The Cleveland Orchestra February 28-March 2 Concerts by Live Publishing

THE CLEVELAND ORCHESTRA

WINTER SEASON

F R ANZ WELSER-MÖST M U SIC DI R ECTOR

Music. Pure + Simple.

12 13 SEASON

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February 28, March 1, 2 DOHNÁNYI CONDUCTS MAHLER’S FIRST SYMPHONY

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THIS WEEK THE

CLEVELAND

1213 SEASON

ORCHESTRA

PAGE

15 7

In the News From the Executive Director . . . . . . . . . . . . . . . . . . 7 From the President . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Orchestra News . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

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

About the Orchestra Spotlight: Photo of the Week . . . . . . . . . . . . . . . . . 8 Musical Arts Association . . . . . . . . . . . . . . . . . . . . . 11 Music Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . 22 Meet the Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Administrative Staff . . . . . . . . . . . . . . . . . . . . . . . . . 62 Student Ticket Programs . . . . . . . . . . . . . . . . . . . . 64 Education & Community . . . . . . . . . . . . . . . . . . . . 65 Severance Hall. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 Guest Information . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Concert — Week 15 Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Program: February 28, March 1, 2 . . . . . . . . . 35 Introducing the Program . . . . . . . . . . . . . . . . . . . . 37 HENZE

Adagio, Fugue, and Maenads’ Dance from The Bassarids . . . . . . . . . . . . . . . . . . . . . . . . 41 MAHLER

Symphony No. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Conductor: Christoph von Dohnányi . . . . . . . . 57

Program books for Cleveland Orchestra concerts are produced by The Cleveland Orchestra and are distributed free to attending audience members. Program book advertising is sold through Live Publishing Company at 216-721-1800

The Musical Arts Association is grateful to the following organizations for their ongoing generous support of The Cleveland Orchestra: National Endowment for the Arts, the State of Ohio and Ohio Arts Council, and to the residents of Cuyahoga County through Cuyahoga Arts and Culture. The Cleveland Orchestra is proud of its long-term partnership with Kent State University, made possible in part through generous funding from the State of Ohio. The Cleveland Orchestra is proud to have its home, Severance Hall, located on the campus of Case Western Reserve University, with whom it has a long history of collaboration and partnership.

Support Sound for the Centennial . . . . . . . . . . . . . . . . . . . . Endowed Funds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Corporate Annual Support . . . . . . . . . . . . . . . . . . . Foundation / Government Annual Support . . . Individual Annual Support . . . . . . . . . . . . . . . . . .

48 69 73 75 76

50%

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

Future Concerts

These books are printed with EcoSmart certified inks, containing twice the vegetable-based material and one-tenth the petroleum oil content of standard inks, and producing 10% of the volatile organic compounds.

Concert Calendar . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 Upcoming Concerts . . . . . . . . . . . . . . . . . . . . . . . . 94

This program book is printed on paper that includes 50% recycled post-consumer content.

Table of Contents

The Cleveland Orchestra

Photo by Roger Mastroianni

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Perspectivesfrom the Executive Director February 2013 Many of you will have seen recent press coverage of this season’s record-breaking sales revenues and the growing presence of young audience members here at Severance Hall. The news is encouraging for the Orchestra and all of Northeast Ohio. The Plain Dealer’s front-page coverage noted that The Cleveland Orchestra “is seeing attendance and ticket revenue skyrocket, mostly as a result of new programs aimed at children and students.” In an editorial, Crain’s Cleveland Business wrote that the Orchestra “deserves bravos for the hard work it and its supporters have done to secure the future of this ensemble of skilled musicians, who together remain the city’s most visible global ambassadors.” These are important steps toward a bright future, and much of the credit belongs to the staff who work tirelessly in the service of our patrons and artists. This team of dedicated professionals works behind the scenes every day to ensure that what happens offstage matches the unsurpassed excellence of the music-making onstage. Staff members (listed on pages 62- 63 of this book) focus their energies to plan and produce, manage and market hundreds of performances, educational programs, and patron events annually. The planning begins years in advance. Every event — at home in Northeast Ohio and on the road — involves scores of decisions and details that begin to take shape at least three years in advance. This month, the final details are being set for the 2013 Blossom Music Festival and 2013-14 season at Severance Hall in preparation for next month’s season announcements. At the same time, the programming for 2014-15 is being discussed and decided, while conductors and soloists are being booked for 2015-16. For every rehearsal, performance, program, and event, Severance Hall and Blossom must be prepared to ensure an efficient and comfortable experience for the artists onstage and for you in the audience. From cleaning and climate control to program books and box office, from finance and food service to payroll and parking, every detail is important. And these days, as we diversify our activities in Northeast Ohio, staff members throughout the institution are coordinating an increasingly complex puzzle of programming, people, and partnerships. Fundraising is an essential part of the equation, requiring not only that we ask for your support, but that we earn your support, and that genuine and grateful thanks are extended to each and every donor. Simultaneously, the infrastructure of the institution must be attended to, including the maintenance and management of Severance Hall’s physical plant, of the organization’s computer systems, and the Orchestra’s array of equipment, instruments, and music library. The success of this season — and of future seasons in the months and years to come — is the result of hard work by many hands. I hope you will join me in expressing gratitude to all the dedicated staff members for everything they do, for helping to make The Cleveland Orchestra the very best right here in Northeast Ohio.

Severance Hall 2012-13

Gary Hanson

CLEVELAND ORCHESTRA ARCHIVES

PHOTO OF THE WEEK follow the Orchestra on Facebook for weekly historic photos from the archives

SATURDAY INSTRUMENTAL SCHOOL. Music students line up for a photograph in April 1929 at East Technical High School. The students were part of a program in which Cleveland Orchestra musicians taught instrument lessons on Saturdays throughout the school year — nearly 3,000 students took part during the late 1920s and early ’30s. The Orchestra has a long and successful history as an education partner with schools, colleges, and universities throughout Northeast Ohio.

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 eleventh season — and with a commitment to the Orchestra’s centennial in 2018 — has moved the ensemble forward with a series of new and ongoing initiatives, including: UNDER THE LEADERSHIP

the establishment of residencies around the world, fostering creative artistic growth and an expanded financial base, including an ongoing residency at the Vienna Musikverein (the first of its kind by an American orchestra); expansion of education and community programs in Northeast Ohio to make music an integral and regular part of everyday life for more people; the 2012-13 season includes the launch of an annual Neighborhood Residency pro-

About the Orchestra

The Cleveland Orchestra

gram that will bring The Cleveland Orchestra to neighborhoods across the region for an intensive week of special activities and performances. First stop is the Gordon Square Arts District in Cleveland’s Detroit/Shoreway neighborhood in May 2013; an ongoing residency in Florida, under the name Cleveland Orchestra Miami, involving an annual series of concerts and community activities, coupled with an expansive set of educational presentations and collaborations (based on successful educational programs pioneered at home in Cleveland); creative new artistic collaborations, including staged works and chamber music performances, with arts institutions in Northeast Ohio and in Miami; 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; concert tours from coast to coast in the United States, including annual appearances at Carnegie Hall; regular concert tours to Europe and Asia; ongoing recording activities, including new releases under the direction of Franz Welser-Möst, Mitsuko Uchida, and Pierre Boulez, as well as a series of DVD concert presentations of symphonies by Anton Bruckner; a concentrated and ongoing effort to develop future generations of audiences for Cleveland Orchestra concerts in Northeast Ohio, through research, targeted discounts, social media offers and promotion, and student ticket programs; continuing and expanded educational partnerships with schools, colleges, and universities across Northeast Ohio and in the Miami-Dade community; additional new residencies at Indiana University and at New York’s Lincoln Center Festival; the return of ballet as a regular part of the Orchestra’s presentations, featuring performances by The Joffrey Ballet; the 2012-13 season featured the Orchestra’s first fully staged performances of Tchaikovsky’s The Nutcracker. 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 in 1931 of Severance Hall as the Orchestra’s home 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. Severance Hall 2012-13

The Orchestra Today

Pediatric emergency care is right in your neighborhood. Available 24/7 at six locations. You’re now closer than ever to emergency services designed speciﬁcally for babies and children with kid-focused physicians, nurses and support staff and backed by University Hospitals Rainbow Babies & Children’s Hospital – the most trusted name in children’s health care – as well as the region’s only Level I Pediatric Trauma Center, if a higher level of care is required. All in six convenient locations with staff dedicated to getting you and your family the care you need as quickly as possible.

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RBC 00490

T H E M U S I C AL AR TS ASSOCIATION

as of December 2012

operating The Cleveland Orchestra, Severance Hall, and Blossom Music Festival O F F I C E R S A ND E X E C UT IVE C O MMI T 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 David J. Hooker 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 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 Christopher M. Kelly 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 Milton S. Maltz 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 Jeffrey M. Weiss Norman E. Wells 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)

Herbert Kloiber (Germany) Ludwig Scharinger (Austria)

TR U S TE E S E X- O FFIC IO Faye A. Heston, President, Volunteer Council of The Cleveland Orchestra Beth Schreibman Gehring, President, Women’s Committee of The Cleveland Orchestra Claire Frattare, State Chair, Blossom Women’s Committee TR U S TE E S E M ERIT 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 TEES 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 2012-13

Gary Hanson, Executive Director

Musical Arts Association

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

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

T H E 2 0 1 2 - 1 3 S E A S O N marks Franz Welser-Möst’s eleventh 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 another at Switzerland’s Lucerne Festival. 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 residency in Florida under the name Cleveland Orchestra Miami and, in 2011, launched a new biennial residency at New York’s Lincoln Center Festival. To the start of this season, The Cleveland Orchestra has performed fourteen world and fifteen United States premieres under Franz Welser-Möst’s direction. Through the Roche Commissions project, he and the Orchestra have premiered works by Harrison Birtwistle, Chen Yi, Hanspeter Kyburz, George Benjamin, Toshio Hosokawa, and Matthias Pintscher 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 Pintscher, Marc-André Dalbavie, Susan Botti, Julian Anderson, Johannes Maria Staud, Jörg Widmann, and Sean Shepherd. Franz Welser-Möst has led a series of opera performances during his tenure

Severance Hall 2012-13

Music Director

in Cleveland, re-establishing the Orchestra as an important operatic ensemble. Following six seasons of opera-in-concert presentations, he brought fully staged opera back to Severance Hall with a three-season cycle of Zurich Opera productions of the MozartDa Ponte operas. He led concert performances of Strauss’s Salome at Severance Hall and at Carnegie Hall in May 2012. Franz Welser-Möst became general music director of the Vienna State Opera in 2010. 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 SvenEric Bechtolf, and critically praised new productions of Hindemith’s Cardillac and Janáček’s Katya Kabanova and From the House of the Dead. During the 2012-13 season, his Vienna performances include Wagner’s Parsifal, Strauss’s Arabella and Ariadne auf Naxos, Puccini’s La Bohème, and Berg’s Wozzeck. 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; he conducted the New Year’s Day concert again at the start of 2013 and also leads the Philharmonic in a series of concerts at New York’s Carnegie Hall in March 2013. 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 Bruckner symphonies, presented in three accoustically distinctive venues (the Abbey of St. Florian in Austria, Vienna’s Musikverein, and 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, 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, a Decoration of Honor from the Republic of Austria for his artistic achievements, 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

THE CLEVELAND ORCHESTRA Franz Welser-Möst MUSIC DIREC TOR

“The Cleveland Orchestra proved that they are still one of the world’s great musical beasts. With Franz Welser-Möst conducting, this music . . . reverberated in the souls of the audience.” —Wall Street Journal

—The Guardian (London)

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

“Cleveland’s reputation as one of the world’s great ensembles is richly deserved.”

CUYAHOGA ARTS & CULTURE IS PROUD TO SUPPORT APOLLO'S FIRE t BAYARTS t BECK CENTER FOR THE ARTS t CHAGRIN VALLEY LITTLE THEATRE t CLEVELAND BOTANICAL GARDEN t CLEVELAND INTERNATIONAL FILM FESTIVAL t CLEVELAND JAZZ ORCHESTRA t CLEVELAND MUSEUM OF ART t CLEVELAND MUSEUM OF NATURAL HISTORY t THE CLEVELAND ORCHESTRA t CLEVELAND PLAY HOUSE t CLEVELAND PUBLIC THEATRE t DANCECLEVELAND t GREAT LAKES SCIENCE CENTER t GREAT LAKES THEATER t GROUNDWORKS DANCETHEATER t HEIGHTS YOUTH THEATRE t IDEASTREAM t KARAMU

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Severance Hall 2012-13

Franz Welser-MĂśst and The Cleveland Orchestra, performing Brucknerâ&#x20AC;&#x2122;s Fourth Symphony in concert at Severance Hall in April 2012.

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

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 1 Patricia M. Kozerefski and Richard J. Bogomolny Chair

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

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

Stanley Konopka 2 Mark Jackobs Jean Wall Bennett Chair

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

The Orchestra

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 Derek Zadinsky HARP Trina Struble * Alice Chalifoux Chair

The Cleveland Orchestra

12 13 O R C H E S T R A 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 PICCOLO Mary Kay Fink Anne M. and M. Roger Clapp Chair

OBOES Frank Rosenwein * Edith S. Taplin Chair

Mary Lynch Jeffrey Rathbun 2 Everett D. and Eugenia S. McCurdy Chair

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

CLARINETS Franklin Cohen * Robert Marcellus Chair

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

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

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

William Hestand Barrick Stees 2 Sandra L. Haslinger Chair

Jonathan Sherwin

HORNS Richard King * George Szell Memorial Chair

Michael Mayhew § Knight Foundation Chair

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

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

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

Michael Miller

PERCUSSION Jacob Nissly * Margaret Allen Ireland Chair

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

Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair

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

Karyn Garvin MANAGER

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

Richard Stout Alexander and Marianna C. McAfee Chair

Shachar Israel 2 BASS TROMBONE Thomas Klaber EUPHONIUM AND BASS TRUMPET Richard Stout TUBA Yasuhito Sugiyama* Nathalie C. Spence and Nathalie S. Boswell Chair

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

Tom Freer 2

ENDOWED CHAIRS CURRENTLY UNOCCUPIED Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Chair Sidney and Doris Dworkin Chair Sunshine Chair

* Principal § 1 2

Associate Principal First Assistant Principal Assistant Principal

CONDUCTORS 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

Robert Porco

CONTRABASSOON Jonathan Sherwin

Severance Hall 2012-13

SEASON

DIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

The Orchestra

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THE CLEVELAND ORCHESTRA THE CLEVELAND ORCHESTRA TRA THE CLEVELAND ORCHESTRA

From the President This message from Musical Arts Association president Dennis W. LaBarre is reprinted from the Association’s recently published Annual Report. Here, Mr. LaBarre offers an overview of the progress that The Cleveland Orchestra is making in implementing changes for a stronger future, as a musical institution devoted to the citizens of Northeast Ohio who created it and have sustained it. The complete Annual Report can be read by visiting clevelandorchestra.com and clicking on the “Support the Orchestra” section.

A S I R E F L E C T on my first three years as president of the Musical Arts Association, I am moved by both institutional pride and extraordinary gratitude. I am proud of the continued artistic vibrancy of The Cleveland Orchestra. I am equally proud of the progress we are making to successfully evolve beyond a business model that is no longer sustainable, for us or for our peer orchestras. But most of all, I am grateful that our progress forward is based on a demonstrated recognition among all the constituencies that make up our institutional fabric that we are all in this together.

THE CLEVELAND ORCHESTRA

Despite the challenges ahead, I am confident about the future of The Cleveland Orchestra. We have an informed and engaged Board of Trustees who relentlessly are facing our challenges, and making steady increases in their fundraising participation and personal philanthropy. We have a staff that demonstrates tireless devotion to the institution’s goals, who are holding down expenses, implementing new innovations, achieving record operating margins, and aggressively supporting our fundraising activities. We have musicians who not only sustain the highest artistic standards, but have increasingly partnered with us in seeking outcomes that will help The Cleveland Orchestra thrive for years to come. We have a music director who inspires artistic excellence and also demonstrates a rare vision into all aspects of our activities in a manner not always found among those who hold similar positions. We are blessed with the continued devotion and genuine enthusiasm of the Orchestra’s many patrons and volunteers, and the ongoing generosity of our donors, for which we are most grateful.

