The Cleveland Orchestra May 19-21 2011 Concerts

May 19, 20, 21 — EMANUEL AX PERFORMS HAYDN AND STRAVINSKY

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MUSIC DIRECTOR

About the Orchestra

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

In the News Perspectives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Orchestra News . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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

Cleveland Orchestra Youth Orchestra: Twenty-Five Years of Music . . . . . . . . . . . . . . . .

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Eric Sellen, Program Book Editor E-MAIL: esellen@clevelandorchestra.com Elaine Guregian, Communications Manager Program books for Cleveland Orchestra concerts are produced by The Cleveland Orchestra and are distributed free to attending audience members.

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Concert — Week 22 Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . .

Program (Thursday and Saturday) . . . . . . . . . . .

Program (Friday morning) . . . . . . . . . . . . . . . . . . .

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

CO V E R P H OTO G R A P H

BY R O G E R M A S T R O I A N N I

Musical Arts Association . . . . . . . . . . . . . . . . . . . . . . 9 Music Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Conductors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Administrative Staff . . . . . . . . . . . . . . . . . . . . . . . . . 66 Guest Information . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 Severance Hall. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . 92 In the Spotlight Photograph . . . . . . . . . . . . . . . . . 93

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ADAMS

Guide to Strange Places . . . . . . . . . . . . . . . . . . . 41

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.

HAYDN

Piano Concerto No. 11 . . . . . . . . . . . . . . . . . . . . 45 STRAVINSKY

Capriccio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 BEETHOVEN

Symphony No. 8 . . . . . . . . . . . . . . . . . . . . . . . . . . 55 Conductor: Franz Welser-Möst . . . . . . . . . . . . . . . . 13 Soloist: Emanuel Ax . . . . . . . . . . . . . . . . . . . . . . . . . . 49

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Donors and Sponsors Heritage Society . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Project Sponsors . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Endowed Funds . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Corporate Honor Roll . . . . . . . . . . . . . . . . . . . . . . . .

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

Patron Listings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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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.

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This program book is printed on paper that includes 10% recycled post-consumer content.

Upcoming Concerts Table of Contents

The Cleveland Orchestra

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

T H E M U SI C AL AR TS AS SOCIATION operating The Cleveland Orchestra, Severance Hall, and Blossom Festival 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 Pollock Alfred M. Rankin, Jr. Audrey Gilbert Ratner Barbara S. Robinson

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

Katherine T. O’Neill The Honorable John D. Ong Larry Pollock Alfred M. Rankin, Jr. Clara T. Rankin Audrey Gilbert Ratner Charles A. Ratner James S. Reid, Jr. Barbara S. Robinson Steven M. Ross Raymond T. Sawyer Luci Schey Neil Sethi Hewitt B. Shaw, Jr. David L. Simon Richard K. Smucker R. Thomas Stanton Thomas A. Waltermire Geraldine B. Warner Paul E. Westlake Jr. David A. Wolfort

NON-RESIDENT TRUS TEES 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)

TRUS TEES EX-OFFICIO Iris Harvie, President, Volunteer Council of The Cleveland Orchestra Jean Sarlson, President, Women’s Committee of The Cleveland Orchestra Phyllis Knauf, State Chair, Blossom Women’s Committee TRUS TEES EMERITI David A. Ruckman Naomi G. Singer

H O N O RARY T RUS TEES FOR LIFE Robert W. Gillespie Francis J. Callahan Dorothy Humel Hovorka Mrs. Webb Chamberlain Robert F. Meyerson Oliver F. Emerson Allen H. Ford

PA S T P R E S I D E N T S 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

THE CLEVELAND ORCHESTRA Gary Hanson, Executive Director

clevelandorchestra.com

Severance Hall 2010-11

Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee Dr. Lester Lefton, President, Kent State University Barbara R. Snyder, President, Case Western Reserve University

Ward Smith 1983-95 Richard J. Bogomolny 1995-2002, 2008-09 James D. Ireland III 2002-08

SEVERANCE HALL 11001 Euclid Avenue Cleveland, Ohio 44106 Telephone (216) 231-7300

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

began his tenure as Music Director of The Cleveland Orchestra in 2002. His long-term commitment extends to the Orchestra’s centennial in 2018. Under his direction, the Orchestra is enlarging and enhancing its community programming at home, is presented in a series of ongoing residencies in the United States and Europe, continues its historic championship of new composers through commissions and premieres, and has re-established itself as an important operatic 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, Mr. Welser-Möst has taken The Cleveland Orchestra back into public schools with performances in collaboration with the Cleveland Metropolitan School District.

The initiative continues and expands upon Mr. Welser-Möst’s active participation in community concerts and educational programs, including the Cleveland Orchestra Youth Orchestra and partnerships with music conservatories and universities across Northeast Ohio.

Under Mr. Welser-Möst’s leadership, The Cleveland Orchestra has established an ongoing biennial residency in Vienna at the famed Musikverein concert hall and at the Lucerne Festival in Switzerland. Together, they have also appeared at the Salzburg Festival, where a 2008 residency included five sold-out performances of a staged production of Dvořák’s opera Rusalka. In the United States, Mr. Welser-Möst has established an annual three-week Cleveland Orchestra Miami Residency in Florida and launches a new biennial residency at New York’s Lincoln Center Festival in July 2011.

Under Franz Welser-Möst’s direction, The Cleveland Orchestra has performed twelve world and fifteen United States premieres. Through 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 Daniel R. Lewis Young Composer Fellow program has brought additional new voices to the Orchestra’s repertoire, including Marc-André Dalbavie, Matthias Pintscher, Susan Botti, Julian Anderson, Johannes Maria Staud, and Jörg Widmann.

Franz Welser-Möst has led opera performances each season during his P H OTO BY D O N S N Y D E R

FRANZ WELSER-MÖST

Severance Hall 2010-11

Music Director

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P H OTO BY R O G E R MA S T R O I A N N I

tenure in Cleveland. Following six opera-in-concert presentations, he brought fully staged opera back to Severance Hall in 2009, leading four sold-out performances of a Zurich Opera production of The Marriage of Figaro. The cycle of MozartDa Ponte operas concludes with Don Giovanni in March 2011.

Franz Welser-Möst was appointed General Music Director Designate of the Vienna State Opera in 2007. He began his directorship at the start of the 2010-11 season, leading performances of Puccini’s La Bohème and a production of Wagner’s Tannhäuser that he premiered the previous season. During the 2007-08 and 2008-09 seasons, he premiered a new production of Wagner’s Ring cycle in tandem with stage director Sven-Eric Bechtolf. He has also led performances with the company of Wagner’s Parsifal, Tristan and Isolde, and Tannhäuser, along with Strauss’s Die Frau ohne Schatten and Arabella, and Hindemith’s Cardillac.

In June 2010, Mr. Welser-Möst conducted the Vienna Philharmonic in its annual outdoor “Summer Night” concert at Vienna’s Schönbrunn Palace, and led its New Year’s Day concert telecast worldwide on January 1, 2011. Other recent and upcoming guest-conducting engagements include appearances with the Berlin Philharmonic and Bavarian Radio Symphony Orchestra, as well as opera performances in Zurich. Franz Welser-Möst first appeared at the Salzburg Festival in 1985, made his American debut in 1989, and served as music director of the London Philharmonic (1990-96). 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 The 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 Brueggergosman. DVD releases on the EMI label have included Mr. Welser-Möst leading Zurich Opera productions of The 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, and the appointment as an Academician of the European Academy of Yuste. In 2010, he was awarded a Gold Medal from the Austrian government for his work as a cultural ambassador. He is the co-author of Cadences: Observations and Conversations, published in a German edition in 2007.

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Music Director

The Cleveland Orchestra

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2011Festival Season June 18 â&#x20AC;&#x201C; August 13 Camelot 3 Jubilee 3 The Pirates of Penzance The Merry Widow 3The Fortune Teller 3 Madame Pompadour Triple Bill: Evening Wind, Cox & Box and Trial by Jury Performed in Rotating Repertory

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Franz Welser-Möst MUSIC DIREC TOR Kelvin Smith Family Chair

Christoph von Dohnányi MUSIC DIRECTOR LAUREATE

James Feddeck ASSISTANT CONDUCTOR Elizabeth Ring and William Gwinn Mather Chair

MUSIC DIRECTOR, CLEVELAND ORCHESTRA YOUTH ORCHESTRA

Sasha Mäkilä ASSISTANT CONDUCTOR Sidney and Doris Dworkin Chair

Robert Porco DIRECTOR OF CHORUSES Frances P. and Chester C. Bolton Chair

Frank Bianchi P H OTO BY R O G E R MA S T R O I A N N I

ASSISTANT TO THE DIRECTOR OF CHORUSES DIRECTOR, CLEVELAND ORCHESTRA YOUTH CHORUS

Lisa Yozviak ASSISTANT TO THE DIRECTOR OF CHORUSES

Ann Usher DIRECTOR, CLEVELAND ORCHESTRA CHILDREN’S CHORUS

a r t es

The Cleveland Orchestra Franz Welser-Möst

MUSIC DIRECTOR Kelvin Smith Family Chair

FIRST VIOLINS William Preucil CONCERTMASTER

Blossom-Lee Chair

Yoko Moore

ASSISTANT CONCERTMASTER

Clara G. and George P. Bickford Chair

Peter Otto

FIRST ASSOCIATE CONCERTMASTER

Jung-Min Amy Lee

ASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith Chair

Lev Polyakin

ASSISTANT CONCERTMASTER

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

Takako Masame Paul and Lucille Jones Chair

Wei-Fang Gu Drs. Paul M. and Renate H. Duchesneau Chair

Kim Gomez Elizabeth and Leslie Kondorossy Chair

Chul-In Park Harriet T. and David L. Simon Chair

Miho Hashizume Theodore Rautenberg Chair

Jeanne Preucil Rose Dr. Larry J.B. and Barbara S. Robinson Chair

Alicia Koelz Oswald and Phyllis Lerner Gilroy Chair

Yu Yuan Patty and John Collinson Chair

Isabel Trautwein Trevor and Jennie Jones Chair

Mark Dumm Gladys B. Goetz Chair

SECOND VIOLINS Stephen Rose * Alfred M. and Clara T. Rankin Chair

Emilio Llinas

2

James and Donna Reid Chair

Eli Matthews

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Patricia M. Kozerefski and Richard J. Bogomolny Chair

Elayna Duitman Ioana Missits Carolyn Gadiel Warner Stephen Warner Sae Shiragami Vladimir Deninzon Sonja Braaten Molloy Scott Weber Kathleen Collins Beth Woodside Emma Shook VIOLAS Robert Vernon * Chaillé H. and Richard B. Tullis Chair

Lynne Ramsey 1 Charles M. and Janet G. Kimball Chair

Stanley Konopka 2 Mark Jackobs Jean Wall Bennett Chair

Arthur Klima Richard Waugh Lisa Boyko Lembi Veskimets Eliesha Nelson Joanna Patterson Patrick Connolly

CELLOS Mark Kosower* Louis D. Beaumont Chair

Richard Weiss 1 The GAR Foundation Chair

Charles Bernard 2 Helen Weil Ross Chair

Bryan Dumm Muriel and Noah Butkin Chair

Tanya Ell Ralph Curry Brian Thornton David Alan Harrell Paul Kushious Martha Baldwin Thomas Mansbacher BASSES Maximilian Dimoff * Clarence T. Reinberger Chair

Kevin Switalski 2 Scott Haigh 1 Mary E. and F. Joseph Callahan Chair

Mark Atherton Thomas Sperl Henry Peyrebrune Charles Barr Memorial Chair

Charles Carleton Scott Dixon Martin Flowerman HARP Trina Struble * Alice Chalifoux Chair

FLUTES Joshua Smith * Elizabeth M. and William C. Treuhaft Chair

Alexandra Preucil Dolan Katherine Bormann

Saeran St. Christopher Marisela Sager 2 Austin B. and Ellen W. Chinn Chair

Mary Kay Fink

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The Orchestra

The Cleveland Orchestra

SEASON

2010.11

clevelandorchestra .com

PHOTOS BY ROGER MASTROIANNI

PICCOLO Mary Kay Fink Anne M. and M. Roger Clapp Chair

HORNS Richard King * George Szell Memorial Chair

Michael Mayhew § Knight Foundation Chair

OBOES Frank Rosenwein * Edith S. Taplin Chair

Elizabeth Camus Jeffrey Rathbun 2 Everett D. and Eugenia S. McCurdy Chair

Robert Walters ENGLISH HORN Robert Walters Samuel C. and Bernette K. Jaffe Chair

CLARINETS Franklin Cohen * Robert Marcellus Chair

Robert Woolfrey Daniel McKelway 2 Robert R. and Vilma L. Kohn Chair

Linnea Nereim E-FLAT CLARINET Daniel McKelway Stanley L. and Eloise M. Morgan Chair

BASS CLARINET Linnea Nereim BASSOONS John Clouser * Louise Harkness Ingalls Chair

Phillip Austin Barrick Stees 2 Sandra L. Haslinger Chair

Jonathan Sherwin CONTRABASSOON Jonathan Sherwin

Severance Hall 2010-11

Jesse McCormick Hans Clebsch Richard Solis Alan DeMattia TRUMPETS Michael Sachs * Robert and Eunice Podis Weiskopf Chair

Jack Sutte Lyle Steelman2 James P. and Dolores D. Storer Chair

Michael Miller CORNETS Michael Sachs * Mary Elizabeth and G. Robert Klein Chair

Michael Miller TROMBONES Massimo La Rosa* Gilbert W. and Louise I. Humphrey Chair

TIMPANI Paul Yancich * Otto G. and Corinne T. Voss Chair

Tom Freer 2 PERCUSSION Richard Weiner * Margaret Allen Ireland Chair

Donald Miller Tom Freer Marc Damoulakis KEYBOARD INSTRUMENTS Joela Jones * Rudolf Serkin Chair

Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair

LIBRARIANS Robert O’Brien Donald Miller ORCHESTRA PERSONNEL Carol Lee Iott DIRECTOR

Rebecca Vineyard MANAGER

Richard Stout Alexander and Marianna C. McAfee Chair

Shachar Israel 2 BASS TROMBONE Thomas Klaber EUPHONIUM AND BASS TRUMPET Richard Stout

ENDOWED CHAIRS CURRENTLY UNOCCUPIED ASSISTANT PRINCIPAL HARP

Sunshine Chair

* Principal §

TUBA Yasuhito Sugiyama*

1 2

Associate Principal First Assistant Principal Assistant Principal

Nathalie C. Spence and Nathalie S. Boswell Chair

The Orchestra

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Perspectivesfrom the Executive Director May 2011 The Orchestra completes the 2010-11 Severance Hall season with programs under Music Director Franz Welser-Möst that cap off a remarkable period of activity. In past seasons these five weeks would have consisted simply of Thursday-FridaySaturday subscription weekends at Severance Hall. Instead, take a look at how the Orchestra has changed and continues to evolve: We’re collaborating: • April 29 — the Orchestra and jazz star Dee Dee Bridgewater teamed up for a Celebrity Series concert as part of the 2011 Tri-C Jazz Fest; • May 1 — the Orchestra gave its first-ever performance at the Cleveland Museum of Art, and later that same day, our new artist-in-residence, Ton Koopman, performed a recital in partnership with Case Western Reserve University; • May 27 — the Orchestra performs On a Wire, co-commissioned with orchestras across the country from Pulitzer Prize-winning composer Jennifer Higdon.

We’re moving forward in new artistic directions: • April 28 — the Orchestra launched a new artist-in-residence relationship with the Baroque master Ton Koopman; • May 27 — Franz leads the final Fridays@7 event of the season, joined by the new music group eighth blackbird, with live world music afterward.

We’re providing unique educational programs: • the Cleveland Orchestra Youth Orchestra celebrates 25 years with its spring concert on May 22 and a special alumni concert on May 29; • composer Jörg Widmann, the Daniel R. Lewis Young Composer Fellow, works this month with local young composers while here for the May 26-28 world premiere of his new concerto featuring principal flute Joshua Smith; And we’re in demand: • May 12-14 — Franz leads Bruckner’s Symphony No. 5, previewing one of four Bruckner symphonies to be performed in the Orchestra’s first residency at the Lincoln Center Festival in July; • More than 20 concerts, of all kinds, have sold out this season at Severance Hall.

All these changes (and more) represent how we are making The Cleveland Orchestra more connected and more valuable to the community. We owe a debt of gratitude to donors and sponsors who are funding change. And we invite you, our loyal friends, to consider your own investment in the continuation of these bold initiatives. Your significant support is needed as the fiscal year comes to a close on June 30. Please be counted among the many who ensure the success of the annual fund.

Gary Hanson Severance Hall 2010-11

Perspectives

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THE CLEVELAND ORCHES-

Hail and Farewell

THE CLEVELAND ORCHESTRA

The entire Cleveland Orchestra community thanks these four musicians, who are retiring at the end of the Orchestra season at Blossom this summer. Together, they have devoted 150 years as members of The Cleveland Orchestra. Please join in extending heartfelt thanks and congratulations to these four retiring musicians.

Richard Weiner

Martin Flowerman

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CLEVELAND ORCHESTRA THE CLEVELAND ORCHESTRA THE CLEVELAND ORCHE

Principal Percussion Margaret Allen Ireland Endowed Chair The Cleveland Orchestra

Bass The Cleveland Orchestra

Richard Weiner was appointed to The Cleveland Orchestra by George Szell in 1963 and has served as principal percussionist of the group for 43 years. He has participated in every foreign tour that the Orchestra has undertaken except for the 1957 tour, traveling with the Orchestra on tours ranging from Australia to China and from the Soviet Union to South America. He has participated in more than 100 world or U.S. premieres with the Orchestra as well as more than 100 recordings.

Mr. Weiner holds degrees in music from Temple University and Indiana University, and earned a Juris Doctor degree, magna cum laude, from Cleveland State University.

As the co-head of the timpani and percussion department at CIM, Mr. Weiner plans to continue teaching in Cleveland and will present clinics and masterclasses. He has volunteered to assist the Orchestra in the future, speaking about his career at private and public events. Mr. Weiner and his wife, Jacqueline, have traveled to dozens of countries on tour with the Orchestra, and now hope to see more of the U.S. They will continue to spend time with their extended family, which includes four grandchildren.

22

Brooklyn native Martin Flowerman joined The Cleveland Orchestra in 1967. Educated at the Juilliard School, he was a member of the American Symphony Orchestra under Leopold Stokowski and of the Detroit Symphony Orchestra before coming to Cleveland. Mr. Flowerman studied with his father, Theodore Flowerman, former principal double bass of the New York City Ballet, and Frederick Zimmermann, former assistant principal double bass of the New York Philharmonic.

Martin Flowerman has played in the Aspen Music Festival and Lake George Opera Festival orchestras. In Cleveland, he has performed in the Severance Chamber Ensemble and Cleveland Strings, and has played chamber concerts at the Cleveland Museum of Art. Pursuing an interest in earlier musical periods, he has published Music from the Renaissance and the Baroque: Quartets for Double Basses.

For retirement, Mr. Flowerman has added a second subscription series so that he can attend more Severance Hall concerts with his wife, Barbara. He also plans to volunteer in the Orchestra Archives. Mr. Flowerman will continue to coach and teach masterclasses for advanced bass students. His other passions include further education and travel.

