The Cleveland Orchestra Jan. 19-21 Concert Program by Live Publishing

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THE CLEVELAND ORCHESTRA F R ANZ WELSER-MÖST M U SIC DI R ECTOR January 19, 20, 21 BRAHMS SECOND PIANO CONCERTO

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C O N T E N T S

WEEK 9 9

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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

About the Orchestra Musical Arts Association . . . . . . . . . . . . . . . . . . . . . . 9 Music Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . 18 Guest Information . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 Severance Hall. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 About The Cleveland Orchestra . . . . . . . . . . . . . . 92

In the News

Perspectives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Orchestra News . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 In Focus: A Look Back . . . . . . . . . . . . . . . . . . . . . . . 93

Eric Sellen, Program Book Editor E-MAIL: esellen@clevelandorchestra.com

Concert — Week 9 Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Introducing the Program: Classical & Romantic Brahms . . . . . . . . . . . . . . 36 BRAHMS

Piano Concerto No. 2 . . . . . . . . . . . . . . . . . . . . . 43 SHEPHERD

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.

Wanderlust . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 SHOSTAKOVICH

Symphony No. 6 . . . . . . . . . . . . . . . . . . . . . . . . . . 59 Conductor: Franz Welser-Möst . . . . . . . . . . . . . . . . 13 Soloist: Yefim Bronfman . . . . . . . . . . . . . . . . . . . . . 53

Future Concerts Concert Calendar . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 Upcoming Concerts . . . . . . . . . . . . . . . . . . . . . . . . 94

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.

Support Endowed Funds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Education and Community . . . . . . . . . . . . . . . . . . Corporate Support . . . . . . . . . . . . . . . . . . . . . . . . . . Foundation / Government Support . . . . . . . . . . Individual Support . . . . . . . . . . . . . . . . . . . . . . . . . .

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.

66 69 77 79 80

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.

Table of Contents

The Cleveland Orchestra

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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 Alexander M. Cutler 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 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 Iris Harvie Jeffrey A. Healy Stephen H. Hoffman David J. Hooker Michael J. Horvitz Marguerite B. Humphrey

David P. Hunt Christopher Hyland James D. Ireland III Trevor O. Jones Betsy Juliano 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 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. 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) Wolfgang C. Berndt (Austria) 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 Ruth Ann Krutz, State Chair, Blossom Women’s Committee TR U S TE E S E M ERI T I Clifford J. Isroff Samuel H. Miller David L. Simon 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

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

H O N O RARY T RUS T EES FOR LIFE Allen H. Ford Gay Cull Addicott Robert W. Gillespie Francis J. Callahan Dorothy Humel Hovorka Mrs. Webb Chamberlain Robert F. Meyerson Oliver F. Emerson Percy W. Brown 1953-55 Frank E. Taplin, Jr. 1955-57 Frank E. Joseph 1957-68 Alfred M. Rankin 1968-83

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

THE CLEVELAND ORCHESTRA Franz Welser-Möst, Music Director

Severance Hall 2011-12

Gary Hanson, Executive Director

Musical Arts Association

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!

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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. P H OTO BY D O N S N Y D E R

THE 2011-12 SE ASON

Severance Hall 2011-12

Music Director

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

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

Music Director

The Cleveland Orchestra

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THE CLEVELAND ORCHESTRA

Franz Welser-Möst MUSIC DIREC TOR Kelvin Smith Family Chair

Christoph von Dohnányi MUSIC DIRECTOR LAUREATE

Giancarlo Guerrero PRINCIPAL GUEST CONDUCTOR , CLEVELAND ORCHESTRA MIAMI

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 ASSISTANT DIRECTOR OF CHORUSES

Ann Usher Frank Bianchi DIRECTOR, CLEVELAND ORCHESTRA YOUTH CHORUS

Lisa Manning ASSISTANT DIRECTOR, CLEVELAND ORCHESTRA YOUTH CHORUS

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

DIRECTOR, CLEVELAND ORCHESTRA CHILDREN’S CHORUS

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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 Katherine Bormann Ying Fu

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

Emilio Llinas

James and Donna Reid Chair

Eli Matthews

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

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

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Perspectivesfrom the Executive Director Happy New Year and welcome to the opening weeks in our winter season of concerts here at Severance Hall. Late last year, at the Annual Meeting of the Musical Arts Association, Board President Dennis LaBarre and I reported on The Cleveland Orchestra’s 2010/11 activities and finances. Dennis captured the glories of the season in his remarks, including: “This year has demonstrated the extraordinary global artistic preeminence of our Orchestra. From New York’s Lincoln Center Festival to Tokyo’s Suntory Hall and the Musikverein in Vienna, the Orchestra has received critical and public praise. I’ve had the pleasure and privilege to hear patrons everywhere expressing their astonishment at The Cleveland Orchestra sound. “The Orchestra carries the name of Cleveland and raises Cleveland’s stature around the world with its excellence. Our greatest passion remains our steadfast commitment to preserving the Orchestra’s place as an essential community asset here in Northeast Ohio.“ The Cleveland Orchestra’s artistic success in 2011 stands in stark contrast to the bad news that reached us from orchestras in other cities around the country last year. In my remarks at the Annual Meeting, I acknowledged the situation and its impact on finances. “Why do orchestras from Philadelphia to Honolulu find themselves on varying degrees of life support? Because changes in American society have eroded the value proposition of orchestras’ traditional business model. And for us in Cleveland, the regional economy increases the challenge. “But we in Cleveland have done more than any other orchestra in the country toward overcoming the external pressures. We’re fighting back with orchestral excellence that has no equal. We’re fighting back with successful innovation and a greater commitment to education and the community. And we are fighting back with increased financial rigor and ongoing, prudent cost control.” If you are an Annual Fund donor of $2500 or more, you will receive a copy of the Annual Report in the mail. Others can access the Report on our website beginning January 12. I hope you will take a moment to review the state of the institution we all care so deeply about. You will see in the Annual Report that our year-end Endowment value was $130 million. As Dennis noted at the meeting, for us to be financially healthy today would require a $300 million endowment. Without it, we have an unsustainable structural deficit that threatens the Orchestra’s survival. Building The Cleveland Orchestra’s endowment to that level will require nothing less than extraordinary philanthropy. We are in the quiet phase of a major endowment campaign and we are committed to being worthy of your generosity. Thank you for your patronage.

Severance Hall 2011-12

Gary Hanson

THE CLEVELAND ORCHES-

News

OrchestraNews Chamber music recital on February 5 features Yeﬁm Bronfman and Orchestra principals in works by Brahms

CLEVELAND ORCHESTRA THE CLEVELAND ORCHESTRA THE CLEVELAND ORCHE

THE CLEVELAND ORCHESTRA

Pianist Yefim Bronfman appears in a special all-Brahms program of chamber music in Severance Hall’s Reinberger Chamber Hall on Sunday, February 5, at 2 p.m. The program features four principal string players of The Cleveland Orchestra performing with Bronfman. The recital opens with Brahms’s Piano Sonata No. 3 in F minor, Opus 5, followed by the Violin Sonata No. 3 in D minor, Opus 108, performed by Bronfman and concertmaster William Preucil. After intermission, the afternoon presentation concludes with Brahms’s Piano Quintet in F minor, Opus 34, in which Bronfman will be joined by Preucil, principal second violin Stephen Rose, principal viola Robert Vernon, and principal cello Mark Kosower. The February 5 concert concludes a three-week series of Cleveland Orchestra concerts conducted by Franz Welser-Möst featuring the three solo concertos of Brahms, with Bronfman as soloist in both piano concertos. Bronfman is devoting four weeks to performances with The Cleveland Orchestra between January and May, including the two weeks in Cleveland, plus a week in January in Miami and a performance of the Brahms Second Concerto in May at Carnegie Hall.

Committed to Accessibility Severance Hall is committed to making performances and facilities accessible to all patrons. For information about accessibility or for assistance, call the House Manager at (216) 231-7425.

Franz Welser-Möst to conduct Vienna New Year’s concert in 2013 The Vienna Philharmonic has announced that Franz Welser-Möst will again lead the ensemble’s annual New Year’s Concert, at the start of 2013. He first led the event, which is telecast to millions of viewers around the world, a year ago. That performance was later released as a commercial recording that topped sales charts in Europe last spring. In addition to his post as music director of The Cleveland Orchestra, WelserMöst became general music director of the Vienna State Opera in 2010 and also regularly leads concerts with the Vienna Philharmonic. Invitations to lead the Philharmonic’s New Year’s Concert are extended each year to a prominent conductor. Recent years have included appearances by Claudio Abbado, Daniel Barenboim, and Riccardo Muti. The 2012 concert was conducted by Mariss Jansons. Tickets to the event usually sell out well in advance, with the telecast ranked among the most-watched events of the holiday season. Additional information about the 2013 concert can be read on the Vienna Philharmonic’s website.

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OrchestraNews Cleveland Orchestra honors Martin Luther King Jr. Day through Celebration Concert and Community Open House

Cleveland Orchestra News

2012

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The Cleveland Orchestra participated in a national food drive January 14-16 to collect goods to be donated to the Cleveland Foodbank. The event is part of Orchestras Feeding America, a national food drive held by America’s symphony orchestras. Last season, over 250 orchestras representing all 50 states collected more than 300,000 pounds of food for their communities. The project was the single largest orchestra project organized at a national level, uniting musicians, staff, volunteers, and audiences to help alleviate hunger. Food donations were collected surrounding performances throughout the Martin Luther King weekend. At the same time, a unique worldwide performance took place on Saturday afternoon, January 14, with local participation involving a “Percussion Beat-Down” at the Cleveland Institute of Music. Simultaneous performances were presented in locations around the globe to focus attention and encourage people to take action to help alleviate world hunger. Led locally by Cleveland Orchestra musicians Richard Weiner (percussion, retired) and Paul Yancich (timpani), co-chairs of CIM’s percussion department, the event featured 25 performers, including CIM students and other faculty members, among them percussionist Jamey Haddad, who curates the world music performances surrounding The Cleveland Orchestra’s KeyBank Fridays@7 concerts, along with Cleveland Orchestra percussionists Jacob Nissly and Marc Damoulakis and retired percussionist Joseph Adato.

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The Cleveland Orchestra honored the vision, life, and legacy of Martin Luther King Jr. on January 15 and 16 with its 32nd annual Celebration Concert and its 12th free Community Open House. Sunday evening’s free concert began with the presentation of three Community Service Awards, given by the Orchestra and Greater Cleveland Partnership in collaboration with the City of Cleveland. This year’s winners, chosen for their positive impact on Cleveland in the spirit of Dr. King’s teachings, were: Donshon Wilson (individual), Dontea Gresham (youth), and YouthAbility Program (organization). The subsequent music program was led by guest conductor Chelsea Tipton II and featured the specially assembled volunteer Martin Luther King Jr. Celebration Chorus. The Community Open House on Monday afternoon presented a day of free activities, with performances by a variety of Northeast Ohio community arts groups, including the Cleveland Orchestra Youth Orchestra and the Cleveland Orchestra Youth Chorus, as well as African Soul International, Oberlin Ebony Connection, El Sistema@Rainey Symphony, and Roots of American Music. The 2012 Community Open House was sponsored by Medical Mutual of Ohio, with additional support from Macy’s, Cuyahoga Arts & Culture, and the Ohio Arts Council.