We have developed and continue to evolve a ten-year plan based on transparent, rigorous analysis of the hard facts we currently face, rather than rely on historical wisdom as the basis for decisions. Most importantly, we have identified our challenges, financial and otherwise, while there is still time for remedy. We are earnestly CONTINUES

Severance Hall 2012-13

From the President

THE CLEVELAND ORC

We began a thorough, new analysis of the landscape faced by symphony orchestras in 2008. The backdrop for this effort was the economic distress that has become a “new normal” and the recognition of inevitable societal and demographic change affecting orchestras, including the aspects of those forces that were most impactful for our own circumstances. These industry-wide realities included structural and operating deficits, shrinking audiences, the challenging relationships between board/leadership and musicians, and the need for multi-year financial planning and investment capital for innovation.

THE CLEVELAND ORCHES-

CONTINUED

implementing strategic goals to broaden the audiences and community we serve and benefit. This has brought a focus on broader community engagement across Northeast Ohio, to the importance of the entire concert experience, and to the influence of changing social patterns and technologies.

THE CLEVELAND ORCHESTRA

Of equal importance, we have developed a structure of financial disciplines geared to support a recapitalization of our institution, improve operating margins, and resist the temptation to satisfy near-term financial needs at the expense of long-term financial stability. The dedication of all constituencies to this objective is clearly reflected in our recently completed, successful and cooperative trade agreement negotiations.

CLEVELAND ORCHESTRA THE CLEVELAND ORCHESTRA THE CLEVELAND ORCHE

Our year-on-year operating deficit shrank from $2.7 million in FY11 to $180,000 in FY12 — as a result of success in the special fundraising portion of our Sound for the Centennial Campaign. In order to continue on track for the future, we must succeed in sustaining this effort over the next three years while building our endowment. We are making progress toward eliminating concerns for future deficits, and we are a third of the way toward securing commitments for the Campaign’s overall endowment goals. Central to our vision, the justification for all these efforts begins with the musical experience. Here at Severance Hall and Blossom, in Miami and New York, and abroad in Vienna, Paris, and Salzburg, I have had many opportunities to experience The Cleveland Orchestra’s artistic ascendancy first-hand, and to revel in the musical gifts they share in each performance. This is an Orchestra worthy of the acclaim it receives and the pride it inspires. At the same time, the Orchestra is pursuing a variety of programs, from education and community initiatives to innovations such as Fridays@7 and expanded opera and ballet offerings. Coupled with strong audience development efforts, these initiatives are attracting new audiences that are younger than ever before. We are able to offer much only because of our community’s generosity — nearly 13,000 donors gave $17.3 million in FY12 annual support, in addition to endowment commitments to our comprehensive Campaign. We owe a debt of gratitude to the people of Northeast Ohio for such extraordinary generosity. We are proud to serve this community through our performances and education activities, and in doing so to contribute to the economic growth of our region and serve as a source of community pride. As one of the region’s most visible ambassadors, we proudly carry the Cleveland name everywhere we play. I am confident that together we are making steady progress toward long-term institutional and financial health, and toward the long-term sustainability of this great Orchestra for our great community.

Dennis W. LaBarre President

From the President

The Cleveland Orchestra

THE CLEVELAND ORCHESTRA THE CLEVELAND ORCHESTRA TRA THE CLEVELAND ORCHESTRA

News

OrchestraNews Education Showcase Concert set for March 7 Franz Welser-Möst leads special Showcase Concert combining Cleveland Orchestra and all its youth ensembles for ﬁrst time

Severance Hall 2012-13

ensembles. Franz Welser-Möst concludes the evening by conducting a side-by-side performance of works by Dvořák and Tchaikovsky with Cleveland Orchestra musicians sitting side-by-side with the Youth Orchestra, and then lead everyone in a grand finale featuring all the groups performing Handel’s “Hallelujah” Chorus. The concert is free and open to the public, but tickets are required. Remaining tickets can be obtained at clevelandorchestra.com.

Franz Welser-Möst talks about importance of music education at City Club on March 8 in live radio broadcast In conjunction with The Cleveland Orchestra’s week of education activities in early March, Franz WelserMöst will discuss the importance of music education at the City Club Forum on Friday, March 8, beginning at 12 noon. He will be joined by Cleveland Orchestra violinist Isabel Trautwein, founder and director of the El Sistema@Rainey program. The City Club program is aired locally on WCLV/104.9 and WCPN/90.3 radio, and broadcast nationally in 40 states, from Maine to Alaska.

Cleveland Orchestra News

THE CLEVELAND OR

The Cleveland Orchestra is presenting a special Showcase Concert at Severance Hall on Thursday, March 7, at 7 p.m., featuring, for the first time, the Orchestra onstage with all of its youth ensembles — the Cleveland Orchestra Youth Orchestra, Youth Chorus, and Children’s Chorus. The concert is the inaugural event in a new initiative called Make Music!, which will encourage people of all ages to participate in making and learning about music. The Showcase Concert is being held in the midst of a week filled with education presentations by The Cleveland Orchestra, to highlight both the importance of music education and the Orchestra’s historic and ongoing role in working with students throughout Northeast Ohio. “We are launching Make Music!,” says Cleveland Orchestra executive director Gary Hanson, “because everyone in our community can enjoy and benefit from making music. We know a child’s education is not complete without the arts, and music making is an especially important part of a complete music education.” For the concert on March 7, young musicians from El Sistema@Rainey, an intensive after-school music program for young string musicians, will begin the evening, led by their founder, Isabel Trautwein, a violinist in The Cleveland Orchestra. They will be followed with performances by each of the Orchestra’s youth

THE CLEVELAND ORCHES-

News

OrchestraNews Orchestra ticket sales setting new records Severance Hall season sales on track to set all-time record; younger people attending in increased numbers

THE CLEVELAND ORCHESTRA

Ticket sales revenue for The Cleveland Orchestra’s 2012-13 Severance Hall season is on track to set a new all-time record, driven by the best-ever ticket sales in November and December. Along with increased student attendance across the season, these growth numbers are encouraging news for the Orchestra’s strategic shifts in recent years and for the ensemble’s future. “Northeast Ohioans are clearly responding to the Orchestra’s strategic innovations. More people are attending a wider variety of our programs, and the significant increase in the number of new patrons at Severance Hall is extraordinary,” says Gary Hanson, Cleveland Orchestra executive director. “Our commitment to student attendance and a younger

audience is part of a Cleveland Orchestra renaissance, as we commit to redoubling our commitment to community service and Northeast Ohio.” Front-page coverage in The Plain Dealer in January noted that The Cleveland Orchestra “is seeing attendance and ticket revenue skyrocket, mostly as a result of new programs aimed at children and students.” Sales for the 2012-13 Severance Hall season, which runs from September through May, are already 24% ahead of last year at the same time. Current season ticket sales revenue is on track to achieve an all-time record of $7.6 million, surpassing the previous record set in 2000-01, and $1.3 million more than last season.

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Cleveland Orchestra News

The Cleveland Orchestra

T HE CLEVELAND ORCHESTRA CHESTR

News

OrchestraNews 2013 Blossom Music Festival announced Festival season features great orchestral works, a special ballet anniversary, and programs of popular songs and ﬁlm music

Jack Everly. Cleveland Orchestra chorus director Robert Porco conducts highlights from the Gershwin opera Porgy and Bess (July 21), and Bramwell Tovey leads an evening of the music of popular song (August 25), including melodies by Cole Porter, Jerome Kern, Richard Rodgers, and Duke Ellington . In a program sure to delight children of all ages, the 2013 Festival will close with “Pixar in Concert” on Labor Day Weekend, August 31 and September 1. The Cleveland Orchestra performs selections from thirteen Pixar films, accompanying movie clips projected on large screens. The evening is led by Hollywood conductor Richard Kaufman. A program on July 27 features participants from Kent/Blossom Music performing in a sideby-side concert with The Cleveland Orchestra. Twenty Cleveland Orchestra musicians serve on the faculty at Kent/Blossom Music, and twenty alumni of Kent/Blossom Music are now members of The Cleveland Orchestra. The family-friendly “Under 18s Free” ticket program continues at Blossom, where over 26,000 young people have attended Festival concerts during the past two summers. This ground-breaking initiative is made possible through The Cleveland Orchestra’s Center for Future Audiences and additional generous funders. Series subscriptions are now on sale. For complete season details and schedule, visit clevelandorchestra.com.

THE CLEVELAND OR-

Cleveland Orchestra News

THE CLEVELAND ORCHESTRA

Severance Hall 2012-13

THE CLEVELAND ORCHESTRA

The Cleveland Orchestra’s 2013 Blossom Music Festival has been announced, with complete details available on the Orchestra’s website. Season information and series renewals are being mailed to subscribers to last year’s Festival, and new series packages are available for purchase now. Lawn Ticket Books are also for sale now. Individual tickets for the entire season go on sale on Tuesday, May 28. For the 2013 Festival, the Orchestra presents 19 concerts at Blossom Music Center in Cuyahoga Valley National Park from July 3 to September 1. Continuing a 40-year tradition, the Blossom season begins with “Salute to America” concerts performed by the Blossom Festival Band. The band programs on July 3 and 4 are under the direction of Loras John Schissel and feature post-concert fireworks. Music Director Franz Welser-Möst conducts The Cleveland Orchestra for the Festival’s official Opening Night on Friday, July 5, plus two additional evenings. His programs feature Strauss’s Four Last Songs, Beethoven’s “Eroica” Symphony, and Liszt’s fiery Totentanz, along with excerpts from operas by Richard Wagner during this 200th anniversary of the composer’s birthyear. Highlights of the 2013 Festival season also include The Joffrey Ballet’s return, on August 17 and 18, in a program celebrating the 100th anniversary of the world premiere of The Rite of Spring. Stravinsky’s daring score is matched to a reconstruction of the work’s original choreography by Vaslav Nijinsky and facsimiles of the original costumes by Nicholas Roerich. Tito Muñoz leads The Cleveland Orchestra for these ballet performances, which also feature works choreographed by Jerome Robbins and Stanton Welch. In additional to classical symphonic works, a variety of popular music will be also featured at Blossom Festival concerts this summer, ranging from a program of the “Sounds of Simon & Garfunkel” (July 14), under the direction of Michael Krajewski, to an evening of show tunes titled “Broadway’s Leading Men” (July 28), led by

THE CLEVELAND ORCHES-

News

OrchestraNews A . R . O . U . N . D T. O .W. N Recitals and presentations featuring Orchestra musicians Upcoming local performances by members of The Cleveland Orchestra include:

THE CLEVELAND ORCHESTRA

Cleveland Orchestra member Jacob Nissly (percussion) joins together in a unique concert featuring two Shaker Heights High School alumni musicians, Luke Rinderknecht and Dinesh Joseph, on Tuesday evening, March 5. The program at 7:30 p.m in the Shaker Heights High School auditorium features works for marimba and vibraphone by Cole, Druckman, Reich, and Takemitsu. The evening benefits the Shaker Schools Foundation. Tickets are $30 or $15, with special rates for Shaker faculty and staff. For further information, call 216-295-4329.

LEVELAND ORCHESTRA

Cleveland Orchestra members Isabel Trautwein (violin) and Tayna Ell (cello) join with colleagues in a special program presented by Heights Arts to honor the former Cleveland Quartet and its original players. The program on Sunday afternoon, March 24, beginning at 3:00 p.m. features the quartet’s original violinists, Donald Weilerstein and Peter Salaff, along with former students in Northeast Ohio and the Cavani Quartet to present a program of Bartók’s Duos for Two Violins, Dvořák’s Piano Quartet in E-flat major, and Brahms’s Sextet in G major. Reservations are required, $40 for Heights Arts members, $50 non-members. For additioanl information, call 216-371-3457 or visit www. heightsarts.org/music.staff.

Family Concert series continues in spring with “Symphony Under the Sea” after Spooktacular start The Cleveland Orchestra’s season of Family Concerts continues with “Symphony Under the Sea” on Friday evening, March 8, led by conductor Robert Franz — including favorite musical numbers from Disney’s The Little Mermaid. And continues with “Fables, Fantasy, and Folkore” on Sunday afternoon, May 12, led by Michael Butterman. Intended for children ages 7 and older, the series is designed to introduce young people to classical music. In addition to each one-hour Orchestra concert, the Family Concert series features free, pre-concert activities, including an “Instrument Discovery” in which children can try playing various instruments. For complete details about the spring concerts, visit clevelandorchestra.com. THE CLEVELAND ORCHESTRA

F.A.M.I.L.Y N.E.W.S Please join in extending congratulations and warm wishes to: Kim Gomez (violin) and James Gomez, whose baby girl, Christina Therese Gomez, was born on February 5.

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Cleveland Orchestra News

The Cleveland Orchestra

OrchestraNews Special thanks to Cleveland Orchestra musicians

Friday Morning concertgoers can enjoy free bus service courtesy of Womenâ&#x20AC;&#x2122;s Committee The Womenâ&#x20AC;&#x2122;s Committee of The Cleveland Orchestra is again sponsoring free bus service to each of the Orchestraâ&#x20AC;&#x2122;s Friday Morning concerts this season. The buses depart from locations in Akron, Beachwood, Brecksville, and Westlake. A bus pass is required, and can be reserved along with concert tickets through the Severance Hall Ticket Office inperson or by calling 216-231-1111. (Donations to help defray the cost of this bus service are also welcome and can be given through the ticket office). The seasonâ&#x20AC;&#x2122;s final Friday Morning concert is on May 3, with Ton Koopman leading a concert of works by Haydn, Mozart, and Fischer, and featuring Cleveland Orchestra principal timpani Paul Yancich as soloist.

THE CLEVELAND ORCHEST

The Board of Trustees extends special thanks to the members of The Cleveland Orchestra for donating their services for several concerts during the Orchestraâ&#x20AC;&#x2122;s most recent weeks in residence in Miami in January. These donated performances included daytime Education Concerts at the Adrienne Arsht Center for the Performing Arts of Miami-Dade County, attended by thousands of school children, as well as the Orchestraâ&#x20AC;&#x2122;s concert in Naples, Florida. â&#x20AC;&#x153;These and other donated services each year are a meaningful demonstration of the musiciansâ&#x20AC;&#x2122; commitment to this institutionâ&#x20AC;&#x2122;s future,â&#x20AC;? notes Gary Hanson, executive director. â&#x20AC;&#x153;The members of The Cleveland Orchestra are committed to serving the Orchestraâ&#x20AC;&#x2122;s communities and presenting music as an important and vital part of life.â&#x20AC;?

T HE CLEVELAND ORCHESTRA CHESTR

News

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Cleveland Orchestra News

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The Cleveland Orchestra

12 13

LEARNING MORE ABOUT THE MUSIC

SEASON

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. February 28, March 1, 2 “Titans and Other Heroes” with Michael Strasser, professor of musicology, Baldwin Wallace University Conservatory of Music

March 21, 23 “Music of the Night” with Rabbi Roger Klein, The Temple – Tifereth Israel

April 4, 5, 6 “Mozart: Master of the Concerto” with Pierre van der Westhuizen, executive director, Cleveland International Piano Competition

April 11, 12, 13, 14 “The Story of Carmina Burana” with David J. Rothenberg, associate professor of musicology, Case Western Reserve University

April 18, 20, 21 “Just Between Us Composers” Sean Shepherd, Lewis Young Composer Fellow, in conversation with Keith Fitch, head of composition, Cleveland Institute of Music For Concert Preview details, visit clevelandorchestra.com

Severance Hall 2012-13

Concert Previews

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The PNC Financial Services Group, Inc. (“PNC”) uses the name PNC Wealth Management®, to provide investment and wealth management, fiduciary services, FDIC-insured banking products and services and lending of funds through its subsidiary, PNC Bank, National Association, which is a Member FDIC. Investments: Not FDIC Insured. No Bank Guarantee. May Lose Value. ©2013 The PNC Financial Services Group, Inc. All rights reserved.

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

W E L S E R - M Ö ST M U S I C

D I R E C T O R

Severance Hall

Thursday evening, February 28, 2013, at 8:00 p.m. Friday evening, March 1, 2013, at 8:00 p.m. Saturday evening, March 2, 2013, at 8:00 p.m.

