writes program notes, and serves as recording engineer for Colorado’s Central City Opera.

Tchaikovsky wrote his Violin Concerto in the

spring of 1878 at Clarens, Switzerland. After a

private hearing (with violin and piano) in April

of that year, he wrote a new middle move-

ment. (He later used the discarded movement

as the opening section of his Souvenir d’un

lieu cher [“Memory of a Beloved Place”] for

violin and piano). The Violin Concerto was

fi rst performed on December 4, 1881, by the

Vienna Philharmonic Orchestra conducted by

Hans Richter, with Adolf Brodsky as the soloist.

This concerto runs about 35 minutes

in performance. Tchaikovsky scored it for

2 fl utes, 2 oboes, 2 clarinets, 2 bassoons, 4

horns, 2 trumpets, timpani, and strings, plus

the solo violin.

Tchaikovsky’s Violin Concerto has been

a staple of The Cleveland Orchestra’s reper-

toire since the ensemble’s founding in 1918.

Many of the greatest violinists from the past

century have played it here — including

Efrem Zimbalist, Zino Francescatti, Nathan

Milstein, Fritz Kreisler, Jascha Heifetz, Isaac

Stern, David Oistrakh, Pinchas Zukerman,

Itzhak Perlman, Viktoria Mullova, and

Joshua Bell. The most recent performances

were given at Severance Hall and on tour in

Florida in March 2008, with soloist Midori

under Giancarlo Guerrero’s direction, and

during the 2011 Blossom Festival with solo-

ist Viviane Hagner and conductor David

Zinman.

At a Glance

About the Music

57Severance Hall 2011-12 Guest Soloist

Nikolaj ZnaiderCelebrated as one of the foremost violinists of today, Danish

musician Nikolaj Znaider made his Cleveland Orchestra de-

but in 1999 and most recently performed with the Orchestra

in July 2009.

Born in Denmark in 1975 to Polish-Israeli parents,

Nikolaj Znaider studied with Milan Vitek at the Royal Dan-

ish Academy of Music. Aft er receiving First Prize in the

1992 Carl Nielsen International Violin Competition at age

16, he began working with Dorothy DeLay at the Juilliard

School. He achieved international acclaim by winning First

Prize at the 1997 Queen Elisabeth Competition in Brussels.

In 1999, he became a student of Boris Kushnir at the Vienna

Conservatory. Nikolaj Znaider is founder and artistic director of the Nordic Music

Academy, a summer school for string players.

Mr. Znaider regularly performs with the Berlin Philharmonic, Chicago Sym-

phony Orchestra, London Philharmonic Orchestra, London Symphony Orchestra,

New York Philharmonic, Philadelphia Orchestra, Royal Concertgebouw Orchestra,

St. Petersburg Philharmonic, and the Vienna Philharmonic. As a chamber musi-

cian, he collaborates with Leif Ove Andsnes, Daniel Barenboim, Yuri Bashmet, Yefi m

Bronfman, Lynn Harrell, Lang Lang, and Pinchas Zukerman, among others.

Nikolaj Znaider is also a conductor. Since 2008, he has been principal guest

conductor of the Swedish Chamber Orchestra and, in 2010, became principal guest

conductor of the Mariinsky Th eater Symphony Orchestra in St. Petersburg. His re-

cent and upcoming guest conducting engagements are with the Bergen Philharmonic,

Czech Philharmonic, Dresden Staatskapelle, Hallé Orchestra, Los Angeles Philhar-

monic, Munich Philharmonic Orchestra, Orchestre Philharmonique de Radio France,

Russian National Orchestra, and the Swedish Radio Symphony Orchestra.

As an RCA Red Seal/BMG Sony Masterworks artist, Nikolaj Znaider has re-

corded the violin concertos of Beethoven, Brahms, Korngold, and Mendelssohn, as

well as Brahms’s complete works for violin and piano. His recording of Prokofi ev’s

and Glazunov’s violin concertos received the Editor’s Choice award from Gramo-

phone Magazine. For EMI Classics, his discography includes Mozart’s piano trios

with Daniel Barenboim and the Nielsen and Bruch violin concertos.

Mr. Znaider plays the “Kreisler” Guarnerius del Gesù 1741 violin, on extended

loan from the Royal Danish Th eater through the generosity of the Velux Foundations

and Knud Højgaard Foundation.

CD SIGNING

Following the concerts on Thursday and Saturday evenings, Nikolaj Znaider

will be signing compact discs at the Cleveland Orchestra Store (ground fl oor).

A selection of his current CDs are for sale at the Store.

THURSDAY-FRIDAY-SATURDAY

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“ U N F O R T U N AT E LY it contains no music.” Th e carping of a

disgruntled critic? Far from it. With those words, Maurice Ravel

himself damned his own most famous composition, Boléro. It has

been called a fi ft een-minute crescendo; a concerto for snare

drum; a theme without variations; a minimalist triumph fi ft y

years before Philip Glass. Yet for all the arrows launched in its

direction, Boléro still retains a magic fascination, its inexorable

beat capturing one’s attention and even aff ections.

Although many listeners today may think of it as fi lm mu-

sic, Ravel conceived of the piece as ballet. In 1928, the dancer

Ida Rubinstein asked him to write a work in Spanish style, sug-

gesting at fi rst that Ravel might orchestrate some Albéniz piano

pieces. Indeed, Ravel was the most skilled of orchestrators;

six years earlier, he had famously reworked Mussorgsky’s Pic-

tures at an Exhibition. But apparently the idea of another such

project held little appeal. Instead, he determined to produce

something wholly his own. He called it Boléro; some observers

insisted that the rhythms were more like that of a fandango or

a seguidilla, but Ravel stood by his chosen title. Th e work pre-

miered on November 22, 1928, at the Paris Opéra with Rubin-

stein herself in the solo role as a sultry café dancer enticing her

masculine audience, the work’s unending crescendo refl ected

in their growing excitement. A later two-piano arrangement

by the composer exists, but it is in its orchestral form that the

work has earned its reputation.

Boléro is a set of eighteen variations on an original theme,

or perhaps more properly speaking, eighteen orchestrations of

that theme, for the theme itself does not change, though the

instruments do. Aft er an opening rhythm on the snare drum

(a rhythm that will continue unabated throughout the work),

the piece proceeds as follows:

1. solo fl ute (in the instrument’s low range)

2. solo clarinet (also low in the range)

3. solo bassoon (high in its range)

4. solo E-fl at clarinet (smaller and higher in pitch

than the standard B-fl at clarinet)

5. solo oboe d’amore (between the oboe and english

horn in pitch and tone)

Bolérocomposed 1928

FRIDAY ONLY

by MauriceRAVELborn March 7, 1875

Ciboure,

Basses-Pyrénées

diedDecember 28, 1937Paris

About the Music


6. muted trumpet and fl ute (fl ute fl oating above and

parallel to the trumpet’s line)

7. solo tenor saxophone (it is unusual to include sax-

ophones in an orchestra, but Ravel liked jazz)

8. solo soprano saxophone (a small, straight,

high-pitched saxophone)

9. horn and celesta (the bell-like tones of the latter

parallel to the horn’s line)

10. quartet comprised of clarinet and three double

reeds (a combination that is organ-like in timbre)

11. solo trombone (replete with sensuous sliding

passages)

12. high woodwinds (growing more strident in tone)

With variation thirteen, the strings fi nally emerge from their

place in the background to take the lead for the remaining

variations. Th e crescendo continues to build; the drumbeat

becomes ever more prominent, more obsessive. Before long,

trumpet accents are added, contributing to the intensity until,

in the fi nal moments, the full orchestra is tossed into the mix

— trombones and cymbals and all — bringing Boléro to an ex-

ultant, if abrupt, conclusion.—Betsy Schwarm © 2011

About the Music

Ravel composed Boléro in 1928.

It was fi rst performed on Novem-

ber 22, 1928, by Ida Rubinstein’s

company at the Paris Opéra. Ru-

binstein herself danced the main

role; the chor eography was by

Bronislava Nijinska, with sets and

costumes by Alexandre Benois;

Walther Straram conducted. The

North American premiere took

place at an orchestral concert

conducted by Arturo Toscanini

with the New York Philharmonic,

on November 14, 1929.

Boléro runs about 15

minutes in performance. Ravel

scored it for 2 fl utes and piccolo,

2 oboes (second doubling oboe

d’amore) and english horn, 2

clarinets plus small clarinet in E

fl at and bass clarinet, 2 bassoons

and contrabassoon, 4 horns, 4

trumpets, 3 trombones and tuba,

3 saxophones (sopranino, sopra-

no, tenor), timpani, percussion (2

snare drums, cymbals, tam-tam),

celesta, harp, and strings.

