The Cleveland Orchestra October 13-15

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THE CLEVELAND ORCHESTRA F R ANZ WELSER-MÖST M U SIC DI R ECTOR October 13, 15 TCHAIKOVSKY VIOLIN CONCERTO October 14 KEYBANK FRIDAYS@7: BOLÉRO

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THE CLEVELAND ORCHESTRA O F

C O N T E N T S

WEEK 3 9

About the Orchestra

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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

TA B L E

Musical Arts Association . . . . . . . . . . . . . . . . . . . . . . 9 Music Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Conductors and Musicians . . . . . . . . . . . . . . . . . . 17 Guest Information . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 Severance Hall. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . 92

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

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

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

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

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

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21 22 24 67 93

Concert — Week 3 Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . .

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

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

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

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

33 34 35 36 37

WEBER

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

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

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

Program book advertising is sold through Live Publishing Company at (216) 721-1800 The Musical Arts Association is grateful to the following organizations for their ongoing generous support of The Cleveland Orchestra: National Endowment for the Arts, the State of Ohio and Ohio Arts Council, and to the residents of Cuyahoga County through Cuyahoga Arts and Culture.

STRAVINSKY

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

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

Boléro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 Conductor: Franz Welser-Möst . . . . . . . . . . . . . . . . 13 Soloist: Nikolaj Znaider . . . . . . . . . . . . . . . . . . . . . . 57 Friday@7 Performers . . . . . . . . . . . . . . . . . . . . . . . . . 63

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Future Concerts

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.

Concert Calendar . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 In the Season Spotlight . . . . . . . . . . . . . . . . . . . . . . 71 Upcoming Concerts . . . . . . . . . . . . . . . . . . . . . . . . 94

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

All unused books are recycled as part of the Orchestra’s regular business recycling program.

Donors and Sponsors Corporate Honor Roll . . . . . . . . . . . . . . . . . . . . . . . . 77 Foundation / Government Honor Roll . . . . . . . . 79 Patron Listings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

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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 Setember 2011

T H E M U S I C AL ARTS AS SOCIATION operating The Cleveland Orchestra, Severance Hall, and Blossom Festival O F F I C E R S A ND E X E C UT I VE C O MMIT T E E 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 Paul G. Clark Owen M. Colligan Robert D. Conrad Matthew V. Crawford Alexander M. Cutler Bruce P. Dyer Terrance C. Z. Egger Hiroyuki Fujita Paul G. Greig Robert K. Gudbranson Jeffrey A. Healy Stephen H. Hoffman David J. Hooker Michael J. Horvitz Marguerite B. Humphrey

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

Gary A. 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 Paul Rose 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

NO N- R E S I D E NT T RUS T E E S 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)

TR U S TE E S E X- O FFI C I O Iris Harvie, President, Volunteer Council of The Cleveland Orchestra Beth Schreibman Gehring, President, Women’s Committee of The Cleveland Orchestra Phyllis Knauf, State Chair, Blossom Women’s Committee TR U S TE E S E M E RI T I David A. Ruckman Naomi G. Singer

H O N O RARY T RUS T EES 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 PR E S I D E NT 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 2011-12

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

Musical Arts Association

9

DECEMBER

HOLIDAY 11-23 FESTIVAL

Visit clevelandorchestra.com for full concert details.

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RBC 00438

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

marks Franz Welser-Möst’s tenth year as Music Director of The Cleveland Orchestra, with a long-term commitment extending to the Orchestra’s centennial in 2018. Under his direction, the Orchestra is acclaimed for its continuing artistic excellence, is enlarging and enhancing its community programming at home, is presented in a series of ongoing residencies in the United States and Europe, continues its historic championship of new composers through commissions and 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, Franz 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 appeared in residence at Suntory Hall in Tokyo, Japan, and 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 multi-week Cleveland Orchestra Miami Residency in Florida and launched a new biennial residency at New York’s Lincoln Center Festival in 2011.

Under Franz Welser-Möst’s direction, The Cleveland Orchestra has performed thirteen 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 new voices to the repertoire, including Marc-André Dalbavie, Matthias Pintscher, Susan Botti, Julian Anderson, Johannes Maria Staud, Jörg Widmann, and Sean Shepherd.

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

T H E 2 01 1 - 1 2 S E A S O N

Severance Hall 2011-12

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, re-establishing the Orchestra as an important operatic ensemble. Following six opera-in-concert presentations, he brought fully staged opera back to Severance Hall with a three-season cycle of Zurich Opera productions of the Mozart-Da Ponte operas. He leads concert performances of Strauss’s Salome at Severance Hall and at Carnegie Hall during the 2011-12 season.

Franz Welser-Möst became General Music Director of the Vienna State Opera with the 2010-11 season. His long partnership with the company has included acclaimed performances of Tristan and Isolde, a new production of Wagner’s Ring cycle with stage director Sven-Eric Bechtolf, and, in his first season in the post, critically praised new productions of Hindemith’s Cardillac and Janáček’s Katya Kabanova. During the 2011-12 season, he continues his survey of the operas of Janáček with a new production of From the House of the Dead and also leads a new production of Verdi’s Don Carlo.

Mr. Welser-Möst also maintains an ongoing relationship with the Vienna Philharmonic. Recent performances with the Philharmonic include appearances at the Lucerne Festival and Salzburg Festival, in Tokyo, and in concert at La Scala Milan, as well as leading the Philharmonic’s 2011 New Year’s Day concert, viewed by telecast in seventy countries worldwide. Across a decade-long tenure with the Zurich Opera, culminating in three seasons as General Music Director (2005-08), Mr. Welser-Möst led the company in more than 40 new productions and numerous revivals.

Franz Welser-Möst’s recordings and videos have won major awards, including the Gramophone Award, Diapason d’Or, Japanese Record Academy Award, and two Grammy nominations. With 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, appointment as an Academician of the European Academy of Yuste, a Gold Medal from the Upper Austrian government for his work as a cultural ambassador, and the Kilenyi Medal from the Bruckner Society of America. He is the co-author of Cadences: Observations and Conversations, published in a German edition in 2007.

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Music Director

The Cleveland Orchestra

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1112 clevelandorchestra.com

THE CLEVELAND ORCHESTRA

Franz Welser-Möst MUSIC DIREC TOR Kelvin Smith Family Chair

Christoph von Dohnányi MUSIC DIRECTOR LAUREATE

Giancarlo Guerrero PRINCIPAL GUEST CONDUCTOR THE CLEVELAND ORCHESTRA MIAMI RESIDENCY

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

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

ASSISTANT DIRECTOR OF CHORUSES

Ann Usher DIRECTOR, CLEVELAND ORCHESTRA CHILDREN’S CHORUS

Frank Bianchi DIRECTOR, CLEVELAND ORCHESTRA YOUTH CHORUS

Lisa Manning ASSISTANT DIRECTOR, CLEVELAND ORCHESTRA YOUTH CHORUS

T H E

C L E V E L A N D

FRANZ WELSER-MÖST M U S I C D I R E C TO R 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

Alexandra Preucil Dolan Katherine Bormann Ying Fu

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

Emilio Llinas

2

James and Donna Reid Chair

Eli Matthews

1

Patricia M. Kozerefski and Richard J. Bogomolny Chair

Elayna Duitman Ioana Missits Carolyn Gadiel Warner Stephen Warner Sae Shiragami Vladimir Deninzon Sonja Braaten Molloy Scott Weber Kathleen Collins Beth Woodside Emma Shook Jeffrey Zehngut 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 Zakany 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 HARP Trina Struble * Alice Chalifoux Chair

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

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

1112 clevelandorchestra.com

O R C H E S T R A

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

HORNS Richard King *

TIMPANI Paul Yancich *

George Szell Memorial Chair

Michael Mayhew §

Otto G. and Corinne T. Voss Chair

Tom Freer 2

Knight Foundation Chair

OBOES Frank Rosenwein * Edith S. Taplin Chair

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

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

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

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

Richard Stout

BASSOONS John Clouser *

Shachar Israel 2

Louise Harkness Ingalls Chair Sandra L. Haslinger Chair

Jonathan Sherwin CONTRABASSOON Jonathan Sherwin

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

Michael Miller

BASS CLARINET Linnea Nereim

Barrick Stees 2

PERCUSSION Jacob Nissly *

Alexander and Marianna C. McAfee Chair

BASS TROMBONE Thomas Klaber EUPHONIUM AND BASS TRUMPET Richard Stout TUBA Yasuhito Sugiyama*

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

Rebecca Vineyard MANAGER

ENDOWED CHAIRS CURRENTLY UNOCCUPIED ASSISTANT PRINCIPAL HARP

Sunshine Chair

* Principal § 1 2

Associate Principal First Assistant Principal Assistant Principal

Nathalie C. Spence and Nathalie S. Boswell Chair

Severance Hall 2011-12

The Orchestra

19

Hold the hand of this generation and the next Doing the Most Good

4.4% - 9.8%

Charitable Gift Annuities Call

1-866-364-6446

Perspectivesfrom the Executive Director Over the course of 2011, we’ve seen regular news reports about the challenges faced by orchestras in cities around the country.

As Detroit, Denver, Honolulu, Louisville, Philadelphia, San Antonio, Syracuse, and others have struggled, many people have asked me about how we’re doing here in Cleveland.

What’s going on? As entertainment, information, and cultural options proliferate, membership and subscription rates are in decline for many leisure pursuits, including orchestras. Endowment and pension funds are compromised by market downturns, and persistent economic uncertainty dampens philanthropy. To survive In America today, orchestras must change.

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

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

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

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

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

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

Severance Hall 2011-12

Gary Hanson

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The Cleveland Orchestra

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

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

PREVIOUS RECIPIENTS Robert Conrad 2010-11 Distinguished Service Award Committee Marguerite B. Humphrey, Chair Ambassador John D. Ong, Vice Chair Richard J. Bogomolny Dr. Jeanette Grasselli Brown Robert Conrad Gary Hanson Carol Lee Iott

Clara Taplin Rankin 2009-10 Louis Lane 2008-09 Gerald Hughes 2007-08 John D. Ong 2006-07 Klaus G. Roy 2005-06 Alex Machaskee 2004-05 Thomas W. Morris 2003-04

Dennis W. LaBarre

Richard J. Bogomolny 2002-03

Robert P. Madison

John Mack 2001-02

Clara Taplin Rankin

Gary Hanson 2000-01 Christoph von Dohnรกnyi 1999-2000 Ward Smith 1998-99 David Zauder 1997-98 Dorothy Humel Hovorka 1996-97

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Distinguished Service Award

The Cleveland Orchestra

Presented to Richard at the concert of October 13, 2011

Weiner

RICHARD WEINER

retired from The Cleveland Orchestra at the end of the 2011 Blossom Festival season, completing a 48-year career with the ensemble. He was appointed to the percussion section in 1963 by George Szell, who in 1968 made him the first leader of that section to hold the title principal. Mr. Weiner served as principal percussionist of the Orchestra for 43 years, leading the section longer than anyone else in the Orchestra’s history. He held the Margaret Allen Ireland Principal Percussion Endowed Chair, established in 1974.

As principal percussionist, Richard Weiner has exemplified The Cleveland Orchestra’s devotion to the highest standards of artistic excellence. His leadership offstage in representing the musicians’ interests and viewpoint was offered with integrity and fairness throughout more than four decades of institutional growth and change.

Rich served with passion and interest on numerous Cleveland Orchestra committees, including the Negotiation Committee (which he chaired for many years), Artistic Advisory Committee, Pension Committee, Travel Committee, and the Severance Hall Renovation Committee. With the exception of the 1957 tour, Mr. Weiner has participated in every major foreign tour that the Orchestra has undertaken, performing with the Orchestra in 44 countries, including the Soviet Union, Japan, Australia, New Zealand, and China, as well as throughout Europe and in South and Central America. He has participated in more than 100 world or U.S. premieres with the Orchestra as well as more than 100 recordings.

A native of Philadelphia, Richard Weiner was raised in a family fully embracing their son’s interest in music. He performed in school and youth orchestras and ensembles. He holds a bachelor of science in music degree from Temple University, where he studied with Charles Owen (principal percussionist of the Philadelphia Orchestra) and a master of music degree, with distinction, from Indiana University, where he studied with George Gaber (former timpanist and percussionist with the NBC Symphony under Toscanini). In addition, Mr. Weiner was the first percussionist to be awarded the Indiana University School of Music Performer’s Certificate.

Several years after joining The Cleveland Orchestra, he earned a Juris Doctor degree, magna cum laude, from Cleveland State University.

As a teacher, Mr. Weiner has chaired the timpani and percussion department at the Cleveland Institute of Music for more than four decades. Although now retired from The Cleveland Orchestra, Rich plans to continue teaching and presenting clinics and masterclasses. He has volunteered to assist the Orchestra, speaking about his career at private and public events, while finding time to travel with his wife, Jacqueline, and to spend time with their extended family, including four grandchildren.

In all that he has done across nearly five decades of service, Rich has focused himself on finding and fostering excellence, in art and in working with others.

With gratitude, affection, and sincere admiration, the Musical Arts Association presents Richard Weiner with its highest award for distinguished service.

Severance Hall 2011-12

Distinguished Service Award

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THE CLEVELAND ORCHES-

News

OrchestraNews Franz Welser-Möst and Orchestra prepare for European Tour and Vienna Residency Music Director Franz Welser-Möst and The Cleveland Orchestra embark on their eleventh international tour together later this month, including the Orchestra’s fifth biennial residency in Vienna’s historic Musikverein concert hall. The Orchestra will appear in thirteen performances in Europe from October 20 through November 5. In addition to the Vienna Musikverein Residency, the tour includes two concerts in Madrid, Paris, and Luxembourg, and single concerts in Valencia, Cologne, and Linz. During the four-concert Musikverein Residency, the Orchestra will give two performances of Mozart’s “Great” Mass in C minor, featuring soprano Malin Hartelius, soprano Juliane Banse, tenor Martin Mitterrutzner, baritone Ruben Drole, and the Vienna Singverein. Cellist Truls Mørk performs as soloist with the Orchestra in a concert in Luxembourg. The thirteenconcert, seven-city tour begins with performances in Madrid, Spain, on October 20 and 21 and ends with a concert at the Musikverein on November 5.