Christoph von Dohnányi, conductor hans werner henze (1926-2012)

12 13 SEASON

Adagio, Fugue, and Dance of the Maenads from the opera The Bassarids INTERMISSION

gustav mahler (1860-1911)

Symphony No. 1 1. Langsam, schleppend: wie ein Naturlaut [Slow, dragging: as if spoken by nature] 2. Kräftig bewegt, doch nicht zu schnell [With powerful movement, but not too fast] 3. Feierlich und gemessen, ohne zu schleppen [Solemn and measured, without dragging] 4. Stürmisch bewegt [With violent movement]

These concerts are sponsored by PNC, a Cleveland Orchestra Partner in Excellence. Christoph von Dohnányi’s appearance with The Cleveland Orchestra is made possible by a gift to the Orchestra’s Guest Artist Fund from Roger and Anne Clapp. The concerts will end at approximately 9:40 each evening. LIVE RADIO BROADCAST

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

Severance Hall 2012-13

Concert Program — Week 15

PERFORMING ARTS

Ana Moura: Fado of Portugal Friday, March 22, 2013 at 7:30 p.m.

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The Cleveland Orchestra

INTRODUCING THE PROGRAM

Between Love & Music

L O V E — the yearning for it, the ecstasy of it, and the losing of it — provided, in different ways, the impetus behind the two works on this week’s program. Two doomed love affairs stood as bookends to the conception and composition of Gustav Mahler’s First Symphony, a work so unlike any other symphony to that date (except perhaps Berlioz’s Symphonie fantastique) that Mahler hardly knew what to call it at first. And 80 years later, Hans Werner Henze found that a brief and passionate love affair put him in just the right frame of mind to depict mythological lust, temptation, and death in his opera The Bassarids. But if Henze was able to stick to “the facts of life” in exploring the rational versus the Dionysan in human nature, Mahler seemed driven to embrace all of life at once — heroic, humble, child-like, ironic, exalted, vulgar, spiritual, carnal, everything. His First Symphony opens in a buoyant mood, full of nature imagery and led by the two-note cuckoo call. Childlike optimism mostly prevails through the first movement and into the waltzy-scherzo, whose deliberately corny tune becomes more frantic and ironic as it goes along; this movement offers “sincere relief” in a sweet little Ländler dance. The innocence of children, and their casual attitude toward death, is at the root of the third movement, a funeral march based on, of all things, the nursery tune “Frère Jacques.” Other themes hint at grotesque characters from village life, and once again there is relief from a quotation of a Mahler song, depicting GUSTAV MAHLER a contented dream. But then a cymbal crash Silhouette by Hans Schliessmann brings the rudest of awakenings, into a world filled with turmoil; visions of heaven and of the first movement’s happy child-world contend with this harsh reality and, after much struggle, overcome it in the symphony’s ultra-brilliant, triumphant conclusion. In 1963, Hans Werner Henze, then a promising young composer, was approached by W.H. Auden and Chester Kallman to set their opera libretto The Bassarids, a distinctly modern take on the Greek play The Bac-

Severance Hall 2012-13

Introducing the Program

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chae of Euripides. Henze, a devoted Mahlerian (who conducted Mahler’s First with the Berlin Philharmonic a few years later), liked the librettists’ psychological approach to the mythological drama, in which Pentheus, the puritanical King of Thebes, attempts to forbid the cult of Dionysus, only to be overcome with lustful curiosity about it, leading to his death at the hands of the god’s crazed followers. The opera enjoyed success at its Salzburg premiere in 1966 — conducted by Christoph von Dohnányi — and in subsequent productions. Nearly four decades later, at Dohnányi’s suggestion, Henze extracted several moments from Movement III to create an independent orchestral suite titled Adagio, Fuge, und Mänadentanz (“Adagio, Fugue, and Maenads’ Dance”). It is vivid music whose emotional state speaks clearly for itself, from the aching yearning of the opening (with teasing, mocking laughter from the god’s followers), to moments of sensuous reverie and erotic stirrings, to frenzied visions of dancing Bacchantes. At the end, an ominous dialogue of solo cello and bassoon represents the drama’s seductive conversation between the god and the king, and a horrible fortissimo crash seals the deal. —David Wright David Wright lives and writes in Wellesley, Massachusetts. He previously served as program annotator for the New York Philharmonic.

A 19th-century engraving of Maenads dancing around the side of a Greek urn.

With this Thursday’s concert, The Cleveland Orchestra gratefully honors the Myra Tuteur Kahn Memorial Fund of The Cleveland Foundation for its generous support.

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Introducing the Program

Baldwin Wallace University Conservatory of Music

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Jane Eaglen, soprano Timothy Mussard, tenor Alan Held, bass-baritone Eric Weimer, coach/conductor William Vendice, coach/conductor Final concerts of semi-staged Wagner scenes and arias: Saturday, July 27, 2:00 & 6:00 pm Free and open to the public. Open master classes throughout the Intensive.

Jane Eaglen in a Seattle Opera Ring Cycle as Brunnhilde. Photo by Gary Smith.

www.bw.edu/summer-music-programs t DPOSFBDI!CX FEV

Adagio, Fugue, and Dance of the Maenads from the opera The Bassarids composed 1964-66 IF EVER THE TITLE

Hans Werner

HENZE

born July 1, 1926 Gütersloh, Germany died October 27, 2012 Dresden, Germany

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of Michael Tippett’s oratorio A Child of Our Time applied to a 20th-century composer, it was Hans Werner Henze. From his youth in fascist Germany, to the loss of his father and his own conscription as a 17-year-old in World War II, to his postwar embracing of Marxism and protests against the Vietnam War, to what some would call his retreat into matters of art, psychology, and nature, Mr. Henze swam in most of the cultural currents of the 20th century, and continued as a prolific and provocative presence into the 21st. When composing music, Mr. Henze never felt obliged to choose between the trends set in motion by Arnold Schoenberg and Igor Stravinsky — he revered the Austrian master for depth of emotion and rigor of musical thought, and the Russian for audacity and protean imagination. In addition, many of his hundreds of works reflect a “power to the people” aesthetic that comes through in material from folksongs, protest songs, and cabaret, blended with techniques of the avant-garde. So it’s not surprising that in 1964, when he began composing his opera The Bassarids, Henze was obsessed with the music not of Schoenberg or Stravinsky, but of Gustav Mahler. As Henze recalled in his memoir, Bohemian Fifths, Mahler’s amalgam of popular tunes and psychological probing got under his skin to the point of “sleepless nights during which the ‘Frère Jacques’ motif from Mahler’s First Symphony kept on going round and round, remorselessly, inside my head.” (Ironically, the following year the Berlin Philharmonic engaged Henze to conduct that very symphony — and, more strategically, Christoph von Dohnányi has chosen to pair music from The Bassarids with that same symphony for these Cleveland Orchestra concerts.) It was the poet W.H. Auden who, in 1961, first mentioned the idea of creating an opera adaptation of Euripides’s The Bacchae and giving it the title of a lost work by Aeschylus, The Bassarids. (The two titles are virtually synonymous, both referring to female devotees of the god Bacchus, or Dionysus.) Before giving their libretto to Henze to set, Auden and co-author Chester Kallman got him to agree to attend an opera by Richard Wagner and try to overcome his aversion to that composer’s music. The conditions for reconsidering Wagner could hardly About the Music

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have been more auspicious. Happening to be in Vienna when Herbert von Karajan was conducting Die Götterdämmerung at the Vienna State Opera, Henze found himself observing a performance from the conductor’s private box, no less. “I have to admit, it sounded wonderful,” he recalled. “. . . But I simply cannot abide this silly and self-regarding emotionalism, behind which it is impossible not to detect a neo-German mentality and ideology. . . . There was little real danger that I would explore Wagnerian techniques when writing Die Bassariden.” Henze was equally appalled when a sympathetic critic, H.H. Stuckenschmidt, perhaps noting the Salome-like tension between moral rectitude and fleshly temptation in The Bassarids, pronounced Henze the successor to Richard Strauss. Henze preferred the observation of a British critic that his music sounded like “Strauss gone sour.” “After all,” Henze wrote, “the occasional late Romantic exuberance that is to be found in my works is not intended to be exuberance as such but its anachronistic opposite. A Mahlerian such as myself (and Mahler’s influence is greater in the music of Die Bassariden than even in my Sixth, Seventh, and Eighth Symphonies) cannot simultaneously summon up the same degree of enthusiasm for Richard Strauss. But one can show its negative aspects, can turn existing values upside-down, and call them into question, just as everything in art must forever be reexamined and constantly called into question.” Henze, then living a “monastic” existence in a villa outside Rome, questioned his own frame of mind to do justice to Auden and Kallman’s libretto of repressed lust and murderous passion. In both the original play and the libretto, Pentheus, the rationalistic king of Thebes, attempts to ban the cult of Dionysus, only to be tempted by a visiting Stranger (who turns out to be the god himself) to secretly observe the orgiastic rituals and dancing of the Bassarids and Maenads, including the king’s own mother and her sisters, on nearby Mount Cytheron. He is discovered, set upon, and torn limb from limb by the god’s followers, after which Thebes is destroyed and Pentheus’s family exiled and scattered. As Henze tells it, his state of mind was revived in timely fashion by an aristocratic young man (whom he describes, but does not name, in his memoir) with whom he struck up an affair. “The covert aim of the exercise,” he writes, “was to furnish me with the feelings generally associated with love at its most tempestuous, from simple desire to the bitterness of jealousy (of which I could never get enough) and from tender veneration to Severance Hall 2012-13

About the Music

When he began composing his opera The Bassarids, Henze was obsessed with the music of Gustav Mahler. Mahler’s amalgam of popular tunes and psychological probing got under his skin to the point of “sleepless nights during which the ‘Frère Jacques’ motif from Mahler’s First Symphony kept on going round and round, remorselessly, inside my head.”

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a very real longing for death — feelings, in short, that had to be depicted in every bar of The Bassarids. Before they could be turned into music, I had to experience those feelings myself — including Pentheus’s obsessions. In that sense, I could hardly have been better provided for.” (Henze, in writing and speaking, referred to the opera by both its English and German titles. Which title is the “original” depends on what rule you apply. The libretto Henze set was in English, but the first production, at Salzburg in August 1966, was in German. A similar situation exists with Haydn’s oratorio The Creation, but only the most pedantic writers in English insist on calling it Die Schöpfung.) The Bassarids, with its continuous action divided into what the librettists called four “movements,” was a success at its Salzburg premiere — conducted by Christoph von Dohnányi — and in several subsequent productions, after which it seemed to fall from view for a while. Henze credited a 1986 Berlin production, in English and conducted by Gerd Albrecht, with breaking “the oppressive spell on the score” and opening the way to many more theatrical and concert performances. At the composer’s suggestion, that 1986 Berlin production omitted the opera’s orchestral Intermezzo, which occurred at the critical point in the “third movement” at which the Stranger/Dionysus holds up to Pentheus a magic mirror showing the goings-on at Mount Cytheron, and the puritanical king is overcome both by disgust and by a desire to go there and see for himself. The original intention of the Intermezzo was to portray in semi-comical pantomime some of the opera’s conflicts, but in dramatic and musical styles that contrasted with the rest of the opera — to give perspective dimension to the tragedy itself. Afterwards, however, Henze wrote that he “had never believed in the dramaturgical need for the Intermezzo [which] . . . interfered with the measured Euripidean directness of the main plot.” Nearly forty years after the opera’s premiere, Henze created a different kind of orchestral complement to the opera. Working at Christoph von Dohnányi’s request, this self-described post-Strauss Mahlerian extracted and wove together an orchestral suite from the score in 2005, choosing some of the most dramatic moments of Movement III to create a powerful statement for the concert hall. Here, he pulled sections of orchestral writing and judiciously assigned vocal lines to solo instruments for striking effect. The opening of the Adagio Severance Hall 2012-13

About the Music

At a Glance Henze wrote his opera Die Bassariden (“The Bassarids”) between 1964 and early 1966. It was first performed on August 6, 1966, as part of that summer’s Salzburg Festival, conducted by Christoph von Dohnányi. At Dohnányi’s suggestion, Henze created an orchestral suite from the opera in 2005. Titled Adagio, Fuge, und Mänadentanz (“Adagio, Fugue, and Dance of the Maenads”), this features key dramatic moments from Movement III (Act III) of the full score. This orchestral suite runs about 20 minutes in performance. Henze scored it for 4 flutes (third and fourth doubling piccolo), 2 oboes, 2 english horns, 4 bassoons, contrabassoon, saxophone, 6 horns, 4 trumpets, bass trumpet, 3 trombones, 2 tubas, timpani, percussion (glockenspiel, xylophone, vibraphone, rohrengl, triangle, finger cymbals, cymbals, tam-tams, cowbells, gongs, bongos, wood block, bell tree, military drum, bass drum, maracas, rachet, anvil), 2 harps, 2 pianos, celeste, and strings. The Cleveland Orchestra presented in-concert performances of Henze’s opera The Bassarids in October 1990, at Severance Hall and at Carnegie Hall.

section literally trembles with yearning, as long melodic lines reach upward, punctuated by the teasing mockery of the Maenads. Feverish visions appear and vanish; a banal little dance tune for solo violin is heard and snatched away. A big crescendo leads to the manic Fugue, which soon yields to a hazy, impressionistic atmosphere, in which are heard bits of melody sung earlier by the chorus of Bassarids. The frenzied dancing of the Maenads, dressed in animal skins and waving their ivy-entwined staffs, needs no introduction, but the music that follows is deeply ambiguous, at least until a dark dialogue of solo cello and bassoon, followed by an intense crescendo to fortissimo, appears to depict the moment of Pentheus’s fateful decision. —David Wright © 2013

In appreciation of their support, The Cleveland Orchestra and Musical Arts Association extend a special welcome to Squire Sanders (US) LLP, whose guests are enjoying a special evening at Severance Hall this weekend.

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

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About the Music

THE CLEVELAN D ORCHESTRA

Sound for the Centennial The Cleveland Orchestra’s artistic health and financial well-being depend on the dedicated and ongoing support of music-lovers throughout Northeast Ohio. The Orchestra’s continued excellence in community service and musical performance can only be ensured through ongoing annual support coupled with increased giving to the Endowment and special fundraising. As the Orchestra approaches its centennial celebration in 2018, the individuals and organizations listed on these pages have made longterm commitments to secure the financial stability of our great Orchestra. This listing represents multi-year commitments of annual and endowment support, and legacy gift declarations, as of January 30, 2013. The Cleveland Orchestra and Musical Arts Association gratefully recognize the transformational support and extraordinary commitment of these individuals, corporations, and foundations toward the Orchestra’s future. To join your name to these visionary contributors, please contact Jon Limbacher, Chief Development Officer, at 216-231-7520. GIFTS OF $5 MILLION AND MORE

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The Andrew W. Mellon Foundation Ms. Beth E. Mooney Sally S. and John C. Morley John P. Murphy Foundation NACCO Industries, Inc. Julia and Larry Pollock Mrs. Alfred M. Rankin, Sr. Mr. and Mrs. Alfred M. Rankin, Jr. Mr. and Mrs. Albert B. Ratner James and Donna Reid Barbara S. Robinson The Sage Cleveland Foundation The Kelvin and Eleanor Smith Foundation The J. M. Smucker Company Joe and Marlene Toot Anonymous

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Gay Cull Addicott Jeanette Grasselli Brown and Glenn R. Brown Robert and Jean* Conrad Richard and Ann Gridley The Louise H. and David S. Ingalls Foundation Mr. and Mrs. Douglas A. Kern Mr. and Mrs. Jon A. Lindseth

Ms. Nancy W. McCann David and Inez Myers Foundation The Honorable and Mrs. John Doyle Ong The Payne Fund Mr. and Mrs. Richard K. Smucker

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Randall and Virginia Barbato John P. Bergren* and Sarah M. Evans Mr. and Mrs.* Harvey Buchanan Cliffs Natural Resources Mr. and Mrs. Matthew V. Crawford Nancy and Richard Dotson Sidney E. Frank Foundation David and Nancy Hooker Mrs. Marguerite B. Humphrey James D. Ireland III Trevor and Jennie Jones Giuliana C. and John D. Koch Dr. Vilma L. Kohn

Mr. Clarence E. Klaus, Jr. Mr. and Mrs. Alex Machaskee Mr. Donald W. Morrison Margaret Fulton-Mueller William J. and Katherine T. Oâ&#x20AC;&#x2122;Neill Parker Hannifin Corporation Charles and Ilana Horowitz Ratner Mr. and Mrs. James A. Saks The Skirball Foundation Mr. and Mrs. Jules Vinney* David A. and Barbara Wolfort