Musicians and community involved in food drive and promoting awareness

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OrchestraNews Cleveland Orchestra and partner Conn-Selmer provide violins to El Sistema@Rainey

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New album released featuring Richard King

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A new album on Albany Records has been released featuring Cleveland Orchestra principal horn Richard King along with colleagues from the Orchestra and Cleveland Institute of Music faculty members. The new album features works by Brahms, Mozart, Beethoven, and Schubert, including the Brahms Opus 40 Horn Trio and Beethoven’s Opus 81b Sextet for Two Horns (with Jesse McCormick), Harp, and Strings. Cleveland Orchestra musicians also featured are: Jung-Min Amy Lee (violin), Lynne Ramsey (viola), and Stanley Konopka (viola). Orli Shaham is the pianist.

Joshua Smith featured in new recording from Marlboro Music A new album in a series of recordings titled “Live from the Marlboro Music Festival” was released this past fall featuring Cleveland Orchestra principal flute Joshua Smith. Among three albums of live performances released this year in conjunction with ArchivMusic to celebrate Marlboro’s 60th anniversary, the recording includes Smith’s performance in Ravel’s Introduction et Allegro from the 2010 festival in Vermont. Also on the album are the string quartets of Ravel and Debussy. The performances chosen for the three albums were selected by Marlboro artistic directors Mitsuko Uchida and Richard Goode.

Thirty very excited students received brand-new violins at a special event in October as part of the inaugural year of El Sistema@Rainey, a comprehensive afterschool orchestral music program launched by the Rainey Institute and Cleveland Orchestra violinist Isabel Trautwein with the 2011-12 school year. The Cleveland Orchestra with its partner Conn-Selmer are the official providers of Scherl & Roth violins for the El Sistema@Rainey program. In its first year, El Sistema@ Rainey is providing ten hours of weekly group violin instruction and educational support to 30 children in Cleveland in grades 1- 4, with plans to expand to more students in future years. Young musicians will also have opportunities to perform onstage at Severance Hall and participate in masterclasses with Cleveland Orchestra musicians. Isabel Trautwein, who serves as the artistic director of El Sistema@Rainey, was granted a year-long leave of absence from The Cleveland Orchestra last season to participate in a formal training program to study the methods of El Sistema (“the system”) in Venezuela and Boston, with the goal of building an El Sistema “nucleo” in Cleveland. El Sistema was founded more than 35 years ago in Venezuela by economist, musician, and social reformer Dr. José Antonio Abreu. Today, the program serves more than 350,000 children through neighborhood-based daily music instruction. El Sistema@Rainey joins El Sistema programs worldwide, including those based in Atlanta, Baltimore, Boston, Chicago, Los Angeles, and Philadelphia.

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OrchestraNews Youth Orchestra announces plans for ﬁrst international tour to Europe this summer with help from new Touring Fund

Upcoming performances by members of The Cleveland Orchestra in Northeast Ohio include: Cleveland Orchestra musician Carolyn Gadiel Warner (violin, keyboard) celebrates her 25th year as a faculty member at the Cleveland Insitute of Music with a special recital event on Sunday afternoon, January 22, titled “Carolyn Warner and Friends.” The free performance at 4 p.m. at CIM features Cleveland Orchestra colleagues Steven Warner (violin) and Mark Kosower (cello), as well as CIM students. Music selections include works by Milhaud, Martinů, Piazzolla, and Brahms. For more information, visit cim.edu. The Amici String Quartet, comprised of Cleveland Orchestra musicians Miho Hashizume and Takako Masame (violin), Lynne Ramsey (viola), and Ralph Curry (cello), perform in concert on Sunday, February 19, at First Church, Oberlin, United Church of Christ (106 North Main Street). The program beginning at 3 p.m. features string quartets by Schubert (Quartettsatz in C minor, D703), Shostakovich (String Quartet No. 7, Opus 108), and Mendelssohn (String Quartet No. 2, Opus 13). The concert is sponsored by Family Promise of Lorain County and is free and open to the public. Donations to benefit homeless families through Family Promise are welcomed at the concert.

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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 each concert.

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

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Plans have been announced for the Cleveland Orchestra Youth Orchestra to make its first international tour in 2012. The tour to Europe June 13-21 includes concerts in Prague, Vienna, and Salzburg. The Youth Orchestra will be conducted by its music director, James Feddeck, who is in his third and final season with the Youth Orchestra and as assistant conductor of The Cleveland Orchestra. The repertoire includes Dvořák’s Symphony No. 8, Elgar’s “Enigma” Variations, and music from Wagner’s Tristan and Isolde. In addition to concerts, tour activities for the Youth Orchestra members include guided historic sightseeing tours featuring visits to the Vienna Musikverein and Vienna’s Zentralfriedhof (Central Cemetery, where many famous composers are buried, including Beethoven, Brahms, Schubert, and Johann Strauss Jr.). The Cleveland Orchestra Youth Orchestra tour is made possible in part through the generosity of the Vinney family. In April 2011 the Jules and Ruth Vinney Cleveland Orchestra Youth Orchestra Touring Fund was established to help cover costs of Youth Orchestra touring and to provide scholarships to eligible Youth Orchestra members. An endowment gift from the Jules and Ruth Vinney Philanthropic Fund, advised by their children Les Vinney, Margo Vinney, and Karen Jacobs, established this generous Touring Fund, which will provide perpetual support for the Youth Orchestra’s touring program. Members of the Youth Orchestra are also participating in fundraisers throughout the 2011-12 season to help cover the cost of the tour. They are also available for solo and chamber music performances, in order to earn funds to support their trip. Contact the Youth Orchestra manager at 216-231-7352 for more details.

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OrchestraNews Franz Welser-Möst and Orchestra receive accolades throughout European Tour and Vienna Residency

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Music Director Franz Welser-Möst and The Cleveland Orchestra returned home on November 6 from their eleventh international tour together, including the Orchestra’s fifth biennial residency at Vienna’s historic Musikverein concert hall. Throughout the tour, press reviews — excerpted on these pages — extended praise and accolades to the Orchestra for its precision and musicality. In addition to the Vienna Musikverein Residency, the tour featured two concerts in Madrid, Paris, and Luxembourg, and single concerts in Valencia, Cologne, and Linz. During the four-concert Musikverein Residency, the Orchestra gave 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 was soloist with the Orchestra in Luxembourg. The thirteen-concert, seven-city tour began with performances in Madrid, Spain, on October 20 and 21 and ended in Vienna on November 5. Tour sponsors included 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. “And in fact, the music sounded fabulous — with the weapons that Welser-Möst handles so scrupulously: precision, rhythmic control, a certain highly effective minimalism. All that, plus the assurance of having an orchestra like Cleveland at his command: compact, secure, even luminous.” —El Pais, October 22, 2011 “Welser-Möst was restrained in Mendelssohn, dominating in Stravinsky, and brilliant in Ravel. His gestures are sober, his movements a bit mechanical; his image ranges from timid to robot-like, from subtle to introverted. The analytic part takes precedence over the expressive. The artistic results are overwhelmingly effective. It is the art of perfection, pure and simple. No excessive emphases, no special effects, none of those ‘strokes of genius’ that are so often arbitrary. He even smiled in the Ravel, completely won over by the work’s rhythmic and timbral richness. All sections of the orchestra responded homogeneously and with great class.” —El Pais, October 22, 2011 “We were immediately won over by the agility of the strings, the warmly streaming sound of the woodwind, the unshakable security of the brass. The true miracle, then, occurred in the two major works on the program, Tchaikovsky’s Fourth Symphony and, before intermission, the Doctor Atomic Symphony by John Adams.” —KlassikInfo.de, October 30, 2011

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“Franz Welser-Möst navigated his orchestra, which cannot be called anything but fantastic, with a secure sense of control and great restraint. At no time did he give in to sensationalism in this music, which is so rich in contrasts between pandemonic eruptions and soothing major-mode consonance. Some members of the orchestra distinguished themselves with impressive solos; above all, trumpeter Michael Sachs knocked our socks off with his sovereign technique.” —KlassikInfo.de, October 30, 2011 “In concerts Tuesday and Wednesday at Salle Pleyel, an historic hall near L’Arc de Triomphe, the orchestra and music director Franz Welser-Möst more than proved themselves worthy of a long-term presence here, dazzling two nearly sold-out crowds and leaving audiences eager for more. Both nights, in fact, they were regaled with multiple rounds of synchronized clapping.”

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—Zachary Lewis, The Plain Dealer, October 27, 2011 “This pure-bred elegance is transmitted to all sections; the brilliance of the winds is inspired by the transparencey of the strings, though their sound is never overpowering. Are American orchestras too flashy, too thundering? Cleveland is the dream antidote to this persistent cliché. Here is the most refined of orchestras, where the supernatural cohesion of the attacks never turns into a power show by an advancing army.” —Le Figaro, October 28, 2011 “The triumph of the evening, marked by a prolonged acclaim, was due to Mozart’s great C-minor Mass (K. 427). Here Welser-Möst gradually unveiled an overall plan that was as comprehensive as it was successful, dashing and radiant, expressive and stylish.” —Vienna Kurier, November 2, 2011

—Die Presse, November 1, 2011

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“Yet for all the technical craftsmanship, one can also bring out the eloquence of this music, if one lets true emotions resonate. Franz Welser-Möst has succeeded in doing just that, since he has the finest string playing to build upon and is thus able to turn a breathtakingly beautiful study in sound into a moving, expressive musical statement without forcing the interpretation in the least.”

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Franz Welser-Möst and Cleveland Orchestra to continue recording Bruckner with Sym. No. 4

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The Cleveland Orchestra and Music Director Franz WelserMöst have announced that they will record performances of Bruckner’s Symphony No. 4 at the Abbey of St. Florian near Linz, Austria, in August 2012. The recording will be released on DVD and adds to the Orchestra’s series of four Bruckner symphonies (Nos. 5, 7, 8, and 9) already recorded with generous support from Raiffeisenlandesbank Oberösterreich and Clasart production company. Welser-Möst and the Orchestra Symphony No. 8 was released last year. are presenting the Fourth Symphony in performances at Severance Hall later this spring, April 26-28. In announcing the next recording, Dr. Ludwig Scharinger, CEO of Raiffeisenlandesbank Oberösterreich, commented, “We are proud to support Franz Welser-Möst and The Cleveland Orchestra in their deep commitment to recording Bruckner’s masterpiece symphonies and sharing them with the world.” Raiffeisenlandesbank Oberösterreich has sponsored Cleveland Orchestra performances in both Austria and Germany, and supported the 2011 Cleveland Orchestra Residency at the Musikverein in Vienna. In addition, Raiffeisenlandesbank Oberösterreich has organized Cleveland Orchestra performances at the Brucknerhaus in Linz as well as at the Abbey of St. Florian, the church where Bruckner is entombed. The bank is committed to enriching Austria’s culture through the arts. Dr. Herbert Kloiber, chairman of The Cleveland Orchestra’s European Advisory Board, said, “Franz Welser-Möst and The Cleveland Orchestra’s recordings of Bruckner’s symphonies create a legacy and a benchmark for years to come. It is incredible to witness these historic recordings come to life in the remarkable venues at St. Florian, the Musikverein, and at Severance Hall in Cleveland.”