The Flowermans are preparing for a twoweek trip to Israel in the coming year.

Hail and Farewell

The Cleveland Orchestra

HE CLEVELAND ORCHESTRA HESTR

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A native of New Orleans, Elizabeth Camus joined The Cleveland Orchestra in 1979, after serving as first oboe of the Atlanta and San Antonio symphonies.

She is a professor of oboe and coordinator of woodwind chamber music at the Cleveland Institute of Music and teaches at Case Western Reserve University. She has taught many masterclasses in the United States and Canada, and her former students hold playing and teaching positions throughout both countries.

She plays Yamaha oboes.

Ms. Camus has coached woodwinds and chamber music for the Cleveland Orchestra Youth Orchestra for many years. Whenever possible, she does volunteer work with the Greater New Orleans Youth Orchestra. Her hobbies include gardening, cooking, word games, and travel.

After retiring, Ms. Camus will continue her service as a faculty member at CIM and CWRU. In addition to teaching private lessons, she will continue as coordinator of woodwind chamber music at CIM, and will also teach masterclasses at other institutions. Ms. Camus also hopes to expand her work on the Youth Orchestra Division Board of Directors, an advisory group to the League of American Orchestras.

Phillip Austin joined The Cleveland Orchestra in 1981, following positions with the Detroit Symphony Orchestra, Goldovsky Opera Company, and Virginia Symphony. A Detroit native, Mr. Austin earned a bachelor’s degree in music education from Wayne State University.

Mr. Austin has taught at the Cleveland Music School Settlement since 1981. He has two sons, Sam and Ben. Mr. Austin has performed with the Cleveland Orchestra Bassoon Quartet and Detroit Woodwind Chamber Players. He performed as soloist in Michael Daugherty’s Dead Elvis with The Cleveland Orchestra at Blossom and has also appeared with a variety of other orchestras and concert bands.

Phillip Austin was married, on May 7, 2011, to Emily Catalano, a longtime member of the Cleveland Orchestra Chorus. In retirement, he looks forward to expanding his outdoor garden of vegetables, fruits, and flowers, and plans to travel. He would like to visit places he hasn’t seen yet, and hear orchestras in different cities, as well as travel to Europe “without my bassoon” to visit bassoonist friends in the Czech Republic and in Moscow. He will also continue his hobby of collecting clothing buttons.

Bassoon The Cleveland Orchestra

THE CLEVELAND ORCHESTRA

PHOTO PORTRAITS BY ROGER MASTROIANNI

Severance Hall 2010-11

Hail and Farewell

23

THE CLEVELAND OR-

Phillip Austin

Oboe The Cleveland Orchestra

THE CLEVELAND ORCHESTRA

Elizabeth Camus

THE CLEVELAND ORCHES-

News

OrchestraNews Women’s Committee celebrates 90 years with fashion luncheon at Severance Hall on July 18

A

CLEVELAND ORCHESTRA THE CLEVELAND ORCHESTRA THE CLEVELAND ORCHE

THE CLEVELAND ORCHESTRA

The Women’s Committee of The Cleveland Orchestra has announced plans to celebrate its 90th anniversary with a fashion show representing 90 years of fashion by top international designers, presented with the Ursuline College School of Fashion Design. The luncheon event at Severance Hall will be held on Monday, July 18.

For more details and tickets, contact Women’s Committee board member Mary Abbott at 440-449-7302.

Orchestra will perform special tribute concert on tenth anniversary of 9/11; free concert to be presented on Public Square The Cleveland Orchestra will perform a tribute concert titled “Hope.

Dedication. Remembrance.” on Sunday, September 11, 2011, in commemoration of the 10th anniversary of 9/11.

The remembrance concert at 5 p.m., conducted by Loras John Schissel, will be held on Public Square in downtown Cleveland.

The concert will provide an opportunity for the community to gather together to honor the heroic first responders and pay a memorial tribute to those who lost their lives on September 11, 2001.

The event is presented in partnership with Cuyahoga Arts & Culture.

24

Individual tickets on sale for 2011 Blossom Festival on Tuesday, May 31 Individual tickets for the 2011 Blossom Festival go on sale on Tuesday, May 31 (the day after Memorial Day). The summer’s offerings include the opening night concert featuring Broadway star Idina Menazel, annual Fourth-of-July concerts, a weekend of concerts led by Franz Welser-Möst, the return of The Joffrey Ballet, and a season-ending performance of Beethoven’s Ninth Symphony on September 10.

Tickets can be purchased through the Orchestra’s website with the convenience of print-at-home tickets and chooseyour-own seats options. The new Under 18 Free program offers two free Lawn tickets for young people 17 and under per regular adult ticket.

Robert Porco honored

by Chorus America for career of service Congratulations to Robert Porco, director of choruses for The Cleveland Orchestra and the Cincinnati May Festival.

Chorus America, a national service organization, has just awarded him their annual Michael Korn Founders Award for Development of the Professional Choral Art. Chorus America established this award in 1978 to honor an individual with a lifetime of significant contributions to the professional choral art.

During the course of his nearly 40year career, Robert Porco has traveled the United States and the world to conduct leading orchestras and choruses. He has served as director of choruses for The Cleveland Orchestra since 1998.

Cleveland Orchestra News

The Cleveland Orchestra

OrchestraNews Gourmet Matinee series announced for Blossom 2011

Franz Welser-Möst appoints four new musicians to The Cleveland Orchestra Music Director Franz Welser-Möst and The Cleveland Orchestra have announced the appointment of four new Orchestra members. Jacob Nissly has been appointed principal percussion of the Orchestra. He joins The Cleveland Orchestra in September at the beginning of the 2011-12 season, and will hold the Margaret Allen Ireland Endowed Chair.

Nissly succeeds Richard Weiner, who is retiring at the end of the Blossom Festival season. Weiner joined the Orchestra in 1963 and has served as principal percussion since 1968.

Violinist Katherine Bormann joined the Orchestra’s first violin section in March 2011. In addition, Ying Fu and Jeffrey Zehngut have been appointed to the Orchestra’s violin section. Fu will join the Orchestra at the beginning of the 2011-12 season, while Zehngut joins the Orchestra in August during the Blossom Festival.

CONGRATULATIONS

F.A.M.I.L.Y N.E.W.S

Severance Hall 2010-11

THE CLEVELAND O

Gourmet Matinees return to Blossom again this year, with three Wednesday luncheons across the summer. Presented by the Blossom Women’s Committee, each program features select Cleveland Orchestra or Blossom Festival artists performing a special recital or discussing their experiences.

The first luncheon is Wednesday, June 29, and features the Cleveland Duo (Cleveland Orchestra musicians Carolyn and Stephen Warner) with saxophonist James Umble. The program on July 27 features Cleveland Orchestra bassoonist Phillip Austin and section colleagues Barrick Stees and Jonathan Sherwin. The third and final Gourmet Matinee, on August 10, features conductor Jahja Ling discussing his years leading the Orchestra at Blossom.

Tickets are $35 each or $90 for the series. For additional information or tickets, call 216-231-7557 or email lcohen@clevelandorchestra.com.

One member of The Cleveland Orchestra has completed 25 years of service at the conclusion of the 2010-11 concert season. Cellist Bryan Dumm is being honored this month for this milestone achievement.

THE CLEVELAND ORCHESTRA THE CLEVELAND ORCHESTRA TRA THE CLEVELAND ORCHESTRA

News

Please join in extending congratulations and warm wishes to Phillip Austin (bassoon), who married Emily Catalano on Saturday, May 7, 2011.

Cleveland Orchestra News

25

THE CLEVELAND ORCH

News

OrchestraNews Blog presents more Cleveland Orchestra news online The Cleveland Orchestra Blog

THE CLEVELAND ORCHESTRA

Looking for the latest news about The Cleveland Orchestra? Or behindthe-scenes information about an upcoming artist or event? Photographs from a recent event? Learn more online at clevelandorchestrablog.com.

Check out recent postings to: — See a video of Orchestra trumpet player Jack Sutte, dressed like a Revolutionary soldier, performing at a PNC Musical Rainbow concert for young children in Reinberger Chamber Hall; — Listen to mezzo-soprano Magdalena Kožená in a video clip from the Orchestra’s recently released Mahler recording, featuring Des Knaben Wunderhorn

26

led by Pierre Boulez; — Find out what Mozart had in common with George Washington, in the minds of fifth-grade students that Cleveland Orchestra violinist Chul-In Park worked with through the Orchestra’s Learning Through Music program; — Check out the crowd in a recent concert by jazz singer Dee Dee Bridgewater with The Cleveland Orchestra at Severance Hall; — Get an inside look at the masterclass held by early music conductor and harpsichordist Ton Koopman, the Orchestra’s artist-in-residence; — Hear Martha Baldwin talk about life as a Cleveland Orchestra cellist, and how she started her career.

Cleveland Orchestra News

The Cleveland Orchestra

HE CLEVELAND ORCHESTRA HESTR

News

OrchestraNews Three new Cleveland Orchestra recordings feature music of Bruckner, Mahler, and Mozart in performances led by FranzWelser-Möst, Pierre Boulez, and Mitsuko Uchida

27

THE CLEVELAND OR-

Cleveland Orchestra News

THE CLEVELAND ORCHESTRA

Severance Hall 2010-11

tra was created in partnership and with generous support from Raiffeisenlandesbank Oberösterreich and Clasart.

The new Mahler DVD with Pierre Boulez was released in April and has been telecast locally and in Europe. It features the Adagio movement from Mahler’s Symphony No. 10 and the complete Des Knaben Wunderhorn song cycle with mezzo-soprano Magdalena Kožená and baritone Christian Gerhaher.

The Mahler recording was produced by WVIZ/PBS ideastream with international production partners Clasart Classic, Arte, Accentus Music, and Deutsche Grammophon. An audio recording of the program was released

by Deutsche Grammophon in 2010. It was cited as “Disc of the Month” by BBC Music Magazine, which noted that “energy and quality of imagination shine throughout this disc.” The television program and recording celebrate several milestones, including Pierre Boulez’s 85th birthday and the 45th anniversary year of his debut with The Cleveland Orchestra.

Mitsuko Uchida, who won a Grammy Award for her previous Mozart concerto recording with The Cleveland Orchestra, is soloist and conductor in Concertos Nos. 20 and 27 in Cleveland Orchestra performances recorded live at Severance Hall. The album was exclusively released through the Cleveland Orchestra Store on April 19 and is now available throughout the United States.

Although Uchida has previously recorded all the Mozart piano concertos, she has chosen to revisit them with The Cleveland Orchestra in live performances during which she acts as both soloist and conductor.

THE CLEVELAND ORCHESTRA

Three new commercial recordings of The Cleveland Orchestra are being made available worldwide. The Cleveland Orchestra Store and international online music vendors will retail the new DVD recordings of Franz Welser-Möst leading Bruckner’s Symphony No. 8 and of Pierre Boulez leading two works by Mahler.

Both DVDs were recorded at Severance Hall in 2010. In addition, a CD of Mitsuko Uchida leading the Orchestra and performing Mozart’s Piano Concertos Nos. 20 and 27 has also been released. With these new releases, The Cleveland Orchestra continues its distinguished history of nearly 600 recordings, delivering the Cleveland sound around the world.

The Cleveland Orchestra and Music Director Franz Welser-Möst’s live DVD recording of Bruckner’s Symphony No. 8 is being released in the United States on May 31. The performance will be telecast on WVIZ/PBS ideastream on June 16 at 9 p.m., and in Europe on June 23. The symphony is paired with a bonus DVD concert preview discussion by Franz Welser-Möst and video director William Cosel hosted by ideastream producer Dee Perry.

Recorded during concerts last summer at Severance Hall, this is the fourth DVD in a series featuring the Orchestra and Franz Welser-Möst performing Bruckner symphonies in historic venues. The Fifth Symphony was recorded at St. Florian Cathedral in Linz and the Ninth at Vienna’s Musikverein. Bruckner’s Symphony No. 7 was also recorded at Severance Hall.

The series of four Bruckner DVD recordings featuring The Cleveland Orches-

THE CLEVELAND ORCHES

News

OrchestraNews Industry leader Bruce Coppock named managing director of The Cleveland Orchestra Miami Residency

the Saint Paul Chamber Orchestra and previously executive director of the Saint Louis Symphony Orchestra. As managing director of the Miami Residency, Bruce Coppock will be the executive leader of The Cleveland Orchestra Miami Residency, responsible for all of the Orchestra’s activities in South Florida. The Residency’s managing director works closely with the Board of the Musical Arts Association of Miami (MAAM), the not-for-profit institution that governs and funds the Miami Residency.

The Cleveland Orchestra’s Miami Residency is recognized as one of the most innovative business models in the orchestral field today. Launched in 2007, the Residency has completed five successful seasons.

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THE CLEVELAND ORCHESTRA

Bruce Coppock will become the next managing director of The Cleveland Orchestra Miami Residency. He will begin his role at the end of June, succeeding Sandi Macdonald, who has been the Residency’s director since 2007.

In making the announcement earlier this month, The Cleveland Orchestra’s executive director, Gary Hanson, said, “Bruce Coppock is the ideal person to lead the Residency. As an admired leader in the orchestra industry, and as an experienced music educator, Bruce will be the catalyst for significant growth in the Orchestra’s community impact. I have great respect for his instincts and integrity, his capacity and energy to get things done, and his love of great music.”

Coppock was formerly president of

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OrchestraNews Cleveland’s Rotary Club honors Welser-Möst and Cleveland Orchestra as region’s “best ambassadors” The Rotary Club of Cleveland has chosen to honor Franz Welser-Möst and The Cleveland Orchestra with its 2011 International Service Award. The club selects an individual or organization each year to recognize work toward the furtherance of world understanding and peace. In announcing the choice of The Cleveland Orchestra for the award, the Club cited “the outstanding awareness it brings to our community on the international stage.”

The announcement called the Orchestra “Cleveland’s best international ambassador,” noting, “it travels the world representing the quality of life and importance our city places on the arts. The Orchestra furthers world understanding and peace through the power of music.”

P H OTO BY R O G E R MA S T R O I A N N I

Education & Community

Cleveland Orchestra principal flute Joshua Smith led a masterclass in Reinberger Chamber Hall on March 29 with students from Mayfield High School, Laurel School, BaldwinWallace College, and the Cleveland Institute of Music. This was just one of many recent educational and community activities in which Orchestra musicians participated this spring. During the second week of April, 9,400 students and teachers visited Severance Hall for Cleveland Orchestra Education Concerts. On April 17, Magic Circle Mime Company joined the Orchestra at Severance Hall for a sold-out Family Concert performance of “Peter and the Wolf.”

Severance Hall 2010-11

Recordings of Welser-Möst’s Vienna New Year’s concert top charts across Europe Recordings of Franz Welser-Möst leading the Vienna Philharmonic in its annual New Year’s concert — televised and broadcast around the world on January 1, 2011 — are selling briskly in Europe. The release reached #1 album on iTunes Classical charts in every country across Europe and recently reached “double platinum” status in Austria, with over 40,000 CDs sold in that country alone. The concert is available as internet download, as a double-CD audio set, and on DVD. The CD and DVD are available at the Cleveland Orchestra Store.

The annual New Year’s concert is a grand tradition at the Philharmonic, presenting waltz music of the Strauss family and other cherished favorites. It was televised on January 1 in more than 70 countries. This season, which is also Franz’s first year as General Music Director of the Vienna State Opera, marked Franz’s first time conducting the Vienna Philharmonic’s New Year’s concert.

Among Viennese critics’ comments reviewing the concert, the Austrian Daily wrote: “This was one of the most beautiful New Year’s Concerts since Karajan or Kleiber. Franz Welser-Möst knows how the music of the Strauss dynasty, or Lanner and Hellmesberger should sound. . . . Both in the hall and on television, one could experience how Welser-Möst conducted the program with relaxed, dissolved objectivity.” Another critic stated that the quality of the performance will make this recording a “touchstone” in the years ahead.

Cleveland Orchestra News

29

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The Cleveland Orchestra

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Meet the Musicians Cleveland Orchestra musicians participate in a variety of community and education activities beyond the weekly orchestral concerts at Severance Hall.

The musicians featured here are involved in recent or upcoming activities, including recitals, the Learning Through Music school partnership program, and coaching the Cleveland Orchestra Youth Orchestra.

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YOKO MOORE

violin BORN: Yasugi, Japan ROLE MODEL: Frank Peter Zimmermann.

CLEVELAND ORCHESTRA HIGHLIGHT:

Playing a rehearsal or concert with Franz Welser-Möst.

FREE TIME: Spending time with my granddaughter, reading, watching Korean drama.

BIG DREAM: To keep learning. I so enjoy playing violin and teaching students, because I am still learning.

FAVORITE ORCHESTRAL WORK: Beethoven’s symphonies.

PHOTOGRAPHS BY ROGER MASTROIANNI

BARRICK STEES

MARK ATHERTON

bassoon

bass BORN: Bangor, Maine ON MY MP3 PLAYER: Oscar Peterson, Ella

Fitzgerald, Bob Dylan, opera, the Beatles.

CLEVELAND ORCHESTRA HIGHLIGHT: Playing Dvořák’s opera Rusalka at the Salzburg Festival.

FREE TIME: Playing golf, biking, working in the yard.

FAVORITE CLEVELAND: I love Cleveland area golf courses and the Metroparks.

WHY A MUSICIAN: Music teachers in my family, including my father.

Severance Hall 2010-11

BORN: Rockford, Illinois ROLE MODEL: My teacher K. David Van

Hoesen, singers Dietrich Fischer-Dieskau, Fritz Wunderlich, Maria Callas.

ON MY MP3 PLAYER: Shostakovich string quartets, Charlie Parker, Miles Davis.

CLEVELAND ORCHESTRA HIGHLIGHT: Wagner’s Siegfried in concert with Christoph von Dohnányi.

FREE TIME: Competitive running, coffee roasting, gardening, reading.

BIG DREAM: That great orchestral music will always nourish people’s spirits.

FAVORITE ORCHESTRAL WORK: Beethoven’s Ninth Symphony.

Meet the Musicians

31

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The Cleveland Orchestra

.1 0O1N 1 0 2 EAS

LEARNING MORE ABOUT THE MUSIC

S

Concert Previews The Cleveland Orchestra offers a variety 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 intermission, or afterward. (Program notes are also posted ahead of time online at clevelandorchestra.com, usually by the Monday directly preceding the concert.)

The Orchestra’s Music Study Groups also provide a way of exploring the music in more depth. These classes meet weekly in locations around Cleveland and are professionally led by Dr. Rose Breckenridge to explore the music being played each week and the stories behind the composers’ lives.

Free Concert Previews are presented one hour before most subscription concerts throughout the season at Severance Hall. The previews (see listing at right) feature a variety of speakers and guest artists speaking or conversing about that weekend’s program, and often include the opportunity for audience members to ask questions.

Severance Hall 2010-11

Cleveland Orchestra Concert Previews are presented before every regular subscription concert, and are free to all ticketholders to that day’s performance. Previews are designed to enrich the concert-going experience for audience members of all levels of musical knowledge through a 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.