Tour sponsors include Raiffeisenlandesbank Oberösterreich, Tele München Group, Jones Day, LNE Group / Lee Weingart, Miba AG, and SEMAG GmbH, with additional support from a group of generous individuals.

THE CLEVELAND ORCHESTRA CLEVELAND ORCHESTRA THE CLEVELAND ORCHESTRA THE CLEVELAND ORCHE A

Welcome to new musicians

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

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The Cleveland Orchestra welcomes three new musicians who have joined the Orchestra in the past two months.

Jacob Nissly joins The Cleveland Orchestra as principal percussion with the start of the 2011-12 season. Mr. Nissly previously served as principal percussion of the Detroit Symphony and has performed with ensembles including the New World Symphony, Metropolitan Opera Orchestra, and the Chicago Symphony Orchestra. He holds a bachelor of music and jazz studies degree from Northwestern University and a master of music degree from the Juilliard School, and was recently appointed to the faculty of the Eastman School of Music.

Also joining the Orchestra at the start of the season is Ying Fu, as a member of the first violin section. A native of Shanghai, China, Mr. Fu has won prizes in competitions in Europe, China, and the United States. He holds a bachelor of music degree from the Shanghai Conservatory and a master of music degree from Rice University.

He is currently a doctor of musical arts degree candidate at Rice University, studying with Cho-Liang Lin and Sergiu Luca.

The Cleveland Orchestra welcomed Jeffrey Zehngut as a new member of the second violin section in August during this summer’s Blossom Festival concerts. Zehngut served as associate principal second violin of the San Diego Symphony 2005-11 and as principal second of the Canton Symphony Orchestra 2002-05. He holds degrees from the Cleveland Institute of Music, where he studied with William Preucil and Paul Kantor.

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

Cleveland Orchestra now available as an app for mobile phones

Cleveland Orchestra News

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THE CLEVELAND OR-

Severance Hall 2011-12

THE CLEVELAND ORCHESTRA

The Cleveland Orchestra’s Opening Night Gala at Severance Hall on October 1 featured a special surprise moment for Franz Welser-Möst, when Cleveland Mayor Frank Jackson presented the Orchestra’s conductor with a ceremonial “key to the city” (above). The award was given to recognize the value of Franz’s work in extending and enhancing Cleveland’s reputation internationally.

The gala evening, presented under the leadership of gala chair Norma Lerner and gala corporate chair Beth Mooney, marked the official start of Franz WelserMöst’s tenth season as music director. The event, which included an hour-long concert by The Cleveland Orchestra, raised $650,000. Proceeds from the evening will be used to create an education fund in Franz’s name, honoring his initiatives on behalf of music education.

Of Ravel’s Boléro from the evening’s concert, The Plain Dealer wrote: “Proving he holds the key to Ravel as well as Cleveland, Welser-Möst offered a hardhitting performance, one that began with near-silent tapping . . . and ended with a cataclysmic punch.”

THE CLEVELAND ORCHESTRA

Franz Welser-Möst given “Key to the City”

by Cleveland Mayor at Opening Night Gala

The Cleveland Orchestra’s website is now available in a streamlined format as an application for cell phones. The “app” can be downloaded in versions for iPhone or Android phones, and many of its features also display on other webready mobile phones.

The new app offers fans a convenient and streamlined way to purchase tickets, listen to Cleveland Orchestra radio broadcasts, and connect to the Orchestra’s social media. Created in partnership with InstantEncore.com, a leading performing arts digital platform, the app connects fans to The Cleveland Orchestra Blog, Facebook, YouTube, and information about the Orchestra (including musicians’ photos and biographies) and venues. The app also allows on-demand, streaming broadcasts from WCLV of performances by The Cleveland Orchestra and Cleveland Orchestra Youth Orchestra.

This latest tech innovation is an addition to the Orchestra’s ongoing social media platforms and website, including The Cleveland Orchestra Blog (viewed by readers in all 50 states and more than 100 countries), Facebook, Twitter, Flickr, and YouTube. The Cleveland Orchestra’s website offers convenient online seat selection and print-at-home ticketing.

Additional features to the mobile app will be added in the coming months.

The app can be downloaded free from the iTunes Stores or Android Marketplace. Links for downloading can also be found on the Orchestra’s homepage.

THE CLEVELAND ORCHES-

News

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

THE CLEVELAND ORCHESTRA

Upcoming performances by members of The Cleveland Orchestra in Northeast Ohio include: Cleveland Orchestra musicians Daniel McKelway and Lembi Veskimets join with musical friends to perform at the 14th Annual Instrumental Evening for the Earth, held on Thursday evening, November 10. The event runs from 6:00 to 9:30 p.m. at West Shore Unitarian Universalist Church (20401 Hilliard Blvd, Rocky River). For more information, visit earthdaycoalition.org or call 216-281-6468.

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

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

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

The Nestlé and Salzburg Festival Young Conductors Award was created in 2010 as an initiative of Nestlé and the Salzburg Festival under the patronage of Pierre Boulez.

The competition aims to give career momentum to highly talented young conductors. German conductor David Afkham (who made his Cleveland Orchestra debut at the 2011 Blossom Festival) was the first prize-winner in 2010, and Ainars Rubikis from Latvia won the award in 2011.

In 2012, the three final candidates will each conduct a concert during a weekend in April in the famous Felsenreitschule in Salzburg. In three public concerts, the partner orchestras of the weekend will be the Camerata Salzburg, the Salzburg Mozarteum Orchestra, and the Munich Radio Orchestra. The prize of € 15,000 is awarded annually to a conductor ages 22 to 35.

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

F.A.M.I.L.Y N.E.W.S Please join in extending congratulations and warm wishes to: Sonja Braaten Molloy (violin) and Owen Molloy, whose baby daughter, Annika Swede, was born on October 10.

Alicia Koelz (violin) and Chris Georgalis, whose baby daughter, Penelope Maria Georgalis, was born on September 30.

Cleveland Orchestra News

The Cleveland Orchestra

OrchestraNews 2011-12 Celebrity Series on sale now — featuring variety of artists with The Cleveland Orchestra

Cleveland Orchestra education programs discussed at White House conference Cleveland Orchestra Director of Education & Community Programs Joan Katz Napoli was included in a group of performing artists and leaders invited to the White House in July as part of a program titled Champions of Change. While there, she shared information about the ways The Cleveland Orchestra serves more than 70,000 people annually through programs including school fieldtrip concerts, youth performing ensembles, and Music Study Groups for adults, as well as Music Mentors and Music Masters programs to support instrumental music programs in local schools.

As part of the one-day event, Katz Napoli (shown at right, at the White House with Minnie Driver and Patricia Arquette) discussed how The Cleveland Orchestra was among the first symphony orchestras in the country to implement an arts integration program, Learning Through Music, which is now in its fourteenth year. Learning Through Music supports learning across the K-5 curriculum utilizing music as a tool.

3099 MAYFIELD ROAD CLEVEL AND HEIGHTS, OH 216 | 321.0477

tuesday through saturday 4pm to 1am Severance Hall 2011-12

Cleveland Orchestra News

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THE CLEVELAND ORC

restaurant+ lounge

THE CLEVELAND ORCHEST RA

The Cleveland Orchestra’s season of Celebrity Series was announced over the summer and is now on sale as series subscriptions or on an individual concert basis. The Celebrity Series features the Orchestra and guest artists performing popular, film, and jazz music.

The season’s four programs are: Singer-songwriter Randy Newman (December 3), known for his scores for such films as Toy Story and hit singles such as “Short People,” performs with The Cleveland Orchestra.

The Colors of Christmas (December 20), featuring vocalists Peabo Bryson, Jennifer Holliday, Lea Salonga, and Ben Vereen performing Christmas and holiday favorites with the Orchestra.

Charlie Chaplin’s City Lights (March 31), a timeless romantic comedy, shown on a large screen with the film score performed live by The Cleveland Orchestra, with guest conductor William Eddins.

John Pizzarelli (April 10), jazz guitarist and vocalist, joins the Orchestra to pay tribute to Nat “King” Cole with favorites from the Great American Songbook.

THE CLEVELAND ORCHESTRA THE CLEVELAND ORCHESTRA TRA THE CLEVELAND ORCHESTRA

News

THE CLEVELAND ORCH

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: — Learn which Cleveland Orchestra musician previously performed in the orchestra at La Fenice Opera House, and about another who has been spending time at Marlboro Music; — Admire a local artist’s rendering of Severance Hall—number 93 in a series of 100 depictions of Cleveland sights; — Connect to a Plain Dealer preview

THE CLEVELAND ORCHESTRA THE CLEVELAND ORCHESTRA TRA THE CLEVELAND ORCHE

News

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

Read all this and more at our Blog.

You can post your own comments, too.

Or visit the Orchestra at Facebook, follow us on Twitter, and watch us on YouTube!

An Evening with

Garrison 10-27-11

Keillor still open for business.”

Time Magazine

(7:30 p.m.)

Severance Hall | 11001 Euclid Avenue

Tickets: $45/$55/$65 800-686-1141 or tricpresents.com

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Cleveland Orchestra News

The Cleveland Orchestra

OrchestraNews Family Concerts begin with Halloween Spooktacular! on October 30

Severance Hall 2011-12

Bruckner Society of America presents Franz Welser-Möst with special award The Bruckner Society of America chose Franz Welser-Möst to receive the Society’s Julio Kilenyi Medal of Honor for his “understanding, advocacy, and dedication to Bruckner’s music.” The award was first given in 1933 to Arturo Toscanini, Serge Koussevitsky, and Bruno Walter.

Since that time, the Society has continued to present it to conductors, scholars, and musicologists who have helped to further the understanding and appreciation of Anton Bruckner’s life and work.

The award was presented on July 13 during a rehearsal at Avery Fisher Hall in New York. In addition to four DVD recordings of Bruckner symphonies made with The Cleveland Orchestra in the past four years, Welser-Möst has recorded Bruckner symphonies with the London Philharmonic and the Gustav Mahler Youth Orchestra. He leads The Cleveland Orchestra in performances of Bruckner’s Fourth this season at Severance Hall, on April 26, 27, and 28, 2012.

Cleveland Orchestra News

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THE CLEVELAND OR-

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

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

THE CLEVELAND ORCHESTRA

Silence is golden

Youth Orchestra prepares for the new season

THE CLEVELAND ORCHESTRA

The Cleveland Orchestra’s 2011-12 Family Concert Series, for young people ages 7 and older, begins with a special Halloween Spooktacular! concert on Sunday afternoon, October 30. Families are invited to wear Halloween costumes and come to Severance Hall to be chilled, thrilled, and filled with the sounds of memorable mysterious mystical magical macabre music for this deliciously spooky concert. Carl Topilow leads the Cleveland Institute of Music Orchestra for this concert, stepping in for The Cleveland Orchestra (who will be on tour).

In addition to the concert, each of the season’s four Family Concerts features free pre-concert activities and post-concert treats. The activities, starting one hour before each concert, include Instrument Discovery, where children can try various instruments. After each performance, families are invited to enjoy a free treat compliments of series sponsor Giant Eagle.

The series features three more concerts after Halloween — Scenes from Tchaikovsky’s Nutcracker (with Academy Trainees from The Joffrey Ballet) in December, Carnival of the Animals in April, and Beethoven Lives Upstairs (with Classical Kids Live!) in May. Family Concert Series subscriptions and individual tickets are now available at clevelandorchestra.com or thru the Severance Hall Ticket Office.

HE CLEVELAND ORCHESTRA HESTR

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THE CLEVELAND ORCHES-

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OrchestraNews

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CLEVELAND ORCHESTRA THE CLEVELAND ORCHESTRA THE CLEVELAND ORCHE

THE CLEVELAND ORCHESTRA

New Cleveland Orchestra recording features live performance of “Rusalka” from Salzburg Festival The Cleveland Orchestra’s newest recording is a live audio recording of Dvořák’s opera Rusalka, performed under Franz Welser-Möst’s direction as part of the 2008 Salzburg Festival. The album on the Orfeo label was released at the end of September and New! comes in CD format or as a music download. The CD version is available from the Cleveland Orchestra Store at Severance Hall.

The August 2008 performances of Rusalka marked the first time that The Cleveland Orchestra played from the orchestra pit for an opera production at the Salzburg Festival. The five soldout Rusalka performances were part of a Festival Residency that also included WelserMöst conducting the Orchestra in three different concert programs. Prior to the staged Salzburg performances, WelserMöst and the Orchestra presented in-concert performances of Rusalka in Cleveland in June 2008.

The reviewer for London’s Sunday Times praised the Salzburg production, calling it “the most spellbinding account of Dvořák’s miraculous score I have ever heard, either in the theatre or on record. . . . I doubt this music can be better played than by the Clevelanders, the most ‘European’ of the American orchestras, with wind and brass soloists to die for and a string sound of superlative warmth and sensitivity.” The London Sunday Telegraph review said, “the playing of the Cleveland Orchestra under Franz WelserMöst is sumptuously beautiful and exquisitely detailed, allowing Dvořák’s operatic masterpiece to weave a strong spell at its first-ever Salzburg showing.”

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Women’s Committee celebrates ninety years with special fashion show The Women’s Committee of The Cleveland Orchestra celebrated their 90th anniversary with a fashion revue and luncheon at Severance Hall on July 18, attended by more than 300 members and guests. President Beth Schreibman Gehring welcomed the Ursuline College School of Fashion Design in a presentation of fashions from the past 90 years.

The Women’s Committee is dedicated to providing support for The Cleveland Orchestra through volunteer service, education activities, and fundraising opportunities. For additional information on volunteering, please call 216-231-7557.

“Endless Summer” gala celebrates Blossom and The Cleveland Orchestra The State Blossom Women’s Committee staged an end-of-summer gala on Friday, September 9, in Twinsburg to benefit The Cleveland Orchestra and Blossom.

Titled “Endless Summer,” the benefit commemorated the 2011 Blossom Festival season and all things musical. State Chairman Phyllis Knauf notes that the event was a collaboration of all chapters of BWC and was their most ambitious fundraising effort in the 43-year history of the organization.

The “Endless Summer” gala evening featured a Strolling Supper prepared by nine Celebrity Chefs from Northeast Ohio.