The Cleveland Orchestra fi rst

performed Boléro in October

1930, conducted by music

director Nikolai Sokoloff . It has

performed this work on many oc-

casions since, most recently prior

to this season in March 2011,

when Giancarlo Guerrero led

performances in Miami. Franz

Welser-Möst conducted it at the

Opening Night Gala two weeks

ago on October 1.

At a Glance

And...“ Saturdays from Severance” LIVE at 8 pm

“The Cleveland Orchestra on the Radio”

Sundays at 4 pm

Double Feature

The Cleveland Orchestra62

p h o n e 216.241.6000 o n l i n e CLEVELANDPLAYHOUSE.COM

October 21 - November 13From one of the Tony Award-winning

directors of Les Misérables comes a

charming love story that combines

enthralling music, witty dialogue,

and a wonderfully intimate and

compelling relationship.

“MAGICAL... CHARMING... KEEN AND WINNING”

- VARIETY

The Jazz Unit

The Jazz Unit was organized by Jack Schantz in 1976 with the mission of

creating an outlet for creative jazz composition and improvisation. In addition

to original compositions, the band has a vast repertoire, including the music

of George Russell, Charles Mingus, and Frank Zappa. In 2008, the group was

awarded a New Works: Creation and Presentation grant from Chamber Music

America and the Doris Duke Charitable Foundation. This grant enabled the

group to commission Dave Morgan to compose The Way of the Sly Man, a nine-

movement work based on the esoteric philosophy of G.I. Gurdjieff. Gurdjieff

was one of the first Westerners to explore Eastern philosophical, psychological,

and spiritual ideas and interpret them for Western sensibilities. The critically

acclaimed recording of The Way of the Sly Man features the Jazz Unit with guest

pianist Dan Wall and percussionist Jamey Haddad.

The Jazz Unit is currently exploring the compositions of seminal Brazilian

composers, including Moacir Santos and Baden Powell. This Fridays@7 perfor-

mance features Brazilian music as well as selections from The Way of the Sly Man.

FRIDAY PRELUDE CONCERT

Fridays@7

concert + @fter party

Organ Symphony

Friday December 9

Grieg Piano Concerto

Friday March 16

Stravinsky The Firebird

Friday May 11


The KeyBank Fridays@7 series continues with three more presentations this

season. Featuring an early start time, no intermission, and an @fter Party un-

like anything else in Cleveland, Fridays@7 concerts are less formal onstage

and offstage. Following each Cleveland Orchestra concert, world music

expert Jamey Haddad invites a selection of artists to collaborate in a

unique musical celebration. Great music to round out your evening

and expand your horizons. Come for the music . . . and the fun!


Howie Smith, woodwindsBrad Wagner, woodwindsTom Reed, woodwindsSteve Hawk, trumpetBill Hoyt, hornChris Anderson, trombone

Joe Leaman, pianoBob Fraser, guitarRon Busch, vibraphoneDave Morgan, bassJim Rupp, drums


AARON DAVIDMILLER

1.9.

12

“Gulliver’s Troubles: HowAmerica Will Fare in aChanging Middle East”

LARRY ELDER

2.6.

12

“American Exceptionalism:Is America Still a Landof Opportunity”

ERSKINE B. BOWLES

2.27

.12

“Practical Implicationsof the Debt CeilingLevel”

DAVIDPOGUE

11.1

4.11

“The Digital GenerationComes Of Age”

CAPITOLSTEPS

12.1

2.11

“The Lighter Sideof Politics”

Tickets are $45 each. Ohio Theatre 6:00 PM

Call for tickets at216.241.1919

or order online at

www.townhallofcleveland.org

Academic Sponsor

Town Hall Speaker Series

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

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


Guide to Fine Schools

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

Consistently ranked among“Best Communities for

Music Education” in the Nation!

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

Baldwin-Wallace College Conservatory of Music

440-826-2369

Cleveland Institute of Music216-791-5000

Cleveland State UniversityKulas Series of

Keyboard Conversations with Jeffrey Siegel

216-687-5018

Gilmour Academy 440-473-8050


Eddie Rodick Orchestra Eddie Rodick, accordion Frank Yasnowski, saxophone/clarinet/vocal Eddie Rodick III, guitar/banjo/vocal Terry Skovenski, bass/vocal

Kim Rodick, drums/vocal

The Eddie Rodick Orchestra has been wowing au-

diences for decades across the country and abroad with

their exciting style of performance. With the leadership

of Eddie, whose enthusiasm and talent on the accordion

is like no other, the band has performed all over the United States, Canada, and Eu-

rope. They have recorded several albums and guest starred on various others, as well

as making numerous tv and radio appearances.

Eddie has been performing for more than forty years, and the musicians sur-

rounding him add a wealth of experience in all genres of music as his supporting

cast. They provide a crowd-pleasing versatility, not only in their vocals and wide

range of instruments they play, but in the variety of music they offer. The group

was named “Band of the Year” four times by the National Cleveland Style Polka

Hall of Fame, and has captured many other awards.

The Back Porch Swing Band Adam Jackson, fiddle Pete Shew, guitar Dave Irwin, bass Caleb Hutslar, keyboards

with square dance caller Larry Wardand the Cleveland Federation of Dance Clubs

If you’re looking for a band with a swingin’ rhythm

and an old timey flavor, look no further. This group combines the talents of five

noteable musicians responsible for the tapping of thousands of feet across Ohio for

the past 15 years. The band specializes in Western Swing, but plays several musical

styles, ranging from Appalachian tunes, Blues, Old Country & Folk, to a lot of Swing

music from the 1920s, ’30s, and ’40s. Requests from the audience are frequently

honored. Dance music includes swing, jitterbug, two steps, waltzes, polkas, shad-

dishs, and square dances. For more information, visit BackPorchSwingBand.com.

Larry Ward’s legendary career across more than six decades began at age 12, grow-

ing with the popularity of square dancing in the Western United States. Often dressed

like Elvis, Larry stood out as the number one caller, flying to a different city every

other day to call to halls of thousands. His groups won dance exhibition competi-

tions, opened Disneyland, performed on television, and introduced square dancing to

China. Despite a late 20th-century loss of interest in the art, Larry has forged ahead,

working to return style and popularity to America’s only original folk dance.

FRIDAY @FTER PART Y DANCE PART Y DANCE PART Y

KeyBank Fridays@7


Severance Hall

For tickets, call (216) 231For tickets, call (216) 231--1111 or (800) 6861111 or (800) 686--11411141

With the legendary Motown Chart toppers THE CONTOURS

plus the FIVE MUSICAL NUMBERS voted by the audiences as your all-time favorites

FRIDAY, OCT. 21ST

8:00 P.M.

Motown & MoreMotown & More


guide to Fine Dining

photo by Hernan Herrero

Join us for dinner before or after the orchestra.Reservations ’til 11pm on Thurs. ~ 216.721.0300

2198 Murray Hill Rd. Cleveland, OH 44106 mangelos.com

Open for lunch Tuesday ~ Friday

In the heart of Little Italy!university circle 216.231.1234shaker square 216.295.1200www.sergioscleveland.com

two great restaurants minutes from Severance Hall...

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2175 CORNELL ROADCLEVELAND, OHIO 44106

216.229.1111

World-class performances. World-class audiences.Advertise among friends in The Cleveland Orchestra programs.

contact John Moore216.721.4300

[email protected]

Let’s talk


School buses delivering students to Severance Hall. More than four million schoolchildren have been introduced to symphonic music in nine decades of Cleveland Orchestra weekday Education Concerts.

Education & Community

The Cleveland Orchestra: Serving the Community Th e Cleveland Orchestra’s Education and Community programs provide shared musical experiences that engage, inspire, support, and deepen connections with audiences throughout Northeast Ohio

THE CLEVELAND ORCHESTRA has a long and proud history of sharing

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

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

mained a central focus of the ensemble’s actitivities for over ninety years. Today,

with the support of many generous individual, foundation, corporate, and govern-

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

reach more than 70,000 young people and adults annually, helping to foster a love

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

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

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

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

PH

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68 The Cleveland OrchestraEducation & Community

Music Study Groups provide a way of exploring the Orchestra’s music in depth. These professionally led classes meet weekly to explore the music being played each week and the stories behind the composers’ lives.

The Cleveland Orchestra helps celebrate the seasons and special events throughout the year. On October 30, the season’s fi rst Family Concert features the second annual “Halloween Spookatcular!” including a special audience costume contest.

A Family Concert featuring Stravinsky’s Firebird Suite brought audiences up close for a thrilling performance by Academy Trainees of the Joff rey Ballet and performers from the Cleveland School of Dance. The Joff rey Academy returns in December to Severance Hall for the season’s second Family Concert, “Scenes from Tchaikovsky’s Nutcracker.”