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The Cleveland Orchestra has performed concerts in two area high schools this season. Franz Welser-Möst led the Orchestra in a presentation at Saint Ignatius High School (left) that featured John Adams’s “Doctor Atomic Symphony” on October 14, and Sasha Mäkilä led a performance at the Cleveland School of the Arts titled “American Journey” on November 16. These performances marked the Orchestra’s third season of Cleveland Orchestra concerts in high schools, launched in 2009 by Welser-Möst.

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We note with sadness the death on January 13 of Willie Brown Jr. at the age of 85. Mr. Brown was a familiar face and personality at Severance Hall. He began working here in 1962, serving as a doorperson and, later, as coat room manager up through the 2010-11 season. We extend condolences to his wife, Dollie, and express gratitude for his many years of service with a smile.

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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 New! part of the 2008 Salzburg Festival. The album on the Orfeo label was released at the end of September and comes in CD format or as a music download. 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 sold-out Rusalka performances were part of a Festival Residency that also included Welser-Möst conducting the Orchestra in three different concert programs. Prior to the staged Salzburg performances, Welser-Möst and the Orchestra presented in-concert performances of Rusalka in Cleveland.

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 each concert.

Cleveland Orchestra now available as an app for mobile phones 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.

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NOW THROUGH FEBRUARY 5 Theatre legends Alfred Lunt and Lynn Fontanne take center stage in the wilds of Wisconsin in this uproarious backstage comedy.

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LEARNING MORE ABOUT THE MUSIC

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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. January 19, 20, and 21 “A Conversation Between Composers” with composer Sean Shepherd in conversation with Keith Fitch, head of composition at the Cleveland Institute of Music

February 2, 3, and 4 “Back to the Future: Mozart, Brahms, and the Idea of Progress” with speaker Francesca Brittan, assistant professor of music, Case Western Reserve University

February 9, 11, and 12 “Music of the Night” with Rabbi Roger Klein, The Temple – Tifereth Israel

February 16, 17, and 18 “Symphonies of Sounds” with Michael Strasser, professor of musicology, Baldwin-Wallace College Conservatory of Music

February 23, 24, and 25 “Jewels of Greatness” with Rose Breckenridge, Cleveland Orchestra Music Study Groups administrator and lecturer For future Concert Preview details, visit clevelandorchestra.com

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Concert Previews

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Thursday evening, January 19, 2012, at 8:00 p.m. Friday evening, January 20, 2012, at 8:00 p.m. Saturday evening, January 21, 2012, at 8:00 p.m.

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Franz Welser-Möst, conductor JOHANNES BRAHMS (1833-1897)

Piano Concerto No. 2 in B-flat major, Opus 83 1. 2. 3. 4.

Allegro non troppo Allegro appassionato Andante Allegretto grazioso

YEFIM BRONFMAN, piano

INTERMISSION SEAN SHEPHERD (b. 1979)

DMITRI SHOSTAKOVICH (1906-1975)

Wanderlust 1. Prevailing Winds 2. Seagulls on High 3. Bilbao

Symphony No. 6 in B minor, Opus 54 1. Largo 2. Allegro 3. Presto

These concerts are sponsored by FirstMerit Bank. Yefim Bronfman’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from The Julia Severance Millikin Fund. The Friday evening concert is dedicated to Julia and Larry Pollock in recognition of their extraordinary generosity in support of The Cleveland Orchestra’s 2010-11 Annual Fund. The concerts will end at about 10:05 p.m. CLEVELAND ORCHESTRA RADIO BROADCASTS

Current and historic Cleveland Orchestra concerts are broadcast as part of regular weekly programming on WCLV (104.9 FM), Saturday evenings at 8:00 p.m. and Sunday afternoons at 4:00 p.m.

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Concert Program — Week 9

INTRODUCING THE PROGRAM

Johannes Brahms Purely Classical & Clearly Romantic

From last week through early February, Franz Welser-Möst is leading The Cleveland Orchestra in a mini-festival of performances of the three solo concertos by Johannes Brahms, one concerto per week. The focus on Brahms concludes on Sunday, February 5, with a special chamber music recital featuring pianist Yefim Bronfman (soloist in the two piano concertos) performing with four of the Orchestra’s principal string players. Each concerto is paired with varying music, including a recent work each week from the past decade. On the following pages, Brahms scholar Jan Swafford discusses the composer’s place in musical history and modernism. I N H I S L I F E T I M E , the image of Johannes Brahms, for both his admirers and

his enemies, was as a backward-looking musician who upheld the old Viennese-Classical forms as a bastion against the aesthetic and social agenda of progressive composers. How one felt about Brahms in the later 19th century had much to do with how one felt about those progressives, whose most celebrated figures and leading propagandists were Richard Wagner and Franz Liszt. Under the banner “Music of the Future,” they wrote works based on stories, literature, ideas — Wagner’s music dramas, Liszt’s tone poems. Brahms, declared Liszt, belonged to “the posthumous party” in music. When Brahms died, Wagnerite critics dismissed him as an artist who lacked a “world-historical” vision. His music, said one critic, amounted to nothing more than “the private thoughts and private meanings of a clever man.” Not all these attitudes toward Brahms were wrong. But none of them encompassed the reality. One reality was that in his art Brahms was neither revolutionary nor conservative; he belonged to no party at all. “I must go my own way and in peace,” Brahms said. He refrained from public politicking or polemics. In private, he expressed great admiration for Wagner’s music, as dis-

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tinct from Wagner the polemicist and the man. (For his part, Wagner had nothing but contempt for Brahms.) Like all geniuses, Brahms was not a simple artist or person. His work encompasses large, paradoxical territories. He was trained in Hamburg and imbued with the doctrine of Haydn, Mozart, and Beethoven. His mentors taught him that the forms of music used by those giants — sonata form, above all — were eternal and incorruptible models. Along with that doctrine came a sense of awe. “As much as we men are above the creeping things of the earth,” Brahms told his disciple Georg Henschel (later the first conductor of the Boston Symphony), “so these gods are above us.” He meant this literally. He predicated his career on working in the shadow of giants. As far as Brahms was concerned, the job of a composer was to master the forms and genres of the past. So he did master them, patiently and painstakingly, one after another — piano sonata, theme and variations, scherzo, concerto, piano trio and quartet, string quintet and sextet, string quartet, and finally symphony. (Despite years of trying, he produced no opera.) It was exactly those genres, in their traditional forms, that Wagner and Liszt had declared dead and buried. En route, Brahms destroyed more music than he released. He claimed that before publishing his First String Quartet, he threw out twenty quartets. He spent over fifteen years working, off and on, at his First Symphony (then wrote the next two in a summer each). The world never saw a second violin concerto or second double concerto, and who knows how many other works he drafted. He liked to tear up the pages of rejected pieces and throw them in the nearest river, so he could watch them disappear downstream. But if Brahms was the hero of musical conservatives in the 19th century, that was not his doing. He took it for granted that he would bring something new and personal to the tradition he worshipped. That, too, was part of how he conceived his job. He was one of the few composers of his time who understood how freely the old masters handled their forms; he handled them more freely still. Some of his restless harmonies were shocking to the ears of his day. His innovations in rhythm in some ways anticipated jazz and Stravinsky. His involvement with popular music, especially what was called “Hungarian” (a.k.a. “Gypsy”) style, gave some of his work an exotic and popularistic cast. He invented unprecedented kinds of pieces. His German Requiem is not a cantata or an oratorio but something unique, and one of the few large choral works of the time not dominated by echoes of Handel. The Haydn Variations are the first freestanding variations for orchestra. For the end of the Fourth Symphony, he made the old Baroque idea of a chaconne, a piece based on a repeating bass line, into a singular and searing finale. There, in a nutshell, is Brahms’s highly personal melding of tradition and innovation. From his own time to the present, it has been said of Brahms that he joined the Classical forms of the 18th century to Romantic emotionalism. That is true as far as it goes, but it does not go far enough. He fashioned his music from influencSeverance Hall 2011-12

Johannes Brahms

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es stretching back through Schubert, Schumann, and the Viennese Classicists, through Bach, Handel, and beyond, all the way back to the Renaissance contrapuntalists. In other words, Brahms was an utter eclectic. At the same time, no composer ever had a more individual voice. From early on, he wrote few if any pages that could be mistaken for anybody else. It remained for one of his greatest admirers of the 20th century, Arnold Schoenberg, to remake Brahms’s reputation. In a famous article called “Brahms the Progressive,” Schoenberg showed how much of Brahms’s singular handling of musical material (such as saturating the music with continuously-evolving motifs) prophesied Modernism. Scholar Malcolm MacDonald compares Brahms to the ancient two-faced god Janus, a figure who looks backward and forward at once. Brahms was an artist fi lled with the past who helped inspire the future. In temperament, he was in many ways a pedant, but he was a pedant of genius who never took up a rule or a genre without making it his own. His admirers proclaimed his work as the epitome of “abstract,” “pure” instrumental music, free of programmatic or autobiographical elements. But Brahms himself never proclaimed any such ideal. In private he made it clear that his music came from his life and his heart. After a bitter romanJohannes Brahms, 1874. tic disappointment, he called the threatening despair of the Alto Rhapsody his “bridal song.” In relation to his C-minor Piano Quartet, he compared himself to Goethe’s tragic hero Werther, who killed himself over love of another man’s betrothed. In the notes of a lilting and lovely theme, the G-major String Sextet names a woman Brahms loved and left. The German Requiem and the Four Serious Songs rose from deep-lying losses — his mother, and Robert and Clara Schumann. One of the signs of genius in a creator is one who succeeds in putting together things assumed to be antithetical — such as Classic and Romantic. Brahms’s fascinating paradoxes are very much on display in his two Piano Concertos and Violin Concerto. Written for himself in his twenties, the First Piano Concerto in D minor was a fiasco in its second performance because it contradicted nearly everything the time thought a concerto should be: relatively light and lively, popularistic, virtuosic. Nevertheless, the next two concertos followed suit. The overriding idea is that Brahms’s conception of a concerto was symphonic, on the grandest of scales. All the pieces are supremely demanding on the soloist, but the piano concertos have little conventional virtuosic showingoff. Nor is the soloist always the center of attention. Asked why he had never played the Brahms, virtuoso Pablo de Sarasate said, “Does anyone imagine that I’m going to stand, violin in hand, and listen to the oboe play the only tune in the Severance Hall 2011-12

Johannes Brahms

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adagio?” In fact, the soloist never does get to play that tune, and that’s not the only such instance in the concertos. Instead, in Brahms’s concertos the soloist is a participant in a dialogue — a spotlighted and nearly nonstop participant, but still part of a dialogue that is fundamentally symphonic. In the two piano concertos, the keyboard style is grand and two-fisted, orchestral in itself. This approach is set in the first pages of the First Concerto. It is massive, dramatic, its sound and its juxtaposition of D minor and B-flat major echoing Beethoven’s Ninth. The First Concerto amounts to the First Symphony that Brahms wanted to write, but could not pull together for another eighteen years. Here is a final paradox: As man and musician, Brahms was at once a loner and absolutely part of the musical mainstream. As far as he was concerned, his work was directed primarily to the music-loving middle class; if that class rejected his work, then he was a failure and deserved to be. At the same time, as the concertos show, he was fearless in issuing challenges to his public and his performers. His independence is shown in the fact that he never accepted a commission for a work, something that would have been incomprehensible to most earlier composers. He emulated and worshipped the past, but in the end he recognized only one way to do things — his way. And unlike Wagner, he did not consider it the artist’s job to save the world, no matter how much the Germanic world around him, with its mounting militarism and anti-Semitism, needed to be saved. So his critics were again partly right; Brahms had no world-historical agenda. For him, music was a language spoken from the heart that goes to the heart of each listener. It is in those terms that this intensely private man, who loved few and was himself hard to love, is entering his second century as one of the most beloved of composers. —Jan Swafford Jan Swafford is an award-winning composer and author whose books include biographies of Johannes Brahms and Charles Ives, and “The Vintage Guide to Classical Music.” A graduate of Tanglewood Music Center, where he studied composition, he teaches at the Boston Conservatory and is currently working on a biography of Beethoven for Houghton Mifflin.