Among the evening’s fundraising items were six steamer trunks once belonging to Cleveland Orchestra musicians, which had been restored and decorated by local artists commissioned by the Blossom Women’s Committee.

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Dwight Oltman, conductor Mendelssohn: Overture for Wind Band Hindemith: Symphony in B-flat Major Grainger: Colonial Song Gorb: Away Day

Concert Wind Ensemble and B-W Menâ&#x20AC;&#x2122;s Chorus Sat., Oct. 29, 8:00 p.m.

Vincent Danner and Frank Bianchi, conductors Focusing on the theme of peace, hope and remembrance, the concert begins with the National Anthem and ends with God Bless America

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The Cleveland Orchestra

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LEARNING MORE ABOUT THE MUSIC

clevelandorchestra.com

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, professionally led by Dr. Rose Breckenridge, meet weekly in locations around Cleveland 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.

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.

October 13 and 15 “Mendelssohn’s Travels, Tchaikovsky’s Travails” with Francesca Brittan, assistant professor of music, Case Western Reserve University

November 11, 12, and 13 “Being The Sorcerer’s Apprentice” with Michael Charry, author of George Szell: A Life of Music

November 17, 18, and 19 “Bach’s Music for Court and City” with David J. Rothenberg, professor of musicology, Case Western Reserve University

November 25, 26, and 27 “Symphonic Opera, Vocal Piano” with Michael Strasser, professor of musicology, Baldwin-Wallace College Conservatory of Music

December 8 and 10 “Musical Splendor and Radiance” with Rabbi Roger Klein, The Temple – Tifereth Israel For future Concert Preview details, visit clevelandorchestra.com

Severance Hall 2011-12

Concert Previews

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T H E C L E V E L A N D O R C H E S T R A 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, October 13, 2011, at 8:00 p.m.

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

Franz Welser-Möst, conductor Overture to Euryanthe

CARL MARIA VON WEBER (1786-1826)

Symphony No. 3 (“Scottish”) in A minor, Opus 56

FELIX MENDELSSOHN (1809-1847)

1.

2.

3.

4.

Introduction and Allegro agitato — Scherzo assai vivace — Adagio cantabile — Allegro guerriero and Finale maestoso

(played without pause)

INTERMISSION PYOTR ILYICH TCHAIKOVSKY (1840-1893)

Violin Concerto in D major, Opus 35 1. Allegro moderato 2. Canzonetta: Andante 3. Finale: Allegro vivacissimo NIKOLAJ ZNAIDER, violin

These concerts are sponsored by The Sage Cleveland Foundation.

Nikolaj Znaider’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from The Payne Fund.

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

LIVE RADIO BROADCAST

Saturday evening’s concert is being broadcast live on WCLV (104.9 FM).

The concert will be rebroadcast as part of regular weekly programming on WCLV on Sunday afternoon, November 27, at 4:00 p.m.

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Concert Program — Week 3

The Cleveland Orchestra

1112 clevelandorchestra.com

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

Franz Welser-Möst, conductor Agon (complete ballet score)

IGOR STRAVINSKY (1882-1971)

1. Pas-de-quatre 2. Double pas-de-quatre 3. Triple pas-de-quatre Prelude 4. First pas-de-trois: Saraband-Step 5. Gaillarde 6. Coda Interlude 7. Second pas-de-trois: Bransle simple 8. Bransle gai 9. Bransle de Poitou Interlude 10. Pas-de-deux 11. Four duos 12. Four trios

PYOTR ILYICH TCHAIKOVSKY (1840-1893)

Violin Concerto in D major, Opus 35 1. Allegro moderato 2. Canzonetta: Andante 3. Finale: Allegro vivacissimo NIKOLAJ ZNAIDER, violin

Boléro

MAURICE RAVEL (1875-1937)

The KeyBank Fridays@7 series is sponsored by KeyBank, a Cleveland Orchestra Partner in Excellence, and is also made possible in part through the generous support of The Andrew W. Mellon Foundation.

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

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

Severance Hall 2011-12

Concert Program — Week 3 Friday

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

Fridays@7

T O R

concert + @fter party

OCTOBER 14 friday evening SEVERANCE HALL 5:00 p.m.

doors open, snacks and drinks available

6:00 p.m.

Concert Prelude in Reinberger Chamber Hall: featuring The Jazz Unit

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7:00 p.m.

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read about The Jazz Unit on page 63 > > >

The Cleveland Orchestra conducted by Franz Welser-Möst

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< < < biographical information on page 13

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

“BOLÉRO!”

polka-ja

featuring works by Stravinsky, Tchaikovsky, and Ravel < < < musical selections details listed on previous page read commentary about the music: Stravinsky (page 47), Tchaikovsky (page 55), Ravel (page 59) > > >

after the concert ends, the evening continues . . .

@

@fter party DanceParty 8:30 p.m.

PolkaFest in Smith Lobby

fter par ty

with special guest Eddie Rodick Orchestra biographical information on page 65 > > >

8:30 p.m.

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

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

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KeyBank Fridays@7 — October 14

es

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

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bars are open around the performances

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biographical information on page 65 > > >

The Cleveland Orchestra

INTRODUCING THE PROGRAM

Musical Ideas&Variations T H I S W E E K ’ S C O N C E R T S feature five musical works (three each evening) from across a century and a half. All were daring and modern in their day. Some may sound old-fashioned now, although a good performance will still sharpen our ears to details and ideas representing great musical creativity — and enlightening and delightful listening.

On all three evening concerts, guest soloist Nikolaj Znaider performs Tchaikovsky’s Violin Concerto, a work panned at its premiere in Vienna in 1881 but today viewed as a genuine masterpiece.

On Thursday and Saturday, two works from earlier in the 19th century present symphonic views from the burgeoning German Romantic movement. Weber’s Overture to Euryanthe comes from an opera in which the trust of faithful lovers is sorely tested. Its cumbersome libretto has doomed it to few staged performances, while the strength of its music has made the overture an audience favorite.

Even more so, Mendelssohn’s “Scottish” Symphony is a stalwart part of the symphonic repertoire. Inspired by a youthful trip across Scotland, this great symphony deftly balances the composer’s desire for a careful balance of strong musical architecture with the Romantic era’s impulse for more passionate outbursts.

A sketch by Felix Mendelssohn drawn in his travel notebook during his On Friday evening, the Tchaitrek across Scotland in 1829. kovsky concerto is showcased alongside two 20th-century works. Stravinsky’s ballet music for Agon is a masterful work of modern angles and sometimes strident harmonies, created in concept with one of the 20th century’s greatest choreographers, George Balanchine.

And to close, Ravel’s Boléro is, according to the composer, “orchestration without music” — merely an exercise in varying which instruments play an ongoing (and hypnotic) melody against an incessant snare-drum rhythm across a long, building crescendo. It’s built to perfection, to an astounding release of tension. Enjoy!

Severance Hall 2011-12

About the Music

37

Chinese Art in an Age of Revolution

FU BAOSHI .

Presenting sponsor:

Additional support from:

Baker Hostetler

Organized by the Cleveland Museum of Art with the Nanjing Museum. Mountain Spirit, 1946. Fu Baoshi. Nanjing Museum.

Heaven and Earth Glowing Red, 1964.

Nanjing Museum.

Fu Baoshi Exhibition Programs MODERN CHINA: A Multidisciplinary Exploration Saturday, October 29, 1:30â&#x20AC;&#x201C;4:00. Wen-hsin Yeh, University of California, Berkeley, Peter Galassi Museum of Modern Art, and Julia Andrews, Ohio State University.

Book Club: The White-Haired Girl 3 Wednesdays, November 2, 9, 16, 1:30â&#x20AC;&#x201C;2:45.

China: Art and Technology Art Cart 3 Sundays, November 6, December 4, January 8, 1:00â&#x20AC;&#x201C;3:00.

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

Two ďŹ lms on the Three Gorges Dam Up the Yangtze Friday, December 2, 7:00 and Still Life Sunday, December 4, 1:30.

Holiday Film Festival: Recent Chinese Cinema 1:30 each afternoon, December 26â&#x20AC;&#x201C;31.

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

Mandarin and Cantonese language tours Sunday, October 23, Saturday, November 26, and Wednesday, December 28, 1:00â&#x20AC;&#x201C;2:00 (Mandarin) and 2:00â&#x20AC;&#x201C;3:00 (Cantonese).

Chinese Painting Demonstration Sunday, December 4, 1:30-3:30 The Art of Reinvention: China, Ohio, and the New Global Economy January 4, 2012.

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Rembrandt in America February 19â&#x20AC;&#x201C;May 28, 2012 This exhibition brings together about 50 autograph paintings by Rembrandt as well as others thought to be by the artist when they entered American collections. Adults $14, members free.

Organized by the Cleveland Museum of Art, the North Carolina Museum of Art, Raleigh, and the Minneapolis Institute of Arts. The exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. Additional support provided by the Samuel H. Kress Foundation. Sponsored by KeyBank.

Self-Portrait, 1659. Rembrandt van Rijn. National Gallery of Art, Washington 1937.1.72

THURSDAY AND SATURDAY

Overture to Euryanthe composed 1823

by

Carl Maria von

WEBER

born November 18, 1786 Eutin, Holstein (now part of Germany) died June 5, 1826 London

B E C A U S E O F the “von” in his name, Carl Maria Friedrich Ernst von Weber always believed he was descended from nobility. He apparently never knew that his father, a composer himself of some note, had adopted the “von” on no authority whatsoever. Despite their lack of a noble lineage, the family’s musical background was strong. Frau von Weber was a singer and actress; two of Carl’s elder half-brothers had studied with Joseph Haydn. Yet it was Carl who would achieve the family’s greatest fame. He was only twenty-six when, in 1813, he was named director of the opera in Prague, a position that included not only conducting but also scheduling rehearsals and supervising the wardrobe. There, he would begin two new chapters in his life. He met and married the soprano Caroline Brandt, and became the champion of German Romantic opera, a style distinct from the Italian operas then personified by Rossini.

Not only was German Romantic opera sung in German. It was also based in German legend and literature, and borrowed the powerful, emotional spirit of German symphonic works by Beethoven and others. There in Prague, and later in Dresden, Berlin, and Vienna, Weber came to represent German opera, wearing that crown at a time when the future sovereign of the form, Richard Wagner, was still just a child.

Euryanthe, the composer’s second to last stage work, was written at the request of Vienna’s Kärntnertortheater, which requested something similar to Weber’s immensely popular Der Freischütz (“The Freeshooter,” or “The Marksman”). Weber, however, wanted to try something new — a grand opera, rather than the folk-flavored operetta-like piece that Freischütz had been. Given his proven sense of theater, he might have succeeded, had he not ended up working with Helmina von Chézy as his librettist, for even the most electrifying score could not give wings to the Dresden-based poet’s feeble text and an absurd storyline. Euryanthe premiered October 25, 1823, but only lasted twenty performances. The score nonetheless features some strong writing on Weber’s part, and the overture in particular, with its exemplary impulses in the new German Romantic style, remains a popular piece in the concert hall.

—Betsy Schwarm © 2011

Severance Hall 2011-12

About the Music

39

The Cleveland Orchestra gratefully acknowledges The Sage Cleveland Foundation for supporting this weekendâ&#x20AC;&#x2122;s concerts.

40

The Cleveland Orchestra

THURSDAY AND SATURDAY

Symphony No. 3 (“Scottish”) in A minor, Opus 56 composed 1829-42 F E L I X M E N D E L S S O H N ’s reputation has undergone a steadi-

by

Felix

MENDELSSOHN born February 3, 1809 Hamburg died November 4, 1847 Leipzig

ly evolving course over the past century and a half. Upon his early death in 1847 — aged only 38 years — he was hailed as one of music’s greatest practitioners. He was an accomplished pianist, extraordinarily gifted organist, celebrated composer, and one of the first great conductors. Add to these his keen interest in science and literature, his ability to draw and paint, and his well-practiced skills for entertaining and socializing — Mendelssohn was very much a quintessential renaissance man of the Romantic era.

The next hundred years, however, saw his reputation tarnish and fade, and much of his music was all but forgotten. Wagner began a violent attack — on Mendelssohn’s music and family — as early as 1850. Changing tastes and lush “new” music often made Mendelssohn’s pieces seem quaintly out of step. Only in the past fifty years, with more thoughtful and objective studying of Mendelssohn’s work and contributions to 19th-century music, have the depth and range of his art begun to shine anew.

Born into a well-to-do German family (his father and uncle were bankers, his grandfather a famous Jewish philosopher), Felix’s early abilities at the piano and as a composer echoed so closely Mozart’s talents from fifty years before that he was hailed as the “second Mozart” in his youth. Before he was twenty years old, he had composed music of incomparable beauty and form (his Overture to A Midsummer Night’s Dream, his String Octet, and his Symphony No. 1 are but three of the youthful masterpieces created by the time he was 17). More daringly, as a student he had organized and led — against the

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About the Music

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advice of his own teacher — one of the first performances of the St. Matthew Passion in at least fifty years, helping to ignite a widespread revival of interest in Bach’s music.

Within weeks of his success with Bach’s St. Matthew, the 20-year-old Mendelssohn departed Berlin for Great Britain on the first part of a planned “grand tour” around Europe. Arriving in London in April 1829, Felix was met by his childhood friend Karl Klingemann and set about getting acquainted with the city. Arranged introductions from his father, uncle, and teachers during the next three months gave Mendelssohn access to many of London’s finest musical artists and resulted in his successful London debuts both as a composer and piano soloist (performances included his own two-piano concerto and First Symphony, as well as Beethoven’s “Emperor” Concerto, played from memory).

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

At the end of the London concert season, Mendelssohn and Klingemann set off to walk across parts of Scotland. Its “wild and rugged” landscapes held particular appeal for anyone with Romantic ideas of nature and art in the early 19th century, and the two friends filled the composer’s notebook — with Mendelssohn drawing landscape scenes and Klingemann writing accompanying poetic verses. From Edinburgh on July 30, Mendelssohn sent a letter to his family about his visit to the Palace of Holyrood House: “In the mists of twilight today, we went to the palace where Queen Mary lived and loved; the chapel . . . has now lost its roof . . . and it is at that brokendown altar that Mary was crowned Queen of Scots. Everything there is crumbling and decaying. . . . I think I may have found the beginnings of my Scottish Symphony.”