69Severance Hall 2011-12 Education & Community

More than 1,000 talented young musicians have performed as members of the Cleve- land Orchestra Youth Orchestra in the 25 years since its founding in 1986.

Cleveland Orchestra clarinetist Robert Woolfrey leads a Learning Through Music program at H. Barbara Booker School in Cleveland.

The Cleveland Orchestra is creating “Musical Neigh- borhoods” in Cleveland preschools as part of PNC Grow Up Great, using music to support pre-literacy and school readiness skills.

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

made possible by many generous individuals,foundations, and corporations, including:

The Abington FoundationThe Eva L. and Joseph M. Bruening Foundation

Chubb Group of Insurance CompaniesCleveland Clinic

The Cleveland FoundationConn-Selmer, Inc.

Dominion FoundationThe Harry K. Fox and Emma R. Fox Charitable Foundation

Giant EagleMuna & Basem Hishmeh FoundationMartha Holden Jennings Foundation

JPMorgan Chase FoundationThe Laub Foundation

The Lincoln Electric FoundationThe Lubrizol Corporation

The Nord Family FoundationOhio Arts CouncilOhio Savings Bank

PNCThe Reinberger Foundation

Albert G. & Olive H. Schlink FoundationThe Sherwin-Williams Foundation

The South Waite FoundationSurdna Foundation

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

Women’s Committee of The Cleveland Orchestra

O R C H E S T R A


Corcoran Arts & AppraisalsViews of Brittany and Paris

14 Recently Discovered Oil PaintingsAbel Warshawsky (Cleveland 1883-1962)

Monday, Tuesday & Thursday 12-5 p.m. Wednesday, Friday & Saturday 12-6 p.m.

CorcoranFineArts.com12610 Larchmere Blvd. 216-767-0770

A remarkable ass

Larchmere BoulevardCleveland’s Art and Antique District

(one block north of Shaker Square)

A remarkable assortment of more than 50 shops – art, antique, and craft galleries; restaurants; services; designer and vintage clothing; and specialty shops.

HARNESSESTHE POWER OF THE ARTS

PNC supports those who make the world a more beautiful place. That’s why we’re proud to sponsor the Cleveland Orchestra. Because we know that achievement is an art form all its own.

©2011 The PNC Financial Services Group, Inc. All rights reserved. PNC Bank, National Association. Member FDIC.ACHIEVEMENT is a registered mark of The PNC Financial Services Group, Inc.

COMMSERV AD JUN 2010 001

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the T Cleveland Orchestra.

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


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In January 2012, Th e Cleveland Orchestra and Franz Welser-Möst embark

on a three-week program of presenting the three solo concertos of Johannes

Brahms at Severance Hall, with violinist Lisa Batiashvili and pianist Yefi m

Bronfman. Th e mini-festival — featuring the Violin Concerto and both

Piano Concertos — reunites Welser-Möst and Bronfman, who performed to-

gether in Franz’s debut here as a guest conductor in 1993. More recently, they

performed together last year in a special outdoor concert with the Vienna

Philharmonic that was televised internationally and released on the Deutsche

Grammophon label.

“I’m really overwhelmed with excitement to play with Franz and

Th e Cleveland Orchestra,” says Bronfman. “Franz has always been a great

conductor, but he has also become such a great personality, with so much

knowledge. He has grown into a major fi gure in music.” Playing the Brahms

concertos is probably among “the greatest experiences I’ve ever had,” he con-

tinues. “Especially playing the second one, which is so majestic. Th ere is

Beethoven’s ‘Emperor’ Concerto, but maybe Brahms Two is also an Emperor.”

“From the very fi rst note,” says Bronfman, “you can tell this is a jour-

ney, that this requires a collaboration between the soloist and the orchestra

at all times. It’s always an exchange of ideas, back and forth. And the cello

solo is arguably the most famous in the repertoire. I cannot think of a better

orchestra than Cleveland to play with, for the chamber music character of the

Second Concerto.’’

For tickets, visit clevelandorchestra.com.

Brahms CONCERTOS

Brahms Concerto Festival

January-February 2012 at Severance Hall

s e a s o n s p o t l i g h t



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

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

FREE PUBLIC TOURS Free public tours of Severance Hall are offered on select Sundays during the year. Free public tours of Severance Hall are being offered this fall on October 10 and November 28. For additional in-formation or to book for one of these tours, please call the Cleveland Orchestra Ticket Offi ce at (216) 231-1111. Private tours can be arranged for a fee by calling (216) 231-7421.

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

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

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 OPPORTUNITIESSeverance Hall, a Cleveland landmark and home of the world-renowned Cleveland Orchestra, is the perfect location for business meetings and confer-ences, pre- or post-concert dinners and receptions, weddings, and social events. Exclusive catering provided by Sammy’s. Premium dates are available. Call the Facility Sales Offi ce at (216) 231-7420 or email to [email protected]

BEFORE THE CONCERTGARAGE PARKING AND PATRON ACCESS Parking can be purchased for $10 per vehicle when space in the Campus Center Garage permits. However, the garage often fi lls up well before concert time; only ticket holders who purchase pre-paid parking passes are ensured a parking space. Overfl ow parking is available in CWRU Lot 1 off Eu-clid Avenue, across from Severance Hall; University Circle Lot 13A on Adelbert Road; and the Cleveland Botanical Garden. Pre-paid parking for the Campus Center Ga-rage can be purchased in advance through the Tick-et Offi ce for $14 per concert. This pre-paid parking ensures you a parking space, but availability of pre-paid parking passes is limited. To order pre-paid parking, call the Cleveland Orchestra Ticket Offi ce at (216) 231-1111.

FRIDAY MATINEE PARKING Due to limited parking availability for Friday Matinee performances, patrons are strongly en-couraged to take advantage of convenient off-site parking and round-trip shuttle services available from the Cedar Hill Baptist Church (12601 Cedar Road). The fee for this service is $10.

CONCERT PREVIEWS Concert Previews at Severance Hall are pre-sented in Reinberger Chamber Hall on the ground fl oor, except when noted, beginning one hour be-fore the start of most subscription concerts.

Guest Information

74 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, VIDEO, AND AUDIO RECORDING For the safety of guests and performers, pho-tography and videography are strictly prohibited during performances at Severance Hall.

REMINDERS Please disarm electronic watch alarms and turn off all pagers, cell phones, and mechanical devices before entering the concert hall. Patrons with hearing aids are asked to be attentive to the sound level of their hearing devices and adjust them accordingly. To ensure the listening pleasure of all patrons, please note that anyone creating a disturbance of any kind may be asked to leave the concert hall.

LATE SEATING Performances at Severance Hall start at the time designated on the ticket. In deference to the comfort and listening pleasure of the audience, late-arriving patrons will not be seated while music is being performed. Latecomers are asked to wait quietly until the fi rst break in the program, when ushers will assist them to their seats. Please note that performances without intermission may not have a seating break. These arrangements are at the discretion of the House Manager in consulta-tion with the conductor and performing artists.

SERVICES FOR PERSONS WITH DISABILITIES

Severance Hall staff are experienced in assist-ing patrons to fi nd seats that meet their needs. Wheelchair seating is available on the Orchestra Level, Box Level, and Dress Circle, and in Reinberger Chamber Hall at a variety of prices. For patrons who prefer to transfer from a wheelchair, seats with removable arms are available on the Orches-tra Level in the Concert Hall. ADA seats are held for those with special needs until 48 hours prior to the performance, unless sell-out conditions exist before that time. Severance Hall features seating locations for people with mobility impairments and offers wheelchair transport for all performances. To discuss your seating requirements, please call the Ticket Offi ce at (216) 231-1111. TTY line access is available at the public pay telephone located in the Security Offi ce. Infrared Assistive Listening Devices are available from a

Head Usher or the House Manager for all perfor-mances. If you need assistance, please contact the House Manager at (216) 231-7425 in advance if possible. Service animals are welcome at Severance Hall. Please notify the Ticket Offi ce when purchasing tickets.

IN THE EVENT OF AN EMERGENCY Contact an usher or a member of the house staff if you require medical assistance. Emergency exits are clearly marked throughout the building. Ushers and house staff will provide instructions in the event of an emergency.

SECURITY For security reasons, backpacks, musical instru-ment cases, and large bags are prohibited in the concert halls. These items must be checked at coat check and may be subject to search. Severance Hall is a fi rearms-free facility. No person may possess a fi rearm on the premises.

CHILDREN Regardless of age, each person must have a ticket and be able to sit quietly in a seat through-out the performance. Season subscription concerts are not recommended for children under the age of eight. However, Family Concerts and Musical Rainbow programs are designed for families with young children. Cleveland Orchestra Youth Orchestra performances are recommended for older children.