May 12, 13, and 14 “Angels and Demons” with Rabbi Roger Klein, The Temple – Tifereth Israel

May 19, 20, and 21 “Make New Friends, Keep the Old” with Rose Breckenridge

May 26 and 28 “Banquetting in the Dark”

Concert Previews

with Benjamin Dunlap, president of Wofford College

33

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 ST M U S I C

D I R E C T O R

Severance Hall

Thursday evening, May 19, 2011, at 8:00 p.m.

Saturday evening, May 21, 2011, at 8:00 p.m.

. 11 0 1 ON 20 EAS S

Franz Welser-Möst, conductor JOHN ADAMS (b. 1947)

F. JOSEPH HAYDN (1732-1809)

Guide to Strange Places Piano Concerto in D major, HobXVIII:11 1. Vivace 2. Un poco adagio 3. Rondo all’ungherese: Allegro assai EMANUEL AX, piano

INTERMISSION IGOR STRAVINSKY (1882-1971)

Capriccio (for piano and orchestra) 1. Presto — Doppio movimento — 2. Andante rapsodico — 3. Allegro capriccioso ma tempo giusto EMANUEL AX, piano

LUDWIG VAN BEETHOVEN (1770-1827)

Symphony No. 8 in F major, Opus 93 1.

2.

3.

4.

Allegro vivace con brio Allegretto scherzando Tempo di Menuetto Allegro vivace

These concerts are sponsored by Medical Mutual of Ohio, the exclusive health insurer of The Cleveland Orchestra.

Emanuel Ax’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from Sterling A. Spaulding.

The Thursday evening concert is dedicated to Mrs. Norma Lerner in recognition of her extraordinary generosity in support of The Cleveland Orchestra’s 2009-10 Annual Fund.

The Saturday evening concert is dedicated to Richard J. Bogomolny and Patricia M. Kozerefski in recognition of their extraordinary generosity in support of The Cleveland Orchestra’s 2009-10 Annual Fund.

The concert will end at about 10:00 p.m.

Severance Hall 2010-11

Concert Program — Week 22

35

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The Cleveland Orchestra

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 ST M U S I C

D I R E C T O R

Severance Hall

Friday morning, May 20, 2011, at 11:00 a.m.

. 11 0 1 ON 20 EAS S

Franz Welser-Möst, conductor JOHN ADAMS (b. 1947)

F. JOSEPH HAYDN (1732-1809)

Guide to Strange Places Piano Concerto in D major, HobXVIII:11 1. Vivace 2. Un poco adagio 3. Rondo all’ungherese: Allegro assai EMANUEL AX, piano

LUDWIG VAN BEETHOVEN (1770-1827)

Symphony No. 8 in F major, Opus 93 1.

2.

3.

4.

Allegro vivace con brio Allegretto scherzando Tempo di Menuetto Allegro vivace

Emanuel Ax’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from Sterling A. Spaulding.

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

The Friday morning concert is performed without intermission and will end at about 12:20 p.m.

Busing transportation for select Friday Morning Concerts is sponsored by the Women’s Committee of The Cleveland Orchestra.

Severance Hall 2010-11

Concert Program — Week 22 Friday

37

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INTRODUCING THE PROGRAM

Familiar & New EVERY PIECE

BEETHOVEN

STR

AV I

NSK

Y

ADAMS

H AY D N

of music is, of course, new when it is written. Some works sound new (and different) even at the premiere and become familiar only through time and repeated listenings. Others can sound familiar even on first hearing, composed in a current and popular style.

This weekend’s programs feature four musical works, each written in a different century — from Haydn’s rarely performed but very agreeable Piano Concerto No. 11, written toward the end of the 18th century, to John Adams’s mesmerizing Guide to Strange Places, created at the start of the 21st century with a less immediately obvious form and design (but with a good story behind it). Between those extremes of time and music, The Cleveland Orchestra and Franz Welser-Möst present a famous Beethoven symphony (No. 8) from 1812 and a charming “pocket” concerto by Igor Stravinsky, premiered in 1929.

The two concertos are played by Emanuel Ax, a longtime friend and welcome guest soloist here at Severance Hall. And together, the Orchestra and Franz and Mr. Ax repeat this same program on Sunday afternoon, at the brand-new Palladium concert hall in Carmel, Indiana, designed by David M. Schwarz, the same architect who created the additions and renovations for Severance Hall in 2000.

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, July 24, at 4:00 p.m.

Severance Hall 2010-11

About the Music

39

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Guide to Strange Places composed 2001 JOHN ADAMS

by

John

ADAMS born February 15, 1947 Worcester, Massachusetts currently residing in Berkeley, California

Severance Hall 2010-11

has often expressed surprise at the turns a new composition can unexpectedly take once he has embarked on the creative process. Guide to Strange Places, which anticipates some of the developments to be found in his music over the past decade, is a good example. He began working on this piece after the enormously successful reception of El Niño, the large-scale oratorio he composed for the millennium — and a work that itself heralded a significant development in Adams’s evolving artistic voice.

“I must have had an unconscious premonition of something unsettling about to happen,” writes Adams in his wonderfully engaging recent memoir, Hallelujah Junction: Composing an American Life. In dramatic contrast to the millennial hope associated with El Niño, the world premiere of Guide to Strange Places followed soon after the terrorist attacks of 9/11. The mere proximity of dates led some to hear in the score a musical response to the recent catastrophe, even though Adams had composed almost every detail of the piece before the attacks took place. Yet the dark, at times violent currents of the score, in retrospect, do seem prophetic. Adams himself recalls heading to Amsterdam to conduct the premiere a month after 9/11, amid a “menacing post-attack climate of fear and trepidation, passing through nearly empty airports and being eyed by wary security personnel.” On first hearing his music in performance, he continues, “I realized I’d unconsciously composed a piece of music that embodied that same unsettling mood of crisis anxiety.”

The original impulse to compose Guide to Strange Places had been sparked during a family vacation to southern France.

There, Adams chanced upon a guidebook titled Guide de la Provence mystérieuse (“Guide to Provence and Its Mysteries”).

It detailed lists of oddly fanciful curiosities about the local region, from geological factoids to catalogs of pagan and Christian miracles, with a generous flavoring of the macabre and occult.

Guide to Strange Places, according to Adams, involves the “descent into an imagined, unexpected underworld.”

The Provencal travel book and its strange details sparked the composer’s imagination. While he initially looked to the model of “graphically pictorial orchestral works” from the later About the Music

41

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19th century (such as Mussorgsky’s Pictures at an Exhibition), Adams found himself writing music that followed its own intuitive path, taking him on a psychic journey inward. Adams points to a family of his other compositions that share the sense of embarking on a metaphorical journey through a particular landscape. “The formal idea with my music,” he has said, “is that something appears on the event horizon, and then it increases in importance as it begins to dominate the screen, and then it passes you and it’s gone. Meanwhile, several other events have arisen and are at various stages of moving towards you.”

But the “landscape” explored in Guide to Strange Places — into the middle of which we are plunged at the start, with a restless rustling in the orchestra — is closer to the one that might unfold during a deeply disturbing dream. In Adams’s own judgement, the score offers “an intense, at times exhausting, unbroken ‘guide’ to inner spaces.” At times, the music even seems to anticipate the harsher, bleak, apocalyptic regions Adams would later depict in his 2005 opera Doctor Atomic. And the orchestral sonorities themselves number among the “strange places” we encounter. Much of the fascination in Guide to Strange Places lies in how Adams plays with varying combinations of orchestral groups and timbres. In typical Adams fashion, the level of tension actually increases after the already-intense beginning, ratcheted up by rhythmic splinterings and the fragmentation of sound colors.

The music shudders with an irrepressible, elemental pulsation that is a hallmark of this soundscape, but eventually it subsides as a melody coalesces from the distance — an echo of a kind of primordial Rhapsody in Blue. In a marvelous passage near the middle of the piece, all sense of forward momentum vanishes. Landscape becomes labyrinth in a series of pauses, false starts, and shimmering but dead-end chorales. The pulsation resumes, with prominent swellings in the brass that mimic the approach-and-retreat of the Doppler effect. Thunderously percussive beats add seismic menace to the soundscape — crevasses hidden beneath the craggy heights — while unexpected accents rip through the musical texture.

Given the rhythmic urgency of Adams’s language, it’s not surprising that choreographer Peter Martins created a ballet version of this score (premiered by the New York City Ballet in 2003). In both its concert hall and its ballet guises, Guide to Strange Places seems at times to channel the Stravinsky of Severance Hall 2010-11

About the Music

At a Glance Adams composed Guide to Strange Places between April and August 2001, finishing the orchestration on September 17 of that year. The work was written on a joint commission from VARA (sponsor of a Dutch radio concert series), the BBC Symphony, and the Sydney Symphony. The score is dedicated to Linda Golding.

Adams led the Netherlands Radio Orchestra in the world premiere on October 6, 2001, at the Concertgebouw in Amsterdam. The National Symphony under Leonard Slatkin gave the American premiere on December 5, 2002.

Guide to Strange Places runs about 25 minutes in performance. Adams scored it for a large orchestra of piccolo, 2 flutes (second doubling second piccolo), 2 oboes, english horn, 2 clarinets, bass clarinet, contrabass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (4 musicians playing marimba, glockenspiel, snare drum, bass drum, cowbell, chimes, almglocken, triangle, suspended triangles, crotales, roto-toms, claves, suspended cymbal, and woodblock), piano, celesta, harp, and strings.

The Cleveland Orchestra has previously performed this work in 2007 under the direction of Franz Welser-Möst.

43

the revolutionary ballets, filtering them through Adamsâ&#x20AC;&#x2122;s contemporary experience. The brightness of the opening calls PĂŠtrouchka to mind, while the final minutes of Guide to Strange Places evoke a latter-day Rite of Spring (one in which Stravinskyâ&#x20AC;&#x2122;s own Cubist-like slicing of meter and pulse is taken several steps further). By the end, we have arrived at a very different place from where we started. Adams concludes with a new perspective on the fitful starts and stops heard earlier, which now are punctuated by a profoundly troubling, even hazardous sense of uncertainty. Guide to Strange Places seems not so much to stop as to run aground, like a ship amid rocky shores. â&#x20AC;&#x201D;Thomas May Š 2011

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The Cleveland Orchestra

Piano Concerto No. 11 in D major, HobXVIII:11 composed in the early 1780s THE SYMPHONIES

by

F. Joseph

HAYDN

born March 31, 1732 Rohrau, Austria died May 31, 1809 Vienna

Severance Hall 2010-11

and string quartets that Haydn composed throughout most of his career are recognized as a cornerstone of the Western classical tradition. While he didn’t invent these genres, Haydn’s decades of experimentation left an influential legacy for subsequent composers to continue evolving both symphony and string quartet in ever-more-sophisticated directions. His output in the concerto genre, on the other hand, is quite modest in comparison.

The main reason why concertos are comparatively marginal in a catalog as prolific as Haydn’s is obvious. While he certainly engaged in performances himself (whether at the keyboard or in string quartet ensembles), Haydn didn’t need to make his living as a virtuoso soloist. His position as head of musical affairs for his patron Prince Esterházy’s estate — its location was well-removed from the bustle of Vienna — allowed him to concentrate instead on symphonies for the court orchestra he had at his disposal, and on other genres as well.

Just around the time that Mozart was stirring up new interest in the solo concerto genre — or possibly a little before — Haydn wrote a Concerto in D major, which has become his best-known keyboard concerto. His catalog, in fact, already included perhaps ten earlier attempts, as well as concertos for other instruments. Ironically, by this point Haydn’s success in other genres had made it profitable for publishers to advertise spurious editions of works, including concertos, that claimed authorship by Haydn. That is why several keyboard concertos bearing his name have long been believed to be forgeries. The Concerto in D major once belonged to this category — it was printed by several competing publishers in the 1780s, evidently a much-sought-after score — but recent documentary evidence has removed doubts about its authenticity.

The piano itself was still a new-fangled instrument at the time, and the score for the Concerto in D major specifies that the keyboard part is for “clavicembalo o fortepiano” — that is, either harpsichord or the fortepiano (a forerunner of the modern piano). Haydn applies the high Classical style he had been evolving in his symphonies to the familiar three-movement concerto format — a marriage that Mozart would soon perfect in his own mature piano concertos. The economical treatment About the Music

45

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The Cleveland Orchestra

of thematic material, however, is a Haydn trademark. In fact, most of what happens in the first movement springs out of the (apparently) simple opening theme, whose initial phrase is rounded with an emphatic three-note pattern. Haydn will get lots of mileage out of this seemingly innocuous gesture. Notice, too, the busy repeat-note accompaniment beneath the theme.

This is more than “filler” — its restless motion continually recurs throughout the movement, often reshaped as rapid-fire scales in the keyboard. Haydn’s modest orchestra briefly introduces this material (along with a second theme that quickly passes across the landscape) before the piano enters to give it a twist of its own. Muscular rhythms likewise propel the movement forward. A dramatically suspenseful false pause leads to the solo cadenza near the movement’s end.

The orchestra again leads off in the aria-like slow movement. Here, a deceptively simple melodic idea provides the framework for what is to come. Each time the piano ruminates on the main theme, gracefully ornamented restatements subtly alter the theme’s personality. Virtuosity in this case isn’t a matter of “fireworks” or grandstanding. Rather, the kind of interpretation required here is all about the finesse that the soloist can bring to each lyrical rephrasing of the melody, not unlike a singer of bel canto opera — above all in the substantial cadenza near the end of the movement. (Haydn left written-out cadenzas for both the first and second movements.) And once again, what at first seems to be a formulaic accompaniment pattern — a gentle patter of triplets — emerges with an important role in the middle section, where Haydn deftly engages the soloist in dialogue with the orchestra.

Called a “rondo in Hungarian style” by Haydn, the thirdmovement finale features a tune that has been identified as an actual Balkan folk dance. Haydn adapts it to his own witty purposes, playing off its folksy high spirits and circular motion to send piano and orchestra spinning delightedly around each other. Contrasting episodes include a moody outburst in the minor, dizzy with trills, but the rondo theme resurfaces unscathed to bring the dance — and the concerto — to a cheerful finish.

—Thomas May © 2011

Severance Hall 2010-11

About the Music

At a Glance Haydn’s authorship of this Concerto in D major, cataloged as No. 11 of his keyboard concertos, was disputed for a time. Recent scholarship, however, has confirmed that Haydn wrote it, most likely in the early 1780s (possibly as early as 1779). Documentation about when it was first performed is ambiguous; one theory holds that it may have been introduced in Vienna as early as 1780.

This concerto runs about 20 minutes in performance.

In addition to solo keyboard, Haydn scored it for an orchestral ensemble of 2 oboes, 2 horns, and strings.

The Cleveland Orchestra first performed this Haydn Piano Concerto in October 1965, with Louis Lane conducting and Armenta Adams as soloist. It has been programmed on only two further sets of concerts, most recently in the autumn of 1982 with soloist Ilse von Alpenheim and guest conductor Antal Dorati.

47

“The trouble with music appreciation in general is that people are taught to have too much respect for music.

They should be taught to love it instead.”

—Igor Stravinsky

Emanuel Ax Polish-born pianist Emanuel Ax is renowned for his poetic temperament, virtuosity, and extensive performing activity. Each season, his schedule includes appearances with major orchestras worldwide, recitals, chamber music collaborations, the commissioning and performance of new music, and new recordings. Mr. Ax made his Cleveland Orchestra debut in January 1976 and has returned regularly since that time, performing with the Orchestra in Cleveland and on tour.

As a young boy, Emanuel Ax moved with his family from Lvov, Poland, to Winnipeg, Canada. He later studied piano at the Juilliard School of Music with Mieczyslaw Munz, and also majored in French at Columbia University.

Mr. Ax captured public attention in 1974 when he won the first Artur Rubinstein International Piano Competition, followed by the Michaels Award of Young Concert Artists in 1975 and the Avery Fisher Prize in 1979.

Mr. Ax has been an exclusive Sony Classical recording artist since 1987. Recent releases include Richard Strauss’s Enoch Arden narrated by Patrick Stewart, discs of twopiano music by Brahms and Rachmaninoff with Yefim Bronfman, and period-instrument performances of Chopin’s complete works for piano and orchestra. Emanuel Ax has received Grammy awards for his cycle of Haydn’s piano sonatas and his recordings of the music of Beethoven and Brahms sonatas with cellist Yo-Yo Ma. Mr. Ax’s discography also includes the piano concertos of Liszt and Schoenberg, solo piano music of Brahms, tangos by Astor Piazzolla, and John Adams’s Century Rolls, which he premiered and then recorded with The Cleveland Orchestra. Mr. Ax also contributed to a BBC documentary commemorating the Holocaust. It aired on the 60th anniversary of the liberation of Auschwitz and received a 2005 International Emmy.

A proponent of contemporary music, Mr. Ax has premiered works by John Adams, Krzysztof Penderecki, Christopher Rouse, Bright Sheng, and Melinda Wagner, among other composers. Active as a chamber musician, Mr. Ax has worked regularly with Yefim Bronfman, Young Uck Kim, Jaime Laredo, Cho-Liang Lin, Yo-Yo Ma, Edgar Meyer, Peter Serkin, and the late Isaac Stern.

Mr. Ax resides in New York City with his wife, pianist Yoko Nozaki. They have two children together, Joseph and Sarah. Emanuel Ax is a Fellow of the American Academy of Arts and Sciences and holds honorary doctorates of music from Yale and Columbia universities.

For additional information, please visit www.emanuelax.com Mr. Ax will autograph recordings outside the Cleveland Orchestra Store on the ground floor following the concerts on Thursday and Saturday evenings.

Severance Hall 2010-11

Soloist

49

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EVENING CONCER T S

Capriccio for piano and orchestra composed 1928-29, revised 1949 L I K E P I C A S S O,

by

IGOR

STRAVINSKY born June 17, 1882 Oranienbaum, near St. Petersburg died April 6, 1971 New York

Severance Hall 2010-11

Igor Stravinsky almost seems to have made a style of changing styles — although there’s always something identifiably Stravinskian beneath all the restless shape-shifting.

In the 1920s, Stravinsky even made himself over as a performer, polishing up his remarkable skills at the keyboard so he could bring in needed cash from concert appearances. He wrote a piano concerto tailor-made to show off these abilities, the Concerto for Piano and Wind Instruments, and toured extensively with it. But toward the end of the decade, Stravinsky decided he needed to add more variety to his calling card as a pianist.

And so he wrote Capriccio, a pocket concerto full of surprising teases and delights for the ear.

The oh-so-carefree-sounding title — the composer said what he had in mind was “a synonym of the fantasia” — is a typically Stravinskian pose for a score that is as stylishly crafted as a designer suit. Stravinsky never takes the piano’s personality for granted. Instead, he explores various ways in which the keyboard can interact with a larger ensemble to devise a diverse range of sonorities. For example, Stravinsky had become interested in the sonority of the cimbalom, a hammered dulcimer used in the folk music of central and eastern Europe. His piano writing in Capriccio (particularly in the lovely cadenza in the section marked “Andante”) attempts to imitate the cimbalom’s ancient, almost feathery sound.