In Mendelssohn’s notebook from that same day, he wrote out the musical phrase that now opens the symphony. Later that year, back home in Berlin, he created an outline for an entire “Scottish Symphony,” but it would be more than ten years before he managed to complete this new work. More quickly, he used impressions and musical sketches from his trip to Scotland to write the Hebrides Overture, at first known as Fingal’s Cave, which the composer premiered on his second trip to London, in 1832. (The success of Hebrides over the following decade, as well as its thematic similarities to the eventual symphony, hinted at the symphony’s Scottish-ness even before MendelsSeverance Hall 2011-12

About the Music

Mendelssohn’s “Scottish” Symphony is not some kind of musical Braveheart, recounting in sound various battles and victories in history.

Rather, it is a classically formed symphony agreeably touched

by Romantic impressions from a visit to Scotland.

43

sohn publicly admitted any connection.)

During the decade between 1830 and 1840, while occasionally trying to advance his Scottish symphony, Mendelssohn completed and premiered his three other mature symphonies (now known as Nos. 5, 4, and 2, numbered in the order in which they were published rather than when they were written).

Additionally, through his work as chief conductor — first in Düsseldorf and then of Leipzig’s Gewandhaus Orchestra — Mendelssohn gained important practical perspective on how scores come to life in performance.

In Leipzig, in addition to his own works, he conducted the symphonies of Beethoven, works by Mozart, Berlioz, and Weber, the posthumous premiere of Franz Schubert’s newly discovered “Great” C-Major Symphony in 1839, and the premiere of Robert Schumann’s First Symphony in 1841.

Thus, by the time Mendelssohn finally sat down to complete his “Scottish Symphony” in 1841, he had achieved new understanding and maturity as an orchestral composer. The completion came easily. He signed the new score in mid-January 1842 and scheduled its premiere for the following month. It was first performed as “Symphony in A minor” and first published later that year as “No. 3.” (Although Mendelssohn had always referred privately to the work as his “Scottish” Symphony, the title was not officially added until after his death.)

THE MUSIC

To help underline the cohesiveness of his new symphony’s thematic materials, Mendelssohn instructed that the four movements be performed attacca, without pauses. The lack of customary breaks between movements caused some confusion for the audience at the premiere in Leipzig. The fact was so commented on in reviews that, at the work’s second performance three weeks later, the audience anticipated the breaks and stopped the performance with applause after each of the two middle movements, completely foiling the composer’s intentions. Later composers have picked up on the idea, however, and modern audiences are now much more used to having movements conjoined for the greater sense of continuity it affords.

The Symphony is cast in the usual four movements, with two shorter movements between the opening and finale. The second movement features a dance-like lilt, in contrast to the slower and quieter third movement.

While no musical themes are actually shared between movements, the material throughout the symphony is thematically related and carries a strong unity of sound and atmosphere.

In the preface to the printed score of the symphony, the composer suggested a particular way of listing the movements in a printed program, as shown on page 34 of this book. In this, he indicated tempo markings that

44

About the Music

The Cleveland Orchestra

differ slightly from those that actually precede each movement, giving performers a nuance of additional information about his intentions.

Mendelssohn quotes no actual Scottish melodies, although in the second movement he does make use of a rhythm known as a “Scottish snap.” This, and an overall feeling similar to his earlier Hebrides Overture, can give listeners a sense that the symphony is little more than some additional Scottish landscape painting in sound. But, like Mendelssohn’s sunny “Italian” Symphony, this work is more of an atmospheric piece about emotional feelings in and around Scotland than any attempt to depict actual places or — as has also been suggested — historic events. The “Scottish” Symphony is not, therefore, some kind of musical Braveheart, recounting in sound various battles and victories in Scottish history. Rather, it is a classically formed symphony agreeably touched by Romantic impressions from a visit to Scotland.

Throughout the work, there are a number of passages that remind many listeners of the symphonies of Robert Schumann.

The two men were certainly well acquainted with one another’s works, and Schumann’s First and Fourth Symphonies were premiered in Leipzig during the year that Mendelssohn was completing his “Scottish” Symphony (Schumann’s First was conducted by Mendelssohn himself). Exactly who was influencing whom would require an extensive discussion, however, and any similarities are more an indication of a common approach to some of the inherent challenges of symphonic writing in the footsteps of Beethoven and Schubert. Mendelssohn’s passages often feature an airiness of orchestration that took Schumann several more years to fully capture. Likewise, some energetic string writing about halfway into the “Scottish” Symphony’s first movement has strong pre-echoes of the sound of rainfilled windstorms depicted in Richard Wagner’s opera The Flying Dutchman, written only a few years later.

In both the first and last movements, Mendelssohn succeeds in orchestrating passages that sound, as he wanted them to, “clear and strong, like a choir of men’s voices,” advancing his extensive interest in and knowledge of choral writing. Particularly spirited in the last movement, the “choir” leads directly into the work’s robust and cheer-filled ending.

At a Glance Mendelssohn conceived the opening theme for this symphony while visiting the Holyrood Palace in Scotland in August 1829. He sketched out a plan for a full-length “Scottish” Symphony in 1830, and then worked on it sporadically over the next decade. He returned to it in 1841 and worked steadily on it throughout much of the year, completing the score in Berlin in early 1842. The first performance took place on March 3, 1842, at the Leipzig Gewandhaus, under the composer’s direction.

Although Mendelssohn often referred privately to this work as his “Scottish” Symphony, it was first presented and published without any such title. The score was published in 1842 with a dedication to Queen Victoria of England.

This symphony runs about 35 minutes in performance. Mendelssohn scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, and strings.

The Cleveland Orchestra first performed Mendelssohn’s Symphony No. 3 in November 1935, under Artur Rodzinski’s direction. The most recent performances were conducted by Jahja Ling at Severance Hall concerts in May 2009.

—ERIC SELLEN © 2011

Severance Hall 2011-12

About the Music

45

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FRIDAY ONLY

Agon (complete ballet music) composed 1953-57

by

IGOR

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

Severance Hall 2011-12

A LT H O U G H S T R AV I N S K Y is unquestionably the leading composer for ballet in the 20th century, his ballet scores are more often heard in the concert hall than in the theater. This is partly for economic reasons, but partly too because, unlike so many forgotten 19th-century ballet scores, Stravinsky’s scores are far from being merely “danceable” music — they very much evoke a strong sense of movement, action, and character. At times, works like Petrushka or The Fairy’s Kiss played as concert works invariably excite an audience’s imagination to the point where we might almost believe we have seen the ballet itself.

Stravinsky’s addiction to rhythmic clarity in his long neo-classic period responded well to dancers’ needs and was suitable for ballets with antique themes, such as Apollo or Orpheus. He was always drawn to the remote frieze-like quality of ancient myth. But in 1953, when Stravinsky was invited by Lincoln Kirstein and George Balanchine to write a new work for the New York City Ballet, he had moved on to a creative phase where he sought abstraction above all else. The composer had long renounced the conventional gestures of emotional expression, but he and Balanchine now conceived a truly abstract ballet without a setting or a story, simply a series of dances for eight women and four men who wear rehearsal costume and interact in carefully programmed combinations. The Greek word Agon (it comes close to rhyming with “wagon,” for those wondering how to pronounce it) suggests a contest, although no actual contest is specified or implied in the score.

In terms of musical style, abstraction was achieved through Stravinsky’s close study of the music of Anton Webern. Indeed, Agon is partly a twelve-tone composition, but it is in no way reminiscent of Arnold Schoenberg’s pioneering works in that style. Stravinsky preferred the focus that Webern (Schoenberg’s pupil) brought to individual notes, carefully chosen and spaced, each with its own color. Stravinsky was also drawn to French courtly dances from the grand siècle, as can be seen in the Gaillarde in Part II and the Bransles in Part III of the ballet score, which were suggested by the 1623 collection Apologie de la Danse by De Lauze.

Rhythmic regularity is now less pronounced than in earlier Stravinsky scores, a certain randomness having affected this About the Music

47

THE CLEVELAND C O N C E R T

C A L E N D A R

FALL SEASON Thursday October 13 at 8:00 p.m.

Saturday October 15 at 8:00 p.m.

THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Nikolaj Znaider, violin

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

Friday October 14 at 7:00 p.m.

THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Nikolaj Znaider, violin

KeyBank Fridays@7 Concert STRAVINSKY Agon TCHAIKOVSKY Violin Concerto RAVEL Boléro

followed by post-concert music Fridays@7 Dance Party PolkaFest and Hoedown

Sunday October 30 at 2:00 p.m.

Cleveland Institute of Music Orchestra Carl Topilow, conductor FAMILY CONCERT:

Halloween Spooktacular!

Back by popular demand! Experience a thrilling chilling afternoon of Halloween fun starting with a preconcert costume contest followed by a performance of some of the most memorable magical mystical music ever composed.

Concert Sponsor: Giant Eagle

Friday November 11 at 8:00 p.m.

Saturday November 12 at 8:00 p.m.

Sunday November 13 at 3:00 p.m.

THE CLEVELAND ORCHESTRA Alan Gilbert, conductor William Preucil, violin

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

Thursday November 17 at 8:00 p.m.

Friday November 18 at 8:00 p.m.

Saturday November 19 at 8:00 p.m.

THE CLEVELAND ORCHESTRA Ton Koopman, conductor Teresa Wakim, soprano

BACH BACH BACH BACH BACH

Brandenburg Concerto No. 1 Cantata No. 202 (“Wedding”) Sinfonia from Cantata No. 209 Sinfonia from Cantata No. 42 Orchestral Suite No. 3

Concert Sponsor: Jones Day

Sunday November 20 at 3:00 p.m.

CLEVELAND ORCHESTRA YOUTH ORCHESTRA James Feddeck, conductor

BRAHMS Academic Festival Overture BACH Prelude and Fugue (“St. Anne”) transcribed by Arnold Schoenberg DVORÁK Symphony No. 8 Friday November 25 at 8:00 p.m.

Saturday November 26 at 8:00 p.m.

Sunday November 27 at 3:00 p.m.

THE CLEVELAND ORCHESTRA Fabio Luisi, conductor Jonathan Biss, piano

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

Friday December 2 at 7:00 p.m.

THE CLEVELAND ORCHESTRA James Feddeck, conductor

Scenes from Tchaikovsky’s The Nutcracker

FAMILY CONCERT:

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

Concert Sponsor: Giant Eagle

Saturday December 3 at 8:00 p.m.

THE CLEVELAND ORCHESTRA James Feddeck, conductor with Randy Newman CELEBRITY CONCERT:

Randy Newman

Academy Award-winning songwriter Randy Newman joins the Orchestra for one special evening to perform such charttoppers as “You’ve Got a Friend in Me” and “Short People.”

Plus music from Toy Story, The Natural, Avalon, and more!

48

Concert Calendar

The Cleveland Orchestra

1112

ORCHESTRA

clevelandorchestra.com

I N

T H E

S P O T L I G H T

Thursday December 8 at 8:00 p.m.

Saturday December 10 at 8:00 p.m.

THE CLEVELAND ORCHESTRA Marin Alsop, conductor Peter Otto, violin Joela Jones, organ

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

Friday December 9 at 7:00 p.m.

THE CLEVELAND ORCHESTRA

KeyBank Fridays@7 Concert BERNSTEIN Serenade (for violin) SAINT-SAËNS “Organ” Symphony

followed by post-concert music with Magda Giannikou and Banda Magda

Sunday December 11 at 3:00 p.m.

Friday December 16 at 8:00 p.m.

Saturday December 17 at 3:00 p.m.

Saturday December 17 at 8:00 p.m.

Sunday December 18 at 3:00 p.m.

Sunday December 18 at 7:00 p.m.

Thursday December 22 at 8:00 p.m.

Friday December 23 at 3:00 p.m.

Friday December 23 at 8:00 p.m.

THE CLEVELAND ORCHESTRA Robert Porco, conductor Cleveland Orchestra Chorus and guest choruses

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

TON KOOPMAN CONDUCTS BACH Thursday November 17 at 8:00 p.m.

Friday November 18 at 8:00 p.m.

Saturday November 19 at 8:00 p.m.

THE CLEVELAND ORCHESTRA Ton Koopman, conductor Teresa Wakim, soprano

The Cleveland Orchestra’s new artist-inresidence, internationally acclaimed conductor and early music authority Ton Koopman, returns to Severance Hall to lead an all-Bach program. Featuring well-known favorites and more unusual gems from the greatest Baroque composer of them all!

Concert Sponsor: Jones Day Ton Koopman is serving as The Cleveland Orchestra’s artist-in-residence, a position supported by the Orchestra’s Malcolm E. Kenney Artist-in-Residence Fund.

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

Cleveland Orchestra Radio Broadcasts: Radio broadcasts of current and past concert performances

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

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

CLEVELAND ORCHESTRA TICKETS PHONE

(216) 231-1111 800-686-1141

clevelandorchestra.com Severance Hall 2011-12

Concert Calendar

49

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aspect, at least from the listener’s perspective. The composer’s sharp sense of orchestral color, on the other hand, is more acute than ever. He uses a large orchestra in the manner of a chamber ensemble, each instrument being selected for specific duties, and never all heard at once. Each movement has its own tinta, as the opera composer Giuseppe Verdi would have called it, with a characteristic sonority or “sound world” derived from the instruments that take part.

There are twelve movements (equalling the number of dancers), divided into four parts with three movements each.

Three interludes between the groups bring the total up to fifteen movements. At the beginning, the four men are seen aligned across the back of the stage with their backs to the audience.

And at the end, the female dancers leave the stage with the men back in their original positions. Balanchine’s choreography was completely abstract; Stravinsky compared it to a painting by Mondrian, and the work as a whole, although only twenty minutes long, was hugely successful at its original performance.

To assist the listener in following the separate movements, the principal instruments involved are given below: Part I Movement 1. Pas-de-quatre for four male dancers. Mostly brass, playing tag, with separate interjections from harp and mandolin, and from the lower strings.

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

Obsessive little clusters in the winds foreshadow the serial treatment that comes later.