TICKET SERVICESTICKET EXCHANGES Subscribers unable to attend on a particular concert date can exchange their tickets for a dif-ferent performance of the same week’s program. Subscribers may exchange their subscription tickets for another subscription program up to fi ve days prior to a performance. There will be no service charge for the fi ve-day advance ticket exchanges. If a ticket exchange is requested within 5 days of the performance, there is a $10 service charge per concert. Visit clevelandorchestra.com for details and blackout dates.

UNABLE TO USE YOUR TICKETS? Ticket holders unable to use or exchange their tickets are encouraged to notify the Ticket Offi ce so that those tickets can be resold. Because of the demand for tickets to Cleve land Orchestra perfor-mances, “turnbacks” make seats available to other music lovers and can provide additional income to the Orchestra. If you return your tickets at least 2 hours before the concert, the value of each ticket can be used as a tax-deductible contribution. Pa-trons who turn back tickets receive a cumulative donation acknowledgement at the end of each calendar year.


Meet Robert Conrad Cleveland Orchestra Trustee, Heritage Society member, co-founder of classical radio station WCLV, and Heritage Society ambassador on WCLV

How many years have you been attending Orchestra concerts?

Jean and I have been attending since about 1962, the year

C.K. “Pat” Patrick and I co-founded WCLV.

Your favorite symphony?Sibelius Symphony No. 1

When did you start broadcasting The Cleveland Orchestra on WCLV?

We’ve been broadcasting concerts since 1965. Forty-some

years on, and we’re still broadcasting Orchestra concerts as

well as streaming them live over the internet. WCLV will be

celebrating its 50th anniversary in 2012, and I’ve been com-

mentator for what’s become the longest running continuous

orchestra broadcast series in the history of American radio!

And, in Bob’s own words, from his WCLV invitation to Orchestra lovers everywhere . . .

Th is is Robert Conrad. As a Cleveland Orchestra Trustee and member of the Orches-

tra’s Heritage Society, I’d like to invite you to join my wife, Jean, and me in support of

this wonderful Cleveland treasure. Th e Orchestra provides all of us with world-class

music right here in our hometown and represents Cleveland at its fi nest throughout

the world. And one of the ways that we support the Orchestra is through a charitable

gift annuity. A gift annuity allows us to make a generous gift and at the same time

receive income for life. Please join Jean and me, and the many other Heritage Society

members who have created a Cleveland Orchestra Gift Annuity.

To learn how you can become a member of the Heritage Society,

contact Jim Kozel, Director of Legacy Giving, by calling 216-231-7549

or via email to [email protected] or visit clevelandorchestra.com

and click on Support, then Heritage Society


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


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

77Severance Hall 2011-12 Institutional Support

PARTNERS IN EXCELLENCE$300,000 AND MORE

KeyBankThe Lubrizol CorporationNACCO Industries, Inc.PNCRaiffeisenlandesbank

Oberösterreich (Europe)

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

Baker HostetlerEaton CorporationForest City Enterprises, Inc.The Plain Dealer

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

The J. M. Smucker CompanyMedical Mutual of Ohio

Corporate Honor Roll gifts of $2,500 and more as of September 20, 2011

Recognizing those

companies with annual

contributions totaling

$100,000 and more,

Partners in Excellence

exemplify leadership and

commitment to artistic

excellence at the highest

level. We are very grateful

for their commitment to the

Orchestra and the north-

east Ohio community.

The Cleveland Orchestra and Musical Arts Association gratefully acknowledge and salute

the members of the Corporate Honor Roll for their annual support of The Cleveland Orchestra.

For further information about joining the Honor Roll, please contact

Anizia Karmazyn, Director of Development, at 216-231-7551.


$50,000 TO $99,999

FirstMerit BankThe Goodyear Tire

& Rubber Company Jones DayParker Hannifin CorporationThe Sage Cleveland FoundationTele München Group (Europe)

$25,000 TO $49,999

Conn-Selmer, Inc.

Giant EagleJPMorgan Chase FoundationNorthern Trust Bank

of Florida (Miami)Quality Electrodynamics (QED)Richard L. Bowen & Associates, Inc.Squire, Sanders & Dempsey (US) LLPThompson Hine LLP

$2,500 TO $24,999

Akron Tool & Die CompanyAmerican Fireworks, Inc.American Greetings CorporationArnstein & Lehr LLP (Miami)Bank of AmericaBDIBrouse McDowellEileen M. Burkhart & Co. LLCBuyers Products CompanyCalfee, Halter & Griswold LLPThe Cliffs FoundationCommunity Behavioral Health CenterConsolidated Graphics Group, Inc.Dealer Tire LLCDollar BankDominion FoundationErnst & Young LLPEvarts-Tremaine-Flicker CompanyFeldman Gale, P.A. (Miami)Ferro CorporationFifth Third BankFrantz Ward LLPGallagher Benefit ServicesGenovese Vanderhoof & Associates

Great Lakes Brewing CompanyGross BuildersHahn Loeser + Parks LLPHiger Lichter & Givner LLP (Miami)Houck Anderson P.A. (Miami)Hyland Software, Inc.Keithley FoundationThe Lincoln Electric FoundationC. A. Litzler Co., Inc.Live Publishing CompanyLNE Group / Lee Weingart (Europe)Macy’sMiba AG (Europe)MindCrafted SystemsMTD Products, Inc.Nordson CorporationNorth Coast Container Corp.Northern HaserotOatey Co.Octavia PressOhio CATOhio Savings Bank, A Division

of New York Community BankOlympic Steel, Inc.Park-Ohio Holdings Corp.PolyOne CorporationThe Prince & Izant CompanyRichey Industries, Inc.RPM International Inc.SEMAG GmbH (Europe)The Sherwin-Williams CompanyStearns Weaver Miller Weissler Alha

(Miami)Stern Advertising AgencySumma Health SystemSwagelok CompanyTowers WatsonTriMark S.S. KempTrionix Research Laboratory, Inc.Tucker Ellis & West LLPUlmer & Berne LLPVer Ploeg & Lumpkin, P.A.Westlake Reed LeskoskyAnonymous (3)

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79Severance Hall 2011-12 Institutional Support

$1 MILLION AND MORE

The Cleveland FoundationCuyahoga County residents

through Cuyahoga Arts and Culture

Maltz Family FoundationThe Kelvin and Eleanor

Smith Foundation

$250,000 TO $500,000

Andrew W. Mellon Foundation

David and Inez Myers Foundation

Ohio Arts CouncilThe Skirball Foundation

$100,000 TO $249,999

Sidney E. Frank FoundationThe GAR FoundationThe George Gund

FoundationMartha Holden Jennings

FoundationKulas FoundationThe Mandel FoundationThe Miami Foundation,

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

John P. Murphy FoundationSurdna Foundation

Foundation and Government Honor Roll gifts of $2,000 or more during the past year, as of September 20, 2011

The Cleveland Orchestra and Musical Arts Association gratefully acknowledge and salute

the members of the Foundation and Government Honor Roll for their annual support

of The Cleveland Orchestra. For further information about joining the Honor Roll,

please contact Bridget Mundy, Grants Manager, at 216-231-8006.

$50,000 TO $99,999

The George W. Codrington Charitable Foundation

The Louise H. and David S. Ingalls Foundation

Myra Tuteur Kahn Memorial Fund of The Cleveland Foundation

National Endowment for the ArtsThe Payne FundThe Reinberger Foundation

$20,000 TO $49,999The Abington FoundationAkron Community FoundationThe Helen C. Cole Charitable TrustThe Mary S. and David C. Corbin

FoundationThe Gerhard Foundation, Inc.Ann and Gordon Getty FoundationElizabeth Ring Mather and

William Gwinn Mather FundThe Nonneman Family FoundationThe Esther and Hyman Rapport

Philanthropic TrustThe Sisler McFawn Foundation

$2,000 TO $19,999

Ayco Charitable FoundationThe Ruth and Elmer Babin FoundationBicknell FundThe Eva L. and Joseph M. Bruening

FoundationThe Collacott FoundationThe Frances G. and Lewis Allen Davies

Endowment FundMary and Dr. George L. Demetros

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

Charitable Foundation Funding Arts Network (Miami)

The Helen Wade Greene Charitable Trust

The Hankins FoundationMuna & Basem Hishmeh FoundationRichard H. Holzer

Memorial FoundationThe Kangesser FoundationThe Laub FoundationVictor C. Laughlin, M.D.