Capriccio’s three movements flow together seamlessly, without pauses between. The first opens with a bit of high-handed drama, followed by shyer musings — a pattern that is repeated before the piano takes the spotlight. Stravinsky is keen to emphasize the keyboard’s identity as a percussive instrument even in its rapid-scale motifs. The episodic dialog he crafts between it and a deliciously colorful variety of voices from the orchestra is crisp and rhythmically complex, yet always elegantly poised.

This elegance brings to mind the “neoclassical” tag usually given to this phase of Stravinsky’s career as a composer. Actually, though, his approach exploits old-school compositional strategies that reach back not just to the Classical era but to the Baroque as well. One of these Baroque touches involves Stravinsky’s use of smaller groups of instrumentalists (especially obvious in the separate, small ensemble of strings) as a foil to About the Music

51

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The Cleveland Orchestra

the larger orchestral ensemble; such variation of group and subgroup had been a defining element of Baroque concerto style.

Note, too, how economically Stravinsky uses his very diverse orchestral palette — the textures are always clear and transparent.

The choreographer George Balanchine further elaborated this play of contrasting groups when he later set Capriccio as a ballet (the “Rubies” act from his full-length ballet of 1967, Jewels).

Stravinsky creates an illusion of free-form improvisation, but his interweave of musical lines is as calculated as a tightly argued fugue of Bach. Especially in the second movement (marked “Andante rapsodico”), Bach is clearly on the mind as Stravinsky lays out an exalted aria — but one utterly modernized through piquant, citrusy harmonies. The piano contributes intricate ornamentation and is given a splendid cadenza at the end of the movement, cheekily compared by the composer to “restaurant music.”

Melancholy shadows float through this middle movement, although we heard a foretaste of this in the mysterious dying beats, low in the piano, of the first movement’s coda. With the finale, however, following a hesitant introductory section, comes some of Stravinsky’s most irresistibly high-spirited, airborne, even cartoonish music. The sense of caprice, it turns out, seems to mean that whatever shadows have passed over the music are just a temporary moodiness. But by the time Stravinsky premiered Capriccio in late 1929, it was already emblematic of a vanished era — in an instant, October’s stock crash had brought the euphoric party of the 1920s to a rude end.

—Thomas May © 2011 At a Glance Stravinsky composed Capriccio between December 1928 and November 1929, essentially writing the piece backwards, beginning with the last movement; he revised the score in 1949. For the world premiere in Paris on December 6, 1929, Stravinsky played the solo part, with Ernest Ansermet conducting.

Severance Hall 2010-11

Capriccio runs just over 15 minutes in performance.

Stravinsky scored it for 2 flutes and piccolo, 2 oboes and english horn, 2 clarinets and bass clarinet, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, and strings, as well as a smaller (“concertino”) ensemble of strings, and the solo piano.

About the Music

The Cleveland Orchestra first performed Stravinsky’s Capriccio in March 1951, with pianist Beryl Rubinstein and music director George Szell.

The work has been performed very occasionally since that time, most recently in performances in the autumn of 1996, with Peter Serkin and guest conductor Oliver Knussen.

53

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The Cleveland Orchestra

Symphony No. 8 in F major, Opus 93 composed 1811-12

by

Ludwig van

BEETHOVEN born December 16, 1770 Bonn died March 26, 1827 Vienna

Severance Hall 2010-11

A N I C O N O C L A S T A N D G A D F LY when it came to conventional wisdom, Stravinsky once called the choral finale of Beethoven’s Ninth Symphony a “failure.” Yet in the same interview, he praised Beethoven’s Eighth as “a miracle of growth and development,” singling out a passage for trumpets and timpani near the end of the final movement as its “most wonderful moment.”

This might sound like a willfully contrarian opinion, but Stravinsky was right on the money in the sense that the Eighth has long been unjustly overshadowed by the powerful neighbors on either side of it in Beethoven’s catalog. Beethoven voiced his own annoyance with those who underestimated its quality — a tendency already apparent when the Eighth Symphony was first performed on a program it shared with the Seventh and Wellington’s Victory, a blatantly populist piece celebrating Napoleon’s impending demise. There’s some irony in this misunderstanding, since it was just at this point in his career that Beethoven’s music began to appeal to a more widespread public.

Soon Beethoven was being admired by his successors for the revolutionary and “heroic” character of the odd-numbered symphonies; the symphonies in between, by contrast, were often seen as a kind of “relaxation” after such epic efforts and hence thought to represent tamer beasts. Something of this bias, for example, lies behind Robert Schumann’s familiar metaphor for the Fourth Symphony as a “slender Greek maiden between two Norse giants.”

By the same token, even today it’s not hard to run into rather condescending appraisals of Beethoven’s Eighth Symphony as a step backward. They mistake its concision and relative brevity for “lightweight” music and its references to the past as a reactionary “retreat.” But listen closely, and you’ll enjoy one of the finest examples of this composer’s genius for transforming modest, seemingly unpromising musical ideas into an extravaganza of bold imagination.

Indeed, the cliché of odd- versus even-numbered symphonies as antitheses falls apart when we realize that the Eighth shares some fundamental features in common with the Seventh Symphony — above all, the prominent role of rhythmic drive in the work. Much as he had worked simultaneously on the Fifth and Sixth, Beethoven sketched out ideas for the Seventh and

About the Music

55

Even today, it’s not hard to run into rather condescending appraisals of Beethoven’s Eighth Symphony as a step backward.

They mistake its concision and relative brevity for “lightweight” music and its references to the past as a reactionary “retreat.”

56

Eighth around the same time and then proceeded to compose these two symphonies back to back. (It was also during this period that the composer is believed to have written the famous letter to his “Immortal Beloved” — the mysterious woman whose identity has long fascinated biographers and artists.)

The sense of invention that undergirds the Eighth bursts out in the opening measures of the first movement. As the main theme keeps unfolding, we realize it’s made up of variations on the pithy, six-note phrase we hear at the outset, all linked together in what is actually a surprisingly drawn-out first theme.

The entire first movement plays off this tension between compression and expansion. So, too, the good-humored charm of the opening is contrasted with something more urgent, even primal, which comes to the fore in the deafening crescendo Beethoven builds as he develops these ideas, reaching an extraordinary climax just as he reprises the opening theme. The composer himself said he had composed the Eighth in an “unbuttoned” spirit — this is one such moment, as are the many instances of gruff “comedy” elsewhere in the score.

There is no soul-stirring slow movement but, instead, a second movement that acts as a kind of interlude in which Beethoven seems to mock the very notion of measuring musical time. The standard explanation for the incessant tut-tuttut pulse sustained by the woodwinds is that the composer was paying tongue-in-cheek tribute to the eccentric inventor Johann Nepomuk Maelzel, who was known to Beethoven and who would soon patent his version of the metronome. Yet musicologist Standley Howell has cast doubt on the Maelzel connection here; after all, Haydn had played a similar game almost two decades earlier in the “ticking” rhythm of the second movement of his “Clock” Symphony (No. 101). In any case, Beethoven cleverly “fits” the melody into the mechanistic time-keeping before it all goes haywire in the speeded-up mania of the last measures.

For the third movement, Beethoven’s substitution of a minuet for his usual high-energy Scherzo is often seen as an “old-fashioned” move, but he leaves his unmistakable stamp with off-kilter accents.

The real meat of the symphony arrives in the fourth-movement finale, where Beethoven is at his most innovative. He reimagines the classical rondo form of variations, which listeners would have expected to deliver a light-hearted concluding movement, so that it carries the symphony’s most substantial About the Music

The Cleveland Orchestra

ideas. In this way, far from looking backward, the composer actually anticipates the “back-loaded” structure of the Ninth Symphony.

The theme itself, in keeping with the rest of the work, is again deceptively simple, allowing Beethoven to tease with ambiguities of rhythm and volume. All is a whisper until the first brusque explosion — a blast of C-sharp, an absurdity that has no place in the Eighth Symphony’s home key of F major.

In the movement’s coda, which Beethoven stretches to gigantic proportions, this nonsequitur at last comes to make sense, when it pushes the entire argument off course into a distant key — leaving the trumpets and timpani to lasso the orchestra back on track, in the moment Stravinsky so admired.

In the finale to his First Symphony, Beethoven had already parodied the process of composition itself. Here, as he pounds away at the home key with an insistence that’s over-the-top, Beethoven seems to poke fun at the “heroic” manner of those celebrated odd-numbered symphonies. Is there a more hilarious ending than the punch-drunk finale of the Eighth?!

—Thomas May © 2011 Thomas May is a frequent contributor to Cleveland Orchestra program books and writes regularly about music and theater. His books include Decoding Wagner and The John Adams Reader.

At a Glance Beethoven wrote his Eighth Symphony during 1811 and 1812, the largest part of it immediately upon completion of the Seventh Symphony during the summer of 1812. He completed the score in October 1812, while visiting his brother Johann in Linz. Beethoven dedicated the score to Count Moritz Fries. Despite increasing deafness, Beethoven conducted the first performance, at the

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Vienna Redoutensaal on February 27, 1814. The concert also featured repeat performances of the Seventh Symphony and Wellington’s Victory, both of which had been premiered in December.

This symphony runs about 30 minutes in performance.

Beethoven scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings.

About the Music

The Cleveland Orchestra first performed Beethoven’s Symphony No. 8 during the Orchestra’s fourth season, in November 1921, with music director Nikolai Sokoloff conducting. It has been performed with some frequency since that time, most recently at Severance Hall in early 2002 under the direction of Steven Smith.

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From Youth Orchestra into the World

by Elaine Guregian

I T ’ S S O M E W H AT S TA R T L I N G

The Cleveland Orchestra Youth Orchestra celebrates 25 years with its spring concert on May 22 and a special alumni concert on May 29

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to do the math and realize that since the Cleveland Orchestra Youth Orchestra (COYO) began twenty-five years ago, more than 1,200 young musicians have performed in it. The numbers have steadily accumulated since founding music director Jahja Ling, then resident conductor of The Cleveland Orchestra, led the Youth Orchestra’s first concert in 1987. It’s no wonder, considering the opportunity. Each season, musicians are chosen by audition for the chance to work with Cleveland Orchestra musicians and other gifted teachers as their coaches in weekly rehearsals at Severance Hall, to learn from Cleveland Orchestra staff conductors, to feel the thrill of making music at the highest level they have ever experienced — and to have the fun of doing all of this with other motivated students they meet from communities across Northern Ohio and beyond.

The benefits of COYO are tremendous, both for students who pursue other fields in college and for those who make a career as a professional musician. Violinist Alexandra Hoopes, who performed as a soloist in a week of student COYO: Twenty-Five Years

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concerts with The Cleveland Orchestra in October 2010 and was a winner of the annual COYO Concerto Competition, said that belonging to COYO sparked her decision to go into music. “The conductors — James Feddeck and Jayce Ogren — motivated me and made me feel special, like I could make a difference,” she says, adding, “There’s a special bond in this Youth Orchestra that’s different from other youth orchestras. We were given opportunities to be not just students and colleagues, but friends and partners in music.” Alexandra’s siblings, Chad Hoopes and Anna Hoopes, also played in COYO. Here’s a sampling of what some other former COYO members are doing now: Caroline Goulding — violin.

COYO member [2004-07]. Winning the Avery Fisher Career Grant and the 2009 Young Concert Artists International Auditions has helped fuel Ms. Goulding’s career with concert engagements, following early success as concerto competition winner at the Aspen Music Festival at age 13 and television and radio appearances from a young age on shows including PBS’s From the Top: Live from Carnegie

M U SIC DI R ECTOR

Hall and NBC’s Today Show. She has continued building her career while completing her freshman year at the Cleveland Institute of Music. She performed with The Cleveland Orchestra in student concerts in 2006 and appeared as soloist this year as part of The Cleveland Orchestra Miami Residency. This season, Ms. Goulding also made her debut with the National Symphony Orchestra and was re-engaged by the Dallas Symphony.

She performs at the Marlboro Music Festival in Vermont this summer.

Alisa Weilerstein — cello.

COYO member [1992-94]. A graduate of the Young Artist Program at the Cleveland Institute of Music and of Columbia University, where she earned a degree in Russian history, Ms. Weilerstein made her Cleveland Orchestra debut in October 1995 at age 13, playing the Tchaikovsky “Rococo” Variations.

During the 2009-10 season, she served as the Orchestra’s artist-in-residence and performed to a rapturous audience at Severance Hall in Golijov’s Azul. In demand around the world, she has recently performed at the White House, as soloist in Venezuela with the Simón Bolívar

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Alexandra Preucil Dolan Symphony Orchestra led by Gustavo Dudamel, and with the Berlin Philharmonic and Daniel Barenboim in London for concert televised live worldwide and released on DVD. Ms. Weilerstein is a Celebrity Advocate for the Juvenile Diabetes Research Foundation.

Orion Weiss — piano. COYO member [1996-97]. Orion Weiss studied at the Cleveland Institute of Music and made his Cleveland Orchestra debut in 1999, performing Liszt’s Piano Concerto No. 1. He is the recipient of the Gilmore Young Artist Award, an Avery Fisher Career Grant, and the Gina Bachauer Scholarship at the Juilliard School, where he studied with Emanuel Ax and graduated in 2004. In March 1999, with less than 24 hours’ notice, Mr. Weiss stepped in to replace André Watts for a performance of Shostakovich’s Piano Concerto No. 2 with the Baltimore Symphony Orchestra. Mr. Weiss performs regularly with his wife, pianist Anna Polonsky, as well as with the Pacifica Quartet and other recital partners.

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INSTRUMENT: violin HOMETOWN: Shaker Heights, Ohio COYO MEMBER: 1997-2001 COLLEGE: Bachelor of Music, Cleveland Institute of Music, 2005 CURRENT JOB: violin section, The Cleveland Orchestra COYO MEMORY: One of the years when I was concertmaster, we did a side-byside with The Cleveland Orchestra and so I got to sit next to my dad. We had so much fun playing together!

HOW DID COYO CHANGE YOUR LIFE? The Youth Orchestra helped my dream of becoming a member of The Cleveland Orchestra come true! I learned so much from the conductors, coaches, and my peers.

Participating in the Cleveland Orchestra Youth Orchestra has helped three former members achieve their dream of performing in The Cleveland Orchestra.

Portrait photography by Roger Mastroianni.

COYO: Twenty-Five Years

The Cleveland Orchestra

The Cleveland Orchestra Youth Orchestra is supported by a generous grant from the Martha Holden Jennings Foundation and by gifts from many other generous donors.

Endowment support is provided by The George Gund Foundation and Christine Gitlin Miles.

Lyle Steelman

Eliesha Nelson

INSTRUMENT: trumpet

INSTRUMENT: viola

HOMETOWN: Euclid, Ohio

HOMETOWN: North Pole, Alaska

COYO MEMBER: 1996-1997

COYO MEMBER: 1989-92

COLLEGE: Bachelor of Music, Baldwin-Wallace College, 2001.

Master of Music, Southern Methodist University, 2003.

COLLEGE: Cleveland Institute of Music, Bachelor of Music, 1995, and Master of Music, 1999. Royal Academy of Music (London), Diploma, 1996

CURRENT JOB: assistant principal trumpet, The Cleveland Orchestra.

CURRENT JOB: viola, The Cleveland Orchestra

COYO MEMORY: The brass coach (James DeSano, then principal trombone of The Cleveland Orchestra) really took me under his wing. His guidance and support gave me the confidence to pursue music performance as a career.

COYO MEMORY: My last two years in COYO, I served as concertmaster. The concertmaster of The Cleveland Orchestra at that time was Daniel Majeske. He was a real mentor for me, and an example of integrity and leadership. I appreciate his help with all the concertmaster solos I had. I also loved the side-by-side rehearsals with The Cleveland Orchestra. Once I sat next to Yoko Moore, assistant concertmaster, and I recall how solid and assured a player she is. I wanted to play like that one day.

HOW DID COYO CHANGE YOUR LIFE? Playing in the home of one of the worldâ&#x20AC;&#x2122;s great orchestras was an experience that I did not take for granted.

Being on stage at Severance Hall gave me a goal in life â&#x20AC;&#x201D; to one day be a member of The Cleveland Orchestra.

I have seen my dreams become a reality!

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HOW DID COYO CHANGE YOUR LIFE? Coming from a small town in Alaska, I had not experienced such a large number of talented students living in the same region who were so involved with music. It was great to experience that dedication.

Cleveland Orchestra Youth Orchestra

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Legacy & Planned Giving THE CLEVELAND ORCHESTRA

H E R I TAGE S O C I ET Y The Heritage Society honors donors who support the Orchestra through their wills, life income gifts, or other types of deferred giving. The following listing of members is current as of February 2011. The Cleveland Orchestra and Musical Arts Association thank those members below in bold who have declared to us their specific estate intentions. For more information, please call Jim Kozel, Director of Legacy Giving at (216) 231-7549.