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Piano Concerto No. 2 in B-flat major, Opus 83 composed 1878-81 IF ONE COULD CHOOSE

Johannes

BRAHMS born May 7, 1833 Hamburg died April 3, 1897 Vienna

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a handful of works to exemplify why Brahms has captured listeners over the years, those works would include the four-movement Piano Concerto No. 2 in Bflat major, completed in 1881 at the height of his maturity. Here all the elements of Brahms’s art come together. There is the joining of the grandly Olympian with the intimately songful. There is the virtuoso command of large-scale musical architecture, for a composer one of the rarest gifts in the world. More subtly, in the Second Piano Concerto one finds on display the singular mysteriousness of Brahms — a music at once powerfully communicative and elusive. For soloists proposing to master this gigantic concerto, it lives up to one of Brahms’s puckish nicknames for it: “the Long Terror.” Pianists speak of the exquisite anxiety of stepping onto the stage with the Alpine steeps of the first movement in your head, wondering how you’re going to find the place in your mind and fingers to attack it. For Brahms himself, the Second Piano Concerto was probably, from its first inspiration during a sunny vacation in Italy, one of the most untroubled major efforts of his life. No composer had ever faced greater expectations, starting from the age of twenty when Robert Schumann declared the boyish and beardless student the virtual Messiah of German music. From then on, Brahms had to live with that forbidding prophecy hanging over him. But by the time of the Second Concerto, he had more or less fulfilled Schumann’s prophecy and had little left to prove — though he never rested on his laurels. One by one, he had painstakingly mastered most of the traditional genres and produced historic masterpieces in each. While never lacking in enemies, by his forties Brahms was generally understood to be the supreme concert composer of his generation. (His great rival Wagner dominated the operatic stage — which is a prime reason why Brahms, despite years of dreaming about opera, finally stayed away from the stage.) When he began the Second Piano Concerto, he already had imposing concertos for piano and violin under his belt, and he was writing for his own instrument, where he always felt most comfortable. To understand Brahms’s cheeriness concerning the Second About the Music

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Piano Concerto, we have to understand what his earlier concertos had cost him. He had launched into the First Piano Concerto with youthful fervor, in the wake of the dramatic events of 185354 — his discovery by Robert Schumann, followed by Robert’s plunge into madness, then Brahms’s own fall into a frustrated passion for Robert’s wife Clara. Brahms pounded away at creating the First Piano Concerto for some five excruciating years, finishing it in 1859 as a flawed but remarkable work of monumental scale and singular voice. His next ambitious symphonic work was the Haydn Variations of 1873, followed three years later by the First Symphony (which had been over fifteen years in gestation). In those two works, Brahms finally found a voice with the orchestra as distinctive as every other aspect of his style. Already in the First Piano Concerto, the essential elements of the Brahmsian concerto were in place. The scale and style are symphonic as much as concerto-like, with the soloist less the heroic voice of Romantic concertos, more a participant in a symphonic dialogue. All that carried into the Violin Concerto of 1878. Meanwhile, as Brahms scholar Michael Musgrave writes, the virtually orchestral style of the keyboard writing in the Second Piano Concerto has only one precedent in the literature, and that is Brahms’s own First Piano Concerto. The formal approach of these concertos is also particular to them. In many movements of his symphonies, especially the finales, Brahms produced innovative variations on traditional formal models. One finds less of that in the concertos. All the finales have touches of his trademark “gypsy”-style finale, which he never used in his symphonies. (After a youthful collaboration with a Hungarian violinist, Brahms created his Hungarian Dances, which for years he played for friends and at parties. When finally published, they made a sensation.) So while the concertos are unusual in their overall approach, their formal outlines are relatively conservative — more or less the traditional concerto sonata form for the first movements, rondo for the last, A-B-A for the slow movements. The B-flat concerto begins with one of the most beautiful movements of Brahms’s output, its expressive import without any of his familiar touches of tragedy or fatalism. The piano textures range from massive to diaphanous, interwoven with rich orchestral textures. The piano steadily changes roles, its music moving from long unaccompanied solos to lacy filigree Severance Hall 2011-12

About the Music

In the Second Piano Concerto all the elements of Brahms’s art come together. There is the joining of the grandly Olympian with the intimately songful. There is the virtuoso command of large-scale musical architecture. More subtly, here one finds on display the singular mysteriousness of Brahms — a music at once powerfully communicative and elusive.

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accompanying the orchestra. While there are towering proclamations and moments of drama, the overall tone is lofty and magisterial. The opening horncall reminds us of Brahms’s love of the outdoors, of climbing Alpine peaks. Perhaps the whole first movement can be heard as music of rocky summits and spreading forests — and in that respect, a complement to the nature idylls of the Second Symphony. Next comes the movement Brahms described to a friend as a “tiny, tiny wisp of a scherzo.” When Brahms said things like that, he was usually joking; the D-minor scherzo (the only movement to depart from B-flat major) is immense, dark-toned, and impassioned, with a touch of gypsy tone. Brahms’s only explanation for the scherzo was another joke — the opening movement was so “harmless,” he said, that he needed a strong contrast for the second. The scherzo brings to the concerto a new emotional gravitas and a relentless rhythmic drive. In fact, this scherzo was originally drafted for the Violin Concerto. He may have jettisoned it because that work needed the opposite — something lighter. The slow movement begins with one of those sighing, exquisite cello melodies that Brahms invented and owned. Here is one of the innovations of the Second Piano Concerto: a slow movement in which the first section is dominated by a solo cello; only in the middle does the piano come to the fore, spinning out languid quasi-improvisatory garlands. Now the scoring is intimate, chamber-like — another kind of contrast to the first movement. The concerto comes to rest on a rondo finale of marvelous lightness, whimsy, and dancing rhythms, again with gypsy touches, answering the monumental first two movements and the gently wandering embroidery of the third. Donald Francis Tovey caught the effect of the finale in programmatic terms: “We have done our work — let the children play in the world which our work has made safer and happier for them.” For the listener, the charm of the finale is its glittering instrumental colors and its ravishing melodies. The characteristic finale of 18th-century concertos and symphonies has been called a “last dance.” The ending of Brahms’s Second Concerto follows that old pattern, and is among the dancing-est. Brahms dedicated the Second Piano Concerto to Eduard MarxSeverance Hall 2011-12

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Brahms playing the piano, in a sketch from 1896 by his friend Willy von Beckerath.

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WINTER SEASON Thursday January 19 at 8:00 p.m. Friday January 20 at 8:00 p.m. Saturday January 21 at 8:00 p.m. THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Yefim Bronfman, piano

BRAHMS Piano Concerto No. 2 SHEPHERD Wanderlust SHOSTAKOVICH Symphony No. 6 Concert Sponsor: FirstMerit Bank

Thursday February 2 at 8:00 p.m. Friday February 3 at 8:00 p.m. Saturday February 4 at 8:00 p.m. THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Yefim Bronfman, piano

SAARIAHO Laterna Magica MOZART Symphony No. 39 BRAHMS Piano Concerto No. 1 Sponsor: Baker Hostetler

Sunday February 5 at 2:00 p.m. Yefim Bronfman, piano William Preucil, violin Stephen Rose, violin Robert Vernon, viola Mark Kosower, cello

BRAHMS Piano Sonata No. 3, Opus 5 BRAHMS Violin Sonata No. 3, Opus 108 BRAHMS Piano Quintet, Opus 34 Thursday February 9 at 8:00 p.m. Saturday February 11 at 8:00 p.m. Sunday February 12 at 3:00 p.m. THE CLEVELAND ORCHESTRA Pierre Boulez, conductor Men of the Cleveland Orchestra Chorus

SCHUBERT Hymn to the Holy Spirit SCHUBERT Night Song in the Forest SCHUBERT Song of the Spirits over the Waters MAHLER Symphony No. 7 Concert Sponsor: Baker Hostetler

Friday February 10 at 10:00 a.m. Saturday February 11 at 10:00 a.m. Saturday February 11 at 11:00 a.m. PNC MUSICAL RAINBOW:

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Thursday February 16 at 8:00 p.m. Friday February 17 at 8:00 p.m. Saturday February 18 at 8:00 p.m. THE CLEVELAND ORCHESTRA Pierre Boulez, conductor Pierre-Laurent Aimard, piano Cleveland Orchestra Chorus

STRAVINSKY Symphonies of Wind Instruments BARTÓK Piano Concerto No. 1 SCHOENBERG Chamber Symphony No. 1 STRAVINSKY Symphony of Psalms Concert Sponsor: Forest City Enterprises

Thursday February 23 at 8:00 p.m. Friday February 24 at 11:00 a.m. Saturday February 25 at 8:00 p.m. THE CLEVELAND ORCHESTRA Marek Janowski, conductor Arabella Steinbacher, violin*

WEBER Overture: The Ruler of the Spirits MENDELSSOHN Violin Concerto* SCHUBERT Symphony in C major (“The Great”) *not included on Friday Morning Matinee Thursday March 8 at 8:00 p.m. Friday March 9 at 8:00 p.m. Saturday March 10 at 8:00 p.m. Sunday March 11 at 3:00 p.m. THE CLEVELAND ORCHESTRA Christoph von Dohnányi, conductor Meagan Miller, soprano Tamara Mumford, mezzo-soprano Eric Cutler, tenor Iain Paterson, bass Cleveland Orchestra Chorus

LIGETI Atmosphères WAGNER Prelude to Act I of Lohengrin BEETHOVEN Symphony No. 9 (“Choral”) Concert Sponsor: KeyBank

Sunday March 11 at 7:30 p.m. CLEVELAND ORCHESTRA YOUTH ORCHESTRA James Feddeck, conductor CLEVELAND ORCHESTRA YOUTH CHORUS Frank Bianchi, director

LIADOV Ballade ELGAR Enigma Variations FAURÉ Cantique de Jean Racine POULENC Gloria

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Friday March 16 at 10:00 a.m. Saturday March 17 at 10:00 a.m. Saturday March 17 at 11:00 a.m. PNC MUSICAL RAINBOW:

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Thursday March 15 at 8:00 p.m. Saturday March 17 at 8:00 p.m. THE CLEVELAND ORCHESTRA Giancarlo Guerrero, conductor Michael Sachs, trumpet

BEETHOVEN Symphony No. 6 (“Pastoral”) HERSCH Night Pieces [WORLD PREMIERE] RESPIGHI The Pines of Rome Concert Sponsor: Thompson Hine LLP

Friday March 16 at 7:00 p.m. THE CLEVELAND ORCHESTRA Giancarlo Guerrero, conductor Gabriela Montero, piano

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Thursday March 8 at 8:00 p.m. Friday March 9 at 8:00 p.m. Saturday March 10 at 8:00 p.m. Sunday March 11 at 3:00 p.m.