Memorial Foundation TrustThe G. R. Lincoln Family FoundationMargaret Clark Morgan FoundationMiami-Dade County Department

of Cultural Affairs (Miami)Laura R. & Lucian Q. Moffitt FoundationThe Nord Family FoundationPaintstone FoundationThe Charles E. & Mabel M. Ritchie

Memorial FoundationThe Leighton A. Rosenthal

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

Memorial FoundationThe South Waite FoundationJean C. Shroeder FoundationThe Taylor-Winfield FoundationThe George Garretson Wade

Charitable Trust The S. K. Wellman FoundationThe Wells Family Foundation, Inc.Thomas H. White Foundation,

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


INDIVIDUAL GIFTS OF $500,000 AND MORE

Mr. and Mrs. Alexander M. Cutler Daniel R. and Jan R. Lewis (Miami)

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

Irma and Norman Braman (Miami) The Walter and Jean Kalberer Foundation Susan Miller (Miami) Mr. and Mrs. Albert B. Ratner James and Donna Reid


Ben and Ingrid Bowman Francie and David Horvitz (Miami) Mr. and Mrs. Joseph P. Keithley Dr. and Mrs. Herbert Kloiber (Europe)Mrs. Norma Lerner Mr. and Mrs. Herbert McBride Sally S. and John C. Morley Ms. Ginger Warner (Cleveland, Miami) Janet and Richard Yulman (Miami)


Robert and Jean Conrad Trevor and Jennie Jones Mr. and Mrs. Douglas A. Kern Mr. and Mrs. Dennis W. LaBarre The Honorable and Mrs. John Doyle Ong Julia and Larry Pollock Barbara S. Robinson


John P. Bergren* and Sarah M. Evans Mr. William P. Blair III Mr. Richard J. Bogomolny

and Ms. Patricia M. Kozerefski Mr. and Mrs. Charles P. Bolton Hector D. Fortun (Miami) James D. Ireland III R. Kirk Landon

and Pamela Garrison (Miami) Peter B. Lewis and Janet Rosel (Miami)Toby Devan LewisMs. Nancy W. McCann

Leadership Council The Leadership Council salutes those extraor-

dinary donors who have pledged to sustain their

annual giving at the highest level for three years or

more. Leadership Council donors are recognized in

the Crescendo listings with the Leadership Council

symbol next to their name:

Generous Individual Donors gifts as of September 20, 2011


Generous Individual Donors

Gay Cull Addicott

William W. Baker

Ronald H. Bell

Henry C. Doll

Judy Ernest

Nicki Gudbranson

Jack Harley

Iris Harvie

Brinton L. Hyde

Randall N. Huff

Elizabeth Kelley

David C. Lamb

Raymond T. Sawyer

Barbara Robinson, chair

Robert Gudbranson, vice chair

Ongoing annual support gifts are a critical compo-

nent toward sustaining The Cleveland Orchestra’s

economic health. Ticket revenues provide only a

small portion of the funding needed to support

the Orchestra’s outstanding performances, educa-

tional activities, and community projects.

The Crescendo Patron Program recognizes gener-

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

Annual Fund. For more information on the ben-

efits of playing a supporting role each year, please

contact Hayden Howland, Manager of Leader-

ship Giving, by calling (216) 231-7545.

The Cleveland Orchestra and Musical Arts Association gratefully recognize the individuals

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

in annual operating, endowment, special project, or benefit event support.

Crescendo Annual Fund Patrons



Mr. and Mrs. Alfred M. Rankin, Jr. Mr. and Mrs. Richard K. Smucker David A. and Barbara Wolfort Anonymous


Dr. and Mrs. Wolfgang Berndt (Europe) Blossom Women’s CommitteeThe Brown and Kunze FoundationJeanette Grasselli Brown and Glenn R. BrownMrs. Gerald N. CannonMr. and Mrs. Matthew V. CrawfordMr. and Mrs. Geoffrey GundGeorge GundMrs. Marguerite B. HumphreyGiuliana C. and John D. Koch Foundation

(Cleveland, Miami)Dr. Vilma L. KohnCharlotte R. KramerMr. and Mrs. Jon A. LindsethMs. Beth E. MooneyMrs. Alfred M. Rankin, Sr.Brian and Patricia RatnerCharles and Ilana Horowitz RatnerLuci and Ralph* ScheyMr. and Mrs. Franz Welser-MöstWomen’s Committee

of The Cleveland OrchestraAnonymous


Sheldon and Florence Anderson (Miami)Mr. and Mrs. Gerald A. ConwayTati and Ezra Katz (Miami) Mr. and Mrs. S. Lee Kohrman Dr. and Mrs. David LeshnerMr. and Mrs. Alex Machaskee Mrs. Jane B. NordMr. and Mrs. James A. RatnerHewitt and Paula Shaw Richard and Nancy Sneed R. Thomas and Meg Harris Stanton Rick, Margarita and Steven Tonkinson (Miami)Judy and Sherwood Weiser (Miami)


Gay Cull Addicott Mr. and Mrs. Daniel M. Bell (Miami)Martha and Bruce Clinton (Miami)Bruce and Beth Dyer Albert I. and Norma C. Geller Dr. Edward S. GodleskiAndrew and Judy Green

Margaret Fulton-Mueller and Scott Mueller William J. and Katherine T. O’Neill Dr. and Mrs. Ronald J. Ross Rennie and Marc SaltzbergDr. and Mrs. Neil Sethi Paul and Suzanne Westlake Anonymous gift from Switzerland (Europe) Anonymous


Mr. and Mrs. William W. Baker Randall and Virginia BarbatoJayusia and Alan Bernstein (Miami) Scott Chaikin and Mary Beth CooperDo Unto Others Trust (Miami)Colleen and Richard Fain (Miami) Mr. Allen H. FordRichard and Ann GridleyMrs. John A Hadden Jr.Gary Hanson and Barbara Klante Jack Harley and Judy ErnestIris and Tom Harvie Joan and Leonard HorvitzRichard and Erica Horvitz (Cleveland, Miami)Elizabeth B. Juliano Mr. Thomas F. McKee Mrs. Stanley L. Morgan*Lucia S. NashMr. Gary A. Oatey Mr. and Mrs. James A. Saks Raymond T. and Katherine S. SawyerNancy and Neil Schaffel (Miami)David and Harriet SimonMary M. Spencer (Miami)Dr. and Mrs. William P. Steffee Dr. Kenneth F. SwansonMr. Joseph F. Tetlak


Mr. and Mrs. George M. Aronoff Mr. and Mrs. David J. Carpenter George* and Becky DunnRobert M. Maloney and Laura GoyanesMrs. David Seidenfeld Mrs. Jean H. TaberMr. and Mrs. Alfred Umdasch (Europe)


Fred G. and Mary W. BehmMarsha and Brian Bilzin (Miami) Dr. Christopher P. Brandt and Dr. Beth Sersig Mr. D. McGregor Brandt, Jr.Mr. and Mrs. Eugene A. BuehlerJ. C. and Helen Rankin Butler Augustine* and Grace Caliguire

listings continue



INDIVIDUAL GIFTS OF $10,000 TO $12,499 CONTINUED

82 Severance Hall 2011-12

Richard J. and Joanne ClarkMr. Bruce Coppock (Miami)Judith and George W. DiehlMr. and Mrs. Robert P. DuvinMike S. and Margaret Eidson (Miami)Dr. and Mrs. Lloyd H. Ellis Jr.Mr. and Mrs.* David K. FordMs. Dawn M. FullMr. Francisco A. Garcia (Miami)Mr. and Mrs. Richard T. GarrettMr. and Mrs. Robert W. GillespieSondra and Steve HardisHenry R. Hatch and Robin Hitchcock HatchMr. and Mrs. Jeffrey Healy Mary and Jon Heider (Cleveland, Miami)David and Nancy Hooker Mr. and Mrs. Richard A. JanusMr. and Mrs. Ferdinand JerebJanet and Gerald Kelfer (Miami) Jonathan and Tina Kislak (Miami)Mrs. Elizabeth R. Koch Tim and Linda Koelz Mr. and Mrs. Edward A. LozickMr. and Mrs. Richard A. ManuelMrs. Robert H. MartindaleMr. and Mrs. Arch J. McCartneyWilliam and Eleanor McCoyMr. and Mrs. Stanley A. MeiselMr. Walter N. MirapaulElisabeth and Karlheinz Muhr (Europe)Brian and Cindy MurphyClaudia and Steven Perles (Miami)Mr. and Mrs. George M. Rose Mr. and Mrs. David A. RuckmanDavid M. and Betty Schneider Rachel R. Schneider, PhD Mr. and Mrs. Oliver E. SeikelKim Sherwin Lois and Tom Stauffer Mrs. Blythe SundbergDr. Russell A. Trusso Clara and David Williams