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Symphony No. 1 in D major composed 1885-89 LIKE SHOS TAKOVICH,

Gustav

MAHLER born July 7, 1860 Kalischt, Bohemia (now Kalištì in the Czech Republic) died May 18, 1911 Vienna

Severance Hall 2012-13

Gustav Mahler first revealed his uniqueness and importance as a composer in his First Symphony. But while Shostakovich’s sparkling First made its young composer the musical celebrity of the year 1925, Mahler’s First had to struggle for recognition, as a strangely jarring and modern work in the era of Johannes Brahms and Richard Strauss. The complexity of its emotional roots in Mahler’s artistic and personal life made even its composer unsure what to call it and how to present it to an audience. Mahler’s list of works is short, and has a curiously organic quality, in which each composition seems to grow out of and refer to its predecessors. The First Symphony began to take shape in Mahler’s mind in 1884, while he was working on his orchestral song cycle Lieder eines fahrenden Gesellen (“Songs of a Wayfarer”), and it contains quotations from those songs. The concept of a “wanderer,” a poetic, footloose soul disappointed in love, was a familiar one from earlier in the century, from Schubert’s songs — not only “Der Wanderer” itself, but the cycles Die schöne Müllerin (“The Beautiful Maid of the Mill”) and Die Winterreise (“The Winter’s Journey”). Mahler’s life as an itinerant conductor, not yet famous as a composer and lacking a prestigious post, must have resonated in his mind with Schubert’s songs. His unrequited love for the actress Johanne Richter provided an additional spur to compose in this vein, and in fact he wrote both the texts and the music of the “Wayfarer” cycle. If one unhappy love was present at the conception of the First Symphony, another seems to have driven it on to completion. By 1888, Mahler was director of the Leipzig Opera and was making a reputation as a reform-minded taskmaster in the mold of one of his heroes, the composer-conductor Carl Maria von Weber. In January of that year, Mahler produced in Leipzig his own completion of Weber’s unfinished opera Die drei Pintos (“The Three Pintos”), with the help of Captain Carl von Weber, the composer’s grandson. During the work on this production, Mahler and the captain’s wife carried on a passionate affair, which she eventually terminated, perhaps as early as that March. By then, however, the stimulus of this hopeless love had already sent Mahler to his writing desk, where the orchestral work that About the Music

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had been forming in his mind for four years, as he said, “rushed out . . . like a mountain torrent.” This was, in fact, one of his more temperate statements in letters to friends. Other passages from that time are dotted with exclamation points: “Trilogy of passion and whirlwind of life! Everything within me and around me unfolds! Nothing is! Just give me a little longer! Then you shall hear all!” In barely six weeks of white-hot creation, Mahler completed the entire work in full score. There followed a long process not only of revision and clarifying the orchestration, but of figuring out what it was he had created. Mahler became director-general of the Royal Opera in Budapest in October 1888, and conducted the new work’s first performance there a month later, on November 20. It was billed simply as “Symphonic Poem in Two Parts.” The audience, which did not yet know its new director well and was perhaps expecting a story-piece along the lines of Franz Liszt or Richard Strauss, received the piece indifferently. To provide future audiences with a literary aid to understanding the work, Mahler was persuaded to provide a program for it that was derived from the novel The Titan by the early Romantic writer Jean Paul Richter (apparently no relation to Johanne Richter, although the similarity of their names can’t have escaped Mahler’s notice). It went as follows: Part I: From the days of youth, youth-pieces, fruit-pieces, and thorn-pieces. 1. Spring and no end. The introduction depicts the awakening of nature at earliest dawn. 2. Flower chapter (Andante) 3. Full sail (Scherzo) Part II: Commedia umana 4. Shipwrecked. A funeral march in the manner of Callot [a 17th-century French engraver]. The following may, if necessary, serve as explanation: The external impulse to this piece was given to the composer by the parodistic picture, “The Hunter’s Funeral,” well known to all children in South Germany from an old book of fairytales: the forest animals follow the hunter’s coffin; hares carry the flag, a band of Bohemian musicians goes in front, accompanied by cats, toads, crows, etc., playing instruments, and stags, roe-deer, foxes, and other Severance Hall 2012-13

About the Music

At a Glance Mahler’s first sketches of what was to become the First Symphony probably date from 1885. The actual composition took place largely in February and March 1888. The first performance, under the title “Symphonic Poem in Two Parts,” was given on November 20, 1889, in Budapest, with Mahler conducting. At the second performance (Hamburg, October 27, 1893), the work was renamed “Titan, Tone-Poem in the Form of a Symphony.” In 1896, Mahler discarded the second of the work’s five movements (“Blumine”), and the four-movement “Symphony in D major” was performed in Berlin on March 16, 1896. Mahler revised the work further in 1906-07. He conducted the first performances in the United States on December 16, 1909, with the New York Philharmonic. This symphony runs about 50 minutes in performance. Mahler scored it for 4 flutes (third and fourth doubling piccolo), 4 oboes (third doubling english horn), 4 clarinets (third doubling bass clarinet and E-flat clarinet, fourth doubling E-flat clarinet), 3 bassoons (third doubling contrabassoon), 7 horns, 4 trumpets, 3 trombones, tuba, 2 sets of timpani, harp, percussion (triangle, cymbals, bass drum, tam-tam), and strings.

four-legged and feathered creatures of the woods follow the procession in comic attitudes. Here this piece is to be thought of as the expression of a mood sometimes of ironical merriment, sometimes of sinister brooding, followed immediately by — 5. Dall’ inferno al Paradiso (Allegro furioso), the sudden expression of a heart wounded to its depths.

Mahler’s list of works is short, and has a curiously organic quality, in which each composition seems to grow out of and refer to its predecessors.

By the time he published the work a decade later in 1899, under the title “Symphony No. 1 in D major,” Mahler had withdrawn this program and the subtitle “Titan,” which nevertheless still crops up now and then to puzzle concertgoers and CD listeners. Nevertheless, the written program remains useful as a gloss to the emotional progress of the symphony. Mahler also deleted the Andante second movement, bringing the symphony into a form standardized by Beethoven — sonata-allegro, scherzo, slow movement, finale. As for the passionate love that drew the music out of him, Mahler acknowledged it in a letter in 1896, but went on to caution that “the symphony begins where the love affair ends. . . . The extrinsic experience became the occasion, not the message, of the work.” THE MUSIC

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Thus we come to the music itself, after Mahler had dropped his explanations of what the symphony was “about.” Certainly, mythological heroes and doomed love are not necessary for us to get the message of dawn, youth, and hope with which the symphony’s first movement opens. The first “theme” heard is a simple two-note phrase in the winds that drops by the interval of a fourth, a melodic motion that will become the hallmark

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of the entire symphony. The falling fourth becomes a clarinet cuckoo, then kicks off the buoyant tune of the second “Wayfarer” song, “Ging heut’ morgens übers Feld” (“I went this morning over the fields”). All this nature imagery is set off with distant bugle calls, as if the composer were dreaming of his own childhood, growing up near the barracks of Litomerice. Although the movement’s development section twists these ideas into some dark and menacing shapes, and the fortissimo [“very loud”] return of the bugle calls is a dire event, the music recovers its optimism, and ends exuberantly amid fourths pounded out on solo timpani. In the waltz-scherzo second movement, the fourths motif becomes a yodeling accompaniment to a lumbering dance tune based on the “Wayfarer” theme of the first movement. The blatantly “popular,” perhaps even vulgar, character of melodies like this left listeners in Mahler’s time wondering whether to take the music seriously. The composer’s answer was . . . yes and no. For all the energy of this movement’s “full sail” mood, there is a touch of hysteria under it all, as horns bleat, winds chirp, the tempo pushes faster and faster, and finally the whole engine runs off its harmonic rails. The irony is gentler in the movement’s Trio section, in which a schmaltzy Ländler tune wanders or meanders where it will. The third movement begins with the timpani again playing fourths alone, but now it is beating out the cadence of a funeral march, which is based on, of all things, the children’s round tune “Frère Jacques.” Not just the engraving of The Hunter’s Funeral, but other strange images from childhood, perhaps glimpsed at a village fair, seem to haunt this eerie music — a gypsy band, a lone man playing cymbal and bass drum, a drunken hiccup from the violins. Then the music melts into beatific G major, Severance Hall 2012-13

About the Music

The Huntsman’s Funeral, a19thcentury woodcut by Moritz von Schwind, which helped inspire the third movement of Mahler’s First Symphony.

Mahler’s First Symphony and Cleveland Mahler’s Symphony No. 1 was first presented in Cleveland four years before the founding of The Cleveland Orchestra, on December 15, 1914, performed by the Chicago Symphony Orchestra conducted by Frederick Stock. The Cleveland Orchestra first played it in 1942, under the direction of Artur Rodzinski. The most recent performances by the Orchestra were given in December 2010, conducted by Pinchas Steinberg. Franz Welser-Möst led the most recent Blossom Festival performance, in 2007.

lulled by a harp, as the violins play a bit of the last “Wayfarer” song, in which the poet recalls falling asleep under a linden tree: “There I knew not what life does. / All, all was well! / Love and sorrow! World and dream!” But the march returns, more ironic than ever, anticipating in its acid scoring the way Kurt Weill would later twist a popular tune into bitter satire. With a cymbal crash, the dam of feeling bursts at the beginning of the finale, and out pours an inchoate mass of anger and dread, which finally organizes itself into a sonataform movement based on themes from the beginning of the work. These are mild words to describe the hellish, Berliozian brew that Mahler serves up here, relieved only by a tantalizing glimpse of heaven, a gorgeous cantabile melody in D-flat major. Finally, a chorale melody seems about to redeem the tortured soul, but in the middle of the struggle the music retreats to the child’s dream that began the symphony, to meditate again on the first movement’s themes. The recapitulation that follows recalls stormy material from both the first and last movements, as if the composer were attempting to reconcile the child and the adult within him. At last he succeeds: the chorale returns, drawing into itself parts of many of the symphony’s themes and pealing them out fortissimo in a single declaration of triumph, amid a blaze of brilliant orchestral color. —David Wright © 2013

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Christoph von Dohnányi Music Director Laureate The Cleveland Orchestra

PHOTO BY HEINRICH HAMBURG

Christoph von Dohnányi served as the sixth music director of The Cleveland Orchestra from 1984 to 2002, and was named the Orchestra’s music director laureate in 2002. He first conducted The Cleveland Orchestra in December 1981 and was named music director designate the following year. He most recently conducted the Orchestra in a weekend of concerts in March 2012. During his tenure as music director in Cleveland, Mr. Dohnányi led The Cleveland Orchestra in over a thousand concerts, including regular concert tours of the United States, Europe (including performances at the Salzburg Festival and Edinburgh Festival) and in Asia (including the first concert appearance by The Cleveland Orchestra in mainland China). Mr. Dohnányi was instrumental in choosing to restore Severance Hall’s Norton Memorial Organ, which was rededicated in January 2001, following the celebratory reopening of Severance Hall in January 2000. With The Cleveland Orchestra, Mr. Dohnányi recorded the complete symphonies of Beethoven, Brahms, and Schumann; selected symphonies by Bruckner, Dvořák, Mahler, Mozart, Schubert, and Tchaikovsky; works by Adams, Bartók, Berlioz, Birtwistle, Busoni, Ives, Ravel, Richard Strauss, Varèse, and Webern; and Wagner’s operas Das Rheingold and Die Walküre. In December 2001, The Cleveland Orchestra released the Christoph von Dohnányi Compact Disc Edition, a 10CD retrospective featuring live performances with The Cleveland Orchestra from 1984 through 2001. With London’s Philharmonia Orchestra, Mr. Dohnányi served as principal conductor (1997-2008) and as principal guest conductor (1994-97), and currently holds the position of honorary conductor for life. He has led the Philharmonia in a number of opera productions at the Théâtre du Châtelet in Paris. He most recently served as chief conductor of the NDR Symphony Orchestra in Hamburg (20042010) and now devotes his time as a guest conductor appearing around the world. Christoph von Dohnányi’s recent performances have included opening the Boston Symphony Orchestra’s 75th anniversary season at Tanglewood last summer, and season opening concerts in the autumn with the orchestra of Teatro alla Scala in Milan and with L’Orchestre de Paris. He also led performances of Bruckner’s Eighth Symphony with London’s Philharmonia Orchestra. This spring, his engagements include concerts with the Israel Philharmonic and the Philharmonia. In North America, in addition to these performances in Cleveland, he is leading concerts with the New York Philharmonic, Boston Symphony Orchestra, Washington D.C.’s National Symphony, and the Philadelphia Orchestra, and coaching and conducting at the Juilliard School. Other notable engagements from recent seasons Severance Hall 2012-13

Conductor

include Strauss’s Salome with the Zurich Opera, concerts with the Royal Concertgebouw Orchestra and Zurich’s Tonhalle, a two-week series of all four Brahms symphonies with the Los Angeles Philharmonic, Richard Strauss’s Ariadne auf Naxos at Tanglewood, and a new production of Schoenberg’s Moses and Aron with stage director Achim Freyer and the Zurich Opera. Christoph von Dohnányi has accepted invitations as a guest conductor at the Royal Opera House, Lyric Opera of Chicago, Metropolitan Opera in New York, La Scala Milan, Vienna State Opera, and Zurich Opera. During the 1992-93 season, he conducted a new production of Wagner’s The Ring of the Nibelung at the Vienna State Opera. As a regular guest at the Salzburg Festival, Mr. Dohnányi has led the Vienna Philharmonic in several new productions, including Bartók’s Bluebeard’s Castle, Mozart’s Così fan tutte and The Magic Flute, Schoenberg’s Erwartung, and Richard Strauss’s Ariadne auf Naxos, Der Rosenkavalier, and Salome. Also in Salzburg, he conducted the Vienna Philharmonic in the world premieres of Henze’s Die Bassariden and Cerha’s Baal. With the Vienna Philharmonic, Mr. Dohnányi has recorded symphonic works by Mendelssohn and Tchaikovsky, and a number of operas including Beethoven’s Fidelio, Berg’s Wozzeck and Lulu, Schoenberg’s Erwartung, Strauss’s Salome, and Wagner’s The Flying Dutchman. He also recorded the violin concertos of Glass and Schnittke with Gidon Kremer and the Dvořák Piano Concerto with András Schiff. Born in Berlin, Christoph von Dohnányi was a law student at the University of Munich, but soon chose to pursue his music studies full time. After winning the Richard Strauss Prize of Munich for conducting, he spent a period of time studying with his grandfather, Ernö (Ernst von) Dohnányi, at Florida State University. In 1952, Mr. Dohnányi accepted a position as assistant to Georg Solti coaching and conducting at the Frankfurt Opera. He also served as chief conductor of Cologne’s West German Radio Symphony Orchestra (196469), was the artistic and music director of the Frankfurt Opera (1968-77), and held the position of intendant and chief conductor of the Hamburg State Opera (1977-84).

Empowering the lives of over 16,000 children and families each year.

www.GuidestoneOhio.org

Conductor

The Cleveland Orchestra

GUSTAV MAHLER 1860-1911

Gustav Mahler, at age five (below left) in the earliest known photograph; with beard at age twenty-one in 1881; (right top) his wife, Alma, and their two daughters, Maria and Anna, in 1906; at the coast (bottom right) of the North Sea; and in a cartoon making fun of the unusual instruments (including cowbell and forging hammer) he orchestrated into his Sixth Symphony.

Appreciation

THE

V CLE

ELA

OR ND

T HES

The Musical Arts Association gratefully acknowledges the artistry and dedication of all the musicians of The Cleveland Orchestra. In addition to rehearsals and concerts throughout the year, many musicians donate performance time in support of community engagement, fundraising, education, and audience development activities. We are pleased to recognize these musicians, listed below, who have volunteered for such events and presentations during the 2011-12 and 2012-13 seasons. Martha Baldwin Charles Bernard Katherine Bormann Charles Carleton Hans Clebsch Patrick Connolly Ralph Curry Marc Damoulakis Maximilian Dimoff Scott Dixon Bryan Dumm Mark Dumm Tanya Ell Ying Fu

Kim Gomez Miho Hashizume Joela Jones Alicia Koelz Stanley Konopka Mark Kosower Paul Kushious Jung-Min Amy Lee Takako Masame Eli Matthews Sonja Braaten Molloy Jacob Nissly Peter Otto Chul-In Park Joanna Patterson Zakany Henry Peyrebrune

Musician Appreciation

Alexandra Preucil Lynne Ramsey Marisela Sager Jonathan Sherwin Emma Shook Joshua Smith Barrick Stees Trina Struble Brian Thornton Isabel Trautwein Carolyn Gadiel Warner Stephen Warner Richard Weiss Robert Woolfrey Derek Zadinsky Jeffrey Zehngut

The Cleveland Orchestra

CLE E H T

D LAN

T HES

Meet the Musicians Cleveland Orchestra musicians participate in a variety of community and education activities beyond the weekly orchestral concerts at Severance Hall. These activities include masterclasses and recitals, PNC Musical Rainbows, the Learning Through Music school partnership program, and coaching the Cleveland Orchestra Youth Orchestra.