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Sunday March 18 at 3:00 p.m. THE CLEVELAND ORCHESTRA Giancarlo Guerrero, conductor Gabriela Montero, piano

BEETHOVEN Symphony No. 6 (“Pastoral”) GRIEG Piano Concerto RESPIGHI The Pines of Rome Concert Sponsor: Thompson Hine LLP

Saturday March 31 at 8:00 p.m. THE CLEVELAND ORCHESTRA William Eddins, conductor CELEBRITY SERIES CONCERT

Charlie Chaplin’s City Lights Experience the fun-filled and touching story in which everyone’s favorite “Tramp” (Charlie Chaplin) falls in love and helps a Blind Flower Girl (Virginia Cherrill) regain her sight. With the original score performed by the Orchestra while this classic silent film is projected on the big screen.

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

THE CLEVELAND ORCHESTRA Christoph von Dohnányi, conductor Meagan Miller, soprano Tamara Mumford, mezzo-soprano Eric Cutler, tenor Iain Paterson, bass Cleveland Orchestra Chorus

Former music director and now conductor laureate Christoph von Dohnányi returns to lead the uplifting strains of Beethoven’s “Ode to Joy.” Concert Sponsor: KeyBank

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sen, his childhood piano and composition teacher in Hamburg. After the premiere in Budapest on November 9, 1881, Brahms and his pianist-conductor collaborator Hans von Bülow took the piece on the road. His old love Clara Schumann wrote in her journal: “Brahms is celebrating such triumphs everywhere as seldom fall to the lot of a composer.” To keep themselves amused, Bülow and Brahms gave programs including both piano concertos, switching off at piano and podium as the mood struck them. Despite the decline of Brahms’s once-brilliant piano skills to what Clara bemoaned as “thump, bang, and scrabble,” somehow he was always able to play or at least fake his way through his concertos, which after all are among the most beloved but also most difficult in the repertoire. —Jan Swafford © 2012 At a Glance Brahms began sketching the second of his two piano concertos in the summer of 1878 (nearly 20 years after the first). He completed the new concerto in July 1881, and played the piano part in the first performance on November 9 of the same year in Budapest; the orchestra was conducted by Sándor (Alexander) Erkel. This concerto runs about 50 minutes in performance. Brahms scored it for 2 flutes (one doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, and strings. Brahms’s Second Piano Concerto was first performed by The Cleveland

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About the Music

Orchestra in April 1931 — shortly after the opening of Severance Hall in February of that year; the Orchestra was led by Nikolai Sokoloff, with Harold Bauer playing the solo part. The most recent performances took place in November 2009, conducted by David Robertson with Markus Groh as soloist, and earlier that same year as part of the 2009 Blossom Festival, led by Jahja Ling with Garrick Ohlsson as soloist. The Cleveland Orchestra recorded the Brahms Second Piano Concerto in 1962 with George Szell and Leon Fleisher, and in 1966 with Szell and Rudolf Serkin.

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Yefim Bronfman Russian-American pianist Yefim Bronfman is regarded as one of the most talented piano virtuosos performing today. His commanding technique and exceptional lyrical gifts have won him consistent acclaim and enthusiastic audiences worldwide. Mr. Bronfman made his Cleveland Orchestra debut in April 1986. This season, from January through May, he is spending four weeks with the Orchestra, performing in Cleveland, Miami, and New York. Yefim Bronfman was born in 1958 in Tashkent, in the Soviet Union. After moving to Israel with his family in 1973, he worked with Arie Vardi at Tel Aviv University. Following his family’s relocation to the United States in 1976, he studied at the Curtis Institute, Juilliard School, and Marlboro, with Rudolf Firkusny, Leon Fleisher, and Rudolf Serkin. Mr. Bronfman made his international debut in 1975 with the Montreal Symphony, and his New York Philharmonic debut in 1978. In 1991, he returned to Russia for the first time since emigrating, to perform a series of joint recitals with Isaac Stern. That same year, Mr. Bronfman was awarded the Avery Fisher Prize. As a guest artist, Yefim Bronfman appears with the world’s most esteemed ensembles, from North America’s major orchestras to those of Amsterdam, Berlin, Dresden, Israel, London, Paris, Vienna, and Zurich, among others. He is a frequent guest at international summer festivals, and has served as artist-in-residence with Carnegie Hall and the Los Angeles Philharmonic, and as Artiste Étoile in Switzerland. A devoted chamber musician, Mr. Bronfman has collaborated with the Cleveland, Emerson, Guarneri, and Juilliard quartets, as well as the Chamber Music Society of Lincoln Center. He has also performed with Emanuel Ax, Joshua Bell, Lynn Harrell, Magdalena Kožená, Yo-Yo Ma, Shlomo Mintz, Jean-Pierre Rampal, Pinchas Zukerman, and many other artists, and presents solo recitals throughout Asia, Europe, and North America. In February, he is performing a recital of Brahms chamber music in Cleveland with principal members of The Cleveland Orchestra. Mr. Bronfman’s recordings are highly praised — his album of Bartók’s three piano concertos won a 1997 Grammy, and his album featuring Esa-Pekka Salonen’s piano concerto received a Grammy nomination. His discography also includes the complete Prokofiev piano sonatas and concertos, Beethoven’s five piano concertos and triple concerto, Tchaikovsky’s Piano Concerto No. 1, and sonatas by Bartók, Brahms, and Mozart recorded with Isaac Stern. For more information, visit www.yefimbronfman.com. CD SIGNING During intermission, Yefim Bronfman will be signing compact discs in the Bogomolny-Kozerefski Grand Foyer.

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THE OHIO LIGHT OPERA PREMIERE

THE AND MIKADO GUYS DOLLS or The Town of Titipu (1885) (1950)

Music by Music Arthur&SullivanĂ&#x160;UĂ&#x160; Â&#x2C6;LĂ&#x20AC;iĂ&#x152;Ă&#x152;Â&#x153;Ă&#x160;LĂ&#x17E;Ă&#x160;William Lyrics by Frank Loesser Gilbert

BookJune by Abe Swerling 28, Burrows July 6, 10,and 13,Jo 20, 27, August June 16, 20, 4, 23,11 26, 30, July 5, 12, 15, 21, 24, 27, 29, 31, More than 125 years after its premiere, The Mikado â&#x20AC;&#x201C; in August 5, 11

the timelessness of its characters and situations, its witty lyrics, and succession of engaging tunes â&#x20AC;&#x201C; remains a At The Ohio Lighttheatre. Opera, Loesser is morecondemned â&#x20AC;&#x201C; â&#x20AC;&#x153;a bushelto wonder of lyrical Tailor Ko-Ko, and a peckâ&#x20AC;? more! No American musical has garnered death for ďŹ&#x201A;irting, is reprieved and appointed Lord High more unanimously glowing than Frank Loesser Executioner of Titipu. He isaccolades betrothed to his ward Yumand Abe Burrowsâ&#x20AC;&#x2122; 1950 musical fable Guys and Dolls. Yum, but she has fallen in love with the Mikadoâ&#x20AC;&#x2122;s son Based on the stories and characters of famed writer Nanki-Poo. Displeased with the lack of executions in Damonthe Runyon, theorders music,that lyrics, book bristle Titipu, Mikado theand situation be rectiďŹ ed. with the seedy street lifebecause of Newhe York City.marry The showâ&#x20AC;&#x2122;s Nanki-Poo, distraught cannot Yumcharacters have assumed legendary recognition: Yum, agrees to be executed in a month, providedgambler that Sky Masterson has fallen hard for Save-A-Soul Mission he can marry her in the meantime. When the Mikado reformer Sarah Brown; Nathan Detroit has sees Nanki-Pooâ&#x20AC;&#x2122;s name bookie on Ko-Koâ&#x20AC;&#x2122;s falsiďŹ ed execution been engaged for 14 years to nightclub Miss afďŹ davit, he condemns Ko-Ko to deathchanteuse for compassing Adelaide, who her psychosomatic cold minstrel that has the death of thelaments heir-apparent. â&#x20AC;&#x153;A wandering lasted just asalong; horseplayer Nicely-Nicely I,â&#x20AC;? â&#x20AC;&#x153;Iâ&#x20AC;&#x2122;ve got littleand list,â&#x20AC;? â&#x20AC;&#x153;Three little maids fromJohnson school provides a revivalist confession (â&#x20AC;&#x153;Sit youâ&#x20AC;&#x2122;re and rockinâ&#x20AC;&#x2122; are we,â&#x20AC;? â&#x20AC;&#x153;The ďŹ&#x201A;owers that bloom indown, the spring,â&#x20AC;? the boatâ&#x20AC;?) when forced to give testimony at the Mission. â&#x20AC;&#x153;Tit-willowâ&#x20AC;? are but a few of the song gems that have Song hits be of a lady,â&#x20AC;? â&#x20AC;&#x153;If Ishows. were a bell,â&#x20AC;? made this include: the mostâ&#x20AC;&#x153;Luck popular the G&S â&#x20AC;&#x153;Iâ&#x20AC;&#x2122;ve never been in love before,â&#x20AC;? and â&#x20AC;&#x153;My time of day.â&#x20AC;?

The Cleveland Orchestra

Wanderlust composed 2007-09 The composer, who is serving as The Cleveland Orchestra’s current Daniel R. Lewis Young Composer Fellow, has written the following comments about this work: I N R E C E N T Y E A R S,

Sean

SHEPHERD born July 1, 1979 Reno, Nevada living in Brooklyn, New York

Severance Hall 2011-12

I’ve been a well-treated vagabond, and relished every minute of it. Time spent — in places like Berlin, a picture-perfect fishing village on the French Mediterranean Coast, London and the Eastern Shores of Britain, Los Angeles, and a small town in upstate New York overlooking a waterfall — has drawn forth the kinds of realizations that extended travel often does, namely: a.) people and places are all different, and b.) people and places are all the same. I am also distinctly aware of what this phase in life in which I find myself bears: a palpable sense of rootless-ness, which contradicts and battles the opposite inclination: a desire to sink roots. The kinds of journeys that Wanderlust (a wonderful concept-word generally known as “love of travel”) concerns itself with occur not just geographically, but through time. Each movement reflects a broad span. Prevailing Winds evokes my thoughts on a more distant past — the cool expansive windy desert of Northern Nevada (my home until age 18) drenched in sun and sagebrush, my ever-so-rooted family, my innocence in the wide world. Distant memories and impressions are fragmented and piled up upon themselves and continue to swirl around the orchestra in various guises, and often reappear. In essence, I sought to relay many thoughts, memories, visions, and emotions (all distant, many vague) into a single abstract object — and what resulted is a kind of musical kaleidoscope: ever changing and circling, but only around itself. In contrast, Seagulls on High reflects my thoughts on a specific time and place, one much closer to the present. The first version of this music had a quick incubation in Aldeburgh, the coastal town in Suffolk, England, where Benjamin Britten made his home. The title refers most directly to the enormous resident birds that kept me company with a truly glorious cacophony in the early morning hours of the summer sunrise outside my cottage on Aldeburgh High Street. The music, however, makes its roots known elsewhere. In the cold beaches and dark, roiling waves, in the reeds and lowlands and coastal plains under grey, unsettled skies, I came to understand Britten’s special, About the Music

conflicted penchant for melancholy, and many of the saddest tunes from his opera Peter Grimes and from Serenade rolled through my head as I wrote in a small room in the Snape Maltings, the concert hall he built. Seagulls on High was never intended as direct homage or a kind of compositional tourism, but in the end, a nod to a hero while staying in his place of choice was inevitable. Bilbao is somehow the simplest and most obtuse movement, both referentially and musically. The word alone conjures for so many Frank Gehryâ&#x20AC;&#x2122;s spectacular, terribly intricate, and downright funky designs for the Guggenheim Museum built in the 1990s, and the urban renewal brought about by its auspicious opening in this downtrodden port city in Northern Spain. Since I have never been to Bilbao, this music is somehow about the future, of seeing this building that has captured my imagination since I was 15 or 16 years old, of visiting a place that was saved by art. But, considering the prospect of a return to the home of my Basque ancestry, this music is also somehow about the notion of a past so deep, it may be lost already â&#x20AC;&#x201D; that both the future and the distant, ancestral past have an existence based only in reflection, I knew the piece would end with a question mark. Perhaps appropriately, the path the music took in getting there is still a genuine mystery to me. â&#x20AC;&#x201D;Sean Shepherd, 2009 At a Glance Sean Shepherd composed Wanderlust in Ithaca, New York, between October 2008 and March 2009, utilizing some material in the second movement from music he sketched in July 2007 while in Aldeburgh, England. The work was given its world premiere performance by The Cleveland Orchestra in May 2009, conducted by Oliver Knussen. The score is dedicated to Sonya and Oliver Knussen in admiration and friendship, and to Syd Hodkinson in gratitude. Wanderlust runs just over 10 minutes in performance. Shepherd scored it for 3 flutes