Anonymous (92) Lois A. Aaron Leonard Abrams Shuree Abrams* Gay Cull Addicott Stanley and Hope Adelstein Sylvia K. Adler Jack and Darby Ashelman Gerald O. Allen Norman and Marjorie* Allison Herbert Ascherman, Jr. Mr. and Mrs. William W. Baker Ruth Balombin* Mrs. Louis W. Barany* D. Robert* and Kathleen L. Barber Jack Barnhart Margaret B. and Henry T.* Barratt Norma E. Battes Fred G. and Mary W. Behm Dr. Ronald and Diane Bell Bob Bellamy Joseph P. Bennett Miss Ila M. Berry Howard R. and Barbara Kaye Besser Dr.* and Mrs. Murray M. Bett Dr. Marie Bielefeld Mr. Raymond J. Billy Dr. and Mrs. Harold B. Bilsky Robert E. and Jean Bingham* Claudia Bjerre William P. Blair III Flora Blumenthal Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. and Mrs. Charles P. Bolton Loretta and Jerome* Borstein Mr. and Mrs.* Otis H. Bowden II Ruth Turvy Bowman Drs. Christopher P. Brandt and Beth Brandt Sersig Mr. D. McGregor Brandt, Jr. David and Denise Brewster Richard F. Brezic* Robert W. Briggs and Dr. Joanne H. Briggs Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Ronald and Isabelle Brown* Mr. and Mrs. Clark E. Bruner*

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Harvey and Penelope Buchanan Rita W. Buchanan Joan and Gene Buehler Gretchen L. Burmeister Stanley and Honnie Busch Milan and Jeanne* Busta Mrs. Noah L. Butkin* Mr. and Mrs. William C. Butler Minna S. Buxbaum* Gregory and Karen Cada Jean S. Calhoun Harry and Marjorie M. Carlson Janice L. Carlson Dr. and Mrs. Roland D. Carlson Barbara A. Chambers, D.Ed. Ellen Wade Chinn* NancyBell Coe Ralph M. and Mardy R. Cohen Robert and Jean Conrad Mr. and Mrs. Gerald A. Conway James P. and Catherine E. Conway Rudolph R. Cook The Honorable Colleen Conway Cooney John D. and Mary D.* Corry Dr.* and Mrs. Frederick S. Cross Dr. William S. Cumming In Memory of Walter C. and Marion J. Curtis Mr. and Mrs. William W. Cushwa Howard Cutson Mr. and Mrs. Don C. Dangler Mr. and Mrs. Howard J. Danzinger Barbara Ann Davis Carol J. Davis Charles and Mary Ann Davis Mary Kay DeGrandis and Edward J. Donnelly Neeltje-Anne DeKoster Carolyn L. Dessin William R. Dew Mrs. Armand J. DiLellio James A. Dingus, Jr. Dr. and Mrs. Richard C. Distad Maureen A. Doerner and Geoffrey T. White Gerald and Ruth Dombcik Mr.* and Mrs. Roland W. Donnem Nancy and Richard Dotson Mrs. John Drollinger

Legacy & Planned Giving

Drs. Paul M. and Renate H. Duchesneau George* and Becky Dunn Warren* and Zoann Dusenbury Mr. and Mrs. Robert Duvin Paul and Peggy Edenburn Robert and Anne Eiben Esther and Alfred M. Eich, Jr. Mr. and Mrs. Ramon Elias* Roger B. Ellsworth Oliver and Mary Emerson Lois Marsh Epp Patricia Esposito Margaret S. Estill Dr. Wilma McVey Evans C. Gordon and Kathleen A. Ewers Patricia J. Factor Susan L. Faulder Dr. and Mrs. Frederick Fennell* Mrs. Mildred Fiening Gloria and Irving B. Fine R. Neil Fisher Jules and Lena Flock* Joan Alice Ford Dr. and Mrs.* William E. Forsythe Mr.* and Mrs. Ralph E. Fountain J. Gilbert and Eleanor M. Frey Arthur and Deanna Friedman Mr.* and Mrs. Edward H. Frost Dawn Full Henry S. Fusner Dr. Stephen and Nancy Gage Charles and Marguerite C. Galanie* Barbara and Peter Galvin Mr. and Mrs. Steven B. Garfunkel Donald* and Lois Gaynor Barbara P. Geismer Albert I. and Norma C. Geller Carl E. Gennett* John H.* and Ellen P. Gerber Frank and Louise Gerlak Dr. James E. Gibbs In Memory of Roger N. Gifford Dr. Anita P. Gilger* S. Bradley Gillaugh Mr. and Mrs. Robert M. Ginn Fred and Holly Glock Ronald* and Carol Godes William H. Goff

The Cleveland Orchestra

Legacy & Planned Giving THE CLEVELAND ORCHESTRA

H E R I TAGE S O C I ET Y Mr. and Mrs. Henry J. Goodman John and Ann Gosky Mrs. Joseph B. Govan* Elaine Harris Green Richard C. Gridley Nancy Griffith David E. and Jane J. Griffiths David G. Griffiths* Ms. Hetty Griffiths Margaret R. Griffiths* Bev and Bob Grimm Judd and Zetta Gross* Candy and Brent Grover Mrs. Jerome E. Grover* Thomas J. and Judith Fay Gruber Mr. and Mrs. David H. Gunning Mr. and Mrs. William E. Gunton Joseph E. Guttman* Mrs. John A Hadden Jr. Richard and Mary Louise Hahn James J. Hamilton Kathleen E. Hancock Douglas Peace Handyside* Holsey Gates Handyside Norman C. and Donna L. Harbert Mary Jane Hartwell William L.* and Lucille L. Hassler Peter and Gloria Hastings* Mrs. Henry Hatch (Robin Hitchcock) Virginia and George Havens Gary D. Helgesen Clyde J. Henry, Jr. Ms. M. Diane Henry Wayne and Prudence Heritage Rice Hershey* T. K. and Faye A. Heston Gretchen L. Hickok Mr. and Mrs. Daniel R. High Edwin R. and Mary C. Hill* Ruth Hirshman-von Baeyer* Mr.* and Mrs. D. Craig Hitchcock Goldie Grace Hoffman* Mary V. Hoffman Feite F. Hofman MD Mrs. Barthold M. Holdstein Leonard* and Lee Ann Holstein Gertrude S. Hornung* Patience Cameron Hoskins Elizabeth Hosmer Dorothy Humel Hovorka Dr. Randal N. Huff Ann E. Humphreys and Jayne E. Sisson Karen S. Hunt Ruth F. Ihde Mr. and Mrs. Jonathan E. Ingersoll Pamela and Scott Isquick Mr. and Mrs.* Clifford J. Isroff

Mr. and Mrs. Donald M. Jack, Jr. Carol S. Jacobs Milton* and Jodith Janes Jerry and Martha Jarrett Nancy Kurfess Johnson, M.D. Paul and Lucille Jones* Mrs. R. Stanley Jones* David and Gloria Kahan Julian and Etole Kahan Drs. Julian* and Aileen Kassen Milton and Donna Katz Patricia and Walter* Kelley Bruce and Eleanor Kendrick Malcolm E. Kenney Nancy H. Kiefer Charles M. and Janet G. Kimball* Mr. Kevin F. Kirkpatrick Mrs. Virginia Kirkpatrick James and Gay Kitson Julian H. and Emily W. Klein* Mary Elizabeth and G. Robert Klein* Thea Klestadt* Gilles and Malvina Klopman Martha D. Knight Mr. and Mrs. Robert Koch Vilma L. Kohn Elizabeth Davis Kondorossy* Mr. and Mrs. James G. Kotapish, Sr. LaVeda Kovar* Margery A. Kowalski Bruce G. Kriete* Mr. and Mrs. Gregory G. Kruszka Thomas and Barbara Kuby Eleanor and Stephen Kushnick Mr. and Mrs. Dennis W. LaBarre James I. Lader Mr. and Mrs. David A. Lambros Dr. Joan P. Lambros Mrs. Carolyn Lampl Mrs. Samuel H. Lamport Louis Lane Charles and Josephine Robson Leamy Fund Teela C. Lelyveld Mr. and Mrs. Roger J. Lerch Gerda Levine Dr. and Mrs. Howard Levine Bracy E. Lewis Mr. and Mrs. Thomas A. Liederbach Ruth S. Link Dr. and Mrs. William K. Littman Jeff and Maggie Love Dr. Alan and Mrs. Min Cha Lubin Ann B. and Robert R. Lucas* Miss Anne M. Lukacovic Kate Lunsford Mr. and Mrs. Thomas E. Lynch Terry and Pat MacDonald

Jerry Maddox Carol and Steve* Madsen Alice D. Malone Mr. and Mrs. Donald Malpass, Jr. Lucille Harris Mann Mr. and Mrs. Richard A. Manuel Clement P. Marion Mr. Wilbur J. Markstrom Dr. and Mrs. Sanford Marovitz Duane and Joan* Marsh Florence Marsh, Ph.D. Mr. and Mrs. Anthony M. Martincic Kathryn A. Mates Alexander and Marianna McAfee Nancy B. McCormack Mr. William C. McCoy Marguerite H. McGrath Dorothy R. McLean Jim* and Alice Mecredy James and Viginia Meil Mr. and Mrs.* Robert F. Meyerson Brenda Clark Mikota Christine Gitlin Miles Charles B. & Christine A. Miller Edith and Ted* Miller Mr. Leo Minter, Jr. Mr. and Mrs. William A. Mitchell Robert L. Moncrief Beryl and Irv Moore Ann Jones Morgan Mr.* and Mrs. Stanley L. Morgan George and Carole Morris Mr. and Mrs. Thomas W. Morris Mr. and Mrs.* Donald W. Morrison Drs. Joan R. Mortimer and Edward A.* Mortimer, Jr. Florence B. Moss Susan B. Murphy Dr. and Mrs. Clyde L. Nash, Jr. David and Judith Newell Russell H. Nyland* Charles K. Laszlo and Maureen Oâ&#x20AC;&#x2122;Neill-Laszlo Katherine T. Oâ&#x20AC;&#x2122;Neill Mr. and Mrs. John D. Ong Aurel Fowler-Ostendorf* Ronald J. Parks Nancy and W. Stuver Parry Mrs. John G. Pegg Mary Charlotte Peters Mr. and Mrs. Peter Pfouts* Janet K. Phillips* Florence KZ Pollack Victor and Louise Preslan* Mrs. Robert E. Price* Lois S.* and Stanley M. Proctor Leonard and Heddy Rabe LISTING CONTINUES

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Legacy & Planned Giving

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Legacy & Planned Giving THE CLEVELAND ORCHESTRA

H E R I TAGE S O C I ET Y Be forever a part of what the world is talking about!

LISTING CONTINUED

M. Neal Rains Mr. George B. Ramsayer Joe L. and Alice* Randles Mrs. Alfred M. Rankin Mrs. Theodore H. Rautenberg* Dr. Sandford Reichart* James and Donna Reid Mrs. Hyatt Reitman* Dr. Larry J.B.* and Barbara S. Robinson Dwight W. Robinson Margaret B. Babyak* and Phillip J. Roscoe Dr. Eugene and Mrs. Jacqueline Ross Helen Weil Ross* Marjorie A. Rott Dr. and Mrs. Howard E. Rowen Florence Brewster Rutter Mr. James L. Ryhal, Jr. Renee Sabreen Marjorie Bell Sachs Vernon Sackman Sarah J. Sager and William R. Joseph Sue Sahli Mr. and Mrs. James A. Saks Mr. Larry J. Santon Stanford and Jean B. Sarlson James Dalton Saunders Patricia J. Sawvel Ray and Kit Sawyer Morris and Alice Sayre In Memory of Hyman and Becky Schandler Robert Scherrer Sandra J. Schlub Ms. Marian Schluembach Robert and Betty Schmiermund Mr. and Mrs. Richard M. Schneider Lynn A. Schreiber Jeanette L. Schroeder Mr. Frank Schultz Roslyn S. and Ralph M. Seed Nancy F. Seeley Edward Seely Meredith M. Seikel Russell Seitz Eric Sellen Andrea E. Senich Thomas and Ann Sepulveda B. Kathleen Shamp Jill Semko Shane David Shank Dr. and Mrs. Daniel J. Shapiro Norine W. Sharp

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Norma Gudin Shaw Elizabeth Carroll Shearer Dr. and Mrs. William C. Sheldon Frank * and Mary Ann Sheranko Kim Sherwin Mr. and Mrs. Michael Sherwin Reverend and Mrs. Malcolm K. Shields Rosalyn and George Sievila Mr. and Mrs. David L. Simon Dr.* and Mrs. John A. Sims Naomi G. and Edwin Z. Singer Lauretta Sinkosky H. Scott Sippel and Clark T. Kurtz Ellen J. Skinner Ralph* and Phyllis Skufca Janet Hickok Slade Alden D. and Ellen D.* Smith Margaret C. Smith* Mr.* and Mrs. Ward Smith M. Isabel Smith* Nathan Snader* Sterling A.* and Verdabelle Spaulding Sue Starrett and Jerry Smith Lois and Thomas Stauffer Willard D. Steck* Dr. Myron Bud and Helene* Stern Merle Stern Mr. and Mrs. John M. Stickney Nora and Harrison Stine* Mr. and Mrs. Stanley M. Stone Mr. and Mrs. James P. Storer Mr. and Mrs. Ralph E. String The Irving Sunshine Family Mr.* and Mrs. Herbert J. Swanson In Memory of Marjory Swartzbaugh Lewis Swingley* Lorraine S. Szabo Norman V. Tagliaferri Susan* and Andrew Talton Frank E. Taplin, Jr.* Charles H. Teare and Clifford K.* Kern Mr. Ronald E. Teare Pauline Thesmacher* Dr. and Mrs. Friedrich Thiel Mrs. William D. Tibbetts* Mr. and Mrs. William M. Toneff Alleyne C. Toppin Janice and Leonard Tower Dorothy Ann Turick Mr. and Mrs. Robert A. Urban Robert and Marti Vagi Robert A. Valente Mary Louise and Don VanDyke

Legacy & Planned Giving

Elliot Veinerman* Nicholas J. Velloney* Steven Vivarronda Pat and Walt* Wahlen Mrs. Clare R. Walker Mr. and Mrs. Russell Warren Charles D. Waters* Etta Ruth Weigl Lucile Weingartner Eunice Podis Weiskopf* Max W. Wendel William Wendling and Lynne Woodman Marilyn J. White Alan H. and Marilyn M. Wilde Elizabeth L. Wilkinson* Helen Sue* and Meredith Williams Carter and Genevieve Wilmot Miriam L. and Tyrus W.* Wilson Mr. Milton Wolfson* and Mrs. Miriam Shuler-Wolfson Nancy L. Wolpe Mrs. Alfred C. Woodcock Mr. and Mrs.* Donald Woodcock Henry F. and Darlene K. Woodruff Marilyn L. Wozniak Nancy R. Wurzel Michael and Diane Wyatt Mary Yee Libby Yunger Dr. Norman Zaworski William L. and Joan H. Ziegler Carmela Catalano Zoltoski Roy J. Zook*

*deceased

The lotus blossom is the symbol of the Heritage Society.

It represents eternal life and recognizes the permanent benefits of legacy gifts to The Cleveland Orchestraâ&#x20AC;&#x2122;s endowment.

Said to be Elisabeth Severanceâ&#x20AC;&#x2122;s favorite flower, the lotus is found as a decorative motif in nearly every public area of Severance Hall.

The Cleveland Orchestra

Meet Nancy Dotson Cleveland Orchestra Heritage Society member, former State Chair of the Blossom Womenâ&#x20AC;&#x2122;s Committee, and Heritage Society radio ambassador on WCLV When did you begin attending Cleveland Orchestra concerts?

Dick and I have lived in the area for 32 years and have been attending concerts for most of those years.

What is your favorite concert experience with The Cleveland Orchestra?

Without a doubt, we will never forget the concert at Severance Hall several years ago with Sir Colin Davis and Mitsuko Uchida and the Mozart Piano Concerto. Sitting in the dress circle and seeing the interaction of these two icons and The Cleveland Orchestra is something I will never forget.

What is your favorite memory of The Cleveland Orchestra or Blossom Festival?

Dick and I have so many wonderful memories of Blossom and Severance Hall. Living in Hudson and only 20 minutes from Blossom, our summer revolves around the lyrical weekend evenings at Blossom. Sitting on the Lawn with a glass of wine under the stars is our idea of a perfect date! Meeting various members of The Cleveland Orchestra at the summer Gourmet Matinee Luncheons or the Orchestra Picnic sponsored by the Blossom Womenâ&#x20AC;&#x2122;s Committee have also been special treats.

What reason do you suggest when extending an invitation to join the Heritage Society?

It is a very special privilege to have The Cleveland Orchestra so readily accessible and convenient to attend. It is for these reasons that we made a decision to include the Orchestra in our estate planning several years ago. Leaving a legacy for future generations to enjoy this music and for the musicians to carry on the music is something we are happy we can do.

For information on membership in the Heritage Society, contact Jim Kozel, Director of Legacy and Planned Giving, by calling 216-231-7549 or via email at jkozel@clevelandorchestra.com or go to clevelandorchestra.com and click on Support, then Heritage Society THE CLEVELAND ORCHESTRA

H ER I TAGE SO C I ET Y Severance Hall 2010-11

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Music

Administrative Staff

Conservatory of Music

EXECUTIVE OFFICE Gary Hanson EXECUTIVE DIRECTOR

Rosemary Klena EXECUTIVE ASSISTANT

High-quality professional development courses for music educators

Music Technology: Instructional Software and Digital Media (TI:ME 1B) June 13-17, 9 a.m.-4 p.m.; 2 credits Functional Guitar June 14-16, 12-4:30 p.m.; 1 credit

MIAMI RESIDENCY Sandi Macdonald Montserrat Balseiro PATRON DEVELOPMENT ASSOCIATE

Etain Connor DEVELOPMENT OFFICER

Music Technology: Advanced Music Notation (TI:ME 2A) June 20 –23, 9 a.m.-4:30 p.m.; 2 credits

Gary Ginstling GENERAL MANAGER

Cherilyn Byers Julie Kim DIRECTOR OF OPERATIONS

Amy Gill ORCHESTRA OPERATIONS MANAGER

Artistic Administration Cristina Rocca ARTISTIC ADMINISTRATOR

Randy Elliot ASSISTANT ARTISTIC ADMINISTRATOR

COMMUNICATIONS Ana Papakhian DIRECTOR

Georgia Young COMMUNICATIONS ASSOCIATE

Elaine Guregian COMMUNICATIONS MANAGER

Timothy Parkinson COMMUNICATIONS ASSOCIATE

Jennifer Schlosser

Jazz Pedagogy for Music Educators June 14-17, 9 a.m.-4:30 p.m.; 2 credits

ORCHESTRA OPERATIONS

ADMINISTRATIVE ASSISTANT

MIAMI RESIDENCY DIRECTOR

Summer Institute for Music Teaching and Learning

(as of May 5, 2011)

MEDIA RELATIONS MANAGER

Eric Sellen PROGRAM BOOK EDITOR

Archives Deborah Hefling ARCHIVIST

Barb Bodemer DRIVER

Orchestra Personnel Carol Lee Iott DIRECTOR

Rebecca Vineyard MANAGER

Marla Bentley ORCHESTRA PERSONNEL ASSISTANT

Stage Joe Short STAGE MANAGER

Thomas Holden Michael Lehane John Riley Don Verba STAGEHANDS

Chorus Jill Harbaugh

Audiation, Aptitude, and Achievement – an Introduction to Music Learning Theory June 20 –23, 9 a.m.-4:30 p.m.; 2 credits

MANAGER

Rachel Novak ASSISTANT TO THE MANAGER

Education & Community Programs Joan Katz Napoli

Orff-Schulwerk Teacher Education Course Level I June 27 – July 8 (no class July 2-4), 8 a.m.-5 p.m.; 4 credits

DIRECTOR

Allison Elder EDUCATION & COMMUNITY PROGRAMS ASSOCIATE

Orff-Schulwerk Teacher Education Course Level II June 27 – July 8 (no class July 2-4), 8 a.m.-5 p.m.; 4 credits

Sandra Jones MANAGER, EDUCATION & FAMILY CONCERTS

Lisa Judge MANAGER, SCHOOL & COMMUNITY PARTNERSHIPS

Orff-Schulwerk Teacher Education Course Level III June 27 – July 8 (no class July 2-4), 8 a.m.-5 p.m.; 4 credits

Ashley Smith MANAGER, CLEVELAND ORCHESTRA YOUTH ORCHESTRA

For more information or to register online, go to: www.bw.edu/academics/conservatory/ outreach/profdevelopment

Conservatory Outreach 440-826-2365 conreach@bw.edu www.bw.edu/conservatory

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Administrative Staff

The Cleveland Orchestra

T H E C L E V E L A N D O R C H E S T R A MARKETING & PATRON RELATIONSHIP MANAGEMENT Ross Binnie CHIEF MARKETING OFFICER

Madeline Lucas PATRON RELATIONS ASSOCIATE

Susan Hoffman DIRECTOR, PATRON RELATIONSHIP MANAGEMENT

Jeff Williams MANAGER, PATRON RELATIONSHIPS

Jacintha McWhorter PATRON RELATIONS ASSOCIATE

Marketing Deidre McPherson MARKETING MANAGER

Allison Moore MARKETING MANAGER

Kathy Pahr GROUP SALES

Publications Ann Poston PUBLICATIONS MANAGER

Patron Systems Adriane Smith PATRON SYSTEMS MANAGER

Ticket Services Timothy Gaines TICKET OFFICE MANAGER

Joan Eppich ASSOCIATE MANAGER

Mary Ellen Campbell ASSISTANT MANAGER

Diane Kusterbeck Monica Berens SUBSCRIPTION REPRESENTATIVES

Patrick Colvin Joclyn Madey Cindy Adams Traci Schillace Mary Ellen Snyder CUSTOMER SERVICE REPRESENTATIVES

