THE CLEVELAND ORCHESTRA
SPRING SEASON
F R ANZ WELSER-MÖST M U SIC DI R ECTOR
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April 25, 26, 27 HAYDN’S THE SEASONS
12 13 SEASON
E! LIF G N TI POR A S
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1213 SEASON
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In the News From the Executive Director . . . . . . . . . . . . . . . . . . 7 Orchestra News . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
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About the Orchestra Spotlight: Photo of the Week . . . . . . . . . . . . . . . . . 8 Musical Arts Association . . . . . . . . . . . . . . . . . . . . . 11 Music Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . 22 Student Ticket Programs . . . . . . . . . . . . . . . . . . 72-P Severance Hall. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 Guest Information . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
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HAYDN
The Seasons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Sung Text and Translation . . . . . . . . . . . . . . . . . 59 Conductor: Franz Welser-Möst . . . . . . . . . . . . . . . 15 Guest Soloists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 Cleveland Orchestra Chorus . . . . . . . . . . . . . . . . . . 51
Support Sound for the Centennial . . . . . . . . . . . . . . . . . . . . 56 Endowed Funds . . . . . . . . . . . . . . . . . . . . . . . . . . 72-N Corporate Annual Support . . . . . . . . . . . . . . . . . . . 73 Foundation / Government Annual Support . . . 75 Individual Annual Support . . . . . . . . . . . . . . . . . . 76
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Copyright © 2013 by The Cleveland Orchestra and the Musical Arts Association Eric Sellen, Program Book Editor E-MAIL: esellen@clevelandorchestra.com 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
Concert — Week 20 Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Program: April 25, 26, 27 . . . . . . . . . . . . . . . . . . 37 Introducing the Program . . . . . . . . . . . . . . . . . . . . 39
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COVER PHOTOGRAPH BY CARL JUSTE / IRIS COLLECTIVE
Future Concerts
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.
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This program book is printed on paper that includes 50% recycled post-consumer content. All unused books are recycled as part of the Orchestra’s regular business recycling program.
Concert Calendar . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 Upcoming Concerts . . . . . . . . . . . . . . . . . . . . . . . . 94
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.
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Table of Contents
The Cleveland Orchestra
Photo by Roger Mastroianni
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Perspectivesfrom the Executive Director April 2013 At the end of March, The Cleveland Orchestra received a $10 million, five-year grant from The Cleveland Foundation — the largest such commitment to an arts organization in the Foundation’s history and one of the largest gifts ever received by the Orchestra. We are deeply grateful for this exceptional grant and for the confidence in the Orchestra’s strategic direction that it represents. Over the past year, the Foundation’s staff and board have rigorously assessed the Orchestra’s ongoing transformation, and we sincerely appreciate their generous support of this important work. The Cleveland Foundation grant is a testament to much more than the Orchestra’s historical ranking among the world’s best — it is an extraordinary commitment to our programming innovations and our active community engagement. Sweeping changes at The Cleveland Orchestra have taken root in recent years and are starting to bear fruit. These include our efforts to foster future audiences, to shape and focus our education programs, and our work to build strong and meaningful working partnerships across the Northeast Ohio community. We are on target for a record-breaking season in ticket sales here at Severance Hall, including a significant increase in the number of young people eagerly enjoying and energizing our regular classical concerts. These numbers are the direct result of strong marketing programs (such as Student Advantage and Under18s Free) for our core symphonic concerts and innovative programming changes (including the KeyBank Fridays@7 and Celebrity series). Our education and community programs are also scoring strong successes. Our longstanding commitment to education was celebrated in March, including a unique showcase concert featuring all our youth ensembles performing together with The Cleveland Orchestra for the first time — a special event that was telecast on WVIZ. In addition, we believe that the introduction of “Make Music!” as a focus and catalyst for our ongoing work in music education will bring new understanding and energy to these programs. New initiatives in the community include the Orchestra’s inaugural neighborhood residency, “At Home in Gordon Square,” which unleashes a week filled with free events and performances, May 11-17, as part of the vibrant renaissance of this westside neighborhood. Good news about The Cleveland Orchestra and Northeast Ohio will continue. The initial stages of our Sound for the Centennial Campaign’s endowment and special fundraising phases have been strong, as evidenced by The Cleveland Foundation’s generous gift and by commitments from additional forward-looking organizations and individuals (see pages 56-57). This Campaign spans the decade up to the Orchestra’s hundredth birthday in 2018, and comprises all our fundraising efforts across the next five years. With your support and enthusiasm, there will be more good news ahead — for The Cleveland Orchestra and the entire Northeast Ohio community.
Severance Hall 2012-13
Gary Hanson
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CLEVELAND ORCHESTRA ARCHIVES
PHOTO OF THE WEEK follow the Orchestra on Facebook for more archival photos
Robert Shaw rehearsing The Cleveland Orchestra Chorus for performances of Beethoven’s Missa Solemnis in December 1963, in what was then the chorus rehearsal room at Severance Hall. The allvolunteer Chorus is celebrating the 60th anniversary of its founding throughout the 2012-13 season.