Mr. William BergerLaurel Blossom Dr. and Mrs. Jerald S. Brodkey Dr. Ben H. and Julia Brouhard Dr. Thomas Brugger and Dr. Sandra RussEllen E. & Victor J. Cohn Supporting Foundation Mr. Owen ColliganMr. and Mrs. William E. ConwayMr. and Mrs. Edward B. Davis Henry and Mary Doll Nancy and Richard DotsonMr. and Mrs. Terry C. Z. EggerMr. David J. GoldenRobert K. Gudbranson and Joon-Li KimKathleen E. Hancock

Dr.* and Mrs. Shattuck W. Hartwell, Jr. Mrs. Sandra L. HaslingerIn memory of Philip J. HastingsPamela and Scott Isquick Mr. and Mrs. Donald M. Jack, Jr.Allan V. Johnson Joela Jones and Richard WeissJudith and Morton Q. Levin Mr. and Mrs. Thomas B. McGowan Mr. Donald W. Morrison Mr. and Mrs. Stephen E. MyersMr. and Mrs. William M. Osborne, Jr. Pannonius Foundation Rosskamm Family TrustMr. Larry J. Santon Patricia J. Sawvel Carol and Albert SchuppNaomi G. and Edwin Z. Singer Family Fund Mrs. Gretchen D. SmithMr. and Mrs. Donald W. Strang, Jr.Bruce and Virginia Taylor Sandy and Ted Wiese Anonymous (2)


Dr. Jacqueline Acho and Mr. John LeMayMr. and Mrs. Monte AhujaSusan S. AngellAgnes ArmstrongMr. and Mrs. Albert A. AugustusMs. Jody BaconMr. and Mrs. Dean Barry Mr. Jon Batchelor (Miami)James and Reita BaymanDr. and Mrs. Nathan A. Berger Dr. and Mrs. Eugene H. BlackstoneIn memory of Claude M. BlairMrs. Flora BlumenthalBrennan Family FoundationMr. Robert W. BriggsMr. and Mrs. William C. Butler Mr. and Mrs. R. Bruce CampbellMs. Maria Cashy Drs. Wuu-Shung and Amy Chuang Dr. William & Dottie Clark Mrs. Lester E. Coleman Corinne L. Dodero Trust for the Arts and Sciences Mr. and Mrs. Evan R. CornsMr. Peter and Mrs. Julie Cummings (Miami)Mrs. Barbara Ann Davis Peter and Kathryn Eloff Dr. and Mrs. Robert ElstonMary and Oliver Emerson Mr. and Mrs. Charles R. Emrick, Jr.Mr. and Mrs. Henry J. GoodmanMr. and Mrs. Randall J. GordonHarry and Joyce Graham Mr. Paul GreigMr. and Mrs. David E. Griffiths

listings continue



Imagine your picture-perfect event at Severance Hall.

Severance Hall, a Cleveland landmark and home of the

world-renowned Cleveland Orchestra, is perfect for business

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

and receptions, weddings, and social events.

Exclusive catering by Sammy’s

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

or email [email protected]

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David and Robin GunningClark Harvey and Holly SelvaggiT. K. and Faye A. HestonMr. Clifford HillAmy and Stephen Hoffman Mr. and Mrs. Brinton L. HydeMr. and Mrs. Christopher Hyland Ms. Martha Ingram (Miami)Judith* and Clifford IsroffRudolf D. and Joan T. Kamper Andrew and Katherine KartalisMilton and Donna* Katz Dr. and Mrs. William S. KiserCynthia Knight (Miami)Julius and Doris KramerMrs. Justin KrentMr. and Mrs. Peter A. Kuhn Mr. and Mrs. Arthur J. Lafave, Jr.Robert and Judie Lasser Judy and Donald Lefton (Miami) Shirley and William Lehman (Miami) Mr.* and Mrs. Leo LeidenMr. Jeff LitwillerMr. and Mrs. Robert P. MadisonMs. Jennifer R. MalkinMr. and Mrs. Morton L. MandelAlan Markowitz M.D. and Cathy PollardMrs. Kay MarshallAlexander and Marianna C. McAfee Claudia Metz and Thomas Woodworth Edith and Ted* MillerMr. and Mrs. William A. Mitchell Robert Moss (Miami)Mr. and Mrs. Herbert Newman Richard and Kathleen NordJohn and Margi O’BrienMr. Michael G. OraveczMr. Henry Ott-HansenMr. J. William and Dr. Suzanne PalmerNancy and Robert Pfeifer Dr. and Mrs. John N. Posch Douglas and Noreen PowersLois S.* and Stanley M. Proctor

Drs. Raymond R. Rackley and Carmen M. Fonseca

Mr. and Mrs. Roger F. RankinMrs. Nancy L. ReymannMr. and Mrs. James E. RohrCarol Rolf and Steven AdlerDr. Tom D. RoseSteven and Ellen Ross Mr. Christopher RoyMr. Klaus G. Roy and Mrs. Gene J. RoyMr. and Mrs. Robert C. RuhlDrs. Michael and Judith Samuels (Miami)Larry and Sally Sears Dr. and Mrs. James L. SechlerMr. Eric Sellen and Mr. Ron SeidmanDr. Gerard and Phyllis SeltzerMrs. Frances G. ShoolroyMrs. William I. ShorrockLaura and Alvin A. SiegalDavid Kane Smith Jim and Myrna SpiraGeorge and Mary Stark Mrs. Marie S. StrawbridgeCharles B. and Rosalyn Stuzin (Miami)Mr. and Mrs. Paul A. Teel, Jr. Mr. and Mrs. Bill Thornton Mr. Brian ThorntonMr. and Mrs. Lyman H. TreadwayMr.* and Mrs. Robert N. TromblyRobert A. ValenteDon and Mary Louise Van Dyke Bill Appert and Chris Wallace (Miami)Tom and Shirley Waltermire Dr. Edward L. and Mrs. Susan WestbrookTom and Betsy WheelerMr. Roy WodaMrs. Janet A. WrightMr. David ZauderAnonymous (5)

Dr. and Mrs. D. P. AgamanolisMr. and Mrs. Quentin AlexanderMr. and Mrs. Robert H. BakerMs. Delphine BarrettMr.* and Mrs. Russell BearssMr. and Mrs. Jules BelkinDr. Ronald and Diane BellDr. Robert BenyoSuzanne and Jim BlaserMr. and Mrs. Dennis A. BlockPaul and Marilyn* BrentlingerMs. Elizabeth E. BrumbaughFrank and Leslie BuckDr. and Mrs. William E. CappaertMrs. Millie L. Carlson

Ms. Mary E. ChilcoteDrs. Mark Cohen and Miriam VishnyDiane Lynn CollierMarjorie Dickard ComellaMr. and Mrs. David J. CookPete and Margaret DobbinsMr.* and Mrs. Sidney DworkinMr. Brian L. Ewart

and Mr. William McHenryMr. J. Gilbert and Mrs. Eleanor FreyMrs. Cora C. GigaxRobert N. and Nicki N. GudbransonJohn and Virginia HansenMr. Robert D. HartBarbara Hawley and David Goodman

Matthew D. Healy and Richard S. Agnes

Ms. Mary Beth HedlundHazel Helgesen

and Gary D. HelgesenAnita and William HellerBob and Edith Hudson (Miami)Mr. James J. HummerDr. and Mrs. Scott R. InkleyDonna L. and Robert H. JacksonMrs. Rita G. KellyMr. and Mrs. Robert M. KochRonald and Barbara LeirvikMr. and Mrs. Irvin A. Leonard



member of the Leadership Council (see page 80)

* deceased

listings continue



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86 Severance Hall 2011-12

Stanley I. and Hope S. AdelsteinNorman and Rosalyn Adler Family

Philanthropic FundMr. Gerald O. AllenNorman and Helen AllisonMr. and Mrs. Robert J. AmsdellRev. Dr. and Mrs. Kenneth J. AndersonMr. and Mrs. Jeffrey R. AppelbaumMr. and Mrs. Stanley H. Arkin (Miami)Geraldine and Joseph BabinMr. William BaldwinReverend Thomas

and Dr. Joan BaumgardnerMr. and Mrs. Mike BelkinMs. Pamela D. BelknapMr. Roger G. BerkKerrin and Peter Bermont (Miami)Barbara and Sheldon BernsJulia & David Bianchi

(Cleveland, Miami)John A. Biek and Christina J. NortonCarmen and Karl Bishopric (Miami)Bill and Zeda BlauMr. Doug BletcherMrs. Mary Wick BoleJohn and Anne BourassaMs. Barbara E. BoyleBetty Madigan BrandtDavid M. and Carol M. BriggsMs. Mary R. Bynum

and Mr. J. Philip CalabreseMr. and Mrs. Frank H. CarpenterLeigh and Mary CarterMr. and Mrs. James B. ChaneyDr. and Mrs. Ronald ChapnickDr. Christopher and