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

Short, nervous phrases from most of the orchestra. The second violins are given a melody with the characteristic cluster shape.

Prelude. Timpani, followed by trumpets. Flutes and bassoons close the piece.

Part II Movement 4. First pas-de-trois: Saraband-Step. One male dancer. Solo violin, xylophone, and two trombones.

Movement 5. Gaillarde. Two female dancers. Flutes, harp, mandolin, double basses.

Movement 6. Coda. One male and two female dancers. Solo violin, trombone, flutes. Many isolated notes.

Severance Hall 2011-12

About the Music

The Greek word Agon suggests a contest, although no actual contest is specified or implied in the score.

In this ballet, Stravinsky and Balanchine conceived a truly abstract ballet without a setting or a story, simply a series of dances for eight women and four men who interact in carefully programmed combinations.

51

medium is the message.”

“The

— Marshall McLuhan, 1911-1980

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

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

Trumpets, trombone, clarinets.

Movement 8. Bransle gai. One female dancer. Castanets, flutes, bassoons.

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

Strings, brass, piano.

Interlude. Echoes of the Prelude.

Part IV Movement 10. Pas-de-deux. The longest movement. a.) Solo strings. b.) Variation. One male, then one female dancer. Horns, piano, flutes. c.) Coda. Both dancers. Strings, mandolin, harp, trombones.

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

Movement 12. Four trios. Full company. Spiky strings. Reprise of the opening. The female dancers leave the stage. The male dancers take their position as at the beginning.

—Hugh Macdonald © 2011 Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis and is a noted authority on French music. He has written books on Beethoven, Berlioz, and Scriabin.

At a Glance Stravinsky wrote the music for the ballet Agon between 1953 and 1957, on a commission funded by the Rockefeller Foundation for the New York City Ballet. Stravinsky worked closely with choreographer George Balanchine in the conception of the ballet and the outline of its sections. The completed score was premiered on June 17, 1957, by the Los Angeles Philharmonic conducted by Robert Craft. The ballet was presented with Balanchine’s choreography for the first time on December 1, 1957, in New York City.

This ballet score runs just over 20 minutes

in performance. Stravinsky scored it for 3 flutes (third doubling piccolo), 2 oboes, english horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 4 trumpets, 3 trombones, harp, mandolin, piano, timpani, percussion (3 tom-toms, xylophone, castanets), and strings.

Prior to performances this season, The Cleveland Orchestra has performed this music on only two previous occasions: in August 1969 in ballet performances with the New York City Ballet at Blossom Music Center, and at a weekend of concerts at Severance Hall in 1972 conducted by Pierre Boulez.

216.791.8000 www.benrose.org A leader in service, research, and advocacy for older adults Severance Hall 2011-12

About the Music

53

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THURSDAY- FRIDAY-SATURDAY

Violin Concerto in D major, Opus 35 composed 1878

by

Pyotr Ilyich

TCHAIKOVSKY born May 7, 1840 near Votkinsk, Russia died November 6, 1893 St. Petersburg

Severance Hall 2011-12

W H E N T C H A I K O V S K Y ’s Fourth Symphony premiered in Moscow in February of 1878, it did so in the composer’s absence, for he was on a working vacation in Western Europe. The trip had begun with a month in the Swiss resort of Clarens on the shores of Lake Geneva. Excursions to Paris, Italy, and Vienna followed, but by the spring of 1878 Tchaikovsky was back in Clarens at work on a new piano sonata. The day after his return, he received a visitor from home, the violinist Yosif Kotek, a former student of Tchaikovsky’s at the Moscow Conservatory.

Genuinely fond of the young man, Tchaikovsky immediately set aside the sonata to begin a violin concerto that could serve the dual purpose of celebrating Kotek’s skill while also giving Tchaikovsky an outlet for his feelings.

Within eleven days, the sketches were complete. Then, Tchaikovsky decided to redo the slow movement and, from all reports, produced a replacement in a single day. The process of orchestration followed with equal dispatch; from beginning to end, the Violin Concerto had required less than a month of effort.

Thus far, the path had been smooth, but it was with the concerto’s completion that trouble arose. A new work requires a premiere, and Kotek was too little known to do the honors himself. And so Tchaikovsky chose to dedicate the work to the renowned soloist Leopold Auer, only to learn that Auer refused to perform it, rejecting it as “unviolinistic.” A premiere scheduled for March 1879 had to be cancelled for lack of a soloist.

Other violinists also turned Tchaikovsky down, before he finally persuaded Adolph Brodsky to premiere the work in Vienna in December 1881. By most accounts, Brodsky performed well, but the composition itself was less fortunate, attracting the disdain of Eduard Hanslick, the most influential of Viennese critics, whose infamous review reads, in part, as follows: “The Russian composer Tchaikovsky is surely not an ordinary talent, but rather an inflated one, with a genius-obsession without discrimination or taste. Such is also his latest, long and pretentious Violin Concerto. For a while it moves soberly, musically, and not without spirit. But soon vulgarity gains the upper hand, and asserts itself to the end. . . . The violin is no longed played; it is beaten black and blue. . . . Tchaikovsky’s Violin Concerto gives About the Music

55

us for the first time the hideous notion that there can be music that stinks to the ear.”

In Hanslick’s defense, he would later have far kinder things to say about Tchaikovsky’s “Pathétique” Symphony (No. 6), but that concession would be after the composer’s death. For the moment, a deeply wounded Tchaikovsky had to face the failure of a major composition. Refusing to blame Brodsky for the debacle, he thanked his colleague for championing the piece, changed the concerto’s dedication from Auer to Brodsky, and chalked it all up to experience. He then went on to score great triumphs in the realms of symphony, opera, and ballet. And before long even the Viennese had come to admire Tchaikovsky’s abilities, and some of his former enemies repented their earlier attacks.

And the concerto . . . as other violinists took up the score and new audiences heard it, came to be considered among Tchaikovsky’s greatest hits — and one of the standard concertos of the repertoire, much loved and admired by audiences and performers everywhere.

Even Leopold Auer changed his mind, confessing in the final year of Tchaikovsky’s life that he had misjudged the concerto and chose to add it to his own repertoire. Fortunately for us, Tchaikovsky’s inspiration was right from the start.

—Betsy Schwarm © 2011 Betsy Schwarm spent twenty years as a classical radio announcer and producer. She currently teaches music at Metropolitan State College of Denver, writes program notes, and serves as recording engineer for Colorado’s Central City Opera.

At a Glance Tchaikovsky wrote his Violin Concerto in the spring of 1878 at Clarens, Switzerland. After a private hearing (with violin and piano) in April of that year, he wrote a new middle movement. (He later used the discarded movement as the opening section of his Souvenir d’un lieu cher [“Memory of a Beloved Place”] for violin and piano). The Violin Concerto was first performed on December 4, 1881, by the Vienna Philharmonic Orchestra conducted by Hans Richter, with Adolf Brodsky as the soloist.

This concerto runs about 35 minutes in performance. Tchaikovsky scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, and strings, plus the solo violin.

56

Tchaikovsky’s Violin Concerto has been a staple of The Cleveland Orchestra’s repertoire since the ensemble’s founding in 1918.

Many of the greatest violinists from the past century have played it here — including Efrem Zimbalist, Zino Francescatti, Nathan Milstein, Fritz Kreisler, Jascha Heifetz, Isaac Stern, David Oistrakh, Pinchas Zukerman, Itzhak Perlman, Viktoria Mullova, and Joshua Bell. The most recent performances were given at Severance Hall and on tour in Florida in March 2008, with soloist Midori under Giancarlo Guerrero’s direction, and during the 2011 Blossom Festival with soloist Viviane Hagner and conductor David Zinman.

About the Music

The Cleveland Orchestra

THURSDAY- FRIDAY-SATURDAY

Nikolaj Znaider Celebrated as one of the foremost violinists of today, Danish musician Nikolaj Znaider made his Cleveland Orchestra debut in 1999 and most recently performed with the Orchestra in July 2009.

Born in Denmark in 1975 to Polish-Israeli parents, Nikolaj Znaider studied with Milan Vitek at the Royal Danish Academy of Music. After receiving First Prize in the 1992 Carl Nielsen International Violin Competition at age 16, he began working with Dorothy DeLay at the Juilliard School. He achieved international acclaim by winning First Prize at the 1997 Queen Elisabeth Competition in Brussels.

In 1999, he became a student of Boris Kushnir at the Vienna Conservatory. Nikolaj Znaider is founder and artistic director of the Nordic Music Academy, a summer school for string players.

Mr. Znaider regularly performs with the Berlin Philharmonic, Chicago Symphony Orchestra, London Philharmonic Orchestra, London Symphony Orchestra, New York Philharmonic, Philadelphia Orchestra, Royal Concertgebouw Orchestra, St. Petersburg Philharmonic, and the Vienna Philharmonic. As a chamber musician, he collaborates with Leif Ove Andsnes, Daniel Barenboim, Yuri Bashmet, Yefim Bronfman, Lynn Harrell, Lang Lang, and Pinchas Zukerman, among others.

Nikolaj Znaider is also a conductor. Since 2008, he has been principal guest conductor of the Swedish Chamber Orchestra and, in 2010, became principal guest conductor of the Mariinsky Theater Symphony Orchestra in St. Petersburg. His recent and upcoming guest conducting engagements are with the Bergen Philharmonic, Czech Philharmonic, Dresden Staatskapelle, Hallé Orchestra, Los Angeles Philharmonic, Munich Philharmonic Orchestra, Orchestre Philharmonique de Radio France, Russian National Orchestra, and the Swedish Radio Symphony Orchestra.

As an RCA Red Seal/BMG Sony Masterworks artist, Nikolaj Znaider has recorded the violin concertos of Beethoven, Brahms, Korngold, and Mendelssohn, as well as Brahms’s complete works for violin and piano. His recording of Prokofiev’s and Glazunov’s violin concertos received the Editor’s Choice award from Gramophone Magazine. For EMI Classics, his discography includes Mozart’s piano trios with Daniel Barenboim and the Nielsen and Bruch violin concertos.

Mr. Znaider plays the “Kreisler” Guarnerius del Gesù 1741 violin, on extended loan from the Royal Danish Theater through the generosity of the Velux Foundations and Knud Højgaard Foundation.

CD SIGNING Following the concerts on Thursday and Saturday evenings, Nikolaj Znaider will be signing compact discs at the Cleveland Orchestra Store (ground floor).

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

Severance Hall 2011-12

Guest Soloist

57

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FRIDAY ONLY

Boléro composed 1928 “ U N F O R T U N A T E LY

by

Maurice

RAVEL born March 7, 1875

Ciboure, Basses-Pyrénées died December 28, 1937 Paris

it contains no music.” The carping of a disgruntled critic? Far from it. With those words, Maurice Ravel himself damned his own most famous composition, Boléro. It has been called a fifteen-minute crescendo; a concerto for snare drum; a theme without variations; a minimalist triumph fifty years before Philip Glass. Yet for all the arrows launched in its direction, Boléro still retains a magic fascination, its inexorable beat capturing one’s attention and even affections.

Although many listeners today may think of it as film music, Ravel conceived of the piece as ballet. In 1928, the dancer Ida Rubinstein asked him to write a work in Spanish style, suggesting at first that Ravel might orchestrate some Albéniz piano pieces. Indeed, Ravel was the most skilled of orchestrators; six years earlier, he had famously reworked Mussorgsky’s Pictures at an Exhibition. But apparently the idea of another such project held little appeal. Instead, he determined to produce something wholly his own. He called it Boléro; some observers insisted that the rhythms were more like that of a fandango or a seguidilla, but Ravel stood by his chosen title. The work premiered on November 22, 1928, at the Paris Opéra with Rubinstein herself in the solo role as a sultry café dancer enticing her masculine audience, the work’s unending crescendo reflected in their growing excitement. A later two-piano arrangement by the composer exists, but it is in its orchestral form that the work has earned its reputation.

Boléro is a set of eighteen variations on an original theme, or perhaps more properly speaking, eighteen orchestrations of that theme, for the theme itself does not change, though the instruments do. After an opening rhythm on the snare drum (a rhythm that will continue unabated throughout the work), the piece proceeds as follows: 1.

2.

3.

4.

solo flute (in the instrument’s low range) solo clarinet (also low in the range) solo bassoon (high in its range) solo E-flat clarinet (smaller and higher in pitch than the standard B-flat clarinet) 5. solo oboe d’amore (between the oboe and english horn in pitch and tone) Severance Hall 2011-12

About the Music

59

6. muted trumpet and flute (flute floating above and parallel to the trumpet’s line) 7. solo tenor saxophone (it is unusual to include saxophones in an orchestra, but Ravel liked jazz) 8. solo soprano saxophone (a small, straight, high-pitched saxophone) 9. horn and celesta (the bell-like tones of the latter parallel to the horn’s line) 10. quartet comprised of clarinet and three double reeds (a combination that is organ-like in timbre) 11. solo trombone (replete with sensuous sliding passages) 12. high woodwinds (growing more strident in tone) With variation thirteen, the strings finally emerge from their place in the background to take the lead for the remaining variations. The crescendo continues to build; the drumbeat becomes ever more prominent, more obsessive. Before long, trumpet accents are added, contributing to the intensity until, in the final moments, the full orchestra is tossed into the mix — trombones and cymbals and all — bringing Boléro to an exultant, if abrupt, conclusion.

—Betsy Schwarm © 2011 At a Glance Ravel composed Boléro in 1928.

It was first performed on November 22, 1928, by Ida Rubinstein’s company at the Paris Opéra. Rubinstein herself danced the main role; the choreography was by Bronislava Nijinska, with sets and costumes by Alexandre Benois; Walther Straram conducted. The North American premiere took place at an orchestral concert conducted by Arturo Toscanini with the New York Philharmonic,

60

on November 14, 1929.

Boléro runs about 15 minutes in performance. Ravel scored it for 2 flutes and piccolo, 2 oboes (second doubling oboe d’amore) and english horn, 2 clarinets plus small clarinet in E flat and bass clarinet, 2 bassoons and contrabassoon, 4 horns, 4 trumpets, 3 trombones and tuba, 3 saxophones (sopranino, soprano, tenor), timpani, percussion (2 snare drums, cymbals, tam-tam),

About the Music

celesta, harp, and strings.