SEVERANCE HALL Mary Ann Makee DIRECTOR OF FACILITIES MANAGEMENT & OPERATIONS

Laura Clelland ADMINISTRATIVE ASSISTANT

Building Operations Charles Laszlo BUILDING OPERATIONS MANAGER

Janet Montagino ADMINISTRATIVE ASSISTANT

Steve Skunta SENIOR BUILDING ENGINEER

Scott Miller Robert Nock Christopher Downey Michael Evert BUILDING ENGINEERS

Shelia Baugh George Felder Michelle Williams DOOR PERSONS

Quinn Chambers HALL STAFF & CLEANING SUPERVISOR

Steven Washington Pauletta Hughes HALL STAFF LEAD

Antonio Adamson Kervin Hinton Dwayne Johnson Jerome Kelly Darrell Simmons Dwayne Taylor HALL STAFF

Gloria Carter Glynis Smith CLEANING PERSONS

Joe Pales GROUNDSKEEPER

Facility Sales Bob Bellamy FACILITY SALES MANAGER

Concerts & Special Events Erin Patton Graziani MANAGER

PHILANTHROPY & ADVANCEMENT

FINANCE & ADMINISTRATION

Dory Vanderhoof

James E. Menger

CHIEF DEVELOPMENT OFFICER

Laura Desmond DIRECTOR OF DEVELOPMENT

Grace Sipusic DEVELOPMENT ASSOCIATE

Leadership Giving Susan Van Vorst DIRECTOR OF DEVELOPMENT, LEADERSHIP GIVING

Charlotta Enflo DEVELOPMENT ASSOCIATE

Tim Mann DIRECTOR, LEADERSHIP DEVELOPMENT

Bernadette Clemens LEADERSHIP GIVING OFFICER

Ellen Bender LEADERSHIP GIVING OFFICER

Hayden Howland MANAGER, LEADERSHIP GIVING

Jim Kozel DIRECTOR, LEGACY GIVING

Angela Simonetti DEVELOPMENT ASSOCIATE

Amy Swegan MANAGER, SPECIAL EVENTS & DONOR SERVICES

Emily Szy DEVELOPMENT ASSOCIATE

Institutional Giving Anizia Karmazyn DIRECTOR OF DEVELOPMENT, INSTITUTIONAL GIVING

Bridget Mundy DEVELOPMENT ASSOCIATE

Wanda Scott MANAGER, CORPORATE SPONSORSHIPS

CHIEF FINANCIAL OFFICER

Shirley Rundo ADMINISTRATIVE ASSISTANT

Mark T. Magyar CONTROLLER

Mary Stewart-McGovern ACCOUNTING ANALYST

Barbara S. Snyder ACCOUNTING MANAGER

Heather Poston SENIOR ACCOUNTANT

Christina Dutkovic ACCOUNTING ASSOCIATE

Carolann Oravec PAYROLL MANAGER

Information Systems David Vivino MANAGER

Kevin Lawlor SENIOR SYSTEMS ANALYST

Randy Conn DATABASE ANALYST

Theresa Henderson NETWORK ADMINISTRATOR

Mailroom Jim Hilton SUPERVISOR

Naomi Camara MAILROOM CLERK

Human Resources Karen Tucholski DIRECTOR

Connie Pomeroy HUMAN RESOURCES ASSOCIATE

Charise Reid HUMAN RESOURCES COORDINATOR

Development Operations Anne Soulé RESEARCH MANAGER

Kara Jakubec

House Management Judith Diehl HOUSE MANAGER

Adam Clemens ASSISTANT HOUSE MANAGER

RESEARCH ASSOCIATE

Jim Reynolds DEVELOPMENT ASSOCIATE,

Lori Cohen VOLUNTEER COORDINATOR

Retail Larry Fox STORE MANAGER

Pauline Kivach Gretchen Kolovich Helen Douglas SALES ASSOCIATES

TH E CLEVEL AN D ORCH ESTR A Severance Hall 11001 Euclid Avenue Cleveland, Ohio 44106 clevelandorchestra.com Administrative Offices: 216-231-7300 Ticket Office: 216-231-1111 or 800-686-1141

Severance Hall 2010-11

Administrative Staff

67

Haydn, painted in London by Thomas Hardy in 1792

‘‘

The free arts and the beautiful science of composition will not tolerate technical chains. The mind and soul must be free.

‘‘

—Joseph Haydn

11001 Euclid Avenue, Cleveland, Ohio 44106 CLEVELANDORCHESTRA.COM

AT SE V E R A NC E H A LL

RENTAL OPPORTUNITIES

CONCERT DINING AND CONCESSION SERVICE

Severance Hall, a Cleveland landmark and home of the world-renowned Cleveland Orchestra, is the perfect location for business meetings and conferences, 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 Office at (216) 231-7420 or email to hallrental@clevelandorchestra.com

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 information or to book for one of these tours, please call the Cleveland Orchestra Ticket Office 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 Cleveland Orchestra — including logo apparel, compact disc recordings, and gifts — are available for purchase 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

BE FO R E T H E CO NC E R T GARAGE PARKING AND PATRON ACCESS Parking can be purchased for $10 per vehicle when space in the Campus Center Garage permits.

However, the garage often fills up well before concert time; only ticket holders who purchase prepaid parking passes are ensured a parking space.

Overflow parking is available in CWRU Lot 1 off Euclid Avenue, across from Severance Hall; University Circle Lot 13A on Adelbert Road; and the Cleveland Botanical Garden.

Pre-paid parking for the Campus Center Garage can be purchased in advance through the Ticket Office for $14 per concert. This pre-paid parking ensures you a parking space, but availability of prepaid parking passes is limited. To order pre-paid parking, call the Cleveland Orchestra Ticket Office at (216) 231-1111.

FRIDAY MATINEE PARKING

For our patrons’ convenience, an ATM is located in the Lerner Lobby of Severance Hall, on the ground floor across from the Cleveland Orchestra Store.

Due to limited parking availability for Friday Matinee performances, patrons are strongly encouraged to take advantage of convenient off-site parking and round-trip shuttle services available from the Cleveland Play House (8500 Euclid Avenue) and the Cedar Hill Baptist Church (12601 Cedar Road). The fee for this service is $10.

QUESTIONS

CONCERT PREVIEWS

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 info@clevelandorchestra.com

Concert Previews at Severance Hall are presented in Reinberger Chamber Hall on the ground floor, except when noted, beginning one hour before the start of most subscription concerts.

ATM — Automated Teller Machine

Severance Hall 2010-11

Guest Information

69

AT T H E CO NC E R T COAT 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 floor.

PHOTOGRAPHY, VIDEO, AND AUDIO RECORDING For the safety of guests and performers, photography 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 first 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 consultation with the conductor and performing artists.

SERVICES FOR PERSONS WITH DISABILITIES Severance Hall staff are experienced in assisting patrons to find 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 Orchestra 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 Office at (216) 231-1111.

TTY line access is available at the public pay telephone located in the Security Office. Infrared Assistive Listening Devices are available from a

70

Head Usher or the House Manager for all performances. If you need assistance, please contact the House Manager at (216) 231-7425 in advance if possible.

Service animals are welcome at Severance Hall.

Please notify the Ticket Office 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 instrument 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 firearms-free facility. No person may possess a firearm on the premises.

CHILDREN Regardless of age, each person must have a ticket and be able to sit quietly in a seat throughout 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.

T I C K E T SE RV IC ES TICKET EXCHANGES Subscribers unable to attend on a particular concert date can exchange their tickets for a different performance of the same week’s program.

Subscribers may exchange their subscription tickets for another subscription program up to five days prior to a performance. There will be no service charge for the five-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 Office so that those tickets can be resold. Because of the demand for tickets to Cleveland Orchestra performances, “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. Patrons who turn back tickets receive a cumulative donation acknowledgement at the end of each calendar year.

Guest Information

The Cleveland Orchestra

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. Now it’s 2010, 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 commentator 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 . . .

This is Robert Conrad. As a Cleveland Orchestra Trustee and member of the Orchestra’s Heritage Society, I’d like to invite you to join my wife, Jean, and me in support of this wonderful Cleveland treasure. The Orchestra provides all of us with world-class music right here in our hometown and represents Cleveland at its finest 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 jkozel@clevelandorchestra.com or visit clevelandorchestra.com and click on Support, then Heritage Society THE CLEVELAND ORCHESTRA

H ER I TAGE SO C I ET Y Severance Hall 2010-11

71

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The Cleveland Orchestra

Supporting The Cleveland Orchestra THE CLEVELAND ORCHESTRA

Project Sponsors

2010 -11

listing as of January 2011

The Cleveland Orchestra gratefully acknowledges the following donors for their project support of $25,000 and more. Through the leadership of these corporations, foundations, and government agencies, important new and continuing initiatives are funded in four areas central to the Orchestra’s mission and future. The ongoing success of these projects is making a difference for tomorrow in today’s world.

Artistic Excellence

Education Programs

The Cleveland Foundation

The Abington Foundation

The Mary S. and David C. Corbin Foundation Cuyahoga County residents through Cuyahoga Arts & Culture GAR Foundation

Education Concerts

Giant Eagle Family Concert Series

Martha Holden Jennings Foundation Cleveland Orchestra Youth Orchestra, Learning Through Music, Education Concerts

The George Gund Foundation Kulas Foundation

JPMorgan Chase Foundation

John P. Murphy Foundation

Learning Through Music

David and Inez Myers Foundation National Endowment for the Arts The Kelvin and Eleanor Smith Foundation Ohio Arts Council

Ohio Arts Council Education initiatives

PNC PNC Musical Rainbow Concerts, PNC Grow Up Great with the Arts

Access and Audience Development

Community Engagement

The Andrew W. Mellon Foundation

Cleveland Clinic

Fridays@7 Series, Musically Speaking Series, Opera performances, Severance Access, Blossom Festival ballet performances

William J. and Dorothy K. O’Neill Foundation Fridays@7 Series, Musically Speaking Series

Community initiatives

Cuyahoga County residents through Cuyahoga Arts & Culture Public Square Concert and Festival

KeyBank Martin Luther King Jr. Celebration Concert

Forest City Enterprises Severance Access

Medical Mutual of Ohio

Margaret Clark Morgan Foundation

Community Open House

Blossom Festival audience development initiatives

The Plain Dealer

For further information about project sponsorship please contact Nadine Stafford, Director of Institutional Giving, by calling (216) 231-7548.

Audience development initiatives

The J. M. Smucker Company Compact disc

Severance Hall 2010-11

Project Sponsors

73

Endowed Funds

funds established as of January 2011

Generous contributions to the endowment have been made to support specific artistic initiatives, ensembles, educational programming and performances, facilities maintenance costs, touring and residencies, and more. These funding opportunities currently represent new gifts of $250,000 or more.

For information about making your own endowment gift to the Orchestra, please call (216) 231-7549.

ARTISTIC endowed funds support a variety of programmatic initiatives ranging from guest artists and American conductors to Friday Morning Matinee concerts and the all-volunteer Cleveland Orchestra Chorus.

American Conductors Fund

Guest Artist

Douglas Peace Handyside Holsey Gates Handyside

The Eleanore T. and Joseph E. Adams Fund Mrs. Warren H. Corning The Gerhard Foundation Margaret R. Griffiths Trust The Virginia M. and Newman T. Halvorson Fund The Hershey Foundation The Humel Hovorka Fund Kulas Foundation The Payne Fund Elizabeth Dorothy Robson Dr. and Mrs. Sam I. Sato The Julia Severance Millikin Fund The Sherwick Fund Mr. and Mrs. Michael Sherwin Sterling A. Spaulding Mr. and Mrs. James P. Storer Mrs. Paul D. Wurzburger

Artist-in-Residence Malcolm E. Kenney

Young Composers Jan R. and Daniel R. Lewis

Cleveland Orchestra Chorus Jerome and Shirley Grover Meacham Hitchcock and Family

Concert Previews Dorothy Humel Hovorka

Friday Morning Concerts Mary E. and F. Joseph Callahan Foundation

International Touring Frances Elizabeth Wilkinson

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

Education

Education Programs

Anonymous, in memory of Georg Solti Hope and Stanley I. Adelstein Kathleen L. Barber Isabelle and Ronald Brown Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Alice B. Cull Memorial Frank and Margaret Hyncik Junior Committee of The Cleveland Orchestra Mr. and Mrs. David T. Morgenthaler

The William N. Skirball Endowment

Cleveland Orchestra Youth Orchestra The George Gund Foundation Christine Gitlin Miles, in honor of Jahja Ling

Classroom Resources Charles and Marguerite C. Galanie

Musical Rainbows Pysht Fund

Education Concerts Week The Max Ratner Education Fund, given by the Ratner, Miller, and Shafran families and by Forest City Enterprises, Inc.

74

Endowed Funds

The Cleveland Orchestra

Supporting The Cleveland Orchestra THE CLEVELAND ORCHESTRA

SEVERANCE HALL endowed funds support performance initiatives for the Orchestra’s winter season in Cleveland and maintenance of Severance Hall: Severance Guest Conductor

Organ

Roger and Anne Clapp James and Donna Reid

D. Robert and Kathleen L. Barber Arlene and Arthur Holden Kulas Foundation Descendants of D.Z. Norton Oglebay Norton Foundation

Keyboard Maintenance William R. Dew The Frederick W. and Janet P. Dorn Foundation Mr. and Mrs. Richard A. Manuel Vincent K. and Edith H. Smith Memorial Trust

Severance Hall Preservation Severance family and friends

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

Blossom Festival Guest Artist

Landscaping and Maintenance

Dr. and Mrs. Murray M. Bett The Hershey Foundation The Payne Fund Mr. and Mrs. William C. Zekan

The Bingham Foundation Emily Blossom family members and friends The GAR Foundation John S. and James L. Knight Foundation

Blossom Festival Family Concerts David E. and Jane J. Griffiths

CENTER FOR FUTURE AUDIENCES — Announced in October 2010, the Center for Future Audiences will transform the way The Cleveland Orchestra attracts and welcomes audiences to Severance Hall, throughout Northeast Ohio, and around the world. The Center was created with a generous naming lead gift of $20 million from the Maltz Family Foundation providing onethird of the $60 million endowment that will eventually help fully fund these activities.

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

O R C H E S T R A

CENTER FOR FUTURE AUDIENCES Endowed by the Maltz Family Foundation

Severance Hall 2010-11

Endowed Funds

75

76

The Cleveland Orchestra

Institutional Support THE CLEVELAND ORCHESTRA

Corporate Honor Roll

gifts of $2,500 and more as of March 25, 2011

The Cleveland Orchestra and Musical Arts Association gratefully acknowledge the members of the Corporate Honor Roll, recognizing those corporations contributing $2,500 or more each year to The Cleveland Orchestra through the Corporate Fund and special gifts. For further information about the Corporate Honor Roll, please contact Wanda Scott, Manager of Corporate Sponsorships, by calling (216) 231-7558.

PARTNERS IN EXCELLENCE

$150,000

AND MORE

Forest City Enterprises, Inc. KeyBank The Plain Dealer PNC Raiffeisenlandesbank Oberösterreich (Europe) PARTNERS IN EXCELLENCE

$100,000

TO

$149,999

Jones Day

The Orchestra’s Partners in Excellence program recognizes those companies contributing more than $100,000 annually through the Corporate Fund and special gifts. These organizations exemplify visionary leadership and commitment to artistic excellence at the highest level.

We are extremely grateful for their commitment to the Orchestra and the greater Cleveland community.

$50,000

TO

$99,999

Baker Hostetler Eaton Corporation FirstEnergy Foundation The Goodyear Tire & Rubber Company Medical Mutual of Ohio NACCO Industries, Inc. Parker Hannifin Corporation The Sage Cleveland Foundation The J. M. Smucker Company

$30,000

TO

$49,999

FirstMerit Bank Giant Eagle JPMorgan Chase Foundation The Lubrizol Foundation Mercedes-Benz of Bedford Thompson Hine LLP

$20,000

TO

$29,999

Anonymous Conn-Selmer, Inc. Dix & Eaton Ernst & Young LLP Fifth Third Bank Northern Trust Bank of Florida (Miami) Quality Electrodynamics (QED)

$15,000

TO

$19,999

Consolidated Graphics Group, Inc. Dominion Foundation Frantz Ward LLP Olympic Steel, Inc. Park-Ohio Holdings RPM International Inc. The Sherwin-Williams Company Squire, Sanders & Dempsey L.L.P.

$10,000

TO

$14,999

American Greetings Corporation Buyers Products Company Feldman Gale, P.A. (Miami) Ferro Corporation Keithley Foundation Miba AG (Europe) Summa Health System Trionix Research Laboratory, Inc. White & Case (Miami)

Severance Hall 2010-11

Institutional Support

$7,500

TO

$9,999

Anonymous Calfee, Halter & Griswold LLP MTD Products, Inc. Northern Haserot Tucker Ellis & West LLP

$5,000

TO

$7,499

Anonymous AutoNation (Miami) Bank of America Chubb Group of Insurance Companies The Cleveland-Cliffs Foundation Community Behavioral Health Center Dealer Tire LLC Developers Diversified Realty Corp.

Gallagher Benefit Services Genovese Vanderhoof & Associates Great Lakes Brewing Company Gross Builders Hahn Loeser + Parks LLP The Lincoln Electric Foundation C. A. Litzler Co., Inc. Macy’s Materion Corporation North Coast Container Corp.

Oatey Co. Ohio CAT The Prince & Izant Company Swagelok Company Tour Arts, Inc. Westlake Reed Leskosky

$3,500

TO

$4,999

Brouse McDowell Heidelberg Distributing Co. LPC Publishing Company MindCrafted Systems SIFCO Industries, Inc. TriMark S.S. Kemp

$2,500

TO

$3,499

Akron Tool & Die Company Arnstein & Lehr LLP (Miami) BDI Eileen M. Burkhart & Co LLC Evarts-Tremaine-Flicker Company Higer Lichter & Givner LLP (Miami) Houck Anderson P.A. (Miami) Main Street Cupcakes Nordson Corporation Novelis Corporation Oswald Companies Richey Industries, Inc. Stern Advertising Agency Towers Watson

77

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Institutional Support THE CLEVELAND ORCHESTRA

Foundation and Government Honor Roll

gifts of $2,000 or more during the past year, as of March 25, 2011

The Cleveland Orchestra and Musical Arts Association are grateful to the many private foundations and government agencies, at the local, state, and federal levels, whose grant support sustains a wide range of programs. Grants provide vital support for the Orchestra as a whole, as well as for new artistic initiatives, education and community engagement programs, and capacity building. The Cleveland Orchestra could not exist without these key partnerships.