(third doubling piccolo), 2 oboes, english horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 2 trombones, bass trombone, tuba, timpani, percussion (glockenspiel, xylophone, vibraphone, bass drum, bongos, brake drum, snare drum, suspended cymbals, splash cymbal, antique cymbals, slapstick, vibraslap, woodblock, tam-tam, cabasa, tambourine, ratchet, temple blocks, cowbell, sleighbells, crotales, tubular bells, triangles, claves, unpitched steel plate, iron pipe, anvil), harp, piano (doubling celesta), and strings.

216.791.8000 www.benrose.org A leader in service, research, and advocacy for older adults 56

About the Music

The Cleveland Orchestra

About the Composer S E A N S H E P H E R D ’ S “kaleidoscopic use of orchestral color” (New York Times) has earned him admiration and recognition across the United States and Europe. He is currently serving as The Cleveland Orchestra’s Daniel R. Lewis Young Composer Fellow. He is the seventh composer to hold this post, in a program that began in 1998. As part of this fellowship, he is writing a new work that will be premiered by the Orchestra during the second season of his two-year tenure, in 2013. Wanderlust was premiered by The Cleveland Orchestra in 2009 and is being given encore performances this month, in Cleveland and in Florida. Shepherd is also continuing his post as the first-ever composer-in-residence of the Reno Philharmonic, his hometown orchestra, which has plans to perform two new works by the composer. Sean Shepherd’s honors and recognitions include being the winner of the 2009 triennial Benjamin H. Danks Award from the American Academy of Arts & Letters. He was also the 2008 Deutsche Bank Fellow at the American Academy in Berlin and a first-prize winner in the 2005 International Lutosławski Award. The New York Philharmonic premiered his new work These Particular Circumstances in 2010. Shepherd is a 2004 graduate of the Juilliard School, where he earned his master’s degree as a student of Robert Beaser. He holds degrees in composition and bassoon performance from Indiana University, where his teachers included Claude Baker and David Dzubay in composition and Kim Walker for bassoon. He is currently completing a doctorate at Cornell University as a student of Roberto Sierra and Steven Stucky. For further information, visit www.seanshepherd.com.

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Symphony No. 6 in B minor, Opus 54 composed 1937-39 S H O S TA K O V I C H began composing his Symphony No. 6 shortly

Dmitri

SHOSTAKOVICH born September 25, 1906 St. Petersburg (later Leningrad) died August 9, 1975 Moscow

Severance Hall 2011-12

after the triumphant premiere of his Fift h Symphony. The appearance of that work, in the autumn of 1937, had marked a critical juncture in Shostakovich’s difficult career as a Soviet artist. During the late 1920s and early ’30s, Shostakovich had established himself as one of his nation’s most imaginative and resourceful composers, and also, it seemed, an exemplary “socialist” musician. Apparently a sincere supporter of the Soviet regime, Shostakovich had no objection to composing large-scale hymns to the Revolution, and he did just that in his Second and Third Symphonies (to give two notable examples), respectively titled “To October” and “May Day.” These and other compositions by the youthful Shostakovich were widely admired, even though they often explored the new tonal language being pioneered by such Western modernists as Stravinsky, Berg, and Hindemith. As a result, Shostakovich’s career flourished. His concert works were readily and widely performed, and he regularly received commissions for choral pieces, theater music, and film scores. But with Stalin’s consolidation of power in the 1930s, the liberal artistic climate that had prevailed during the first decade or so of Soviet rule gave way to a new conservatism that demanded optimistic and easily accessible art. Modernist complexity in music was especially frowned upon, even when this was ventured by one of the brightest stars in the Soviet Union’s artistic firmament. For Shostakovich, matters reached a crisis in 1936. In February of that year, the official Communist Party newspaper, Pravda, denounced his opera Lady Macbeth of the Mtsensk District, which had enjoyed tremendous enthusiasm with audiences, as “a confused stream of sounds,” “cacophony,” and “musical chaos.” One week later, a second Pravda review attacked his ballet The Limpid Stream. The effect of this critical about-face on Shostakovich’s status was dramatic. Within days, the composer fell from his position as one of Soviet Russia’s most esteemed young artists to that of cultural pariah. In the face of such criticism, which unmistakably had the imprimatur of high levels of the Soviet government, Shostakovich withdrew his Fourth Symphony, then in rehearsal, About the Music

Because it was so different from the “Lenin” Symphony that he had originally announced he was writing, the Sixth Symphony was accorded a cool critical reception when it appeared, in 1939. Nevertheless, it has been widely accepted as a strong musical statement, and a worthy companion to his other symphonies.

and retreated to the privacy of his study. Nearly two years passed before he again brought a major work before the public. When he did, it was with a work, the Fifth Symphony, that used an accessible style and presented an apparently optimistic tone to gladden the hearts of Party officials. Whether that style and tone were meant ironically, and whether or not the symphony embodied serious artistic compromises, have been widely and heatedly debated. In any event, the Fifth Symphony’s triumphant first performance, in November 1937, saved Shostakovich’s career. The composer then announced that his next symphony would be an epic tribute to Lenin, complete with soloists and large chorus. It is difficult to see this announcement as anything other than an obvious move by Shostakovich to safeguard himself at what must have seemed to him still a perilous moment. Although he had publicly supported the Revolution and had previously composed works to honor it, the Pravda attacks of the preceding year had proven that he could not take his safety for granted. Announcing his intention to write another patriotic composition would have been an easy way to deflect any lingering suspicion on the part of the Party’s cultural guardians. As it happened, however, Shostakovich never finished his “Lenin” Symphony. Instead, he produced a very personal work, one in which political or representative elements are entirely absent. Because it was so different from what the composer had originally announced, this Sixth Symphony was accorded a cool critical reception when it appeared, in 1939. (And this despite an enthusiastic audience response at the work’s premiere, in Leningrad, in November of that year. The listeners even demanded an encore of the finale movement.) Nevertheless, it has been almost universally accepted as a strong musical statement, and a worthy companion to Shostakovich’s other symphonies. The symphony commences with a lengthy Adagio in place of a more customary fast opening. While unusual, Shostakovich’s decision to open his work with a slow movement is by no means unique in the symphonic literature. The most notable precedents are provided by a composer often cited as an influence on Shostakovich, Gustav Mahler — in particular, his Symphonies Nos. 9 and 10. Shostakovich himself would use this gambit again in several of his later symphonies. About the Music

The Cleveland Orchestra

The composer builds this movement from two themes. The first, after an initial statement involving the full orchestra, gives rise to contrapuntal discourse. A second subject, haunting and funereal, is announced by the english horn over ominous “heartbeats” in the timpani. Like the initial theme, it receives extensive treatment, at length arriving at a passage of deathly stillness in which a flute soliloquizes over a motionless drone in the low strings. Eventually we return to the opening idea, though there is a brief but significant reference to the second theme just before the movement ends. After the brooding introspection of this opening, nothing could provide so startling a contrast as the rollicking second-movement Allegro that follows. Prominent roles for e-flat clarinet and xylophone help impart a sardonic tone to this scherzo-like movement, a quality encountered often in Shostakovich’s music. The third-movement finale proves equally energetic. Its character is that of a sprightly galop, not unlike the last movement of Prokofiev’s “Classical” Symphony. Shostakovich held this movement in unusually high regard. “It is the first time I ever wrote such a successful finale,” he reportedly told two of his close friends. One of those confidants concurred, telling the composer: “If Mozart and Rossini had lived in the 20th century and had collaborated in writing the finale to a symphony, it would have turned out like this.” —Paul Schiavo © 2012 At a Glance Shostakovich composed his Sixth Symphony between 1937 and 1939. His original intentions were to create a symphony on the subject of Soviet leader Vladimir Lenin, and during part of this period he considered or attempted including sung text with chorus and soloists. He eventually decided to write a purely orchestral work, without any direct connection to Lenin. The symphony was premiered in November 1939, in Leningrad (today’s St. Petersburg), with Evgeny Mravinsky conducting the Leningrad Philharmonic Orchestra. This symphony runs about 30 minutes in performance. Shostakovich scored it for 3 flutes

Severance Hall 2011-12

About the Music

(third doubling piccolo), 3 oboes (third doubling english horn), 4 clarinets (third doubling e-flat clarinet and fourth doubling on bass clarinet), 3 bassoons (third doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (snare drum, bass drum, cymbals, triangle, tambourine, tam-tam, and xylophone), harp, celesta, and strings. The Cleveland Orchestra first performed Shostakovich’s Sixth Symphony at a weekend of concerts in January 1945, conducted by Fritz Reiner. It was most recently presented in October 1998, conducted by Franz Welser-Möst.

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Severance Hall 2011-12

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Meet Nancy Dotson Cleveland Orchestra Heritage Society member, former State Chair of the Blossom Womenâ&#x20AC;&#x2122;s Committee, and Heritage Society radio ambassador on WCLV When did you begin attending Cleveland Orchestra concerts? Dick and I have lived in the area for 33 years and have been attending concerts for most of those years. What is your favorite concert experience with The Cleveland Orchestra? Without a doubt, we will never forget the concert at Severance Hall several years ago with Sir Colin Davis and Mitsuko Uchida and the Mozart Piano Concerto. Sitting in the dress circle and seeing the interaction of these two icons and The Cleveland Orchestra is something I will never forget. What is your favorite memory of The Cleveland Orchestra or Blossom Festival? Dick and I have so many wonderful memories of Blossom and Severance Hall. Living in Hudson and only 20 minutes from Blossom, our summer revolves around the lyrical weekend evenings at Blossom. Sitting on the Lawn with a glass of wine under the stars is our idea of a perfect date! Meeting various members of The Cleveland Orchestra at the summer Gourmet Matinee Luncheons or the Orchestra Picnic sponsored by the Blossom Womenâ&#x20AC;&#x2122;s Committee have also been special treats. What reason do you suggest when extending an invitation to join the Heritage Society? It is a very special privilege to have The Cleveland Orchestra so readily accessible and convenient to attend. It is for these reasons that we made a decision to include the Orchestra in our estate planning several years ago. Leaving a legacy for future generations to enjoy this music and for the musicians to carry on the music is something we are happy we can do. For information on membership in the Heritage Society, contact Jim Kozel, Director of Legacy and Planned Giving, by calling 216-231-7549 or via email at jkozel@clevelandorchestra.com or go to clevelandorchestra.com and click on Support, then Heritage Society THE CLEVELAND ORCHESTRA

H ER I TAGE SO C I ET Y Severance Hall 2011-12

Endowed Funds

funds established as of June 2011

Generous contributions to the endowment have been made to support specific artistic initiatives, ensembles, educational programming and performances, facilities maintenance costs, touring and residencies, and more. These funding opportunities currently represent new gifts of $250,000 or more. For information about making your own endowment gift to the Orchestra, please call (216) 231-7549.