The Cleveland Orchestra first performed Boléro in October 1930, conducted by music director Nikolai Sokoloff. It has performed this work on many occasions since, most recently prior to this season in March 2011, when Giancarlo Guerrero led performances in Miami. Franz Welser-Möst conducted it at the Opening Night Gala two weeks ago on October 1.

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FRIDAY PRELUDE CONCER T

The Jazz Unit Howie Smith, woodwinds Brad Wagner, woodwinds Tom Reed, woodwinds Steve Hawk, trumpet Bill Hoyt, horn Chris Anderson, trombone

Joe Leaman, piano Bob Fraser, guitar Ron Busch, vibraphone Dave Morgan, bass Jim Rupp, drums

The Jazz Unit was organized by Jack Schantz in 1976 with the mission of creating an outlet for creative jazz composition and improvisation. In addition to original compositions, the band has a vast repertoire, including the music of George Russell, Charles Mingus, and Frank Zappa. In 2008, the group was awarded a New Works: Creation and Presentation grant from Chamber Music America and the Doris Duke Charitable Foundation. This grant enabled the group to commission Dave Morgan to compose The Way of the Sly Man, a ninemovement work based on the esoteric philosophy of G.I. Gurdjieff. Gurdjieff was one of the first Westerners to explore Eastern philosophical, psychological, and spiritual ideas and interpret them for Western sensibilities. The critically acclaimed recording of The Way of the Sly Man features the Jazz Unit with guest pianist Dan Wall and percussionist Jamey Haddad.

The Jazz Unit is currently exploring the compositions of seminal Brazilian composers, including Moacir Santos and Baden Powell. This Fridays@7 performance features Brazilian music as well as selections from The Way of the Sly Man.

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Town Hall Speaker Series

DAVID POGUE “The Digital Generation Comes Of Age”

CAPITOL STEPS “The Lighter Side of Politics”

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FRIDAY @FTER PAR T Y DA NCE PA R T Y DA NCE PA R T Y

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

The Eddie Rodick Orchestra has been wowing audiences for decades across the country and abroad with their exciting style of performance. With the leadership of Eddie, whose enthusiasm and talent on the accordion is like no other, the band has performed all over the United States, Canada, and Europe. They have recorded several albums and guest starred on various others, as well as making numerous tv and radio appearances.

Eddie has been performing for more than forty years, and the musicians surrounding him add a wealth of experience in all genres of music as his supporting cast. They provide a crowd-pleasing versatility, not only in their vocals and wide range of instruments they play, but in the variety of music they offer. The group was named “Band of the Year” four times by the National Cleveland Style Polka Hall of Fame, and has captured many other awards.

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

with square dance caller Larry Ward and the Cleveland Federation of Dance Clubs

If you’re looking for a band with a swingin’ rhythm and an old timey flavor, look no further. This group combines the talents of five noteable musicians responsible for the tapping of thousands of feet across Ohio for the past 15 years. The band specializes in Western Swing, but plays several musical styles, ranging from Appalachian tunes, Blues, Old Country & Folk, to a lot of Swing music from the 1920s, ’30s, and ’40s. Requests from the audience are frequently honored. Dance music includes swing, jitterbug, two steps, waltzes, polkas, shaddishs, and square dances. For more information, visit BackPorchSwingBand.com.

Larry Ward’s legendary career across more than six decades began at age 12, growing with the popularity of square dancing in the Western United States. Often dressed like Elvis, Larry stood out as the number one caller, flying to a different city every other day to call to halls of thousands. His groups won dance exhibition competitions, opened Disneyland, performed on television, and introduced square dancing to China. Despite a late 20th-century loss of interest in the art, Larry has forged ahead, working to return style and popularity to America’s only original folk dance.

Severance Hall 2011-12

KeyBank Fridays@7

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The Cleveland Orchestra

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

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

THE C L E V E L A N D O RC H E S T R A has a long and proud history of sharing the value and joy of music with citizens throughout Northeast Ohio. Education and community programs date to the Orchestra’s founding in 1918 and have remained a central focus of the ensemble’s actitivities for over ninety years. Today, with the support of many generous individual, foundation, corporate, and governmental funding partners, the Orchestra’s educational and community programs reach more than 70,000 young people and adults annually, helping to foster a love of music and a lifetime of involvement with the musical arts. On these pages, we share photographs from a sampling of these many programs. For additional information about these and other programs, visit us at clevelandorchestra.com or contact the Education & Community Programs Office by calling (216) 231-7355.

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

Severance Hall 2011-12

Education & Community

67

T H E

The Cleveland Orchestra helps celebrate the seasons and special events throughout the year.

On October 30, the season’s first Family Concert features the second annual “Halloween Spookatcular!” including a special audience costume contest.

C L E V E L A N D

Music Study Groups provide a way of exploring the Orchestra’s music in depth.

These professionally led classes meet weekly to explore the music being played each week and the stories behind the composers’ lives.

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

68

Education & Community

The Cleveland Orchestra

O R C H E S T R A

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

THANK YOU

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

The Cleveland Orchestra’s Education programs are made possible by many generous individuals, foundations, and corporations, including: The Abington Foundation The Eva L. and Joseph M. Bruening Foundation Chubb Group of Insurance Companies Cleveland Clinic The Cleveland Foundation Conn-Selmer, Inc. Dominion Foundation The Harry K. Fox and Emma R. Fox Charitable Foundation Giant Eagle Muna & Basem Hishmeh Foundation Martha Holden Jennings Foundation JPMorgan Chase Foundation The Laub Foundation The Lincoln Electric Foundation The Lubrizol Corporation The Nord Family Foundation Ohio Arts Council Ohio Savings Bank PNC The Reinberger Foundation Albert G. & Olive H. Schlink Foundation The Sherwin-Williams Foundation The South Waite Foundation Surdna Foundation Thomas H. White Foundation, a KeyBank Trust The Edward & Ruth Wilkof Foundation Women’s Committee of The Cleveland Orchestra

Severance Hall 2011-12

Education & Community

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

69

HARNESSES THE POWER OF THE ARTS

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Brahms

CONCERTOS

January-February 2012 at Severance Hall

In January 2012, The Cleveland Orchestra and Franz Welser-Möst embark on a three-week program of presenting the three solo concertos of Johannes Brahms at Severance Hall, with violinist Lisa Batiashvili and pianist Yefim Bronfman. The mini-festival — featuring the Violin Concerto and both Piano Concertos — reunites Welser-Möst and Bronfman, who performed together in Franz’s debut here as a guest conductor in 1993. More recently, they performed together last year in a special outdoor concert with the Vienna Philharmonic that was televised internationally and released on the Deutsche Grammophon label.

“I’m really overwhelmed with excitement to play with Franz and The Cleveland Orchestra,” says Bronfman. “Franz has always been a great conductor, but he has also become such a great personality, with so much knowledge. He has grown into a major figure in music.” Playing the Brahms concertos is probably among “the greatest experiences I’ve ever had,” he continues. “Especially playing the second one, which is so majestic. There is Beethoven’s ‘Emperor’ Concerto, but maybe Brahms Two is also an Emperor.”

“From the very first note,” says Bronfman, “you can tell this is a journey, that this requires a collaboration between the soloist and the orchestra at all times. It’s always an exchange of ideas, back and forth. And the cello solo is arguably the most famous in the repertoire. I cannot think of a better orchestra than Cleveland to play with, for the chamber music character of the Second Concerto.’’

For tickets, visit clevelandorchestra.com.

Severance Hall 2011-12

Brahms Concerto Festival

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11001 Euclid Avenue, Cleveland, Ohio 44106 CLEVELANDORCHESTRA.COM

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

FREE PUBLIC TOURS Free public tours of Severance Hall are offered on select Sundays during the year. Free public tours of Severance Hall are being offered this fall on October 10 and November 28. For additional 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

RENTAL OPPORTUNITIES 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

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 Cedar Hill Baptist Church (12601 Cedar Road). The fee for this service is $10.

QUESTIONS

CONCERT PREVIEWS

ATM — Automated Teller Machine

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

Severance Hall 2011-12

Guest Information

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.

73

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

74

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 IC K ET 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. Forty-some years on, and we’re still broadcasting Orchestra concerts as well as streaming them live over the internet. WCLV will be celebrating its 50th anniversary in 2012, and I’ve been 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 2011-12

75

Call Alan Weinberg, Managing Partner, at 216-685-1100.

Weltman, Weinberg & Reis Co., LPA

76

The Cleveland Orchestra

THE CLEVELAN D ORCHESTRA

Corporate Honor Roll

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

The Cleveland Orchestra and Musical Arts Association gratefully acknowledge and salute the members of the Corporate Honor Roll for their annual support of The Cleveland Orchestra.

For further information about joining the Honor Roll, please contact Anizia Karmazyn, Director of Development, at 216-231-7551.

PARTNERS IN EXCELLENCE $300,000 AND MORE

KeyBank The Lubrizol Corporation NACCO Industries, Inc. PNC Raiffeisenlandesbank Oberösterreich (Europe) PARTNERS IN EXCELLENCE $200,000 TO $299,999

Baker Hostetler Eaton Corporation Forest City Enterprises, Inc. The Plain Dealer PARTNERS IN EXCELLENCE $100,000 TO $199,999

The J. M. Smucker Company Medical Mutual of Ohio Recognizing those companies with annual contributions totaling $100,000 and more, Partners in Excellence exemplify leadership and commitment to artistic excellence at the highest level. We are very grateful for their commitment to the Orchestra and the northeast Ohio community.

Severance Hall 2011-12

$50,000

TO

$99,999

FirstMerit Bank The Goodyear Tire & Rubber Company Jones Day Parker Hannifin Corporation The Sage Cleveland Foundation Tele München Group (Europe) $25,000 TO $49,999

Conn-Selmer, Inc.

Giant Eagle JPMorgan Chase Foundation Northern Trust Bank of Florida (Miami) Quality Electrodynamics (QED) Richard L. Bowen & Associates, Inc. Squire, Sanders & Dempsey (US) LLP Thompson Hine LLP $2,500 TO $24,999 Akron Tool & Die Company American Fireworks, Inc. American Greetings Corporation Arnstein & Lehr LLP (Miami) Bank of America BDI Brouse McDowell Eileen M. Burkhart & Co. LLC Buyers Products Company Calfee, Halter & Griswold LLP The Cliffs Foundation Community Behavioral Health Center Consolidated Graphics Group, Inc. Dealer Tire LLC Dollar Bank Dominion Foundation Ernst & Young LLP Evarts-Tremaine-Flicker Company Feldman Gale, P.A. (Miami) Ferro Corporation Fifth Third Bank Frantz Ward LLP Gallagher Benefit Services Genovese Vanderhoof & Associates

Institutional Support

Great Lakes Brewing Company Gross Builders Hahn Loeser + Parks LLP Higer Lichter & Givner LLP (Miami) Houck Anderson P.A. (Miami) Hyland Software, Inc. Keithley Foundation The Lincoln Electric Foundation C. A. Litzler Co., Inc. Live Publishing Company LNE Group / Lee Weingart (Europe) Macy’s Miba AG (Europe) MindCrafted Systems MTD Products, Inc. Nordson Corporation North Coast Container Corp.

Northern Haserot Oatey Co. Octavia Press Ohio CAT Ohio Savings Bank, A Division of New York Community Bank Olympic Steel, Inc. Park-Ohio Holdings Corp.

PolyOne Corporation The Prince & Izant Company Richey Industries, Inc. RPM International Inc. SEMAG GmbH (Europe) The Sherwin-Williams Company Stearns Weaver Miller Weissler Alha (Miami) Stern Advertising Agency Summa Health System Swagelok Company Towers Watson TriMark S.S. Kemp Trionix Research Laboratory, Inc. Tucker Ellis & West LLP Ulmer & Berne LLP Ver Ploeg & Lumpkin, P.A. Westlake Reed Leskosky Anonymous (3)

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THE CLEVELAN D ORCHESTRA

Foundation and Government Honor Roll

gifts of $2,000 or more during the past year, as of September 20, 2011

The Cleveland Orchestra and Musical Arts Association gratefully acknowledge and salute the members of the Foundation and Government Honor Roll for their annual support of The Cleveland Orchestra. For further information about joining the Honor Roll, please contact Bridget Mundy, Grants Manager, at 216-231-8006. $1 MILLION AND MORE

The Cleveland Foundation Cuyahoga County residents through Cuyahoga Arts and Culture Maltz Family Foundation The Kelvin and Eleanor Smith Foundation $250,000 TO $500,000

Andrew W. Mellon Foundation David and Inez Myers Foundation Ohio Arts Council The Skirball Foundation $100,000 TO $249,999

Sidney E. Frank Foundation The GAR Foundation The George Gund Foundation Martha Holden Jennings Foundation Kulas Foundation The Mandel Foundation The Miami Foundation, from a fund established by the John S. and James L. Knight Foundation (Miami) John P. Murphy Foundation Surdna Foundation

Severance Hall 2011-12

$50,000 TO $99,999

The George W. Codrington Charitable Foundation The Louise H. and David S. Ingalls Foundation Myra Tuteur Kahn Memorial Fund of The Cleveland Foundation National Endowment for the Arts The Payne Fund The Reinberger Foundation $20,000

TO

$49,999

The Abington Foundation Akron Community Foundation The Helen C. Cole Charitable Trust The Mary S. and David C. Corbin Foundation The Gerhard Foundation, Inc. Ann and Gordon Getty Foundation Elizabeth Ring Mather and William Gwinn Mather Fund The Nonneman Family Foundation The Esther and Hyman Rapport Philanthropic Trust The Sisler McFawn Foundation $2,000 TO $19,999 Ayco Charitable Foundation The Ruth and Elmer Babin Foundation Bicknell Fund The Eva L. and Joseph M. Bruening Foundation The Collacott Foundation The Frances G. and Lewis Allen Davies Endowment Fund Mary and Dr. George L. Demetros Charitable Trust Elisha-Bolton Foundation Fisher-Renkert Foundation The Harry K. Fox and Emma R. Fox Charitable Foundation Funding Arts Network (Miami)

Institutional Support

The Helen Wade Greene Charitable Trust The Hankins Foundation Muna & Basem Hishmeh Foundation 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 Margaret Clark Morgan Foundation Miami-Dade County Department of Cultural Affairs (Miami) Laura R. & Lucian Q. Moffitt Foundation The Nord Family Foundation Paintstone Foundation The Charles E. & Mabel M. Ritchie Memorial Foundation The Leighton A. Rosenthal Family Foundation SCH Foundation Albert G. & Olive H. Schlink Foundation The Sherwick Fund Lloyd L. and Louise K. Smith Memorial Foundation The South Waite Foundation Jean C. Shroeder Foundation The Taylor-Winfield Foundation The George Garretson Wade Charitable Trust The S. K. Wellman Foundation The Wells Family Foundation, Inc. Thomas H. White Foundation, a KeyBank Trust The Edward & Ruth Wilkof Foundation Wright Foundation The Wuliger Foundation Anonymous (2)

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THE CLEVELAND ORCHESTRA

Generous Individual

Donors

gifts as of September 20, 2011

The Cleveland Orchestra and Musical Arts Association gratefully recognize the individuals listed here, who have provided generous gifts of cash or pledges of $2,500 or more in annual operating, endowment, special project, or benefit event support.