Mrs. Maryann ChengelisMr. and Mrs. Homer D. W. ChisholmMr. and Mrs. Robert A. ClarkDr. Dale and Susan CowanMrs. Frederick F. DannemillerCharles and Fanny Dascal (Miami)Jeffrey and Eileen DavisMrs. Lois Joan DavisMs. Nancy J. Davis (Miami)Scott and Laura Desmond

Dr. and Mrs. Richard C. DistadMs. Maureen A. Doerner

and Mr. Geoffrey T. WhiteMr. George and Mrs. Beth DownesDavid Jack and Elaine DrageMrs. Mary S. EatonEsther L. and Alfred M. Eich, Jr.Erich Eichhorn and Ursel DoughertyMrs. Margaret EstillDavid and Margaret EwartHarry and Ann FarmerScott Foerster, Forester and BohnertJoan Alice FordMrs. Mary Elizabeth FordMr. Randall and Mrs. Patrice FortinMr. Monte Friedkin (Miami)Marvin Ross Friedman

and Adrienne bon Haes (Miami)Peggy and David* FullmerRichard L. FurryMarilee L. GallagherBarbara and Peter GalvinJoy E. GarapicMrs. Georgia T. GarnerMr. Wilbert C. Geiss, Sr.Mrs. Joan Getz (Miami)Mr. Herman GilbertAnne and Walter GinnJoyce and Ab* GlickmanMr. and Mrs. David A. GoldfingerDr. and Mrs. Ronald L. GouldCynthia and David GreenbergMr. and Mrs. Brent R. GroverThe Thomas J. and Judith Fay Gruber

Charitable FoundationNancy and James GrunzweigDr. Phillip M. and Mrs. Mary HallRonald M. and Sallie M. Hall (Miami)Mr. Holsey G. HandysideMr. George P. HaskellVirginia and George HavensOliver and Sally HenkelMr. and Mrs. Jerry HerschmanMr. Robert T. HexterDr. and Mrs. John D. HinesDr. and Mrs. Robert L. Hinnes

Dr. Feite F. HofmanMr. and Mrs. Edmond H. HohertzPeter A. and Judith HolmesThomas and Mary HolmesDr. Keith A. and

Mrs. Kathleen M. HooverXavier-Nichols Foundation

Robert and Karen HostofferMr. and Mrs. Mark HouckDr. Randal N. Huff

and Ms. Paulette BeechMs. Charlotte L. HughesMs. Luan K. HutchinsonMr. and Ms. Charles S. HyleRuth F. IhdeCarol Lee and James IottHelen and Erik JensenMr. Peter and Mrs. Mary JoyceMr. Daniel KamionkowskiMr. William and Mrs. Mary Jo KannenBarbara and Michael J. KaplanRev. William C. KeeneElizabeth KelleyMs. Angela Kelsey (Miami)The Kendis Family Trust:

Hilary & Robert Kendis and Susan & James Kendis

Bruce and Eleanor KendrickMr. James KishFred and Judith KlotzmanJacqueline and Irwin Kott (Miami)Dr. Ronald H. Krasney

and Ms. Sherry Latimer*Dr. James and Mrs. Margaret KreinerMr. James and Mrs. Patricia KrohngoldMr. Donald N. KrosinDavid C. LambMrs. Carolyn LamplKenneth M. LapineAnthony T. and Patricia A. LauriaMr. and Mrs. Leon LazarevJeffrey and Ellen LeavittDr. Hasoon LeeDr. and Mrs. Jai H. LeeMichael and Lois A. Lemr



Mrs. Emma S. LincolnMr. and Mrs. Robert C. LoeschAnne R. and Kenneth E. LoveRobert and LaVerne LugibihlElsie and Byron LutmanJoel and Mary Ann MakeeMartin and Lois MarcusDr. Susan M. MerzweilerDrs. Terry E. and Sara S. MillerAnn Jones MorganDr. Joan R. MortimerMr. and Mrs. Peter R. OsenarMrs. Ingrid PetrusMr. and Mrs. John S. PietyIn memory of Henry Pollak

Dr. Laurine PurolaDr. Robert W. ReynoldsAmy and Ken RogatBob and Ellie ScheuerMs. Freda SeavertGinger and Larry ShaneDr. Marvin and Mimi SobelMr. and Mrs. William E. SpatzDr. Elizabeth SwensonMs. Lorraine S. SzaboMr. and Mrs. Leonard K. TowerRobert J. and Marti J. VagiMr. and Mrs. Fred A. WatkinsMr. and Mrs. Mark Allen WeigandMr. Peter and Mrs. Laurie Weinberger

Robert C. WepplerNancy V. and Robert L. WilcoxMs. Judith H. WrightAnonymous (3)

listings continue



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Dr. Edith LernerMr. Lawrence B. and

Christine H. LeveyDr. Stephen B. and

Mrs. Lillian S. LevineRobert G. LevyDr. Alan and Mrs. Joni LichtinIsabelle and Sidney* LobeDrs. Alex and Marilyn LotasMartha Klein LottmanSandi M. A. Macdonald

and Henry J. Grzes (Miami)Herbert L. and Rhonda MarcusDr. and Mrs. Sanford E. MarovitzMr. and Mrs.* Duane J. MarshDr. Ernest and Mrs. Marian MarsolaisMr. Julien L. McCallMrs. Alice MecredyDr.* and Mrs. Hermann Menges, Jr.Stephen and Barbara MessnerDonald D. MillerMindCrafted SystemsBert and Marjorie MoyarMr. Raymond M. MurphyRichard B. and Jane E. NashMarshall I. Nurenberg

and Joanne KleinRichard and Jolene O’CallaghanNedra and Mark Oren (Miami)James P. Ostryniec (Miami)Mr. and Mrs. Christopher I. PageDeborah and Zachary ParisDr. Lewis and Janice B. PattersonMr. Thomas F. Peterson, Jr.Dr. Roland S. Philip

and Dr. Linda M. SandhausDale and Susan PhillipMr. and Mrs. Richard W. PogueDr. Marc and Mrs. Carol PohlWilliam and Gwen PreucilMr. Richard and

Mrs. Jenny ProeschelMr. Lute and Mrs. Lynn QuintrellMr. and Mrs. Thomas A. QuintrellMs. C. A. ReaganDavid and Gloria RichardsMrs. Florence Brewster RutterFred Rzepka and Anne Rzepka Family

FoundationDr. Harry S. and Rita K. RzepkaNathan N. and Esther Rzepka

Family Philanthropic Fund of the Jewish Co

Dr. and Mrs. Martin I. SaltzmanMs. Patricia E. SayMr. Paul H. ScarbroughMr. James Schutte

Dr. John Sedor and Ms. Geralyn PrestiLee G. and Jane SeidmanCharles Seitz (Miami)Drs. Daniel and Ximena SesslerHarry and Ilene ShapiroNorine W. SharpDr. and Mrs. William C. SheldonMr. Richard ShireyDr. Howard and Mrs. Judith SiegelDonald Singer and Helene LoveMr. and Mrs.* Jeffrey H. SmythePete and Linda SmytheMrs. Virginia SnappJay and Ellen Solowksy (Miami)Mr. John C. Soper

and Dr. Judith S. BrennekeMr. John D. SpechtHoward Stark M.D.

and Rene Rodriguez (Miami)Mr. and Mrs.* Lawrence E. StewartMrs. Barbara Stiefel (Miami)Mr. and Mrs. G. W. StuelpeMr. and Mrs. Daniel C. SussenMr. Nelson S. TalbottMr. Karl and Mrs. Carol TheilColin Blades ThomasDr. and Mrs. Thomas A. TimkoMr. and Mrs. Robert J. TomsichMr. Erik TrimbleDrs. Anna* and Gilbert TrueMiss Kathleen TurnerMrs. H. Lansing Vail, Jr.Mr. and Mrs. Joaquin Vinas (Miami)Mr. and Mrs. Les C. VinneyMr. and Mrs. Joseph F. WasserbauerMs. Laure A. WasserbauerPhilip and Peggy WasserstromMr. and Mrs. Jerome A. WeinbergerRichard Wiedemer, Jr.Helen Sue* and Meredith WilliamsMr. Peter and Mrs. Ann WilliamsRichard and Mary Lynn WillsCharles WinansMichael H. Wolf and

Antonia Rivas-WolfDrs. Nancy Wolf and Aric GreenfieldMr. Robert Wolff

and Dr. Paula SilvermanKay and Rod WoolseyRad and Patty YatesFred and Marcia ZakrajsekMr. Kal Zucker

and Mrs. Mary Frances HaerrAnonymous (11)


member of the Leadership Council (see page 80)

* deceased

The Cleveland Orchestra is

sustained through the annual

support of thousands of

generous patrons, including

members of the Crescrendo

Patron Program listed on these

pages. Listings of all donors of

$300 and more each year are pub-

lished in the Orchestra’s Annual

Report, which can be viewed

online at CLEVELANDORCHESTRA.COM

For information about how you

can play a supporting role for

The Cleveland Orchestra’s ar-

tistic excellence and community

partnerships, please contact our

Philanthropy & Advancement

Office by calling (216) 231-7545.