SCOTT HAIGH

bass BORN: Oak Park, Illinois ROLE MODELS: My teacher. People

with positive attitudes. ON MY MP3 PLAYER: Don’t have one. WHY A MUSICIAN: When I was a teenager,

I couldn’t imagine doing anything else! FREE TIME: Exercise and practice. FAVORITE ORCHESTRAL WORK:

I can’t decide. I like most of the orchestral repertoire.

PHOTOGRAPHS BY ROGER MASTROIANNI

DANIEL McKELWAY

RICHARD KING

clarinet

horn

BORN: Hanover, New Hampshire BORN: West Islip, Long Island, New York WHY A MUSICIAN: Loved it

and was good at it. ROLE MODEL: My father. CLEVELAND ORCHESTRA HIGHLIGHT:

Playing Strauss’s opera Der Rosenkavalier. FREE TIME: Spending time with family,

running, working on my old car. ON MY MP3 PLAYER: Don’t have one. FAVORITE ORCHESTRAL WORK:

Richard Strauss’s Till Eulenspiegel.

Severance Hall 2012-13

(but raised in Davidson, North Carolina) ON MY MP3 PLAYER: sea shanties,

The Beatles, clarinet chamber music with my teacher Harold Wright, The Cleveland Orchestra with George Szell. ROLE MODELS: My teacher Robert Listokin is the most inspiring human I have ever encountered. FREE TIME: Play with my son Rein, hang out and talk with my wife, Lembi, and enjoy our two twin daughters. Run, sail, hike, ski, climb mountains, work on my 1976 Toyota Celica, watch ACC basketball.

Meet the Musicians

T HE

C LE V E L A N D

Administrative Staff EXECUTIVE OFFICE Gary Hanson EXECUTIVE DIRECTOR

Rosemary Klena EXECUTIVE ASSISTANT

ORCHES T R A

as of February 10, 2013

CLEVELAND ORCHESTRA MIAMI Holly Hudak MANAGING DIRECTOR

Montserrat Balseiro PATRON DEVELOPMENT & EDUCATION MANAGER

ORCHESTRA OPERATIONS

Etain Elisabeth Connor

Gary Ginstling

Pratima Raju

GENERAL MANAGER

DEVELOPMENT OFFICER ASSOCIATE DEVELOPMENT OFFICER

SEVERANCE HALL Mary Ann Makee DIRECTOR OF FACILITIES MANAGEMENT & OPERATIONS

Laura Clelland ADMINISTRATIVE ASSISTANT

Building Operations Charles L谩szl贸 BUILDING OPERATIONS MANAGER

Janet Montagino ADMINISTRATIVE ASSISTANT

Cherilyn Byers ADMINISTRATIVE ASSISTANT

Julie Kim DIRECTOR OF OPERATIONS

Amy Gill ORCHESTRA OPERATIONS MANAGER

Artistic Administration Mark Williams DIRECTOR, ARTISTIC PLANNING

Randy Elliot ASSISTANT ARTISTIC ADMINISTRATOR

Barb Bodemer DRIVER

Orchestra Personnel Carol Lee Iott DIRECTOR

Karyn Garvin MANAGER

Marla Bentley ORCHESTRA PERSONNEL ASSISTANT

Stage Joe Short STAGE MANAGER

Gil Gerity Thomas Holden John Riley Don Verba STAGEHANDS

Chorus Jill Harbaugh MANAGER

Rachel Novak ASSISTANT TO THE MANAGER

Education & Community Programs Joan Katz Napoli DIRECTOR

Sandra Jones MANAGER, EDUCATION & FAMILY CONCERTS

Erika Richter EDUCATION & COMMUNITY PROGRAMS COORDINATOR

Ashley Smith MANAGER, CLEVELAND ORCHESTRA YOUTH ORCHESTRA

SALES & COMMUNICATIONS Ross Binnie CHIEF MARKETING OFFICER

Sales Julie Stapf

Steve Skunta SENIOR BUILDING ENGINEER

Scott Miller Robert Nock Christopher Downey Michael Evert BUILDING ENGINEERS

DIRECTOR OF SALES

Ryan Buckley DIGITAL MARKETING & WEBSITE MANAGER

David Szekeres INTERIM PUBLICATIONS MANAGER

Timothy Parkinson COMMUNICATIONS ASSOCIATE

Jerry Golski GROUP SALES MANAGER

Research Adriane Smith PATRON SYSTEMS MANAGER

Ticket Office Timothy Gaines TICKET OFFICE MANAGER

Joan Eppich ASSOCIATE MANAGER

Mary Ellen Campbell ASSISTANT MANAGER

Monica Berens SUBSCRIPTION REPRESENTATIVE

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

Shelia Baugh George Felder Michelle Williams DOOR PERSONS

Quinn Chambers HALL STAFF & CLEANING SUPERVISOR

Steven Washington Pauletta Hughes HALL STAFF LEAD

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

Glynis Smith Renee Pettway CLEANING PERSONS

Facility Sales Bob Bellamy FACILITY SALES MANAGER

Concerts & Special Events Erin Patton Graziani MANAGER

Jennifer Masters ASSOCIATE MANAGER

Communications Ana Papakhian DIRECTOR

Christine Honolke MEDIA RELATIONS MANAGER

Deborah Hefling ARCHIVIST

Program Book Eric Sellen EDITOR

House Management Judith Diehl HOUSE MANAGER

Adam Clemens ASSOCIATE HOUSE MANAGER

Retail Larry Fox STORE MANAGER

Pauline Kivach Gretchen Kolovich Helen Douglas SALES ASSOCIATES

Administrative Staff

The Cleveland Orchestra

clevelandorchestra.com PHILANTHROPY & ADVANCEMENT

FINANCE & ADMINISTRATION

Jon Limbacher

James E. Menger

CHIEF DEVELOPMENT OFFICER

Colleen Halpin SENIOR DEVELOPMENT ASSOCIATE

Leadership Giving Tim Mann DIRECTOR, LEADERSHIP DEVELOPMENT

Ellen Bender LEADERSHIP GIVING OFFICER

Bryan de Boer LEADERSHIP GIVING OFFICER

Grace Sipusic MAJOR GIFTS OFFICER

Hayden Howland MANAGER, LEADERSHIP GIVING

Jessica Thomas INDIVIDUAL GIVING COORDINATOR

Bridget Mundy LEGACY GIVING OFFICER

Institutional Giving Anizia Karmazyn DIRECTOR OF DEVELOPMENT, INSTITUTIONAL GIVING

Leah Hostetler DEVELOPMENT ASSOCIATE

David Welshhans DEVELOPMENT OFFICER, CORPORATE & FOUNDATION RELATIONS

Erin Gay DEVELOPMENT OFFICER, FOUNDATION & CORPORATE RELATIONS

Patricia Camacho Hughes DEVELOPMENT MANAGER, STEWARDSHIP

Development Operations Suzanne Richardson de Roulet MANAGER, DEVELOPMENT COMMUNICATIONS

CHIEF FINANCIAL OFFICER

Shirley Rundo

Severance Hall

11001 Euclid Avenue Cleveland, OH 44106

ADMINISTRATIVE ASSISTANT

Faith Noble CONTROLLER

Barbara S. Snyder ACCOUNTING MANAGER

Carolann Oravec PAYROLL MANAGER

Heather Poston SENIOR ACCOUNTANT

Administrative Offices

216-231-7300 Ticket Office

216-231-1111 or 800-686-1141

Mary Stewart-McGovern ACCOUNTING ANALYST

Group Sales

Christina Dutkovic

216-231-7493

ACCOUNTING ASSOCIATE

Information Technology David Vivino DIRECTOR

Randy Conn DATABASE ANALYST

Theresa Henderson NETWORK ADMINISTRATOR

Mailroom Jim Hilton SUPERVISOR

Lomack Gray MAILROOM CLERK

Human Resources Michelle Vectirelis DIRECTOR

Charise Reid HUMAN RESOURCES COORDINATOR

Connie Pomeroy HUMAN RESOURCES ASSOCIATE

Emily Szy MANAGER, SPECIAL EVENTS & DONOR SERVICES

Education & Community Programs

216-231-7355 Media Relations

216-231-7476 Archives

216-231-7356

Individual Giving

216-231-7562 Institutional Giving

216-231-8011 Legacy Giving

Lori Cohen

216-231-8006

COMMUNITY LEADERSHIP LIAISON

Anne Soulé

Volunteers

RESEARCH ANALYST

216-231-7557

Jim Reynolds DEVELOPMENT DATABASE COORDINATOR

Severance Hall Rental Office

216-231-7421 Cleveland Orchestra Store

216-231-7478

Severance Hall 2012-13

Administrative Staff

Student Ticket Programs “Under 18s Free,” Student Advantage membership, and Student Frequent FanCard offer affordable access to Cleveland Orchestra concerts all season long The Cleveland Orchestra is committed to developing one of the youngest audiences of any orchestra in the country. With the help of generous contributors, the Orchestra has expanded its discounted ticket offerings through several new programs. In the opening two months of the current Severance Hall season, student attendance has doubled from last season, with nearly 20% of the audience being students experiencing Cleveland Orchestra concerts through these various programs and offers. S T U D E N T A DVA N TAG E P R O G R A M

The Orchestra’s ongoing Student Advantage Program provides opportunities for students to attend Orchestra concerts at Severance Hall through discounted ticket offers. Membership in the Student Advantage Program is free. A new Student Frequent FanCard was introduced this season. Priced at $50, the FanCard offers students unlimited single tickets (one per FanCard holder) to weekly Classical Subscription Concerts all season long. “ U N D E R 1 8 s F R E E ” F O R FA M I L I E S

Introduced for Blossom Music Festival concerts two summers ago, the “Under 18s Free” for families program now includes select Cleveland Orchestra concerts at Severance Hall each season. This program offers free tickets (one per regularpriced adult paid admission) to young people ages 7-17 to the Orchestra’s Fridays@7, Friday Morning at 11, and Sunday Afternoon at 3 concerts. All of these programs are supported by The Cleveland Orchestra’s Center for Future Audiences and the Alexander and Sarah Cutler Fund for Student Audiences. The Center for Future Audiences was created with a $20 million lead endowment gift from the Maltz Family Foundation to develop new generations of audiences for Cleveland Orchestra concerts in Northeast Ohio.

Student Ticket Programs

The Cleveland Orchestra

The Cleveland Orchestra: Serving the Community The Cleveland Orchestra draws together traditional and new programs in music education and community involvement to 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.

Franz Welser-Möst leads a concert at John Adams High School. Through such In-School Performances and Education Concerts at Severance Hall, The Cleveland Orchestra introduced more than 4 million young people to symphonic music over the past nine decades. Severance Hall 2012-13

Education & Community

T H E

C L E V E L A N D

El Sistema@Rainey performing at Severance Hall. The initiative is an intensive after-school orchestral music program launched in September 2011 by Cleveland Orchestra violinist Isabel Trautwein and Cleveland’s Rainey Institute. Modeled after the national Venezuelan program El Sistema (“the system”), the initiative emphasizes community-based orchestra training from a young age, with a focus on making music fun and inspiring young musicians with a passion for music and for life. The Cleveland Orchestra and education partner Conn-Selmer are the official providers of instruments for the El Sistema@Rainey program, with instrument support from Royalton Music for El Sistema@Rainey Summer Camp.

Through the PNC Musical Rainbows series at Severance Hall, Cleveland Orchestra musicians introduce nearly 10,000 preschoolers each year to the instruments of the orchestra.

Cleveland Orchestra bassist Mark Atherton with classroom students at Cleveland’s Mayfair Elementary School, part of the Learning Through Music program that fosters the use of music and the arts to support general classroom learning. Education & Community

The Cleveland Orchestra

O R C H E S T R A THANK YOU The Cleveland Orchestraâ&#x20AC;&#x2122;s Education & Community programs are made possible by many generous individuals and organizations, including:

PROGRAM FUNDERS The Abington Foundation The Eva L. and Joseph M. Bruening Foundation Cleveland Clinic The Cleveland Foundation Conn-Selmer, Inc. Cuyahoga Arts & Culture Dominion Foundation The Harry K. Fox and Emma R. Fox Charitable Foundation The Giant Eagle Foundation Muna & Basem Hishmeh Foundation Invacare Corporation Martha Holden Jennings Foundation KeyBank The Laub Foundation The Lincoln Electric Foundation The Lubrizol Corporation The Nord Family Foundation Ohio Arts Council Ohio Savings Bank PNC The Reinberger Foundation Albert G. & Olive H. Schlink Foundation The Sherwin-Williams Foundation The South Waite Foundation Surdna Foundation Thomas H. White Foundation, a KeyBank Trust The Edward & Ruth Wilkof Foundation Womenâ&#x20AC;&#x2122;s Committee of The Cleveland Orchestra

Cleveland Orchestra flutist Marisela Sager working with pre-school students as part of PNC Grow Up Great, a program utilizing music to support pre-literacy and school readiness skills.

ENDOWMENT FUNDS AND FUNDERS Hope and Stanley I. Adelstein Kathleen L. Barber Mr. Roger G. Berk In memory of Anna B. Body Isabelle and Ronald Brown Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Roberta R. Calderwood Alice B. Cull Memorial Fund Mr. and Mrs. Charles B. Emrick, Jr. Charles and Marguerite C. Galanie Mr. David J. Golden The George Gund Foundation Dorothy Humel Hovorka Mr. James J. Hummer Frank and Margaret Hyncik Walter and Jean Kalberer Foundation Alfred Lerner In-School Performance Fund Mr. and Mrs. Stanley A. Meisel Christine Gitlin Miles Mr. and Mrs. David T. Morganthaler Morley Fund for Pre-School Education Pysht Fund The Ratner, Miller, and Shafran Families and Forest City Enterprises, Inc. In memory of Georg Solti The William N. Skirball Endowment Jules and Ruth Vinney Youth Orchestra Touring Fund Anonymous

Severance Hall 2012-13

Education & Community

More than 1,200 talented young musicians have performed as members of the Cleveland Orchestra Youth Orchestra in the quarter century since its founding in 1986.

THE CLEVELAND ORCHESTRA

The Cleveland Orchestra Center for Future Audiences T H E C L E V E L A N D O R C H E S T R A ’s Center for Future Audiences was estab-

lished to fund programs to develop new generations of audiences for Cleveland Orchestra concerts in Northeast Ohio. The Center was created in 2010 with a $20 million lead endowment gift from the Maltz Family Foundation. Center-funded programs focus on addressing economic and geographic barriers to attending Cleveland Orchestra concerts at Severance Hall and Blossom Music Center. Programs include research, introductory offers, targeted discounts, student ticket programs, and integrated use of new technologies. The goal is to create one of the youngest audiences of any symphony orchestra in the country. For additional information about these plans and programs, call us at 216-231-7464.

ENDOWED FUNDS

Maltz Family Foundation Mr. and Mrs. Alexander M. Cutler

For information about contributing to this major endowment initiative, please contact the Orchestra’s Philanthropy & Advancement Department by calling Jon Limbacher, Chief Development Officer, at 216-231-7520.

THANK YOU

for helping develop tomorrow’s audiences today.

Center for Future Audiences

The Cleveland Orchestra

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

Endowed Funds

funds established as of October 2012

Generous contributions to the endowment have been made to support specific artistic initiatives, education and community programming and performances, facilities maintenance costs, touring and residencies, and more. Named funds can be established with new gifts of $250,000 or more. For information about making your own endowment gift to the Orchestra, please call 216-231-7438.