INDIVIDUAL GIFTS OF $500,000 AND MORE

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

Crescendo

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

Annual Fund Patrons Barbara Robinson, chair Robert Gudbranson, vice chair Gay Cull Addicott William W. Baker Ronald H. Bell Henry C. Doll Judy Ernest Nicki Gudbranson Jack Harley

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

Ongoing annual support gifts are a critical component toward sustaining The Cleveland Orchestra’s economic health. Ticket revenues provide only a small portion of the funding needed to support the Orchestra’s outstanding performances, educational activities, and community projects.

The Crescendo Patron Program recognizes generous donors of $2,500 or more to the Orchestra’s Annual Fund. For more information on the benefits of playing a supporting role each year, please contact Hayden Howland, Manager of Leadership Giving, by calling (216) 231-7545.

Irma and Norman Braman (Miami) The Walter and Jean Kalberer Foundation Susan Miller (Miami) Mr. and Mrs. Albert B. Ratner James and Donna Reid INDIVIDUAL GIFTS OF $100,000 TO $199,999

Ben and Ingrid Bowman Francie and David Horvitz (Miami) Mr. and Mrs. Joseph P. Keithley Dr. and Mrs. Herbert Kloiber (Europe) Mrs. Norma Lerner Mr. and Mrs. Herbert McBride Sally S. and John C. Morley Ms. Ginger Warner (Cleveland, Miami) Janet and Richard Yulman (Miami) INDIVIDUAL GIFTS OF $75,000 TO $99,999

Robert and Jean Conrad Trevor and Jennie Jones Mr. and Mrs. Douglas A. Kern Mr. and Mrs. Dennis W. LaBarre The Honorable and Mrs. John Doyle Ong Julia and Larry Pollock Barbara S. Robinson INDIVIDUAL GIFTS OF $50,000 TO $74,999

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

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John P. Bergren* and Sarah M. Evans Mr. William P. Blair III Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. and Mrs. Charles P. Bolton Hector D. Fortun (Miami) James D. Ireland III R. Kirk Landon and Pamela Garrison (Miami) Peter B. Lewis and Janet Rosel (Miami) Toby Devan Lewis Ms. Nancy W. McCann

Generous Individual Donors

The Cleveland Orchestra

THE CLEVELAN D ORCHESTRA

Mr. and Mrs. Alfred M. Rankin, Jr. Mr. and Mrs. Richard K. Smucker David A. and Barbara Wolfort Anonymous INDIVIDUAL GIFTS OF $30,000 TO $49,999

Dr. and Mrs. Wolfgang Berndt (Europe) Blossom Women’s Committee The Brown and Kunze Foundation Jeanette Grasselli Brown and Glenn R. Brown Mrs. Gerald N. Cannon Mr. and Mrs. Matthew V. Crawford Mr. and Mrs. Geoffrey Gund George Gund Mrs. Marguerite B. Humphrey Giuliana C. and John D. Koch Foundation (Cleveland, Miami) Dr. Vilma L. Kohn Charlotte R. Kramer Mr. and Mrs. Jon A. Lindseth Ms. Beth E. Mooney Mrs. Alfred M. Rankin, Sr. Brian and Patricia Ratner Charles and Ilana Horowitz Ratner Luci and Ralph* Schey Mr. and Mrs. Franz Welser-Möst Women’s Committee of The Cleveland Orchestra Anonymous INDIVIDUAL GIFTS OF $25,000 TO $29,999

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

Margaret Fulton-Mueller and Scott Mueller William J. and Katherine T. O’Neill Dr. and Mrs. Ronald J. Ross Rennie and Marc Saltzberg Dr. and Mrs. Neil Sethi Paul and Suzanne Westlake Anonymous gift from Switzerland (Europe) Anonymous INDIVIDUAL GIFTS OF $15,000 TO $19,999

Mr. and Mrs. William W. Baker Randall and Virginia Barbato Jayusia and Alan Bernstein (Miami) Scott Chaikin and Mary Beth Cooper Do Unto Others Trust (Miami) Colleen and Richard Fain (Miami) Mr. Allen H. Ford Richard and Ann Gridley Mrs. John A Hadden Jr. Gary Hanson and Barbara Klante Jack Harley and Judy Ernest Iris and Tom Harvie Joan and Leonard Horvitz Richard and Erica Horvitz (Cleveland, Miami) Elizabeth B. Juliano Mr. Thomas F. McKee Mrs. Stanley L. Morgan* Lucia S. Nash Mr. Gary A. Oatey Mr. and Mrs. James A. Saks Raymond T. and Katherine S. Sawyer Nancy and Neil Schaffel (Miami) David and Harriet Simon Mary M. Spencer (Miami) Dr. and Mrs. William P. Steffee Dr. Kenneth F. Swanson Mr. Joseph F. Tetlak INDIVIDUAL GIFTS OF $12,500 TO $14,999

Mr. and Mrs. George M. Aronoff Mr. and Mrs. David J. Carpenter George* and Becky Dunn Robert M. Maloney and Laura Goyanes Mrs. David Seidenfeld Mrs. Jean H. Taber Mr. and Mrs. Alfred Umdasch (Europe)

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

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

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

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

Severance Hall 2011-12

listings continue

Generous Individual Donors

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THE CLEVELAN D ORCHESTRA

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

CONTINUED

Richard J. and Joanne Clark Mr. Bruce Coppock (Miami) Judith and George W. Diehl Mr. and Mrs. Robert P. Duvin Mike S. and Margaret Eidson (Miami) Dr. and Mrs. Lloyd H. Ellis Jr. Mr. and Mrs.* David K. Ford Ms. Dawn M. Full Mr. Francisco A. Garcia (Miami) Mr. and Mrs. Richard T. Garrett Mr. and Mrs. Robert W. Gillespie Sondra and Steve Hardis Henry R. Hatch and Robin Hitchcock Hatch Mr. and Mrs. Jeffrey Healy Mary and Jon Heider (Cleveland, Miami) David and Nancy Hooker 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 Tim and Linda Koelz Mr. and Mrs. Edward A. Lozick Mr. and Mrs. Richard A. Manuel Mrs. Robert H. Martindale Mr. and Mrs. Arch J. McCartney William and Eleanor McCoy Mr. and Mrs. Stanley A. Meisel Mr. Walter N. Mirapaul Elisabeth and Karlheinz Muhr (Europe) Brian and Cindy Murphy Claudia and Steven Perles (Miami) Mr. and Mrs. George M. Rose Mr. and Mrs. David A. Ruckman David M. and Betty Schneider Rachel R. Schneider, PhD Mr. and Mrs. Oliver E. Seikel Kim Sherwin Lois and Tom Stauffer Mrs. Blythe Sundberg Dr. Russell A. Trusso Clara and David Williams INDIVIDUAL GIFTS OF $7,500 TO $9,999

Mr. William Berger Laurel Blossom Dr. and Mrs. Jerald S. Brodkey Dr. Ben H. and Julia Brouhard Dr. Thomas Brugger and Dr. Sandra Russ Ellen E. & Victor J. Cohn Supporting Foundation Mr. Owen Colligan Mr. and Mrs. William E. Conway Mr. and Mrs. Edward B. Davis Henry and Mary Doll Nancy and Richard Dotson Mr. and Mrs. Terry C. Z. Egger Mr. David J. Golden Robert K. Gudbranson and Joon-Li Kim Kathleen E. Hancock

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Dr.* and Mrs. Shattuck W. Hartwell, Jr. 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 Judith and Morton Q. Levin Mr. and Mrs. Thomas B. McGowan Mr. Donald W. Morrison Mr. and Mrs. Stephen E. Myers Mr. and Mrs. William M. Osborne, Jr. Pannonius Foundation Rosskamm Family Trust Mr. Larry J. Santon Patricia J. Sawvel Carol and Albert Schupp Naomi G. and Edwin Z. Singer Family Fund Mrs. Gretchen D. Smith Mr. and Mrs. Donald W. Strang, Jr. Bruce and Virginia Taylor Sandy and Ted Wiese Anonymous (2) INDIVIDUAL GIFTS OF $5,000 TO $7,499

Dr. Jacqueline Acho and Mr. John LeMay Mr. and Mrs. Monte Ahuja Susan S. Angell Agnes Armstrong Mr. and Mrs. Albert A. Augustus Ms. Jody Bacon Mr. and Mrs. Dean Barry Mr. Jon Batchelor (Miami) James and Reita Bayman Dr. and Mrs. Nathan A. Berger Dr. and Mrs. Eugene H. Blackstone In memory of Claude M. Blair Mrs. Flora Blumenthal Brennan Family Foundation Mr. Robert W. Briggs Mr. and Mrs. William C. Butler Mr. and Mrs. R. Bruce Campbell Ms. Maria Cashy Drs. Wuu-Shung and Amy Chuang Dr. William & Dottie Clark Mrs. Lester E. Coleman Corinne L. Dodero Trust for the Arts and Sciences Mr. and Mrs. Evan R. Corns Mr. Peter and Mrs. Julie Cummings (Miami) Mrs. Barbara Ann Davis Peter and Kathryn Eloff Dr. and Mrs. Robert Elston Mary and Oliver Emerson Mr. and Mrs. Charles R. Emrick, Jr. Mr. and Mrs. Henry J. Goodman Mr. and Mrs. Randall J. Gordon Harry and Joyce Graham Mr. Paul Greig Mr. and Mrs. David E. Griffiths

Generous Individual Donors

listings continue

Severance Hall 2011-12

PHOTOGRAPH Š BY HEDRICH BLESSING

Imagine your picture-perfect event at Severance Hall.

Severance Hall, a Cleveland landmark and home of the world-renowned Cleveland Orchestra, is perfect for business meetings and conferences, pre-concert or post-concert dinners, and receptions, weddings, and social events.

Exclusive catering by Sammyâ&#x20AC;&#x2122;s

Premium dates available!

Call the Manager of Facility Sales at (216) 231-7421 or email hallrental@clevelandorchestra.com

THE CLEVELAN D ORCHESTRA

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David and Robin Gunning Clark Harvey and Holly Selvaggi T. K. and Faye A. Heston Mr. Clifford Hill Amy and Stephen Hoffman Mr. and Mrs. Brinton L. Hyde Mr. and Mrs. Christopher Hyland Ms. Martha Ingram (Miami) Judith* and Clifford Isroff Rudolf D. and Joan T. Kamper Andrew and Katherine Kartalis Milton and Donna* Katz Dr. and Mrs. William S. Kiser Cynthia Knight (Miami) Julius and Doris Kramer Mrs. Justin Krent Mr. and Mrs. Peter A. Kuhn Mr. and Mrs. Arthur J. Lafave, Jr. Robert and Judie Lasser Judy and Donald Lefton (Miami) Shirley and William Lehman (Miami) Mr.* and Mrs. Leo Leiden Mr. Jeff Litwiller Mr. and Mrs. Robert P. Madison Ms. Jennifer R. Malkin Mr. and Mrs. Morton L. Mandel Alan Markowitz M.D. and Cathy Pollard Mrs. Kay Marshall Alexander and Marianna C. McAfee Claudia Metz and Thomas Woodworth Edith and Ted* Miller Mr. and Mrs. William A. Mitchell Robert Moss (Miami) Mr. and Mrs. Herbert Newman Richard and Kathleen Nord John and Margi Oâ&#x20AC;&#x2122;Brien Mr. Michael G. Oravecz Mr. Henry Ott-Hansen Mr. J. William and Dr. Suzanne Palmer Nancy and Robert Pfeifer Dr. and Mrs. John N. Posch Douglas and Noreen Powers Lois S.* and Stanley M. Proctor

Drs. Raymond R. Rackley and Carmen M. Fonseca Mr. and Mrs. Roger F. Rankin Mrs. Nancy L. Reymann Mr. and Mrs. James E. Rohr Carol Rolf and Steven Adler Dr. Tom D. Rose Steven and Ellen Ross Mr. Christopher Roy Mr. Klaus G. Roy and Mrs. Gene J. Roy Mr. and Mrs. Robert C. Ruhl Drs. Michael and Judith Samuels (Miami) Larry and Sally Sears Dr. and Mrs. James L. Sechler Mr. Eric Sellen and Mr. Ron Seidman Dr. Gerard and Phyllis Seltzer Mrs. Frances G. Shoolroy Mrs. William I. Shorrock Laura and Alvin A. Siegal David Kane Smith Jim and Myrna Spira George and Mary Stark Mrs. Marie S. Strawbridge Charles B. and Rosalyn Stuzin (Miami) Mr. and Mrs. Paul A. Teel, Jr. Mr. and Mrs. Bill Thornton Mr. Brian Thornton Mr. and Mrs. Lyman H. Treadway Mr.* and Mrs. Robert N. Trombly Robert A. Valente Don and Mary Louise Van Dyke Bill Appert and Chris Wallace (Miami) Tom and Shirley Waltermire Dr. Edward L. and Mrs. Susan Westbrook Tom and Betsy Wheeler Mr. Roy Woda Mrs. Janet A. Wright Mr. David Zauder Anonymous (5) member of the Leadership Council (see page 80)