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

Guest Artist

Douglas Peace Handyside Holsey Gates Handyside

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

Artist-in-Residence Malcolm E. Kenney

Artistic Collaboration The Keithley Fund

Young Composers Jan R. and Daniel R. Lewis

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

International Touring Frances Elizabeth Wilkinson

Cleveland Orchestra Chorus Jerome and Shirley Grover Meacham Hitchcock and Family

Radio Broadcasts Robert and Jean Conrad

Concert Previews

Unrestricted

Dorothy Humel Hovorka

John P. Bergren and Sarah S. Evans

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

Education Programs

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

Cleveland Orchestra Youth Orchestra The George Gund Foundation Christine Gitlin Miles, in honor of Jahja Ling Jules and Ruth Vinney Touring Fund

Classroom Resources Charles and Marguerite C. Galanie

Musical Rainbows

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

The William N. Skirball Endowment

Pysht Fund

Endowed Funds

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Supporting The Cleveland Orchestra THE CLEVELAND ORCHESTRA

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

Organ

Roger and Anne Clapp James and Donna Reid

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

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

Severance Hall Preservation Severance family and friends

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

Landscaping and Maintenance

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

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

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

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

O R C H E S T R A

CENTER FOR FUTURE AUDIENCES Endowed by the Maltz Family Foundation

Severance Hall 2011-12

Endowed Funds

Be a part of one of Northeast Ohioâ&#x20AC;&#x2122;s classic summer traditions. Reserve your space in the 2012 Blossom Festival programs. Call John Moore at 216-721-4300 for a proposal tailored to your unique advertising needs.

The Cleveland Orchestra guide to Fine Dining

photo by Hernan Herrero

WWW.CLUB

two great restaurants minutes from Severance Hall... university circle 216.231.1234 shaker square 216.295.1200 www.sergioscleveland.com

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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

T H E C L E V E L A N D O R C 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 education concerts. Severance Hall 2011-12

Education & Community

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 featured 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 returned on December 2 to Severance Hall for the season’s second Family Concert, “Scenes from Tchaikovsky’s Nutcracker.”

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 and Community 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. Cuyahoga Arts & Culture 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 KeyBank The Laub Foundation The Lincoln Electric Foundation The Lubrizol Corporation Medical Mutual of Ohio 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.

Music

Conservatory of Music Baldwin-Wallace Opera Presents

DON GIOVANNI By Wolfgang Amadeus Mozart

February 1-4 at 7:30 p.m. February 5 at 2:00 p.m.

Musíc des Beaux Arts de Strasbourg

Dean Williamson, guest conductor Benjamin Wayne Smith, director

north W point portfolio managers c o r p o r a t i o n Ronald J. Lang Diane M. Stack Daniel J. Dreiling

440.720.1102 440.720.1105 440.720.1104

The Cleveland Orchestra

Guide to Fine Schools Don Giovanni confronts the Stone Guest in the painting by Alexandre-Évariste Fragonard, ca 1830-35

The legend of Don Juan has fascinated authors, composers and audiences for over four centuries. Mozart’s spectacular operatic version, Don Giovanni, follows the famous lover through his final day on earth. Mozart’s genius coupled with this enduring legend promise an evening that you won’t want to miss.

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

2WKHU ÀQH VFKRROV DGYHUWLVLQJ LQ 7KH &OHYHODQG 2UFKHVWUD·V 6HYHUDQFH +DOO SURJUDPV LQFOXGH

Adults: $15; seniors and students: $10 For tickets: 440-826-2240

Baldwin-Wallace College Conservatory of Music 440-826-2369

Kleist Center for Art & Drama, 95 E. Bagley Rd., Berea

Central State University 937-376-6348 or 800-388-CSU1 (2781)

Conservatory of Music 1-866-BW-MUSIC 440-826-2368 music@bw.edu www.bw.edu/conservatory

Consistently ranked among “Best Communities for Music Education” in the Nation!

Cleveland Institute of Music 216-791-5000 Cleveland State University Kulas Series of Keyboard Conversations with Jeffrey Siegel 216-687-5018 Gilmour Academy 440-473-8050

The Cleveland Orchestra

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 season on November 27, February 12, March 18, and May 13. 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.

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

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

Severance Hall 2011-12

CUYAHOGA ARTS & CULTURE IS PROUD TO SUPPORT APOLLO'S FIRE BAYARTS BECK CENTER FOR THE ARTS CLEVELAND BOTANICAL GARDEN CLEVELAND INTERNATIONAL FILM FESTIVAL CLEVELAND MUSEUM OF ART CLEVELAND MUSEUM OF NATURAL HISTORY THE CLEVELAND ORCHESTRA CLEVELAND PLAY HOUSE CLEVELAND PUBLIC THEATRE DANCECLEVELAND GREAT LAKES SCIENCE CENTER GREAT LAKES THEATER FESTIVAL

SHAKER LAKES OPERA CLEVELAND ROCK AND ROLL HALL OF FAME AND MUSEUM SPACES WESTERN RESERVE HISTORICAL SOCIETY & MANY OTHERS

WWW.CACGRANTS.ORG 216 515 8303

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

GROUNDWORKS DANCETHEATER HEIGHTS YOUTH THEATRE IDEASTREAM KARAMU HOUSE MALTZ MUSEUM OF JEWISH HERITAGE MUSEUM OF CONTEMPORARY ART CLEVELAND NATURE CENTER AT

The Cleveland Orchestra

THE CLEVELAN D ORCHESTRA

Corporate Support The Cleveland Orchestra gratefully acknowledges and salutes these corporations for their generous support toward the Orchestra’s Endowment, Annual Fund, Special Projects, and/or Programs. Additional legacy gifts from these organizations and others are recognized through The Cleveland Orchestra Heritage Society.

Cumulative Giving

Annual Support

JOHN L. SEVERANCE SOCIETY

The Partners in Excellence program salutes companies with annual contributions of $100,000 and more, exemplifying leadership and commitment to artistic excellence at the highest level.

$5 MILLION AND MORE

KeyBank $1 MILLION TO $5 MILLION

Baker Hostetler Bank of America Eaton Corporation FirstEnergy Foundation Forest City Enterprises, Inc. The Goodyear Tire & Rubber Company The Lubrizol Corporation / The Lubrizol Foundation Merrill Lynch NACCO Industries, Inc. Parker Hannifin Corporation The Plain Dealer PNC Bank PolyOne Corporation The J. M. Smucker Company The Severance Society recognizes generous contributors of $1 million or more in lifetime giving to The Cleveland Orchestra. Listing as of September 2011.

gifts of $2,500 or more during the past year, as of December 15, 2011

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 $50,000

$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

Severance Hall 2011-12

Corporate Support

Buyers Products Company Calfee, Halter & Griswold LLP The Cleveland Wire Cloth & Mfg. Co. 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 Great Lakes Brewing Company Gross Builders Hahn Loeser + Parks LLP Higer Lichter & Givner LLP (Miami) Houck Anderson P.A. (Miami) Hunton & Williams, LLP (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 United Automobile Insurance Co. (Miami) Ver Ploeg & Lumpkin, P.A. Westlake Reed Leskosky Anonymous (3)

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THE CLEVELAN D ORCHESTRA

Foundation & Government Support The Cleveland Orchestra gratefully acknowledges and salutes these Foundations and Government agencies for their generous support toward the Orchestraâ&#x20AC;&#x2122;s Endowment, Annual Fund, Special Projects, and/or Programs. Additional legacy gifts from these organizations and others are recognized through The Cleveland Orchestra Heritage Society.

Cumulative Giving

Annual Support

JOHN L. SEVERANCE SOCIETY

$1 MILLION AND MORE

$10 MILLION AND MORE

The Cleveland Foundation Maltz Family Foundation State of Ohio Ohio Arts Council The Kelvin and Eleanor Smith Foundation

gifts of $2,000 or more during the past year, as of December 15, 2011

The Cleveland Foundation Cuyahoga County residents through Cuyahoga Arts and Culture Maltz Family Foundation The Kelvin and Eleanor Smith Foundation $500,000 TO $999,999

The Louise H. and David S. Ingalls Foundation The Payne Fund

$5 MILLION TO $10 MILLION

$250,000 TO $499,000

Cuyahoga County residents through Cuyahoga Arts & Culture Kulas Foundation

Andrew W. Mellon Foundation David and Inez Myers Foundation Ohio Arts Council The Skirball Foundation

$1 MILLION TO $5 MILLION

Ann and Gordon Getty Foundation The GAR Foundation The George Gund Foundation The Louise H. and David S. Ingalls Foundation Martha Holden Jennings Foundation John S. and James L. Knight Foundation (Miami) Andrew W. Mellon Foundation John P. Murphy Foundation David and Inez Myers Foundation National Endowment for the Arts The Payne Fund The Reinberger Foundation The Severance Society recognizes generous contributors of $1 million or more in lifetime giving to The Cleveland Orchestra. Listing as of September 2011.

Severance Hall 2011-12

$100,000 TO $249,999

Sidney E. Frank Foundation The GAR Foundation The George Gund Foundation Martha Holden Jennings Foundation John S. and James L. Knight 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 $50,000 TO $99,999

The George W. Codrington Charitable Foundation Myra Tuteur Kahn Memorial Fund of The Cleveland Foundation National Endowment for the Arts 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

Foundation/Government Support

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) 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)

THE CLEVELAN D ORCHESTRA

Individual Support 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.

Lifetime Giving

Annual Support

JOHN L. SEVERANCE SOCIETY

gifts during the past year, as of December 15, 2011

$10 MILLION AND MORE

INDIVIDUAL GIFTS OF $500,000 AND MORE

Daniel R. and Jan R. Lewis (Miami)

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

$5 MILLION TO $10 MILLION

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

Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. and Mrs. Alexander M. Cutler Mrs. Norma Lerner and The Lerner Foundation Mr. and Mrs. Albert B. Ratner Anonymous

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

$1 MILLION TO $5 MILLION

Irma and Norman Braman (Miami) Mr. and Mrs. Francis J. Callahan Mrs. Anne M. Clapp Mr. George Gund III Mr. and Mrs. Michael J. Horvitz Mr. James D. Ireland III The Walter and Jean Kalberer Foundation Mr. and Mrs. Joseph P. Keithley Mr. and Mrs. Dennis W. LaBarre Susan Miller (Miami) Sally S. and John C. Morley The Family of D. Z. Norton The Honorable and Mrs. John Doyle Ong Mr. and Mrs. Alfred M. Rankin, Jr. Charles and Ilana Horowitz Ratner James and Donna Reid Barbara S. Robinson Anonymous (2) The Severance Society recognizes generous contributors of $1 million or more in lifetime giving to The Cleveland Orchestra. As of December 2011.