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

American Conductors Fund

Keithley Fund

Douglas Peace Handyside Holsey Gates Handyside

Artist-in-Residence

Severance Hall Guest Conductors

Malcolm E. Kenney

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

Concert Previews Dorothy Humel Hovorka

Radio Broadcasts Robert and Jean Conrad

Unrestricted William P. Blair III Fund for Orchestral Excellence John P. Bergren and Sarah S. Evans Margaret Fulton-Mueller Fund Virginia M. and Jon A. Lindseth

Roger and Anne Clapp James and Donna Reid

Cleveland Orchestra Soloists Julia and Larry Pollock Family Fund

Guest Artists 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

CENTER FOR FUTURE AUDIENCES â&#x20AC;&#x201D; The Cleveland Orchestraâ&#x20AC;&#x2122;s Center for Future Audiences, created with a lead gift from the Maltz Family Foundation, was established to develop new generations of audiences for The Cleveland Orchestra. Center for Future Audiences Maltz Family Foundation

Student Audiences Alexander and Sarah Cutler Fund

Endowed Funds listing continues

Severance Hall 2012-13

Endowed Funds

THE CLEVELAND ORCHESTRA

Endowed Funds continued from previous page EDUCATION AND COMMUNITY 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 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 John and Sally Morley Education Fund The William N. Skirball Endowment

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

In-School Performances Alfred M. Lerner Fund

Classroom Resources Charles and Marguerite C. Galanie

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

Musical Rainbows Pysht Fund

Community Programming Machaskee Fund

SEVERANCE HALL endowed funds support maintenance of keyboard instruments and the facilities of the Orchestraâ&#x20AC;&#x2122;s concert home, Severance Hall: 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

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

Severance Hall Preservation Severance family and friends

BLOSSOM MUSIC CENTER and BLOSSOM FESTIVAL endowed funds support the Orchestraâ&#x20AC;&#x2122;s summer performances and maintenance of Blossom Music Center. Blossom Festival Guest Artist Dr. and Mrs. Murray M. Bett The Hershey Foundation The Payne Fund Mr. and Mrs. William C. Zekan

Landscaping and Maintenance 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

Endowed Funds

The Cleveland Orchestra

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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 Annual Fund, benefit events, tours and residencies, and special projects.

Cumulative Giving

Annual Support

JOHN L. SEVERANCE SOCIETY

KeyBank

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.

$1 MILLION TO $5 MILLION

PARTNERS IN EXCELLENCE $300,000 AND MORE

$5 MILLION AND MORE

BakerHostetler 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 Raiffeisenlandesbank Oberösterreich (Europe) The Sage Cleveland Foundation The J. M. Smucker Company The Severance Society recognizes generous contributors of $1 million or more in cumulative giving to The Cleveland Orchestra. Listing as of December 2012.

gifts of $2,500 or more during the past year, as of December 20, 2012

KeyBank The Lubrizol Corporation NACCO Industries, Inc. The J. M. Smucker Company PARTNERS IN EXCELLENCE $200,000 TO $299,999

BakerHostetler Eaton Corporation FirstEnergy Foundation Forest City Enterprises, Inc. PNC PARTNERS IN EXCELLENCE $100,000 TO $199,999

Google, Inc. Medical Mutual of Ohio Parker Hannifin Corporation $50,000 TO $99,999

Exile LLC Jones Day Quality Electrodynamics (QED) Raiffeisenlandesbank Oberösterreich (Europe) The Sage Cleveland Foundation Anonymous $25,000 TO $49,999 Bank of America Dix & Eaton The Giant Eagle Foundation Northern Trust Bank of Florida (Miami) Park-Ohio Holdings Corp. The Plain Dealer RPM International Inc. Squire, Sanders & Dempsey (US) LLP Thompson Hine LLP

$2,500 TO $24,999 Akron Tool & Die Company AkronLife Magazine American Fireworks, Inc. American Greetings Corporation BDI Brouse McDowell Eileen M. Burkhart & Co LLC Buyers Products Company

Severance Hall 2012-13

Corporate Annual Support

Cedar Brook Financial Partners, LLC The Cleveland Wire Cloth & Mfg. Co. The Cliffs Foundation Community Behavioral Health Center Conn-Selmer, Inc. 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 FirstMerit Bank Frantz Ward LLP Viktor Kendall, Friends of WLRN Gallagher Benefit Services Genovese Vanderhoof & Associates Great Lakes Brewing Company Gross Builders Hahn Loeser + Parks LLP Houck Anderson P.A. (Miami) Hunton & Williams, LLP (Miami) Hyland Software The Lincoln Electric Foundation Littler Mendelson, P.C. C. A. Litzler Co., Inc. Live Publishing Company Macy’s Materion Corporation Miba AG (Europe) MTD Products, Inc. Nordson Corporation North Coast Container Corp. Northern Haserot Oatey Co. Ohio CAT Ohio Savings Bank, A Division of New York Community Bank Olympic Steel, Inc. Oswald Companies PolyOne Corporation The Prince & Izant Company Richey Industries, Inc. Satch Logistics LLC SEMAG Holding GmbH (Europe) The Sherwin-Williams Company Stern Advertising Agency Swagelok Company TriMark S.S. Kemp Trionix Research Laboratory, Inc. Tucker Ellis Ulmer & Berne LLP United Automobile Insurance Company (Miami) Ver Ploeg & Lumpkin, P.A. (Miami) Ricky & Sarit Warman — Papa John’s Pizza (Miami) WCLV Foundation Westlake Reed Leskosky The Avedis Zildjian Company Anonymous (3)

EXERCISE YOUR MIND OFF-CAMPUS CLASSES & EVENTS IN YOUR NEIGHBORHOOD

NATHAN ENGLANDER Nathan Englander is the author of the critically acclaimed collection What We Talk About When We Talk About Anne Frank, as well as the internationally bestselling story collection For the Relief of Unbearable Urges, and the novel The Ministry of Special Cases (all published by Knopf/ Vintage). His short fiction and

essays have appeared in The New Yorker, The New York Times, The Atlantic Monthly, and The Washington Post, as well as The O. Henry Prize Stories and numerous editions of The Best American Short Stories. Translated into more than a dozen languages, Englander was selected as one of â&#x20AC;&#x153;20 Writers for the 21st Centuryâ&#x20AC;? by The New Yorker.

Ă&#x2039; 686ĂŠ 7 595 *6 9

Events TUESDAY MARCH 12 co-sponsored by Âş ĂŠ Ă&#x2039;Ă§NĂ§ Ă&#x2C6; 9 6 5 9 698 6 5 7 8 58 Ă§ Cuyahoga County Âş ĂŠ Ă&#x2039;Ă§NĂ§ #Ă? 9 9 85 59 Ă&#x152;66 9 9 Ă§ Public Library The Laura & Alvin Siegal Lifelong Learning program at Case Western Reserve University provides high-quality lifelong learning opportunities for adults who want to cultivate their ongoing intellectual curiosity.

SPRING PROGRAMMING HIGHLIGHTS SENIOR SCHOLARS â&#x20AC;&#x201C; Spring topics include: Womenâ&#x20AC;&#x2122;s Work: Myths and Realities (Professor Dorothy Miller); American Pulp Fiction (Professor William Marling); Revolutions (Presented by the Baker-Nord Center for Humanities); The Decline of the Middle Ages (Professor 76 ' Ă¤ĂŞ Brazil Today: an Opera in Five Acts (Professor Don Ramos). Classes held at the College Club: Tuesday, Wednesday or Thursday afternoons. VISITING SCHOLARS â&#x20AC;&#x201C; including: Political Scientist Dr. Guy Ben-Porat (Ben-Gurion University, Israel); Rabbi Steve Greenberg ĂŁ-58 695 7 98 6 Learning and Leadership, and the first openly gay Orthodox Rabbi) & Professor Vivian Mann (director of 8 N5 8 Ă˛ Ă&#x2039; 6 5 9 7 8 59 , 5 8 58 + 7 + 6 6 5 * 95 Ă¤Ă§

browse class & event listings online www.case.edu/lifelonglearning Tel: 216.368.2090

ACE (The Association for Continuing Education) Programs include Discussion Day April 15; Annual Meeting with Professor Michael Scharf (CWRU School of Law) and OFF-CAMPUS STUDIES in locations throughout Northeast Ohio. DISTINGUISHED LECTURE SERIES â&#x20AC;&#x201C; Including: Chief Rabbi of Poland Michael Schudrich; Professor 7 S. Gurock; Professor Robert M. Seltzer; Professor Haya Bar-Itzhak & Professor Christine Hayes. SCHOLARS ON THE CIRCLE â&#x20AC;&#x201C; Spring programs in partnership with the Cleveland Museum of Art, Western Reserve Historical Society, The Music Settlement, and Kelvin Smith Library. 7 *8 and Hebrew language courses and programs (all levels).

. . . for the love of learning

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 Annual Fund, benefit events, tours and residencies, and special projects.

Cumulative Giving

Annual Support

JOHN L. SEVERANCE SOCIETY

$1 MILLION AND MORE

$10 MILLION AND MORE

The Cleveland Foundation Cuyahoga County residents through Cuyahoga Arts & Culture Kulas Foundation Maltz Family Foundation State of Ohio Ohio Arts Council The Kelvin and Eleanor Smith Foundation $5 MILLION TO $10 MILLION

John P. Murphy Foundation $1 MILLION TO $5 MILLION

Ann and Gordon Getty Foundation GAR Foundation The George Gund Foundation The Louise H. and David S. Ingalls Foundation Martha Holden Jennings Foundation Knight Foundation (Cleveland, Miami) The Andrew W. Mellon 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 cumulative giving to The Cleveland Orchestra. Listing as of December 2012.

Severance Hall 2012-13

gifts of $2,000 or more during the past year, as of December 20, 2012

The Cleveland Foundation Cuyahoga County residents through Cuyahoga Arts and Culture The Andrew W. Mellon Foundation The Kelvin and Eleanor Smith Foundation $250,000 TO $499,000

Kulas Foundation The Miami Foundation, from a fund established by the John S. and James L. Knight Foundation (Miami) John P. Murphy Foundation David and Inez Myers Foundation Ohio Arts Council $100,000 TO $249,999

Sidney E. Frank Foundation GAR Foundation The George Gund Foundation $50,000 TO $99,999

The George W. Codrington Charitable Foundation Martha Holden Jennings Foundation The Mandel Foundation Myra Tuteur Kahn Memorial Fund of The Cleveland Foundation John S. and James L. Knight Foundation Elizabeth Ring Mather and William Gwinn Mather Fund National Endowment for the Arts Donald and Alice Noble Foundation, Inc. The Payne Fund Surdna Foundation $20,000 TO $49,999 The Abington Foundation Akron Community Foundation The Helen C. Cole Charitable Trust The Mary S. and David C. Corbin Foundation The Gerhard Foundation, Inc. Ann and Gordon Getty Foundation The Margaret Clark Morgan Foundation The Frederick and Julia Nonneman Foundation The Nord Family Foundation Peacock Foundation, Inc. (Miami) The Sisler McFawn Foundation

$2,000 TO $19,999 Ayco Charitable Foundation The Ruth and Elmer Babin Foundation The Batchelor Foundation, Inc. (Miami) The Bernheimer Family Fund of The Cleveland Foundation Bicknell Fund Eva L. and Joseph M. Bruening Foundation The Collacott Foundation 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 The Muna and Basem Hishmeh Foundation Richard H. Holzer Memorial Foundation The Kangesser Foundation The Kridler Family Fund of The Columbus Foundation The Jean Thomas Lambert Foundation The Laub Foundation Victor C. Laughlin, M.D. Memorial Foundation Trust The G. R. Lincoln Family Foundation Miami-Dade County Department of Cultural Affairs (Miami) Paintstone Foundation The Charles E. & Mabel M. Ritchie Memorial Foundation The Leighton A. Rosenthal Family Foundation SCH Foundation Albert G. & Olive H. Schlink Foundation Harold C. Schott Foundation Jean C. Schroeder Foundation Kenneth W. Scott Foundation The Sherwick Fund Lloyd L. and Louise K. Smith Memorial Foundation The South Waite Foundation The Taylor-Winfield Foundation The George Garretson Wade Charitable Trust The S. K. Wellman Foundation The Welty Family Foundation Thomas H. White Foundation, a KeyBank Trust The Edward & Ruth Wilkof Foundation The Wuliger Foundation Anonymous (2)

Foundation/Government Annual Support

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 to the Annual Fund, benefit events, tours and residencies, and special annual donations.

Lifetime Giving

Annual Support

JOHN L. SEVERANCE SOCIETY

gifts during the past year, as of December 20, 2012 INDIVIDUAL GIFTS OF $500,000 AND MORE

$10 MILLION AND MORE

Daniel R. and Jan R. Lewis (Miami, Cleveland)

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

$5 MILLION TO $10 MILLION

Irma and Norman Braman (Miami) Francie and David Horvitz Family Foundation (Miami) The Walter and Jean Kalberer Foundation Mrs. Norma Lerner and The Lerner Foundation Susan Miller (Miami) Ms. Ginger Warner (Cleveland, Miami)

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

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

$1 MILLION TO $5 MILLION

Irma and Norman Braman (Miami) Mr. and Mrs. Francis J. Callahan Mrs. Anne M. Clapp Mr. George Gund III Francie and David Horvitz (Miami) Mr. and Mrs. Michael J. Horvitz Mr. James D. Ireland III The Walter and Jean Kalberer Foundation Mr. and Mrs. Joseph P. Keithley Mr. and Mrs. Dennis W. LaBarre 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 2012.

Daniel R. and Jan R. Lewis (Miami)

Mr. and Mrs. Joseph P. Keithley Dr. and Mrs. Herbert Kloiber (Europe) Peter B. Lewis and Janet Rosel (Miami) Mr.* and Mrs. Herbert McBride Mr. and Mrs. Albert B. Ratner Janet and Richard Yulman (Miami) INDIVIDUAL GIFTS OF $75,000 TO $99,999

Mr. and Mrs. Douglas A. Kern The Honorable and Mrs. John Doyle Ong Mr. and Mrs. Alfred M. Rankin, Jr. INDIVIDUAL GIFTS OF $50,000 TO $74,999

Sheldon and Florence Anderson (Miami) Mr. William P. Blair III Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. and Mrs. Alexander M. Cutler Hector D. Fortun (Miami) Mr. and Mrs. Michael J. Horvitz James D. Ireland III Mr. and Mrs. Dennis W. LaBarre R. Kirk Landon and Pamela Garrison (Miami) Toby Devan Lewis Ms. Beth E. Mooney James and Donna Reid Barbara S. Robinson Mr. and Mrs. Richard K. Smucker Barbara and David Wolfort Anonymous

Individual Annual Support

The Cleveland Orchestra

INDIVIDUAL GIFTS OF $30,000 TO $49,999

Mr. and Mrs. Daniel M. Bell (Miami) Dr. and Mrs. Wolfgang Berndt (Europe) Blossom Women’s Committee Mr. and Mrs. Charles P. Bolton The Brown and Kunze Foundation Jeanette Grasselli Brown and Glenn R. Brown Robert and Jean* Conrad Do Unto Others Trust (Miami) Mr. and Mrs. Geoffrey Gund George Gund Trevor and Jennie Jones Elizabeth B. Juliano (Cleveland, Miami) Giuliana C. and John D. Koch Foundation (Cleveland, Miami) Dr. Vilma L. Kohn Mr. and Mrs. S. Lee Kohrman Charlotte R. Kramer Ms. Nancy W. McCann Sally S. and John C. Morley Julia and Larry Pollock Mrs. Alfred M. Rankin, Sr. Charles and Ilana Horowitz Ratner Luci and Ralph* Schey Mary M. Spencer (Miami) Mr. and Mrs. Franz Welser-Möst

INDIVIDUAL GIFTS OF $15,000 TO $19,999

Randall and Virginia Barbato Jayusia and Alan Bernstein (Miami) Scott Chaikin and Mary Beth Cooper Mr. and Mrs. Peter O. Dahlen George* and Becky Dunn listings continue

Crescendo

Annual Campaign Patrons

Barbara Robinson, chair Robert Gudbranson, vice chair

INDIVIDUAL GIFTS OF $25,000 TO $29,999

Dr. and Mrs. Hiroyuki Fujita Junior Committee of The Cleveland Orchestra David and Jan Leshner Mr. and Mrs. Jon A. Lindseth Mr. and Mrs. Edward A. Lozick Margaret Fulton-Mueller Mrs. Jane B. Nord Mr. and Mrs. James A. Ratner Hewitt and Paula Shaw Richard and Nancy Sneed (Cleveland, Miami) Paul and Suzanne Westlake INDIVIDUAL GIFTS OF $20,000 TO $24,999

Gay Cull Addicott Mr. and Mrs. William W. Baker Jill and Paul Clark Bruce and Beth Dyer Esther L. and Alfred M. Eich, Jr. Dr. Edward S. Godleski Andrew and Judy Green Gary Hanson and Barbara Klante Mr. and Mrs. Jack Hoeschler Richard and Erica Horvitz (Cleveland, Miami) Mrs. Marguerite B. Humphrey William J. and Katherine T. O’Neill

Severance Hall 2012-13

Dr. and Mrs. Ronald J. Ross Steven and Ellen Ross Mr. and Mrs. James A. Saks Marc and Rennie Saltzberg Raymond T. and Katherine S. Sawyer Dr. and Mrs. Neil Sethi R. Thomas and Meg Harris Stanton Mr. and Mrs. Donald Stelling (Europe) Mr. Gary L. Wasserman and Mr. Charles A. Kashner (Miami) Women’s Committee of The Cleveland Orchestra Anonymous gift from Switzerland (Europe) Anonymous

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 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.