To join the Foundation and Government Honor Roll, or for further information, please contact the Philanthropy & Advancement Department, by calling (216) 231-7521. $500,000

AND MORE

The Cleveland Foundation Cuyahoga County residents through Cuyahoga Arts and Culture Maltz Family Foundation State of Ohio $250,000

TO

$499,999

Kulas Foundation Andrew W. Mellon Foundation John P. Murphy Foundation David and Inez Myers Foundation The Kelvin and Eleanor Smith Foundation $100,000

TO

$249,999

Sidney E. Frank Foundation The GAR Foundation The George Gund Foundation Martha Holden Jennings Foundation The Miami Foundation, from a fund established by John S. and James L. Knight Foundation (Miami) Ohio Arts Council William J. and Dorothy K. Oâ&#x20AC;&#x2122;Neill Foundation

Severance Hall 2010-11

$50,000

TO

$99,999

The Louise H. and David S. Ingalls Foundation Myra Tuteur Kahn Memorial Fund of The Cleveland Foundation Margaret Clark Morgan Foundation National Endowment for the Arts The Reinberger Foundation Surdna Foundation

$20,000

TO

$49,999

The Abington Foundation Akron Community Foundation The George W. Codrington Charitable Foundation The Helen C. Cole Charitable Trust The Mary S. and David C. Corbin Foundation Dunspaugh-Dalton Foundation, Inc. (Miami) The Gerhard Foundation, Inc. Ann and Gordon Getty Foundation The Mailman Foundation, Inc. (Miami) Elizabeth Ring Mather and William Gwinn Mather Fund The Nonneman Family Foundation The Payne Fund Peacock Foundation, Inc. (Miami) The Sisler McFawn Foundation

$10,000

TO

$19,999

The Eva L. and Joseph M. Bruening Foundation Mary and Dr. George L. Demetros Charitable Trust Funding Arts Network (Miami) Helen Wade Greene Charitable Trust The Nord Family Foundation Paintstone Foundation The Charles E. & Mabel M. Ritchie Memorial Foundation The Leighton A. Rosenthal Family Foundation SCH Foundation

Institutional Support

Lloyd L. and Louise K. Smith Memorial Foundation The George Garretson Wade Charitable Trust The S. K. Wellman Foundation The Edward & Ruth Wilkof Foundation

$5,000

TO

$9,999

The Ruth and Elmer Babin Foundation Bicknell Fund The Collacott Foundation Fisher-Renkert Foundation The Harry K. Fox and Emma R. Fox Charitable Foundation The Hankins Foundation The Muna & Basem Hishmeh Foundation Albert G. & Olive H. Schlink Foundation The South Waite Foundation The Taylor-Winfield Foundation Thomas H. White Foundation, a KeyBank Trust

$2,000

TO

$4,999

Anonymous (2) Richard H. Holzer Memorial Foundation The Kangesser Foundation The Laub Foundation Victor C. Laughlin, M.D. Memorial Foundation Trust The G. R. Lincoln Family Foundation Laura R. & Lucian Q. Moffitt Foundation Jean C. Schroeder Foundation The Sherwick Fund The Wuliger Foundation

79

Individual Giving THE CLEVELAND ORCHESTRA

Crescendo Patron Program gifts as of March 25, 2011

Barbara Robinson, chair Robert Gudbranson Sr., vice chair Gay Cull Addicott William W. Baker Ronald H. Bell Judith Ernest Nicki Gudbranson Jack Harley

Iris Harvie Brinton L. Hyde Randall N. Huff Elizabeth Kelley David C. Lamb Raymond T. Sawyer

Annual support from generous patrons is imperative to sustaining The Cleveland Orchestra. Ticket revenues throughout the season provide only a small portion of the funding needed to support the outstanding performances, educational activities, and community projects that the Orchestra presents and performs each year.

As a measure of gratitude, the Crescendo patron program honors those generous donors who have made a gift of $2,500 or more in annual operating support to The Cleveland Orchestra.

For more information on how you can impact The Cleveland Orchestraâ&#x20AC;&#x2122;s artistic excellence and community partnerships, please contact Hayden Howland, Manager of Leadership Giving, by calling (216) 231-7545.

Leadership Council The Leadership Council salutes those extraordinary donors who have pledged to sustain their annual giving at the highest level for three years or more. This year, new and increased Leadership Council gifts qualify for a one-to-one match thanks to the Walter and Jean C. Kalberer Foundation.

Leadership Council donors are recognized in the Crescendo listings with the Leadership Council symbol next to their name:

80

The Founders

Society

INDIVIDUAL GIFTS OF $500,000 AND MORE

Daniel R. and Jan R. Lewis (Miami) INDIVIDUAL GIFTS OF $200,000 TO $499,999

Irma and Norman Braman (Miami) The Walter and Jean Kalberer Foundation Susan Miller (Miami) INDIVIDUAL GIFTS OF $100,000 TO $199,999

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 Mr. and Mrs. Albert B. Ratner Ms. Ginger Warner (Cleveland, Miami) Janet and Richard Yulman (Miami) INDIVIDUAL GIFTS OF $75,000 TO $99,999

The Honorable and Mrs. John Doyle Ong INDIVIDUAL GIFTS OF $50,000 TO $74,999

Anonymous (2) Mr. William P. Blair III Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Hector Fortun (Miami) James D. Ireland III Mr. and Mrs. Dennis W. LaBarre R. Kirk Landon and Pamela Garrison (Miami) Peter B. Lewis and Janet Rosel (Miami) Toby Devan Lewis Ms. Nancy W. McCann Mr. and Mrs. Alfred M. Rankin, Jr. James and Donna Reid Barbara S. Robinson INDIVIDUAL GIFTS OF $30,000 TO $49,999

Dr. and Mrs. Wolfgang Berndt (Europe) Blossom Womenâ&#x20AC;&#x2122;s Committee Jeanette Grasselli Brown and Glenn R. Brown Mrs. Gerald N Cannon

Crescendo Patron Program

The Cleveland Orchestra

Individual Giving THE CLEVELAND ORCHESTRA

Mr. and Mrs. Alexander M. Cutler Maxeen* and John Flower George Gund Mr. and Mrs. Michael J. Horvitz Junior Committee of The Cleveland Orchestra Mr. and Mrs. Douglas A. Kern Giuliana C. and John D. Koch Foundation (Cleveland, Miami) Dr. Vilma L. Kohn Charlotte R. Kramer Sally S. and John C. Morley Mr. and Mrs. Terrence P. Morris Mrs. Alfred M. Rankin, Sr. Brian and Patricia Ratner Charles and Ilana Horowitz Ratner Luci and Ralph Schey Mr. and Mrs. Franz Welser-Möst David A. and Barbara Wolfort Women’s Committee of The Cleveland Orchestra INDIVIDUAL GIFTS OF $25,000 TO $29,999

Sheldon and Florence Anderson (Miami) Mrs. William Hay Bemis Mr. and Mrs. Charles P. Bolton The Brown and Kunze Foundation Mr. and Mrs. David J. Carpenter Robert and Jean Conrad Mr. Geoffrey D. Gund Tati and Ezra Katz (Miami) Mr. S. Lee Kohrman Dr. and Mrs. David Leshner Mr. and Mrs. Jon A. Lindseth Mrs. Jane B. Nord Julia and Larry Pollock Mr. and Mrs. Thomas A. Quintrell Dr. James and Karyn Schwade (Miami) Richard and Nancy Sneed Judy and Sherwood Weiser (Miami) Jody Wolfe (Miami)

The Presidents

Society

INDIVIDUAL GIFTS OF $20,000 TO $24,999

Anonymous Gay Cull Addicott Mr. and Mrs. Harro Bodmer (Europe) Martha and Bruce Clinton (Miami) Mr. and Mrs. Richard T. Garrett Mrs. Elliot L. Ludvigsen William J. and Katherine T. O’Neill Rennie and Marc Saltzberg

Dr. E. Karl and Lisa Schneider Hewitt and Paula Shaw Paul and Suzanne Westlake INDIVIDUAL GIFTS OF $15,000 TO $19,999

Anonymous Mr. and Mrs. William W. Baker Randall and Virginia Barbato Colleen and Richard Fain (Miami) Mr. Allen H. Ford Andrew and Judy Green Richard and Ann Gridley Mrs. John A Hadden Jr. Jack Harley and Judy Ernest Mrs. Marguerite B. Humphrey Trevor and Jennie Jones Elizabeth B. Juliano Ms. Beth E. Mooney Mrs. Stanley L. Morgan Lucia S. Nash Mr. and Mrs. James A. Ratner Dr. and Mrs. Ronald J. Ross Mr. and Mrs. James A. Saks Raymond T. and Katherine S. Sawyer David and Harriet Simon R. Thomas and Meg Harris Stanton Dr. Kenneth F. Swanson Mr. Joseph F. Tetlak

The George

Szell Society

INDIVIDUAL GIFTS OF $12,500 TO $14,999

Brennan Family Foundation George* and Becky Dunn Robert M. Maloney and Laura Goyanes Dr. and Mrs. William P. Steffee Mr. and Mrs. Alfred Umdasch (Europe) INDIVIDUAL GIFTS OF $10,000 TO $12,499

Anonymous Mr. and Mrs. George M. Aronoff Mr. Jon Batchelor (Miami) Mr. and Mrs. Daniel M. Bell (Miami) John P. Bergren* and Sarah M. Evans Jayusia and Alan Bernstein (Miami) Marsha and Brian Bilzin (Miami) Dr. Christopher P. Brandt and Dr. Beth Sersig Mr. D. McGregor Brandt, Jr. Dr. Thomas Brugger and Dr. Sandra Russ Mr. and Mrs. Eugene A. Buehler Scott Chaikin and Mary Beth Cooper Richard J. and Joanne Clark Judith and George W. Diehl Mr. and Mrs. Robert P. Duvin Bruce and Beth Dyer Mike S. and Margaret Eidson (Miami) Dr. and Mrs. Lloyd H. Ellis Jr. listings continue

Severance Hall 2010-11

Crescendo Patron Program

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Individual Giving THE CLEVELAND ORCHESTRA The George

Szell Society continued

Ms. Dawn M. Full Albert I. and Norma C. Geller Mr. and Mrs. Robert W. Gillespie Gary Hanson and Barbara Klante Sondra and Steve Hardis Henry R. Hatch and Robin Hitchcock Hatch Mary and Jon Heider (Cleveland, Miami) David and Nancy Hooker Joan and Leonard Horvitz Richard and Erica Horvitz (Cleveland, Miami) Mr. and Mrs. Richard A. Janus Mr. and Mrs. Ferdinand Jereb Janet and Gerald Kelfer (Miami) Jonathan and Tina Kislak (Miami) Mrs. Elizabeth R. Koch Mr. and Mrs. Edward A. Lozick Mr. and Mrs. Alex Machaskee Mr. and Mrs. Richard A. Manuel Alan Markowitz M.D. and Cathy Pollard Mr. and Mrs. Arch J. McCartney Mr. Thomas F. McKee Mr. and Mrs. Stanley A. Meisel Mr. Walter N. Mirapaul Elisabeth and Karlheinz Muhr (Europe) Brian and Cindy Murphy Noble Foundation Claudia and Steven Perles (Miami) Mr. and Mrs. George M. Rose Muriel S. Rosen* (Miami) Mr. and Mrs. David A. Ruckman David M. and Betty Schneider Rachel R. Schneider, PhD Mrs. David Seidenfeld Mr. and Mrs. Alfredo Sesana (Miami) Kim Sherwin Mr. and Mrs. Richard K. Smucker Mary M. Spencer (Miami) Mr. and Mrs. Roe Stamps (Miami) Lois and Tom Stauffer Mrs. Jean H. Taber Dr. Russell A. Trusso Dr. Paul J. Vignos, Jr.* Mr. Norman E. Wells, Jr.

The John

L. Severance Society

INDIVIDUAL GIFTS OF $7,500 TO $9,999

Anonymous Mr. and Mrs. Quentin Alexander Mr. William Berger Ellen E. and Victor J. Cohn Mr. and Mrs. Matthew V. Crawford Mr. and Mrs. Edward B. Davis Henry and Mary Doll Nancy and Richard Dotson Dr. Edward S. Godleski Kathleen E. Hancock Dr.* and Mrs. Shattuck W. Hartwell, Jr.

Iris and Tom Harvie Mrs. Sandra L. Haslinger In memory of Philip J. Hastings Pamela and Scott Isquick Mr. and Mrs. Donald M. Jack, Jr. Allan V. Johnson Joela Jones and Richard Weiss Tim and Linda Koelz Mrs. Robert H. Martindale Mr. Donald W. Morrison Mr. and Mrs. Stephen E. Myers Mr. Gary A. Oatey Mr. and Mrs. William M. Osborne, Jr. Rosskamm Family Trust Mr. Larry J. Santon Patricia J. Sawvel Carol and Albert Schupp Mr. and Mrs. Oliver E. Seikel Naomi G. and Edwin Z. Singer Family Fund G. Michael and Kathy Mead Skerritt Mrs. Gretchen D. Smith Mr. and Mrs. Donald W. Strang, Jr. Sandy and Ted Wiese INDIVIDUAL GIFTS OF $5,000 TO $7,499

Anonymous (3) Susan S. Angell Mr. and Mrs. Albert A. Augustus Kathleen L. Barber Mr. and Mrs. Dean Barry Mrs. Bunny Bastian (Miami) James and Reita Bayman Fred G. and Mary W. Behm Dr. and Mrs. Nathan A. Berger Dr.* and Mrs.* Norman E. Berman Dr. and Mrs. Eugene H. Blackstone Laurel Blossom Mr. Robert W. Briggs Dr. and Mrs. Jerald S. Brodkey Mr. and Mrs. William C. Butler Mr. and Mrs. R. Bruce Campbell Ms. Maria Cashy Drs. Wuu-Shung and Amy Chuang Mrs. Lester E. Coleman Mr. and Mrs. Gerald A. Conway Corinne L. Dodero Trust for the Arts and Sciences Mr. and Mrs. Evan R. Corns The Honorable and Mrs. William A. Currin Mr. and Mrs. Terry C. Z. Egger Dr. and Mrs. Robert Elston Mary and Oliver Emerson Dr. D. Roy and Diane A. Ferguson Irving and Gloria Fine Niety and Gary Gerson (Miami) Mrs. Joan Getz (Miami) Mrs. Cora C. Gigax Mr. David J. Golden Mr. and Mrs. Henry J. Goodman Mr. and Mrs. Randall J. Gordon Harry and Joyce Graham Mr. Robert K. Gudbranson, Jr. listings continue

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Crescendo Patron Program

The Cleveland Orchestra

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Individual Giving THE CLEVELAND ORCHESTRA The John

L. Severance Society continued

INDIVIDUAL GIFTS OF

$5,000 TO $7,499

CONTINUED

David and Robin Gunning Janet D. Heil* Mr. Clifford Hill Mr. Mark Hoegler Amy and Stephen Hoffman Mr. and Mrs. Brinton L. Hyde Judith* and Clifford Isroff Rudolf D. and Joan T. Kamper Andrew and Katherine Kartalis Milton and Donna* Katz Josephine and David Kenin (Miami) Dr. and Mrs. William S. Kiser Mrs. Justin Krent Mr. and Mrs. Arthur J. Lafave, Jr. Robert and Judie Lasser Judy and Donald Lefton (Miami) Mr.* and Mrs. Leo Leiden Judith and Morton Q. Levin Mr. Jeff Litwiller Drs. Alex and Marilyn Lotas Heinz Luedeking* (Miami) Sandi M. A. Macdonald and Henry J. Grzes (Miami) Mr. and Mrs. Robert P. Madison Ms. Jennifer R. Malkin Dr. and Mrs. James S. Marshall Mr. and Mrs. Leonard Marshall Alexander and Marianna C. McAfee Edith and Ted* Miller Mr. and Mrs. William A. Mitchell Curtis and Sara Moll Robert Moss (Miami) Mr. and Mrs. Herbert Newman Richard and Kathleen Nord John and Margi Oâ&#x20AC;&#x2122;Brien Mr. Henry Ott-Hansen Pannonius Foundation Nancy and Robert Pfeifer Douglas and Noreen Powers

Lois S.* and Stanley M. Proctor Drs. Raymond R. Rackley and Carmen M. Fonseca Mr. and Mrs. James E. Rohr Carol Rolf and Steven Adler Steven and Ellen Ross Mr. and Mrs. Robert C. Ruhl Drs. Michael and Judith Samuels (Miami) Nancy and Neil Schaffel (Miami) Linda B. Schneider Larry and Sally Sears Dr. and Mrs. James L. Sechler Mr. Eric Sellen and Mr. Ron Seidman Dr. Gerard and Phyllis Seltzer Dr. and Mrs. Neil Sethi Mrs. Frances G. Shoolroy Mrs. William I. Shorrock Laura and Alvin A. Siegal David Kane Smith Drs. Ronald and Nancy Sobecks Jim and Myrna Spira George and Mary Stark Sue and Alan Steinberg (Miami) Mrs. Marie S. Strawbridge Charles B. and Rosalyn Stuzin (Miami) Mrs. Blythe Sundberg Bruce and Virginia Taylor Mr. and Mrs. Paul A. Teel, Jr. Mr. and Mrs. Bill Thornton Rick, Margarita and Steven Tonkinson (Miami) Mr. and Mrs. Lyman H. Treadway Mr.* and Mrs. Robert N. Trombly Robert A. Valente Don and Mary Louise Van Dyke Tom and Shirley Waltermire Tom and Betsy Wheeler Mrs. Janet A. Wright member of the Leadership Council (see page 80)

* deceased

The Conductorâ&#x20AC;&#x2122;s Circle gifts as of March 25, 2011 INDIVIDUAL GIFTS OF $3,500 TO $4,999

Anonymous (4) Dr. and Mrs. D. P. Agamanolis Mr. and Mrs. Robert H. Baker Ms. Delphine Barrett Mr. Nicholas Bastin Mr.* and Mrs. Russell Bearss Mr. and Mrs. Jules Belkin Dr. Ronald and Diane Bell Dr. Robert Benyo Suzanne and Jim Blaser Mr. and Mrs. Dennis A. Block Paul and Marilyn* Brentlinger Dr. Ben H. and Julia Brouhard Frank and Leslie Buck Dr. and Mrs. William E. Cappaert Mrs. Millie L. Carlson Ms. Mary E. Chilcote

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Ms. Joyce Clark Dr. William & Dottie Clark Drs. Mark Cohen and Miriam Vishny Mr. and Mrs. David J. Cook Marjorie Dickard Comella Mr. and Mrs. David Crandall Mrs. Barbara Ann Davis Do Unto Others Trust (Miami) Pete and Margaret Dobbins Peter and Kathryn Eloff Mr. J. Gilbert and Mrs. Eleanor Frey Mr. Richard E. Geye and Dr. Maura Berkelhamer Mr. Paul Greig Robert N. and Nicki N. Gudbranson John and Virginia Hansen Mr. Robert D. Hart

Cavour H. Hauser* Ms. Mary Beth Hedlund Hazel Helgesen and Gary D. Helgesen Anita and William Heller Arthur* and Arlene Holden Dr. Randal N. Huff and Ms. Paulette Beech Dr. and Mrs. William L. Huffman Dr. and Mrs. Scott R. Inkley Dr. Donald and Mrs. Constance Kellon Mr. and Mrs. Robert M. Koch Mr. and Mrs. Peter A. Kuhn Ronald and Barbara Leirvik Mr. and Mrs. Irvin A. Leonard Robert G. Levy listings continue