INDIVIDUAL GIFTS OF $100,000 TO $199,999

Ben and Ingrid Bowman Francie and David Horvitz (Miami) Mr. and Mrs. Michael J. Horvitz 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

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

Individual Donors

Severance Hall 2011-12

INDIVIDUAL GIFTS OF $50,000 TO $74,999

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 Mrs. Emma S. Lincoln Ms. Nancy W. McCann 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

Severance Hall 2011-12

Individual Donors

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

Gay Cull Addicott Mr. and Mrs. Daniel M. Bell (Miami) Dr. Ben H. and Julia Brouhard Martha and Bruce Clinton (Miami) Bruce and Beth Dyer Albert I. and Norma C. Geller Dr. Edward S. Godleski Andrew and Judy Green Margaret Fulton-Mueller and Scott Mueller William J. and Katherine T. O’Neill Dr. and Mrs. Ronald J. Ross Mr. and Mrs. James A. Saks Marc and Rennie Saltzberg Raymond T. and Katherine S. Sawyer 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) George* and Becky Dunn 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 Robert M. Maloney and Laura Goyanes Mr. Thomas F. McKee Mrs. Stanley L. Morgan* Lucia S. Nash Mr. Gary A. Oatey Nancy and Neil Schaffel (Miami) David and Harriet Simon Mary M. Spencer (Miami) Dr. and Mrs. William P. Steffee Dr. Kenneth F. Swanson listings continue Mr. Joseph F. Tetlak Anonymous

THE CLEVELAN D ORCHESTRA

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

Mr. and Mrs. George M. Aronoff Mr. and Mrs. David J. Carpenter Mrs. David Seidenfeld Mrs. Jean H. Taber Mr. and Mrs. Alfred Umdasch (Europe) Anonymous INDIVIDUAL GIFTS OF $10,000 TO $12,499

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 Richard J. and Joanne Clark Mrs. Barbara Cook Bruce Coppock and Lucia P. May (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 Francisco A. Garcia and Elizabeth Pearson (Miami) Mr. and Mrs. Richard T. Garrett Mr. and Mrs. Robert W. Gillespie Jeffrey and Stacy Halpern

Crescendo

Annual Campaign 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 Campaign. 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.

Sondra and Steve Hardis Robin Hitchcock Hatch Mr. and Mrs. Jeffrey Healy Mary and Jon Heider (Cleveland, Miami) David and Nancy Hooker Mr. and Mrs. Christopher Hyland Mr. and Mrs. Donald M. Jack, Jr. 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 Mr. and Mrs. William M. Osborne, Jr. 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 Dr. Paul J. Vignos, Jr.* Tom and Shirley Waltermire Clara and David Williams INDIVIDUAL GIFTS OF $7,500 TO $9,999

Mr. William Berger Laurel Blossom Dr. and Mrs. Jerald S. Brodkey Dr. Thomas Brugger and Dr. Sandra Russ Ellen E. & Victor J. Cohn Supporting Foundation 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 Mary Jane Hartwell Mrs. Sandra L. Haslinger In memory of Philip J. Hastings Amy and Stephen Hoffman Pamela and Scott Isquick Allan V. Johnson Joela Jones and Richard Weiss Mrs. Carolyn Lampl Mr. Lawrence B. and Christine H. Levey Judith and Morton Q. Levin Mr. Jeff Litwiller Mr. and Mrs. Thomas B. McGowan Mr. Donald W. Morrison Mr. and Mrs. Stephen E. Myers Pannonius Foundation Rosskamm Family Trust listings continue Mr. Larry J. Santon

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Severance Hall 2011-12

R I C H A R D

S T R A U S S

SALOME AFT E R

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WITH

NINA STEMME as SALOME

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RUDOLF SCHASCHING as HEROD

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W I L D E

C O N C E R T ENGLISH

JANE HENSCHEL as HERODIAS

ERIC OWENS as JOCHANAAN

SUPERTITLES

GARRETT SORENSON as NARRABOTH

FRANZ WELSER-MÖST

THE CLEVELAND ORCHESTRA CONDUCTED BY FRANZ WELSER-MÖST

S E V E R A N C E H A L L M AY 1 9 . M AY 2 6 C L E V E L A N D O R C H E S T R A . C O M T I C K E T

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THE CLEVELAN D ORCHESTRA

listings continued

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 Paul and Marilyn* Brentlinger 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 Mr. and Mrs. Thomas S. 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 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 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. Michael and Ruth* Lamm Robert and Judie Lasser

Judy and Donald Lefton (Miami) Shirley and William Lehman (Miami) Mr.* and Mrs. Leo Leiden 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 Drs. Terry E. and Sara S. 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 Claudia and Steven Perles (Miami) Nancy and Robert Pfeifer Dr. and Mrs. John N. Posch Douglas and Noreen Powers Lois S.* and Stanley M. Proctor Ms. Rosella Puskas 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) David M. and Betty Schneider+ Linda B. Schneider Larry and Sally Sears Dr. and Mrs. James L. Sechler Mr. Eric Sellen and Mr. Ron Seidman Dr. Gerard and Phyllis Seltzer Drs. Daniel and Ximena Sessler 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) Dr. Edward L. and Mrs. Susan Westbrook Tom and Betsy Wheeler Mr. Roy Woda Mrs. Janet A. Wright Mr. David Zauder Anonymous (7)

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THE CLEVELAN D ORCHESTRA

listings continued 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 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 Joyce and Ab* Glickman 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 Dr. and Mrs. Richard S. Kaufman Mrs. Rita G. Kelly Mr. and Mrs. Robert M. Koch Ronald and Barbara Leirvik Mr. and Mrs. Irvin A. Leonard 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 Ann Jones Morgan Dr. Joan R. Mortimer Mr. and Mrs. Peter R. Osenar Mr. and Mrs. John S. Piety

Mr. and Mrs. Richard W. Pogue 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)

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 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 Ms. Mary Lynn Durham 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. Amasa B. 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 Jeanne Gallagher Marilee L. Gallagher Barbara and Peter Galvin Joy E. Garapic Mrs. Georgia T. Garner Mr. Wilbert C. Geiss, Sr. Mrs. Joan Getz (Miami) Herman and Blanche Gilbert Anne and Walter Ginn Mr. and Mrs. David A. Goldfinger Dr. and Mrs. Ronald L. Gould Mr. and Mrs. Robert T. Graf 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

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

Ms. Nancy A. Adams Stanley I. and Hope S. Adelstein Norman and Rosalyn Adler Family Philanthropic Fund Mr. Gerald O. Allen Norman and Helen Allison Mr. and Mrs. Robert J. Amsdell 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 John and Anne Bourassa Ms. Barbara E. Boyle Betty Madigan Brandt David M. and Carol M. Briggs Mrs. Ezra Bryan Ms. Mary R. Bynum and Mr. J. Philip Calabrese Mr. and Mrs. Frank H. Carpenter

listings continue

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The Center for Music & Medicine University Hospitals Center for Music and Medicine is proud to support The Cleveland Orchestra.

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HARNESSES THE POWER OF THE ARTS

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

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Severance Hall 2011-12

THE CLEVELAN D ORCHESTRA

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

Thomas and Mary Holmes Dr. Keith A. and Mrs. Kathleen M. Hoover Xavier-Nichols Foundation / Robert and Karen Hostoffer Mark and Ruth Houck (Miami) Dr. Randal N. Huff and Ms. Paulette Beech Ms. Charlotte L. Hughes Mr. David and Mrs. Dianne Hunt 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 Dr. and Mrs. Richard S. Kaufman Rev. William C. Keene Elizabeth Kelley Angela Kelsey and Michael Zealy (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 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 Dr. Edith Lerner Dr. Stephen B. and Mrs. Lillian S. Levine Robert G. Levy Dr. Alan and Mrs. Joni Lichtin Isabelle and Sidney* Lobe Holly and Donald Loftus 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 Mrs. Meredith T. Marshall Dr. Ernest and Mrs. Marian Marsolais Mr. Julien L. McCall Mrs. Alice Mecredy Susan and Reimer Mellin 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. Mrs. Ingrid Petrus Dr. Roland S. Philip and Dr. Linda M. Sandhaus Dale and Susan Phillip Dr. Marc and Mrs. Carol Pohl William and Gwen Preucil Mr. Richard and Mrs. Jenny Proeschel K. Pudelski 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 Dr. John Sedor and Ms. Geralyn Presti Lee G. and Jane Seidman Charles Seitz (Miami) 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) Ms. Evelyn H. Stroud 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 Mrs. Mary Wick Bole 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)

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The Cleveland Orchestra

member of the Leadership Council (see page 80)

* deceased

The Cleveland Orchestra is sustained through the annual support of thousands of generous patrons, including members of the Crescrendo Patron Program listed on these pages. Listings of all donors of $300 and more each year are published in the Orchestra’s Annual Report, which can be viewed online at CLEVELANDORCHESTRA.COM For information about how you can play a supporting role for The Cleveland Orchestra’s artistic excellence and community partnerships, please contact our Philanthropy & Advancement Office by calling (216) 231-7545.

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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.

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 Musik verein (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;

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

IN FOCUS

MARTIN LUTHER KING JR. CELEBRATION. The Cleveland Orchestra’s Annual Martin Luther King Jr. Celebration Concert fills the stage with performers, featuring the volunteer Celebration Chorus assembled and prepared especially for this event. This year’s soldout concert on January 15 was the Orchestra’s 32nd annual presentation in honor of Dr. Martin Luther King’s life and legacy.

Severance Hall 2011-12

The Cleveland Orchestra

THE CLEVELAND ORCHESTRA U P C O M I N G

C O N C E R T S

At Severance Hall . . .

YEFIM BRONFMAN PLAYS BRAHMS

PIERRE BOULEZ CONDUCTS MAHLER AND SCHUBERT

Thursday January 19 at 8:00 p.m. Friday January 20 at 8:00 p.m. Saturday January 21 at 8:00 p.m. Thursday February 2 at 8:00 p.m. Friday February 3 at 8:00 p.m. Saturday February 4 at 8:00 p.m.

Thursday February 9 at 8:00 p.m. Saturday February 11 at 8:00 p.m. Sunday February 12 at 3:00 p.m. THE CLEVELAND ORCHESTRA Pierre Boulez, conductor Men of the Cleveland Orchestra Chorus

THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Yefim Bronfman, piano

Hailed by the New York Times as a virtuoso “defying comparison,” Yefim Bronfman performs Brahms’s two piano concertos across two weekends in the new year. The Second, in January, is Brahms at the full height of his creative maturity. The First, in February, brings the swagger and daring of youth, bristling with passion and ambition. January Concert Sponsor: FirstMerit Bank February Concert Sponsor: Baker Hostetler

Former Cleveland Orchestra principal guest conductor Pierre Boulez returns to continue his exploration of the music of Gustav Mahler. The Seventh Symphony begins with the shadow sounds of a boat rowing across a lake late at night, in this far-reaching symphony nicknamed “Song of the Night.” The men of the Cleveland Orchestra Chorus joins in for three lesser-known night songs by Franz Schubert, leading us from the translucent richness of twilight to transcendent darkness and peace. Concert Sponsor: Baker Hostetler

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.

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