Individual Annual Support

THE CLEVELAN D ORCHESTRA

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:

listings continued

Colleen and Richard Fain (Miami) Jeffrey and Susan Feldman Mr. Allen H. Ford Richard and Ann Gridley Mrs. John A Hadden Jr. Jack Harley and Judy Ernest Mary and Jon Heider (Cleveland, Miami) Tati and Ezra Katz (Miami) Jonathan and Tina Kislak (Miami) Robert M. Maloney and Laura Goyanes Mr.* and Mrs. Arch J. McCartney Mr. Thomas F. McKee Miba AG (Europe) Lucia S. Nash Mr. Gary A. Oatey Brian and Patricia Ratner David and Harriet Simon Mr. Joseph F. Tetlak Rick, Margarita and Steven Tonkinson (Miami) LNE Group â&#x20AC;&#x201C; Lee Weingart (Europe) Anonymous INDIVIDUAL GIFTS OF $12,500 TO $14,999

Mr. and Mrs. David J. Carpenter Judith and George W. Diehl Joyce and Ab* Glickman Mr. and Mrs. Jeffrey Healy Mrs. David Seidenfeld Mr. and Mrs. Alfred Umdasch (Europe) INDIVIDUAL GIFTS OF $10,000 TO $12,499

Mr. and Mrs. George N. Aronoff Marsha and Brian Bilzin (Miami) Dr. Christopher P. Brandt and Dr. Beth Sersig Mr. D. McGregor Brandt, Jr. Augustine* and Grace Caliguire Mr. and Mrs. R. Bruce Campbell Richard J. and Joanne Clark Martha and Bruce Clinton (Miami) Mr. and Mrs. William E. Conway Mrs. Barbara Cook Bruce Coppock and Lucia P. May (Miami) Mr. and Mrs. Matthew V. Crawford Mr. Peter and Mrs. Julie Cummings (Miami) Mr. and Mrs. Robert P. Duvin Mike S. and Margaret Eidson (Miami)

Dr. and Mrs. Lloyd H. Ellis Jr. Ms. Dawn M. Full Francisco A. Garcia and Elizabeth Pearson (Miami) Mr. and Mrs. Richard T. Garrett Albert I. and Norma C. Geller Mr. and Mrs. Robert W. Gillespie Robert K. Gudbranson and Joon-Li Kim Jeffrey and Stacie Halpern Sondra and Steve Hardis David and Nancy Hooker Joan and Leonard Horvitz Mr. and Mrs. Christopher Hyland Mr. and Mrs. Donald M. Jack, Jr. Allan V. Johnson Janet and Gerald Kelfer (Miami) Mrs. Elizabeth R. Koch Tim and Linda Koelz Mr. and Mrs. Richard A. Manuel Mr. and Mrs. Stanley A. Meisel Edith and Ted* Miller Mrs. Sydell L. Miller The Estate of 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 Mr. Larry J. Santon Dr. E. Karl and Lisa Schneider Rachel R. Schneider Mr. and Mrs. Oliver E. Seikel Kim Sherwin Mr. and Mrs. Steven Spilman Lois and Tom Stauffer Mrs. Blythe Sundberg Dr. Russell A. Trusso Tom and Shirley Waltermire The Wells Family Foundation, Inc. Sandy and Ted Wiese Anonymous INDIVIDUAL GIFTS OF $7,500 TO $9,999

Laurel Blossom Dr. and Mrs. Jerald S. Brodkey Dr. Thomas Brugger and Dr. Sandra Russ Ellen E. & Victor J. Cohn Supporting Foundation Mr. Owen Colligan Mr. and Mrs. Edward B. Davis Henry and Mary Doll Nancy and Richard Dotson Kathleen E. Hancock Mary Jane Hartwell Iris and Tom Harvie Mrs. Sandra L. Haslinger Amy and Stephen Hoffman Pamela and Scott Isquick Joela Jones and Richard Weiss Judith and Morton Q. Levin Mr. Jeff Litwiller Mr. and Mrs.* Robert P. Madison Mrs. Robert H. Martindale Mr. and Mrs. Thomas B. McGowan Mr. Donald W. Morrison Pannonius Foundation Douglas and Noreen Powers listings continue

Individual Annual Support

The Cleveland Orchestra

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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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Severance Hall 2012-13

THE CLEVELAN D ORCHESTRA listings continued

Rosskamm Family Trust Patricia J. Sawvel Carol* and Albert Schupp Dr. Gerard and Phyllis Seltzer Naomi G. and Edwin Z. Singer Family Fund Mrs. Gretchen D. Smith Mr. and Mrs. Donald W. Strang, Jr. Mrs. Marie S. Strawbridge Bruce and Virginia Taylor Anonymous (3) INDIVIDUAL GIFTS OF $5,000 TO $7,499

Susan S. Angell Mr. and Mrs. Albert A. Augustus Mr. and Mrs. Dean Barry Mr. Jon Batchelor (Miami) Fred G. and Mary W. Behm Drs. Nathan A. and Sosamma J. Berger Mr. William Berger Dr.* and Mrs.* Norman E. Berman Dr. and Mrs. Eugene H. Blackstone Paul and Marilyn* Brentlinger Mr. Robert W. Briggs Frank and Leslie Buck Mr. and Mrs. William C. Butler Ms. Maria Cashy Drs. Wuu-Shung and Amy Chuang Dr. William & Dottie Clark Mrs. Lester E. Coleman Mr. and Mrs. Gerald A. Conway Corinne L. Dodero Foundation for the Arts and Sciences Mr. and Mrs. Ralph Daugstrup Mrs. Barbara Ann Davis Ms. Nancy J. Davis (Miami) Mr. and Mrs. Thomas S. Davis Mr. and Mrs. Terry C. Z. Egger Dr. and Mrs. Robert Elston Mary and Oliver Emerson Dr. D. Roy and Diane A. Ferguson Christopher Findlater (Miami) Joy E. Garapic Mr. David J. Golden Mr. and Mrs. Henry J. Goodman Mr. and Mrs. Randall J. Gordon Harry and Joyce Graham Mr. Paul Greig David and Robin Gunning Clark Harvey and Holly Selvaggi In memory of Philip J. Hastings Henry R. Hatch Robin Hitchcock Hatch Barbara Hawley and David Goodman Janet D. Heil* Anita and William Heller T. K. and Faye A. Heston Bob and Edith Hudson (Miami) Mr. James J. Hummer Mr. and Mrs. Brinton L. Hyde Rudolf D. and Joan T. Kamper Andrew and Katherine Kartalis Milton and Donna* Katz Dr. and Mrs. William S. Kiser Mrs. Justin Krent

Mr. James and Mrs. Patricia Krohngold Mr. and Mrs. Peter A. Kuhn Mr. and Mrs. Arthur J. Lafave, Jr. David C. Lamb Shirley and William Lehman (Miami) Mr.* and Mrs. Leo Leiden Larry and Christine Levey Mr. and Mrs. Adam Lewis (Miami) Mrs. Emma S. Lincoln Heather and Irwin Lowenstein Mr. and Mrs. Alex Machaskee Ms. Jennifer R. Malkin Mr. and Mrs. Morton L. Mandel Alan Markowitz M.D. and Cathy Pollard Alexander and Marianna C.* McAfee Claudia Metz and Thomas Woodworth Drs. Terry E. and Sara S. Miller Mr. and Mrs. William A. Mitchell Ann Jones Morgan Robert Moss (Miami) Mr. Raymond M. Murphy Mr. and Mrs. Stephen E. Myers Mr. and Mrs. Herbert Newman Richard and Kathleen Nord Mr. Henry Ott-Hansen Mr. J. William and Dr. Suzanne Palmer Claudia and Steven Perles (Miami) Nan and Bob Pfeifer Dr. and Mrs. John N. Posch Lois S.* and Stanley M. Proctor Ms. Rosella Puskas Mr. and Mrs. Thomas A. Quintrell Drs. Raymond R. Rackley and Carmen M. Fonseca Mr. and Mrs. Roger F. Rankin Ms. Deborah Read Paul A. and Anastacia L. Rose Dr. Tom D. Rose Mr. and Mrs. Robert C. Ruhl Mrs. Florence Brewster Rutter David M. and Betty Schneider Linda B. Schneider Larry and Sally Sears Mr. Eric Sellen and Mr. Ron Seidman Mrs. Frances G. Shoolroy Marjorie B. Shorrock Laura and Alvin A. Siegal David Kane Smith Jim and Myrna Spira George and Mary Stark Charles B. and Rosalyn Stuzin (Miami) Ms. Lorraine S. Szabo Mr. and Mrs. Paul A. Teel, Jr. Mr. and Mrs. Bill Thornton Mr.* and Mrs. Robert N. Trombly Don and Mary Louise Van Dyke Bill Appert and Chris Wallace (Miami) Mr. and Mrs. Fred A. Watkins Dr. and Mrs. Leslie T. Webster, Jr. Dr. Edward L. and Mrs. Suzanne Westbrook Tom and Betsy Wheeler Charles Winans Anonymous (6)

listings continue

Individual Annual Support

The Cleveland Orchestra

Severance Hall 2012-13

THE CLEVELAN D ORCHESTRA listings continued INDIVIDUAL GIFTS OF $3,500 TO $4,999

Dr. and Mrs. D. P. Agamanolis Mr. and Mrs. Robert H. Baker Ms. Delphine Barrett Mrs. Joanne M. Bearss Mr. and Mrs. Jules Belkin Dr. Ronald and Diane Bell Suzanne and Jim Blaser Dr. Ben H. and Julia Brouhard Dr. and Mrs. William E. Cappaert Ms. Mary E. Chilcote Drs. Mark Cohen and Miriam Vishny Diane Lynn Collier Marjorie Dickard Comella Pete and Margaret Dobbins Peter and Kathryn Eloff Mr. Brian L. Ewart and Mr. William McHenry Peggy and David* Fullmer Mrs. Joan Getz (Miami) Robert N. and Nicki N. Gudbranson Mr. Robert D. Hart Matthew D. Healy and Richard S. Agnes Hazel Helgesen and Gary D. Helgesen Ms. Rosina Horvath

Mr. David and Mrs. Dianne Hunt Dr. and Mrs. Scott R. Inkley Donna L. and Robert H. Jackson Mr. and Mrs. Richard A. Janus Helen and Erik Jensen Dr. Gilles and Mrs. Malvina Klopman Dr. James and Mrs. Margaret Kreiner Ronald and Barbara Leirvik Mr. and Mrs. Irvin A. Leonard Dr. Alan and Mrs. Joni Lichtin Anne R. and Kenneth E. Love Robert and LaVerne* Lugibihl Elsie and Byron Lutman Joel and Mary Ann Makee Martin and Lois Marcus Susan and Reimer Mellin Dr.* and Mrs. Hermann Menges, Jr. Dr. Susan M. Merzweiler Mr. and Mrs. Peter R. Osenar Mrs. Ingrid Petrus Mr. and Mrs. John S. Piety Mr. and Mrs. Richard W. Pogue In memory of Henry Pollak William and Gwen Preucil

Dr. Robert W. Reynolds Mrs. Charles Ritchie Amy and Ken Rogat Fred Rzepka and Anne Rzepka Family Foundation Bob and Ellie Scheuer Ms. Freda Seavert Charles Seitz (Miami) Ginger and Larry Shane Mr. Richard Shirey Dr. Marvin and Mimi Sobel Mr. and Mrs. William E. Spatz Howard Stark M.D. and Rene Rodriguez (Miami) Mrs. Barbara Stiefel (Miami) Dr. Elizabeth Swenson Mr. and Mrs. Leonard K. Tower Robert and Marti Vagi Mr. and Mrs. Mark Allen Weigand Mr. Peter and Mrs. Laurie Weinberger Robert C. Weppler Richard Wiedemer, Jr. Nancy V. and Robert L. Wilcox

Dr. Dale and Susan Cowan Mrs. Frederick F. Dannemiller Charles and Fanny Dascal (Miami) Jeffrey and Eileen Davis Mrs. Lois Joan Davis Dr. Sharon DiLauro-Petrus Dr. and Mrs. Richard C. Distad Ms. Maureen A. Doerner and Mr. Geoffrey T. White Mr. George and Mrs. Beth Downes Ms. Mary Lynn Durham George* and Mary Eaton David and Margaret Ewart Harry and Ann Farmer Carl and Amy Fischer Scott Foerster, Foerster 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) Arthur L. Fullmer Richard L. Furry Jeanne Gallagher Barbara and Peter Galvin Mrs. Georgia T. Garner Barbara P. Geismer* Mr. Wilbert C. Geiss, Sr. Dr. Kevin and Angela Geraci Anne and Walter Ginn Mr. and Mrs. David Goldberg Mr. and Mrs. David A. Goldfinger Dr. and Mrs. Ronald L. Gould Mr. and Mrs. Robert T. Graf Nancy Green (Miami) Mr. and Mrs. Brent R. Grover

The Thomas J. and Judith Fay Gruber Charitable Foundation Nancy and James Grunzweig Mr. Davin and Mrs. Jo Ann Gustafson Dr. Phillip M. and Mrs. Mary Hall Norman C. and Donna L. Harbert Mr. and Mrs. George B. P. Haskell Mr. and Mrs. Jerry Herschman Mr. Robert T. Hexter Dr. and Mrs. Robert L. Hinnes Mr. and Mrs. Edmond H. Hohertz Thomas and Mary Holmes Dr. Keith A. and Mrs. Kathleen M. Hoover Mark and Ruth Houck (Miami) Dr. Randal N. Huff and Ms. Paulette Beech Ms. Charlotte L. Hughes Ms. Luan K. Hutchinson Ruth F. Ihde Dr. Michael and Mrs. Deborah Joyce Barbara and Michael J. Kaplan Dr. and Mrs. Richard S. Kaufman Rev. William C. Keene Mr. Karl W. Keller 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 Natalie Kittredge Fred and Judith Klotzman Ellen Brad and Bart Kovac

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. Roger G. Berk Kerrin and Peter Bermont (Miami) Barbara and Sheldon Berns Julia and David Bianchi (Cleveland, Miami) Carmen Bishopric (Miami) Bill and Zeda Blau Mr. Doug Bletcher Mr. and Mrs. Dennis A. Block John and Anne Bourassa Lisa and Ron Boyko Mrs. Ezra Bryan J. C. and Helen Rankin Butler Ms. Mary R. Bynum and Mr. J. Philip Calabrese Mrs. Millie L. Carlson Mr. and Mrs. Frank H. Carpenter Leigh Carter Mr. and Mrs. James B. Chaney Dr. and Mrs. Ronald Chapnick Ms. Suzan Cheng Dr. and Mrs. Chris Chengelis Mr. and Mrs. Homer D. W. Chisholm Mr. and Mrs. Robert A. Clark Mr. and Mrs. Stanley Cohen (Miami) Mr. and Mrs. David J. Cook

listings continue

Individual Annual Support

The Cleveland Orchestra

Accelerating success.