Crescendo Patron Program

The Cleveland Orchestra

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â&#x20AC;&#x153;Cultivate the habit of being grateful for every good thing that comes to you, and to give thanks continuously. And because all things have contributed to your advancement, you should include all things in your gratitude.â&#x20AC;? ~ Ralph Waldo Emerson

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Severance Hall 2010-11

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Individual Giving THE CLEVELAND ORCHESTRA The Conductor’s INDIVIDUAL GIFTS OF

Circle

continued $3,500 TO $4,999 CONTINUED

Mrs. Emma S. Lincoln Mr. Charles and Mrs. Lisa Loper Anne R. and Kenneth E. Love Robert and LaVerne Lugibihl Elsie and Byron Lutman Joel and Mary Ann Makee Ms. Alice D. Malone Mr. and Mrs. Morton L. Mandel Martin and Lois Marcus Dr. Gerald E. and Mrs. Denise S. Marsh William and Eleanor McCoy Mr. and Mrs. Thomas B. McGowan

Dr. Susan M. Merzweiler Claudia Metz and Thomas Woodworth Drs. Terry E. and Sara S. Miller Ann Jones Morgan Dr. Joan R. Mortimer Mr. and Mrs. Peter R. Osenar Mr. and Mrs. John S. Piety Mr. and Mrs. Richard W. Pogue Dr. and Mrs. John N. Posch Dr. and Mrs. Robert W. Reynolds Mrs. Charles Ritchie Amy and Ken Rogat Ginger and Larry Shane

Dr. Marvin and Mimi Sobel Mr. and Mrs. William E. Spatz Mr. Omer Spurlock Mr. Victor and Mrs. Marjorie Strimbu Dr. Elizabeth Swenson Ms. Lorraine S. Szabo Mr. and Mrs. Leonard K. Tower Robert J. and Marti J. Vagi Mr. and Mrs. Mark Allen Weigand Mr. Peter and Mrs. Laurie Weinberger Robert C. Weppler Nancy V. and Robert L. Wilcox

Diane Lynn Collier Dr. Dale and Susan Cowan Michael d’Amico Mrs. Frederick F. Dannemiller Charles and Fanny Dascal (Miami) Jeffrey and Eileen Davis Mrs. Lois Joan Davis Ms. Nancy J. Davis (Miami) Andrew dePass and William Jurberg (Miami) Dr. and Mrs. Richard C. Distad David and Janet Dix Ms. Maureen A. Doerner and Mr. Geoffrey T. White Esther L. and Alfred M. Eich, Jr. Erich Eichhorn and Ursel Dougherty Mr. Kenneth P. English Mrs. Margaret Estill Mr. Brian L. Ewart and Mr. William McHenry David and Margaret Ewart Harry and Ann Farmer Michael Flick (Miami) Scott Foerster, Forester and Bohnert Joan Alice Ford Mrs. Mary Elizabeth Ford Mr. Randall and Mrs. Patrice Fortin Mr. Monte Friedkin (Miami) Georgia A. Froelich and Russell O’Rourke Arthur L. Fullmer Peggy and David* Fullmer Mr. Donald Funk Richard L. Furry Barbara and Peter Galvin Joy E. Garapic Mrs. Georgia T. Garner Ms. Lynn Gattozzi Mr. Wilbert C. Geiss, Sr. Anne and Walter Ginn Joyce and Ab Glickman Mr. and Mrs. David A. Goldfinger Dr. and Mrs. Ronald L. Gould Cynthia and David Greenberg The Thomas J. and Judith Fay Gruber Charitable Foundation Nancy and James Grunzweig Mr. and Mrs. Alfredo D. Gutierrez Mr. Davin and Mrs. Jo Ann Gustafson

Dr. Andrew and Mrs. Mary Jayne Haas Dr. Phillip M. and Mrs. Mary Hall Ronald M. and Sallie M. Hall (Miami) Norman C. and Donna L. Harbert Thomas Harris and Pace Barnes (Miami) Mr. George P. Haskell Dr.* William L. and Lucille L. Hassler Virginia and George Havens Ms. Barbara L. Hawley Matthew D. Healy and Richard S. Agnes Oliver and Sally Henkel Mr. and Mrs. Jerry Herschman Dr. and Mrs. Fred A. Heupler Mr. Robert T. Hexter Dr. and Mrs. John D. Hines Dr. and Mrs. Robert L. Hinnes Dr. Feite F. Hofman Thomas and Mary Holmes Dr. Keith A. and Mrs. Kathleen M. Hoover Ms. Phoebe J. Hostetler Xavier-Nichols Foundation Robert and Karen Hostoffer Robert F. and Edith Hudson, Jr. (Miami) Ms. Charlotte L. Hughes Mr. James J. Hummer Ms. Luan K. Hutchinson Mr. and Ms. Charles S. Hyle Ruth F. Ihde Carol Lee and James Iott Donna L. and Robert H. Jackson Helen and Erik Jensen Mr. Peter and Mrs. Mary Joyce Mr. Daniel Kamionkowski Barbara and Michael J. Kaplan Rev. William C. Keene Mr. Karl W. Keller Elizabeth Kelley Mrs. Rita G. Kelly The Kendis Family Trust: Hilary & Robert Kendis and Susan & James Kendis Bruce and Eleanor Kendrick Mr. James and Mrs. Gay Kitson

Crescendo Patron Program

The Cleveland Orchestra

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

Anonymous (12) Ms. Nancy A. Adams Stanley I. and Hope S. Adelstein Norman and Rosalyn Adler Family Philanthropic Fund Mr. Gerald O. Allen Norman and Helen Allison Mr. and Mrs. Robert J. Amsdell Mr. and Mrs. Jeffrey R. Appelbaum Ms. Ana L. Arellano (Miami) Mr. and Mrs. Stanley H. Arkin (Miami) Mrs. Raymond Q. Armington* Agnes Armstrong Geraldine and Joseph Babin Mr. William Baldwin Mr. and Mrs. Dean C. Bardy Robert and Ana Barlick (Miami) Reverend Thomas and Dr. Joan Baumgardner Mr. and Mrs. Mike Belkin Ms. Pamela D. Belknap Mr. Roger G. Berk Kerrin and Peter Bermont (Miami) Barbara and Sheldon Berns Julia & David Bianchi (Cleveland, Miami) Mrs. Robert M. Biggar Carmen and Karl Bishopric (Miami) Bill and Zeda Blau Mr. John and Mrs. Robyn Boebinger Mrs. Mary Wick Bole Ms. Barbara E. Boyle Betty Madigan Brandt David M. and Carol M. Briggs Mrs. Ezra Bryan Ms. Mary R. Bynum and Mr. J. Philip Calabrese Augustine* and Grace Caliguire Mr. and Mrs. Frank H. Carpenter Leigh and Mary Carter Dr. Kenneth W. Chalker Mr. and Mrs. James B. Chaney Dr. and Mrs. Ronald Chapnick Dr. Christopher and Mrs. Maryann Chengelis Mr. and Mrs. Homer D. W. Chisholm Mr. and Mrs. Robert A. Clark Mr. David S. Clements Ms. Phyllis J. Coladangelo

86

listings continue

We believe that when it comes to air travel, it’s time to pick up the tempo.

CLE already has one of the best on-time records in the country, and now, we’re doing even more—like a new web site that provides real-time tracking of flights, and valet parking that makes traveling as easy as pulling up to the curb. Add to this, more non-stops than any other airport in Ohio, and well, you’ve got travel built around getting you where you need to go faster. And that should be music to any traveler’s ears. www.clevelandairport.com

Going places.

Individual Giving THE CLEVELAND ORCHESTRA The Conductor’s INDIVIDUAL GIFTS OF

Circle

continued $2,500 TO $3,499 CONTINUED

Dr. Gilles and Mrs. Malvina Klopman Fred and Judith Klotzman Cynthia Knight (Miami) Drs. Jill Korbin and Lawrence Greksa Jacqueline and Irwin Kott (Miami) E. J. Kovac Dr. Ronald H. Krasney and Ms. Sherry Latimer Mr. James and Mrs. Patricia Krohngold Mr. Donald N. Krosin David C. Lamb Mrs. Carolyn Lampl Kenneth M. Lapine Mr. and Mrs. Donald A. Latore Bonnie and Stephen Lau, PhD Anthony T. and Patricia A. Lauria Jeffrey and Ellen Leavitt Dr. Hasoon Lee Dr. and Mrs. Jai H. Lee Joe and Sue-Min Lee Ivonete Leite (Miami) Michael and Lois A. Lemr Dr. Edith Lerner Mr. Lawrence B. and Christine H. Levey Dr. Stephen B. and Mrs. Lillian S. Levine Dr. Alan and Mrs. Joni Lichtin Isabelle and Sidney* Lobe Martha Klein Lottman Herbert L. and Rhonda Marcus Mrs. Kathleen Markus Dr. and Mrs. Sanford E. Marovitz Mr. and Mrs.* Duane J. Marsh Dr. Ernest and Mrs. Marian Marsolais Mr. Frederick W. Martin Henry H. and June D. Marvin Mr. Julien L. McCall Mrs. Alice Mecredy Mr. and Mrs. James Meil Dr.* and Mrs. Hermann Menges, Jr. Stephen and Barbara Messner Mr. Stephen P. Metzler Donald D. Miller Ronald L. Morrow, III Bert and Marjorie Moyar Mr. Raymond M. Murphy Richard B. and Jane E. Nash Mr. David V. Newell Mr. Lester and Mrs. Joyce Nichols North Coast Logistics Marshall I. Nurenberg and Joanne Klein Richard and Jolene O’Callaghan Nedra and Mark Oren (Miami) James P. Ostryniec (Miami) Mr. and Mrs. Christopher I. Page Mr. J. William and Mrs. Suzanne Palmer Deborah and Zachary Paris Dr. Lewis and Janice B. Patterson Mr. Thomas F. Peterson, Jr. John R. Petrenchik and Virginia Poirier Mrs. Ingrid Petrus

88

Drs. John Petrus and Sharon DiLauro Dr. Roland S. Philip and Dr. Linda M. Sandhaus Dr. Marc and Mrs. Carol Pohl In memory of Henry Pollak Dr. and Mrs. Norberto E. Priu (Miami) Mr. Richard and Mrs. Jenny Proeschel Pysht Fund Mr. Lute and Mrs. Lynn Quintrell Derek and Judy Raghavan Ms. C. A. Reagan David and Gloria Richards Michael Forde Ripich Dr. Barbara Risius Mr. Timothy D. Robson Ms. Marjorie A. Rott Mr. and Mrs. John E. Rupert Mrs. Florence Brewster Rutter Fred Rzepka and Anne Rzepka Family Foundation Dr. Harry S. and Rita K. Rzepka Nathan N. and Esther Rzepka Family Philanthropic Fund of the Jewish Community Federation Dr. and Mrs. Martin I. Saltzman Ms. Patricia E. Say Mr. Paul H. Scarbrough Mr. and Mrs. Robert Scheuer Mr. and Mrs. Herbert A. Schneider Mr. James Schutte Ms. Freda Seavert Dr. John Sedor and Ms. Geralyn Presti Mr. Charles Seitz Drs. Daniel and Ximena Sessler Harry and Ilene Shapiro Norine W. Sharp Dr. and Mrs. William C. Sheldon Mr. Richard Shirey Mr. Duane and Mrs. Irene Shuster Dr. Howard and Mrs. Judith Siegel Donald Singer and Helene Love Mr. and Mrs.* Jeffrey H. Smythe Pete and Linda Smythe Mrs. Virginia Snapp Jay and Ellen Solowksy (Miami) Mr. John C. Soper and Dr. Judith S. Brenneke Mr. John D. Specht Howard Stark M.D. and Rene Rodriguez (Miami) Mr. and Mrs.* Lawrence E. Stewart Mrs. Barbara Stiefel (Miami) Mr. and Mrs. G. W. Stuelpe Mr. and Mrs. Daniel C. Sussen Mr. Nelson S. Talbott Mr. Karl and Mrs. Carol Theil Colin Blades Thomas Kimberly Thurston and Don Funk (Miami) Mr. and Mrs. Robert J. Tomsich Mr. Erik Trimble Drs. Anna* and Gilbert True Miss Kathleen Turner Mr. Livingston Hunter Ulf Dr. John W. Uribe and Dr. Nancy Reierson (Miami)

Crescendo Patron Program

Mrs. H. Lansing Vail, Jr. Mr. and Mrs. Joaquin Vinas (Miami) Chris Wallace and Bill Appert (Miami) Mr. and Mrs. Joseph F. Wasserbauer Ms. Laure A. Wasserbauer Philip and Peggy Wasserstrom Mr. and Mrs. Fred A. Watkins Mr. and Mrs. Jerome A. Weinberger Dr. Edward L. and Mrs. Susan Westbrook Richard Wiedemer, Jr. Helen Sue* and Meredith Williams Mr. Peter and Mrs. Ann Williams Richard and Mary Lynn Wills Michael H. Wolf and Antonia Rivas-Wolf Drs. Nancy Wolf and Aric Greenfield Kay and Rod Woolsey Ms. Judith H. Wright Rad and Patty Yates Fred and Marcia Zakrajsek Mr. and Mrs. Allan J. Zambie Mr. Kal Zucker and Mrs. Mary Frances Haerr

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 published in the Orchestra’s Annual Report, which can be viewed online at CLEVELANDORCHESTRA.COM For information about how you can play a supporting role for The Cleveland Orchestra’s artistic excellence and community partnerships, please contact our Philanthropy & Advancement Office by calling (216) 231-7545.

The Cleveland Orchestra

The Cleveland Orchestra RECORDINGS

great gift ideas

New!

New!

New!

New!

Listen Now!

The Cleveland Orchestra’s catalog of recordings continues to grow. The newest CDs include selections by Richard Wagner recorded with Music Director Franz Welser-Möst at Severance Hall last winter and released over the summer. Two additional recordings, under the baton of Pierre Boulez, were released in October. And Mitsuko Uchida’s second album of Mozart piano concertos became available in the United States just as her first album won a Grammy Award! The Boulez recording of Mahler’s Des Knaben Wunderhorn was BBC Music Magazine’s disc of the month for December 2010. And the Wagner album, featuring soprano Measha Brueggergosman singing Wagner’s Wesendonck Songs, continues to garner high praise from the press. Audiophile Audition says: “A grandly moving collaboration. . . . Few orchestras can compete with the gossamer sheen that Cleveland possesses.”

Visit the Cleveland Orchestra Store for the latest and best Cleveland Orchestra recordings and DVDs.

11001 Euclid Avenue Cleveland, Ohio 44106

P H OTO BY S T E V E H A L L © H E D R I C H B L E S S I N G

SEVERANCEHALL.COM

of the world’s most beautiful concert halls, Severance Hall has been home to The Cleveland Orchestra since its opening on February 5, 1931. After that first concert, a Cleveland 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 Association, 1921-1936) and his wife, Elisabeth, donated most of the funds necessary to erect this magnificent building. Designed by Walker & Weeks, its elegant HAILED AS ONE

Severance Hall 2010-11

Severance Hall

Georgian exterior was constructed to harmonize with the classical architecture of other prominent buildings in the University Circle area. The interior of the building reflects a combination of design styles, including Art Deco, Egyptian Revival, Classicism, and Modernism. An extensive renovation, restoration, and expansion of the facility was completed in January 2000. In addition to serving as the home of The Cleveland Orchestra for concerts and rehearsals, the building is rented by a wide variety of local organizations and private citizens for performances, meetings, and gala events each year.

91

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 Vienna, 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 ninth 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: UNDER THE LEADERSHIP

the establishment of residencies around the world, fostering creative artistic growth and an expanded financial base, including an ongoing residency at the Vienna Musikverein (the first of its kind by an American orchestra); an annual Miami Residency involving three weeks of concerts, community 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 concert presentations of four of Bruckner’s symphonies; additional new residencies at Indiana University and at New York’s Lincoln 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, colleges, and universities from across Northeast Ohio and in the Miami-Dade community; creative new artistic collaborations, including staged works and chamber 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 acclaimed Zurich Opera productions of the three Mozart /Da Ponte operas;

92

A Remarkable Story

The Cleveland Orchestra

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 citizens 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.

IN THE SPOTLIGHT

ON THE RECORD

Since its first recording session in 1924, The Cleveland Orchestra has been among the most acclaimed and recorded orchestras in the world. The Orchestra’s performances have been heard by millions through radio and television broadcasts, on LPs, CDs, DVDs, and via internet downloads.

CLEVELAND ORCHESTRA ARCHIVES

In this photograph, founding music director Nikolai Sokoloff inspects a fresh pressing of the Orchestra’s very first recording, of Tchaikovsky’s “1812” Overture, in 1924.

Severance Hall 2010-11

The Cleveland Orchestra

93

Next

The Cleveland Orchestra Upcoming Concerts

Thursday May 19 at 8:00 p.m.

Friday May 20 at 11:00 a.m.

Saturday May 21 at 8:00 p.m.

THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Emanuel Ax, piano

ADAMS Guide to Strange Places HAYDN Piano Concerto in D major STRAVINSKY Capriccio (for piano and orchestra)* BEETHOVEN Symphony No. 8 * not performed on Friday Matinee concert

Concert Sponsor: Medical Mutual of Ohio

Sunday May 22 at 7:00 p.m.

CLEVELAND ORCHESTRA YOUTH ORCHESTRA James Feddeck, conductor Brandon Garbot, violin

BARBER Essay No. 1 SIBELIUS Violin Concerto MATTHEW SMITH Chasing the Moon RESPIGHI The Pines of Rome Thursday May 26 at 8:00 p.m.

Saturday May 28 at 8:00 p.m.

THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Joshua Smith, flute Malin Hartelius, soprano Anna Bonitatibus, mezzo-soprano John Tessier, tenor Luca Pisaroni, bass-baritone Cleveland Orchestra Chorus

Friday May 27 at 7:00 p.m.

THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Joshua Smith, flute eighth blackbird, sextet

Fridays@7 Concert ADAMS Doctor Atomic Symphony WIDMANN Flute Concerto HIGDON On a Wire

followed by post-concert music performed

by Wayfaring Strangers

Sunday May 29 at 2:00 p.m.

CLEVELAND ORCHESTRA YOUTH ORCHESTRA ALUMNI ANNIVERSARY CONCERT Gareth Morrell, conductor Jayce Ogren, conductor Steven Smith, conductor James Feddeck, conductor

WAGNER Prelude to Die Meistersinger BRAHMS Symphony No. 1 (fourth mvt.)

FALLA Suite from The Three-Cornered Hat TCHAIKOVSKY Symphony No. 4 (fourth mvt.)

Sunday May 29 at 7:00 p.m.

EIGHTH BLACKBIRD IN CONCERT

MAZZOLI Still Life with Avalanche BOULEZ Dérive HUREL ...à mesure GLASS Music in Similar Motion ADÈS Catch HARTKE Meanwhile

WIDMANN Flute Concerto [WORLD PREMIERE] ROSSINI Stabat Mater

CLEVELAND ORCHESTRA TICKETS PHONE

(216) 231-1111 800-686-1141

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 concert are posted at www.clevelandorchestra.com as galley proofs, which may differ from the final printed program. These are usually posted in advance.

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Upcoming Concerts

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