We believe in working for the greater good of all and

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

We thank The Cleveland Orchestra for its commitment to excellence!

Ken Lanci, Chairman & CEOConsolidated Companies

Creativity, Passion, Accountability, and Integrity are our guiding principles.

Contact Jonathan Green • 216.593.0900 ext. 109 • www.jmgreencpa.com

Providing Controllership, CFO, Transaction Management, and Traditional Accounting Services to enterpreneurs

and not-for-profit organizations.

Creativity, Passion, Accountability, and Integrity are our guiding principles

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

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

Sunday, October 2, 2011 A Beethoven Bonanza! The many moods of genius!

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

Sunday, March 4, 2012 Rochmaninoff and Tchaikovsky

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

Masterly

Enthralling

Charming

Scintillating

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

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



Sunday, March 4, 2012 Rochmaninoff and Tchaikovsky


series/kc

a





y 6, 2012

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

Kulas Series of Keyboard Conversations®with Jeffrey Siegel24th Season 2011-2012

MasterlyB

EnthrallingB

CharmingB

Scintillating

Sunday, October 2, 2011A Beethoven Bonanza! The many moods of genius!

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

Sunday, March 4, 2012Rachmaninoff and Tchaikovsky

Sunday, May 6, 2012A musical love triangle: Robert, Clara and Johannes!

“An afternoon of entertaining talk and exhilarating music.”

–The Washington Post

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

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

or visit www.csuohio.edu/concertseries/kc


The Cleveland Orchestra’s catalog of recordings

continues to grow. The newest DVD features Bruckner’s

Eighth Symphony recorded live at Severance Hall under

the direction of Music Director Franz Welser-Möst in 2010

and released in May 2011. And, just released,

Dvořák’s opera Rusalka on CD, recorded

live at the Salzburg Festival. Writing of the

Rusalka performances, the reviewer for

London’s Sunday Times praised the perform-

ance as “the most spellbinding account

of Dvořák’s miraculous score I have ever

heard, either in the theatre or on record.

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

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

chestras, with wind and brass soloists to die for and a

string sound of superlative warmth and sensitivity.”

Other recordings released in the past year

include two under the baton of Pierre Boulez

and a second album of Mozart piano concertos

with Mitsuko Uchida, whose first Cleveland

Orchestra Mozart album won a Grammy Award

this past year.

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


New!

New!

Visit the Cleveland Orchestra Store for

the latest and best Cleveland Orchestra

recordings and DVDs.

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

beautiful concert halls, Severance Hall

has been home to Th e Cleveland Or-

chestra since its opening on February 5,

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

land newspaper editorial stated: “We

believe that Mr. Severance intended

to build a temple to music, and not a

temple to wealth; and we believe it is his

intention that all music lovers should be

welcome there.” John Long Severance

(president of the Musical Arts Associa-

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

donated most of the funds necessary to

erect this magnifi cent building. De-

signed by Walker & Weeks, its elegant

Georgian exterior was constructed to

harmonize with the classical architec-

ture of other prominent buildings in

the University Circle area. Th e interior

of the building refl ects a combination

of design styles, including Art Deco,

Egyptian Revival, Classicism, and Mod-

ernism. An extensive renovation, resto-

ration, and expansion of the facility was

completed in January 2000. In addition

to serving as the home of Th e Cleveland

Orchestra for concerts and rehearsals,

the building is rented by a wide variety

of local organizations and private citi-

zens for performances, meetings, and

gala events each year.

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

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Severance Hall 91Severance Hall 2011-12

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

Cleveland Orchestra has become one of the most sought-after performing

ensembles in the world. In concerts at its winter home at Severance Hall

and at each summer’s Blossom Festival, in residencies from Miami to Vi-

enna, and on tour around the world, The Cleveland Orchestra sets standards

of artistic excellence, creative programming, and community engagement.

The partnership with Franz Welser-Möst, now in its tenth season, and with a

commitment to the Orchestra’s centennial in 2018, has moved the ensemble

forward with a series of new and ongoing initiatives, including:

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

tistic growth and an expanded financial base, including an ongoing resi-

dency at the Vienna Musikverein (the first of its kind by an American

orchestra);

an annual Miami Residency involving three weeks of concerts, commu-

nity activities, and educational presentations and collaborations;

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

appearances at Carnegie Hall;

regular concert tours to Europe (including biennial residencies at the

Lucerne Festival) and Asia (including a residency at Tokyo’s Suntory Hall

in the autumn 2010);

ongoing recording activities, including new releases under the direction

of Franz Welser-Möst and Pierre Boulez as well as a series of DVD con-

cert presentations of four of Bruckner’s symphonies;

additional new residencies at Indiana University and at New York’s Lin-

coln Center Festival;

an expanded offering of education and community programs with a

comprehensive approach designed to make music an integral and regular

part of everyday life in Northeast Ohio;

continuing and expanded educational partnerships with schools, col-

leges, and universities from across Northeast Ohio and in the Miami-Dade

community;

creative new artistic collaborations, including staged works and cham-

ber music performances, with arts institutions in Northeast Ohio and

across the Miami-Dade community;

the return of staged opera to Severance Hall with the presentation of ac-

claimed Zurich Opera productions of the three Mozart /Da Ponte operas;

The Orchestra Today92 The Cleveland Orchestra

The Cleveland Orchestra 93Severance Hall 2011-12

an array of new concert offerings (including Fridays@7 and Celebrity Series at Severance Hall as well as movie, themed, and family presentations at Blossom) to make a wider variety of concerts more available and affordable;the return of ballet to Blossom, with performances by The Joffrey Ballet.

The Cleveland Orchestra was founded in 1918 by a group of local citi-zens intent on creating an ensemble worthy of joining America’s ranks of major symphony orchestras. Over the ensuing decades, the Orchestra quickly grew from a fine regional organization to being one of the most admired symphony orchestras in the world. The opening of Severance Hall as the Orchestra’s home in 1931 brought a special pride to the ensemble and its hometown, as well as providing an enviable and intimate acoustic environment in which to develop and refine the Orchestra’s artistry. Year-round performances became a reality in 1968 with the opening of Blossom Music Center, one of the most beautiful and acoustically admired outdoor concert facilities in the United States.

Throughout his tenure as music director, Franz Welser-Möst has been a strong advocate for

reinvigorating and expanding The Cleveland Orchestra’s education programs. Here he

is shown leading a rehearsal of the Cleveland Orchestra Youth Orchestra in 2002.

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Upcoming Concerts94 The Cleveland Orchestra

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


ALAN GILBERTCONDUCTS Friday November 11 at 8:00 p.m.Saturday November 12 at 8:00 p.m.Sunday November 13 at 3:00 p.m.THE CLEVELAND ORCHESTRAAlan Gilbert, conductorWilliam Preucil, violin

Alan Gilbert, music director of the New

York Philharmonic and former assistant

conductor of The Cleveland Orchestra,

returns to Severance Hall with a homecom-

ing program featuring concertmaster Wil-

liam Preucil as soloist. From the sparkling

fi reworks of Beethoven’s Second Romance

for violin through Webern’s lushly romantic

Summer Winds to the expansive sounds of

Schoenberg’s grand orchestral tone poem

Pelleas and Melisande, this concert bristles

with vigor, virtuosity, and vitality.

Concert Sponsor: The Lubrizol Foundation

LUISI LEADS MOZARTAND STRAUSSFriday November 25 at 8:00 p.m.Saturday November 26 at 8:00 p.m.Sunday November 27 at 3:00 p.m.THE CLEVELAND ORCHESTRAFabio Luisi, conductorJonathan Biss, piano

Fabio Luisi, recently appointed principal

conductor of the Metropolitan Opera,

makes his much-anticipated Cleveland Orch-

estra debut with a program pairing favorite

orchestral works by two all-star operatic

composers. American pianist Jonathan Biss

returns to Cleveland for one of Mozart’s most

alluring piano concertos, while Luisi leads

the Orchestra in two of Richard Strauss’s

most endearing tone poems, Till Eulenspiegel

and Aus Italien.

Concert Sponsor: PNC

See also the concert calendar listing on pages 48-49, or visit The Cleveland Orchestra online for a complete schedule of future events and performances, or to purchase tickets online 24/ 7 for Severance Hall concerts.

TICKETS 216-231-1111 clevelandorchestra.com

Next Month . . .

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Documents

The Cleveland Orchestra October 13-15