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travel With Rick Steves

Around Noon

Car TalK The Sound of Ideas® the diane rehm show

Morning Edition

as it happens Tell Me More Talk of the Nation All Things Considered radiolab Severance Hall 2012-13

THE CLEVELAN D ORCHESTRA listings continued INDIVIDUAL GIFTS OF $2,500 TO $3,499 CONTINUED

Dr. Ronald H. Krasney and Ms. Sherry* Latimer Mr. Donald N. Krosin Mr. and Mrs. S. Ernest Kulp Mrs. Carolyn Lampl Mr. and Mrs. Israel Lapciuc Kenneth M. Lapine Anthony T. and Patricia A. Lauria Mr. Jin-Woo Lee Michael and Lois A. Lemr Dr. Edith Lerner Dr. Stephen B. and Mrs. Lillian S. Levine Robert G. Levy Mr. Jon E. Limbacher and Patricia J. Limbacher Isabelle and Sidney* Lobe Holly and Donald Loftus Martha Klein Lottman Mary Loud Marianne Luedeking (Miami) Herbert L. and Rhonda Marcus Dr. and Mrs. Sanford E. Marovitz David and Elizabeth Marsh Mr. and Mrs.* Duane J. Marsh Mrs. Meredith T. Marshall Dr. Ernest and Mrs. Marian Marsolais Mr. Julien L. McCall Jim and Diana McCool William and Eleanor McCoy Ms. Nancy L. Meacham Mr. James E. Menger Stephen and Barbara Messner Mr. Stephen P. Metzler Mr. and Mrs. Roger Michelson (Miami) MindCrafted Systems Ms. Barbara A. Morrison Joan Katz Napoli and August Napoli Richard B. and Jane E. Nash Mr. David and Mrs. Judith Newell Mort and Milly Nyman (Miami) Richard and Jolene O’Callaghan

Nedra and Mark Oren (Miami) James P. Ostryniec (Miami) Mr. and Mrs. Robert D. Paddock Deborah and Zachary Paris Dr. Lewis and Janice B. Patterson Dr. Roland S. Philip and Dr. Linda M. Sandhaus Dr. Marc and Mrs. Carol Pohl Mr. Richard and Mrs. Jenny Proeschel K. Pudelski Dr. James and Lynne Rambasek Ms. C. A. Reagan Alfonso Conrado Rey (Miami) David and Gloria Richards Michael Forde Ripich Dr. Barbara Risius Carol Rolf and Steven Adler Dr. and Mrs. Michael Rosenberg (Miami) Michael and Roberta Rusek Dr. Harry S. and Rita K. Rzepka Nathan N. and Esther Rzepka Family Philanthropic Fund Bunnie Joan Sachs Family Foundation 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 Drs. Daniel and Ximena Sessler Harry and Ilene Shapiro Norine W. Sharp Dr. and Mrs. William C. Sheldon Dr. Howard* and Mrs. Judith Siegel Ms. Linda M. Smith Mr. and Mrs.* Jeffrey H. Smythe Mrs. Virginia Snapp Ms. Barbara Snyder Mr. John C. Soper and Dr. Judith S. Brenneke Mr. John D. Specht Mr. and Mrs.* Lawrence E. Stewart Stroud Family Trust

Dr. Kenneth F. Swanson Mr. Taras G. Szmagala Jr. Mr. Nelson S. Talbott Ken and Martha Taylor Greg and Suzanne Thaxton Mr. Karl and Mrs. Carol Theil Parker D. Thomson Esq. (Miami) Mr. and Mrs. Robert J. Tomsich Mr. and Mrs. Lyman H. Treadway Steve and Christa Turnbull Miss Kathleen Turner Robert A. Valente Brenton Ver Ploeg (Miami) Mr. and Mrs. Joaquin Vinas (Miami) Mr. and Mrs. Les C. Vinney Dr. Michael Vogelbaum and Mrs. Judith Rosman Ricky and Sarit Warman – Papa John’s Pizza (Miami) Mr. and Mrs. Joseph F. Wasserbauer Ms. Laure A. Wasserbauer Philip and Peggy Wasserstrom Eric* and Margaret Wayne Mr. and Mrs. Jerome A. Weinberger Mrs. Mary Wick Bole Dr. Paul R. and Mrs. Catherine Williams Dr. and Mr. Ann Williams Richard and Mary Lynn Wills Michael H. Wolf and Antonia Rivas-Wolf Mr. Robert Wolff and Dr. Paula Silverman Rad and Patty Yates Fred and Marcia Zakrajsek Mr. Kal Zucker and Mrs. Mary Frances Haerr Anonymous (10)

member of the Leadership Council (see page 78)

* deceased

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

Individual Annual Support

The Cleveland Orchestra

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

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, released in 2012, 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 recent years include two under the baton of Pierre Boulez and a third album of Mozart piano concertos with Mitsuko Uchida, whose first Cleveland Orchestra Mozart album won a Grammy Award in 2011. Visit the Cleveland Orchestra Store for the latest and best Cleveland Orchestra recordings and DVDs.

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Severance Hall 2012-13

11001 Euclid Avenue Cleveland, Ohio 44106

CLEVELANDORCHESTRA.COM

the world’s most beautiful concert halls, Severance Hall has been home to The Cleveland Orchestra since its opening on February 5, 1931. After that first concert, a Cleveland newspaper editorial stated: “We believe that Mr. Severance intended to build a temple to music, and not a temple to wealth; and we believe it is his intention that all music lovers should be welcome there.” John Long Severance (president of the Musical Arts Association, 1921-1936) and his wife, Elisabeth, donated most of the funds necessary to erect this magnificent building. Designed by Walker & Weeks, its elegant

HAILED AS ONE OF

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.

Severance Hall

The Cleveland Orchestra

july 13-august 23

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Severance Hall 2012-13

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THE CLEVELAND C O N C E R T

C A L E N D A R

WINTER SEASON Thursday February 28 at 8:00 p.m. Friday March 1 at 8:00 p.m. Saturday March 2 at 8:00 p.m. THE CLEVELAND ORCHESTRA Christoph von Dohnányi, conductor

HENZE Suite from The Bassarids MAHLER Symphony No. 1 (“Titan”) Sponsor: PNC

Thursday March 7 at 7:00 p.m. THE CLEVELAND ORCHESTRA conducted by Franz Welser-Möst with CLEVELAND ORCHESTRA YOUTH ORCHESTRA James Feddeck, conductor CLEVELAND ORCHESTRA YOUTH CHORUS Lisa Wong, director CLEVELAND ORCHESTRA CHILDREN’S CHORUS Ann Usher, director El SISTEMA@RAINEY MUSICIANS led by Isabel Trautwein

SPECIAL SHOWCASE CONCERT MAKE MUSIC! Franz Welser-Möst and The Cleveland Orchestra shine a spotlight on the importance of music education with this special Showcase Concert featuring all of the Orchestra’s youth ensembles performing together for the first time in the Orchestra’s history! The Showcase Concert is part of Make Music!, a new effort aimed at encouraging people of all ages to come together and make music!

Friday March 8 at 7:00 p.m. THE CLEVELAND ORCHESTRA Robert Franz, conductor with the Singing Angels FAMILY CONCERT

SYMPHONY UNDER THE SEA Submerge yourself in wet, watery, wonderful music featuring Disney’s beloved theme to The Little Mermaid, Handel’s Water Music, and much more! Come along as we go under the sea and let the waves of enchanting music wash over you as Severance Hall is transformed into an aquatic auditorium for a family evening to remember! Sponsor: The Giant Eagle Foundation

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

Sunday March 10 at 7:00 p.m. CLEVELAND ORCHESTRA YOUTH ORCHESTRA James Feddeck, conductor CLEVELAND ORCHESTRA YOUTH CHORUS Lisa Wong, director

TCHAIKOVSKY Symphony No. 5 BRAHMS Nänie HANSON Song of Democracy

SPRING SEASON Thursday March 21 at 8:00 p.m. Saturday March 23 at 8:00 p.m. THE CLEVELAND ORCHESTRA Alan Gilbert, conductor

RAVEL Mother Goose (complete ballet music) MAHLER Symphony No. 7 Friday March 22 at 10:00 a.m. Saturday March 23 at 10:00 a.m. Saturday March 23 at 11:00 a.m. PNC MUSICAL RAINBOW

THE FABULOUS FLUTE Marisela Sager, flute

30-minute programs for ages 3 to 6.

Thursday April 4 at 8:00 p.m. Friday April 5 at 8:00 p.m. Saturday April 6 at 8:00 p.m. THE CLEVELAND ORCHESTRA Mitsuko Uchida, piano and conductor

MOZART Piano Concerto No. 17 MOZART Divertimento in B-flat major MOZART Piano Concerto No. 25 Sponsor: Quality Electrodynamics (QED)

Thursday April 11 at 8:00 p.m. Friday April 12 at 8:00 p.m. Saturday April 13 at 8:00 p.m. Sunday April 14 at 3:00 p.m. THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Robert Walters, oboe d’amore Rebecca Nelsen, soprano Nicholas Phan, tenor Stephen Powell, baritone Cleveland Orchestra Chorus Cleveland Orchestra Children’s Chorus

BACH Concerto in A major, BWV1055 ORFF Carmina Burana Sponsor: KeyBank

Concert Calendar

The Cleveland Orchestra

ORCHESTRA

1213 SEASON I N

T H E

S P O T L I G H T

Thursday April 18 at 8:00 p.m. Saturday April 20 at 8:00 p.m. Sunday April 21 at 3:00 p.m. THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Frank Peter Zimmermann, violin

SHEPHERD Tuolumne [WORLD PREMIERE] SHOSTAKOVICH Violin Concerto No. 1 DVOŘÁK Symphony No. 6 Thursday April 25 at 8:00 p.m. Friday April 26 at 8:00 p.m. Saturday April 27 at 8:00 p.m. THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Malin Hartelius, soprano Maximilian Schmitt, tenor Luca Pisaroni, baritone Cleveland Orchestra Chorus

HANDEL’S WATER MUSIC

HAYDN The Seasons Sponsor: BakerHostetler

Thursday May 9 at 8:00 p.m. Friday May 10 at 8:00 p.m.

Friday April 26 at 10:00 a.m. Saturday April 27 at 10:00 a.m. Saturday April 27 at 11:00 a.m.

THE CLEVELAND ORCHESTRA Ton Koopman, conductor Jay Carter, countertenor Steven Soph, tenor Klaus Mertens, bass Cleveland Orchestra Chamber Chorus

PNC MUSICAL RAINBOW

THE VIRTUOSO VIOLIN Beth Woodside, violin

30-minute programs for ages 3 to 6.

Wednesday May 1 at 7:30 p.m. Friday May 3 at 7:30 p.m. THE CLEVELAND ORCHESTRA James Feddeck, conductor AT THE CLEVELAND MUSEUM OF ART

CALIFORNIA MASTERWORKS Two special programs feature interesting and daring sounds of musical works that originated from composers living and writing in California during the 20th century — and welcoming into classical music a myriad of non-European influences. Funded in part through The Cleveland Orchestra’s Keithley Fund for Artistic Collaboration.

Friday May 3 at 11:00 a.m. Saturday May 4 at 8:00 p.m. Sunday May 5 at 3:00 p.m. THE CLEVELAND ORCHESTRA Ton Koopman, conductor Paul Yancich, timpani

Sponsor: Thompson Hine LLP

CLEVELAND ORCHESTRA TICKETS

PROGRAM INCLUDES:

FISCHER Symphony with Eight Timpani HAYDN Symphony No. 45 (“Farewell”)

Severance Hall 2012-13

In 1717, England’s King George was suffering in the polls. His political advisors suggested that he do something big to get the people behind him. They came up with the idea of a summer boating party on the Thames, for which Handel wrote the music. Arguably the most popular piece of Baroque music today, Water Music makes fashionable use of the dance forms popular at the time, combining festivity and finesse.

Concert Calendar

PHONE

216 - 231-1111 800-686-1141

clevelandorchestra.com 91

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 pre-concert dining. For reservations, call 216-231-7373, or make your plans on-line by visiting opentable.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 October 14, November 25, February 10 and 24, and May 5 and 26. For additional information or to reserve you place for these tours, please call the Severance Hall 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 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 pre-paid parking passes is limited. To order prepaid parking, call the Severance Hall Ticket Office at 216-231-1111. Parking can be purchased for the at-door price of $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 pre-paid 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.

FRIDAY MATINEE PARKING

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

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

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

Concert Previews at Severance Hall are presented in Reinberger Chamber Hall on the ground floor (street level), except when noted, beginning one hour before most Cleveland Orchestra concerts.

Guest Information

The Cleveland Orchestra

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 Audio recording, photography, and videography are strictly prohibited during performances at Severance Hall. As courtesy to others, please turn off any phone or device that makes noise or emits light.

REMINDERS Please disarm electronic watch alarms and turn off all pagers, cell phones, and mechanical devices before entering the concert hall. Patrons with hearing aids are asked to be attentive to the sound level of their hearing devices and adjust them 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 provides special seating options for mobility-impaired persons and their companions and families. There are wheelchair- and scooter-accessible locations where patrons can remain in their wheelchairs or transfer to a concert seat. Aisle seats with removable armrests are also available for persons who wish to transfer. Tickets for wheelchair accessible and companion seating can be purchased by phone, in person, or online. As a courtesy, Severance Hall provides wheelchairs to assist patrons in going to and from their seats. Patrons can arrange a loan by calling the House Manager at 216-231-7425 TTY line access is available at the public pay phone located in the Security Office. Infrared Assistive Listening Devices are available from a Head Usher or the House Manager for most performanc-

Severance Hall 2012-13

Guest Information

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

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 seven. 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 will be treated as a tax-deductible contribution. Patrons who turn back tickets receive a cumulative donation acknowledgement at the end of each calendar year.

THE CLEVELAND ORCHESTRA U P C O M I N G

C O N C E R T S

At Severance Hall . . .

ALAN GILBERT CONDUCTS MAHLER Thursday March 21 at 8:00 p.m. Saturday March 23 at 8:00 p.m. THE CLEVELAND ORCHESTRA Alan Gilbert, conductor

Alan Gilbert, former assistant conductor of The Cleveland Orchestra and now music director of the New York Philharmonic, returns to lead Mahler’s Seventh Symphony, nicknamed “The Song of the Night.” This epic, five-movement work opens with the repeated echoes of a boat’s oars dipping into a lake — and continues across a musical journey from shore to shore, through night to the glorious sunrise of day. Here Mahler captures life’s authenticity and elation, heartfelt pain and immeasurable beauty. The concert begins with Ravel’s delightful ballet score for Mother Goose. Please Note: Following the instructions of his doctors, Pierre Boulez has reluctantly withdrawn from his scheduled appearances with The Cleveland Orchestra for this weekend. Alan Gilbert, music director of the New York Philharmonic, has graciously agreed to step in to lead these concerts.

CARMINA BURANA Thursday April 11 at 8:00 p.m. Friday April 12 at 8:00 p.m. Saturday April 13 at 8:00 p.m. Sunday April 14 at 3:00 p.m. THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Robert Walters, oboe d’amore Rebecca Nelsen, soprano Nicholas Phan, tenor Stephen Powell, baritone Cleveland Orchestra Chorus Cleveland Orchestra Children’s Chorus

Carl Orff’s joyous Carmina Burana bursts forth like a boisterous street festival — filled with great music, marvelous mayhem, and delightful merriment. This modern-day Canterbury Tales comes complete with lusty hymns to springtime, animated drinking songs, and a swan’s anguishingly ironic farewell to life (on a barbecue spit!). The evening opens with a concerto by J.S. Bach, for oboe d’amore. Sponsor: KeyBank

New! See also the concert calendar listing on pages 90-91, or visit The Cleveland Orchestra online for a complete schedule of future events and performances, or to purchase tickets online 24 / 7 for Severance Hall concerts.

TICKETS

216-231-1111

clevelandorchestra.com

Upcoming Concerts

The Cleveland Orchestra

If you want to change

YOUR COMMUNITY, be that change.

Isabel Trautwein, Cleveland Orchestra First Violinist, Program Director, Dreamer & Doer, Local Hero. Longing to share the experience of making music with children who had never been to Severance Hall, Isabel launched a strings program at the Rainey Institute in the Hough neighborhood. Now thereâ&#x20AC;&#x2122;s a waiting list to learn how to play classical music. You, too, can play a part in creating lasting change within the Cleveland community by making a donation to the Cleveland Foundation â&#x20AC;&#x201D; dedicated to enhancing the lives of all Clevelanders now and for generations to come.

Support your passions. Give through the Cleveland Foundation. Please call our Advancement Team at 1.877.554.5054 ClevelandFoundation.org