* deceased

INDIVIDUAL GIFTS OF $3,500 TO $4,999

Dr. and Mrs. D. P. Agamanolis Mr. and Mrs. Quentin Alexander Mr. and Mrs. Robert H. Baker Ms. Delphine Barrett 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 Ms. Elizabeth E. Brumbaugh Frank and Leslie Buck Dr. and Mrs. William E. Cappaert Mrs. Millie L. Carlson

Ms. Mary E. Chilcote Drs. Mark Cohen and Miriam Vishny Diane Lynn Collier Marjorie Dickard Comella Mr. and Mrs. David J. Cook Pete and Margaret Dobbins Mr.* and Mrs. Sidney Dworkin Mr. Brian L. Ewart and Mr. William McHenry Mr. J. Gilbert and Mrs. Eleanor Frey Mrs. Cora C. Gigax Robert N. and Nicki N. Gudbranson John and Virginia Hansen Mr. Robert D. Hart Barbara Hawley and David Goodman

Matthew D. Healy and Richard S. Agnes Ms. Mary Beth Hedlund Hazel Helgesen and Gary D. Helgesen Anita and William Heller Bob and Edith Hudson (Miami) Mr. James J. Hummer Dr. and Mrs. Scott R. Inkley Donna L. and Robert H. Jackson Mrs. Rita G. Kelly Mr. and Mrs. Robert M. Koch Ronald and Barbara Leirvik Mr. and Mrs. Irvin A. Leonard listings continue

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Generous Individual Donors

The Cleveland Orchestra

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Severance Hall 2011-12

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THE CLEVELAN D ORCHESTRA

INDIVIDUAL GIFTS OF

$3,500 TO $4,999

CONTINUED

Mrs. Emma S. Lincoln Mr. and Mrs. Robert C. Loesch Anne R. and Kenneth E. Love Robert and LaVerne Lugibihl Elsie and Byron Lutman Joel and Mary Ann Makee Martin and Lois Marcus Dr. Susan M. Merzweiler Drs. Terry E. and Sara S. Miller Ann Jones Morgan Dr. Joan R. Mortimer Mr. and Mrs. Peter R. Osenar Mrs. Ingrid Petrus Mr. and Mrs. John S. Piety In memory of Henry Pollak

Dr. Laurine Purola Dr. Robert W. Reynolds Amy and Ken Rogat Bob and Ellie Scheuer Ms. Freda Seavert Ginger and Larry Shane Dr. Marvin and Mimi Sobel Mr. and Mrs. William E. Spatz Dr. Elizabeth Swenson Ms. Lorraine S. Szabo Mr. and Mrs. Leonard K. Tower Robert J. and Marti J. Vagi Mr. and Mrs. Fred A. Watkins Mr. and Mrs. Mark Allen Weigand Mr. Peter and Mrs. Laurie Weinberger

Robert C. Weppler Nancy V. and Robert L. Wilcox Ms. Judith H. Wright Anonymous (3)

Dr. and Mrs. Richard C. Distad Ms. Maureen A. Doerner and Mr. Geoffrey T. White Mr. George and Mrs. Beth Downes David Jack and Elaine Drage Mrs. Mary S. Eaton Esther L. and Alfred M. Eich, Jr. Erich Eichhorn and Ursel Dougherty Mrs. Margaret Estill David and Margaret Ewart Harry and Ann Farmer Scott Foerster, Forester and Bohnert Joan Alice Ford Mrs. Mary Elizabeth Ford Mr. Randall and Mrs. Patrice Fortin Mr. Monte Friedkin (Miami) Marvin Ross Friedman and Adrienne bon Haes (Miami) Peggy and David* Fullmer Richard L. Furry Marilee L. Gallagher Barbara and Peter Galvin Joy E. Garapic Mrs. Georgia T. Garner Mr. Wilbert C. Geiss, Sr. Mrs. Joan Getz (Miami) Mr. Herman Gilbert Anne and Walter Ginn Joyce and Ab* Glickman Mr. and Mrs. David A. Goldfinger Dr. and Mrs. Ronald L. Gould Cynthia and David Greenberg Mr. and Mrs. Brent R. Grover The Thomas J. and Judith Fay Gruber Charitable Foundation Nancy and James Grunzweig Dr. Phillip M. and Mrs. Mary Hall Ronald M. and Sallie M. Hall (Miami) Mr. Holsey G. Handyside Mr. George P. Haskell Virginia and George Havens Oliver and Sally Henkel Mr. and Mrs. Jerry Herschman Mr. Robert T. Hexter Dr. and Mrs. John D. Hines Dr. and Mrs. Robert L. Hinnes

Dr. Feite F. Hofman Mr. and Mrs. Edmond H. Hohertz Peter A. and Judith Holmes Thomas and Mary Holmes Dr. Keith A. and Mrs. Kathleen M. Hoover Xavier-Nichols Foundation Robert and Karen Hostoffer Mr. and Mrs. Mark Houck Dr. Randal N. Huff and Ms. Paulette Beech Ms. Charlotte L. Hughes Ms. Luan K. Hutchinson Mr. and Ms. Charles S. Hyle Ruth F. Ihde Carol Lee and James Iott Helen and Erik Jensen Mr. Peter and Mrs. Mary Joyce Mr. Daniel Kamionkowski Mr. William and Mrs. Mary Jo Kannen Barbara and Michael J. Kaplan Rev. William C. Keene Elizabeth Kelley Ms. Angela Kelsey (Miami) The Kendis Family Trust: Hilary & Robert Kendis and Susan & James Kendis Bruce and Eleanor Kendrick Mr. James Kish Fred and Judith Klotzman Jacqueline and Irwin Kott (Miami) Dr. Ronald H. Krasney and Ms. Sherry Latimer* Dr. James and Mrs. Margaret Kreiner Mr. James and Mrs. Patricia Krohngold Mr. Donald N. Krosin David C. Lamb Mrs. Carolyn Lampl Kenneth M. Lapine Anthony T. and Patricia A. Lauria Mr. and Mrs. Leon Lazarev Jeffrey and Ellen Leavitt Dr. Hasoon Lee Dr. and Mrs. Jai H. Lee Michael and Lois A. Lemr

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

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 Rev. Dr. and Mrs. Kenneth J. Anderson Mr. and Mrs. Jeffrey R. Appelbaum Mr. and Mrs. Stanley H. Arkin (Miami) Geraldine and Joseph Babin Mr. William Baldwin 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) John A. Biek and Christina J. Norton Carmen and Karl Bishopric (Miami) Bill and Zeda Blau Mr. Doug Bletcher Mrs. Mary Wick Bole John and Anne Bourassa Ms. Barbara E. Boyle Betty Madigan Brandt David M. and Carol M. Briggs Ms. Mary R. Bynum and Mr. J. Philip Calabrese Mr. and Mrs. Frank H. Carpenter Leigh and Mary Carter 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 Dr. Dale and Susan Cowan Mrs. Frederick F. Dannemiller Charles and Fanny Dascal (Miami) Jeffrey and Eileen Davis Mrs. Lois Joan Davis Ms. Nancy J. Davis (Miami) Scott and Laura Desmond

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Generous Individual Donors

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Severance Hall 2011-12

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THE CLEVELAN D ORCHESTRA

INDIVIDUAL GIFTS OF

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CONTINUED

Dr. Edith Lerner Mr. Lawrence B. and Christine H. Levey Dr. Stephen B. and Mrs. Lillian S. Levine Robert G. Levy Dr. Alan and Mrs. Joni Lichtin Isabelle and Sidney* Lobe Drs. Alex and Marilyn Lotas Martha Klein Lottman Sandi M. A. Macdonald and Henry J. Grzes (Miami) Herbert L. and Rhonda Marcus Dr. and Mrs. Sanford E. Marovitz Mr. and Mrs.* Duane J. Marsh Dr. Ernest and Mrs. Marian Marsolais Mr. Julien L. McCall Mrs. Alice Mecredy Dr.* and Mrs. Hermann Menges, Jr. Stephen and Barbara Messner Donald D. Miller MindCrafted Systems Bert and Marjorie Moyar Mr. Raymond M. Murphy Richard B. and Jane E. Nash 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 Deborah and Zachary Paris Dr. Lewis and Janice B. Patterson Mr. Thomas F. Peterson, Jr. Dr. Roland S. Philip and Dr. Linda M. Sandhaus Dale and Susan Phillip Mr. and Mrs. Richard W. Pogue Dr. Marc and Mrs. Carol Pohl William and Gwen Preucil Mr. Richard and Mrs. Jenny Proeschel Mr. Lute and Mrs. Lynn Quintrell Mr. and Mrs. Thomas A. Quintrell Ms. C. A. Reagan David and Gloria Richards 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 Co Dr. and Mrs. Martin I. Saltzman Ms. Patricia E. Say Mr. Paul H. Scarbrough Mr. James Schutte

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Dr. John Sedor and Ms. Geralyn Presti Lee G. and Jane Seidman Charles Seitz (Miami) Drs. Daniel and Ximena Sessler Harry and Ilene Shapiro Norine W. Sharp Dr. and Mrs. William C. Sheldon Mr. Richard Shirey 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 Dr. and Mrs. Thomas A. Timko Mr. and Mrs. Robert J. Tomsich Mr. Erik Trimble Drs. Anna* and Gilbert True Miss Kathleen Turner Mrs. H. Lansing Vail, Jr. Mr. and Mrs. Joaquin Vinas (Miami) Mr. and Mrs. Les C. Vinney Mr. and Mrs. Joseph F. Wasserbauer Ms. Laure A. Wasserbauer Philip and Peggy Wasserstrom Mr. and Mrs. Jerome A. Weinberger Richard Wiedemer, Jr. Helen Sue* and Meredith Williams Mr. Peter and Mrs. Ann Williams Richard and Mary Lynn Wills Charles Winans Michael H. Wolf and Antonia Rivas-Wolf Drs. Nancy Wolf and Aric Greenfield Mr. Robert Wolff and Dr. Paula Silverman Kay and Rod Woolsey Rad and Patty Yates Fred and Marcia Zakrajsek Mr. Kal Zucker and Mrs. Mary Frances Haerr Anonymous (11)

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.

member of the Leadership Council (see page 80)

* deceased

Generous Individual Donors

The Cleveland Orchestra

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All concerts at 3:00 All concerts beginbegin at 3:00 pmpm at at Cleveland State University’sWaetjen Waetjen Cleveland State University’s Auditorium, EuclidAve. Ave.and and E. 21st Auditorium, Euclid 21stSt. St. more information call call 216.687.5018 216.687.5018 ForFor more information visitwww.csuohio.edu/concert www.csuohio.edu/concertseries/kc ororvisit series/kc series/kc

Severance Hall 2011-12

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THE CLEVELAN D ORCHESTRA R E C O R D I N G S great gift ideas

New!

The Cleveland Orchestra’s catalog of recordings continues to grow. The newest DVD features Bruckner’s Eighth Symphony recorded live at Severance Hall under the direction of Music Director Franz Welser-Möst in 2010 and released in May 2011. And, just released, Dvořák’s opera Rusalka on CD, recorded live at the Salzburg Festival. Writing of the Rusalka performances, the reviewer for London’s Sunday Times praised the performance as “the most spellbinding account of Dvořák’s miraculous score I have ever heard, either in the theatre or on record. . . . I doubt this music can be better played than by the Clevelanders, the most ‘European’ of the American orchestras, with wind and brass soloists to die for and a string sound of superlative warmth and sensitivity.”

Other recordings released in the past year include two under the baton of Pierre Boulez and a second album of Mozart piano concertos with Mitsuko Uchida, whose first Cleveland Orchestra Mozart album won a Grammy Award this past year.

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

11001 Euclid Avenue Cleveland, Ohio 44106

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CLEVELANDORCHESTRA.COM

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 OF

Severance Hall 2011-12

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.

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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 tenth season, and with a commitment to the Orchestra’s centennial in 2018, has moved the ensemble forward with a series of new and ongoing initiatives, including: 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;

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The Orchestra Today

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.

CLEVELAND ORCHESTRA ARCHIVES / ROGER MASTROIANNI

IN FOCUS

Throughout his tenure as music director, Franz Welser-Möst has been a strong advocate for reinvigorating and expanding The Cleveland Orchestra’s education programs. Here he is shown leading a rehearsal of the Cleveland Orchestra Youth Orchestra in 2002.

Severance Hall 2011-12

The Cleveland Orchestra

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THE CLEVELAND ORCHESTRA U P C O M I N G

C O N C E R T S

Next Month . . .

ALAN GILBERT CONDUCTS Friday November 11 at 8:00 p.m.

Saturday November 12 at 8:00 p.m.

Sunday November 13 at 3:00 p.m.

THE CLEVELAND ORCHESTRA Alan Gilbert, conductor William Preucil, violin

Alan Gilbert, music director of the New York Philharmonic and former assistant conductor of The Cleveland Orchestra, returns to Severance Hall with a homecoming program featuring concertmaster William Preucil as soloist. From the sparkling fireworks of Beethoven’s Second Romance for violin through Webern’s lushly romantic Summer Winds to the expansive sounds of Schoenberg’s grand orchestral tone poem Pelleas and Melisande, this concert bristles with vigor, virtuosity, and vitality.

Concert Sponsor: The Lubrizol Foundation

LUISI LEADS MOZART AND STRAUSS Friday November 25 at 8:00 p.m.

Saturday November 26 at 8:00 p.m.

Sunday November 27 at 3:00 p.m.

THE CLEVELAND ORCHESTRA Fabio Luisi, conductor Jonathan Biss, piano

Fabio Luisi, recently appointed principal conductor of the Metropolitan Opera, makes his much-anticipated Cleveland Orchestra debut with a program pairing favorite orchestral works by two all-star operatic composers. American pianist Jonathan Biss returns to Cleveland for one of Mozart’s most alluring piano concertos, while Luisi leads the Orchestra in two of Richard Strauss’s most endearing tone poems, Till Eulenspiegel and Aus Italien.

Concert Sponsor: PNC

See also the concert calendar listing on pages 48-49, or visit The Cleveland Orchestra online for a complete schedule of future events and performances, or to purchase tickets online 24/ 7 for Severance Hall concerts.

TICKETS

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216-231-1111

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