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-
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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
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T H E M U S I C AL AR TS ASSOCIATION
as of February 2013
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) *deceased
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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PHOTOGRAPH Š BY HEDRICH BLESSING
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Franz Welser-Möst Music Director Kelvin Smith Family Endowed Chair The Cleveland Orchestra
P H OTO BY S ATO S H I AOYAG I
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
15
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 acoustically 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.
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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.”
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Franz Welser-MÜst and The Cleveland Orchestra, performing Bruckner’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
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SECOND VIOLINS Stephen Rose * Alfred M. and Clara T. Rankin Chair
Emilio Llinas
2
James and Donna Reid Chair
Eli Matthews 1 Patricia M. Kozerefski and Richard J. Bogomolny Chair
Elayna Duitman Ioana Missits Carolyn Gadiel Warner Stephen Warner Sae Shiragami Vladimir Deninzon Sonja Braaten Molloy Scott Weber Kathleen Collins Beth Woodside Emma Shook Jeffrey Zehngut VIOLAS Robert Vernon * Chaillé H. and Richard B. Tullis Chair
Lynne Ramsey 1 Charles M. and Janet G. Kimball Chair
Stanley Konopka 2 Mark Jackobs Jean Wall Bennett Chair
Arthur Klima Richard Waugh Lisa Boyko Lembi Veskimets Eliesha Nelson Joanna Patterson Zakany Patrick Connolly
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 TROSMBONE 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
23
WE LIGHT THE WAY To new beginnings and healthier tomorrows
Si s ter s of C h a r it yHe a lt h.or g / Joi nUs In C l e v e l a n d : S t . V i n c e n t C h a r i t y M e d i c a l C e n t e r, S t . J o h n M e d i c a l C e n t e r*, S i s t e r s o f C h a r i t y F o u n d a t i o n o f C l e v e l a n d , B u i l d i n g H e a l t h y C o m m u n i t i e s , R e g i n a H e a l t h C e n t e r, J o s e p h ’s H o m e , L i g h t o f H e a r t s V i l l a*, * Joint ventures with partners C a t h o l i c C o m m u n i t y C o n n e c t i o n*, I n d e p e n d e n t P h y s i c i a n S o l u t i o n s Canton, Ohio i Cleveland, Ohio i Columbia, South Carolina
A Ministry of the Sisters of Charity of St. Augustine
OrchestraNews
Cleveland Foundation grants Orchestra $10 million Largest gift to an arts organization in Foundation’s history is vote of confidence in The Cleveland Orchestra’s programming innovations and community engagement across Northeast Ohio
—Cleveland Plain Dealer, March 28
The Cleveland Foundation has awarded The Cleveland Orchestra a $10 million grant to support its ongoing efforts to cultivate new and broader audiences and to build a strong endowment to sustain the nearly century-old institution. The grant . . . is a demonstration of the grantmaking organization’s confidence in the strategic direction the orchestra is taking, said Robert Eckardt, The Cleveland Foundation’s executive vice president. . . . “It was time to step up and provide a significant commitment to the Orchestra as they work through the challenging environment they find themselves in,” Mr. Eckardt said. . . . “They are an important part of Cleveland’s brand, and it’s difficult to imagine Cleveland without a world-class orchestra.” . . . Gary Hanson, the orchestra’s executive director, stated that The Cleveland Foundation’s commitment . . . adds “meaningful momentum” to the Orchestra’s Sound for the Centennial fundraising campaign, which runs through 2018 — the orchestra’s 100-year anniversary.
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—Crain’s Cleveland Business, March 28
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“The Cleveland Foundation’s just-announced $10 million grant to The Cleveland Orchestra — the largest arts grant in the foundation’s history — is a ringing vote of confidence in the future of this treasured local institution and its pacesetting innovations. . . . The grant is a welcome affirmation that The Cleveland Orchestra will be making beautiful music for another 100 years.”
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On March 28, The Cleveland Foundation announced the awarding of a five-year, $10 million grant to The Cleveland Orchestra in support of the Orchestra’s recent and ongoing efforts to attract a new, broader audience and to transform itself for the future. Given as part of the Orchestra’s Sound for the Centennial Campaign, this unprecedented grant is the largest single grant to an arts organization in the Foundation’s 99-year history. “We are deeply grateful for the Cleveland Foundation’s extraordinary grant and the confidence in the Orchestra’s strategic direction that it represents,” says Gary Hanson, executive director of The Cleveland Orchestra. “Over the past year, the foundation’s staff and board have rigorously assessed the Orchestra’s ongoing transformation and we sincerely appreciate their generous commitment to our work.” “Through the years, the Cleveland Foundation has stepped up to provide significant support to major Northeast Ohio institutions at pivotal times,” remarked Ronald B. Richard, president and chief executive officer of the Foundation. “We intend that this grant will catalyze additional leadership funding for the Orchestra’s creative efforts in the community to make this world-class institution accessible and enjoyable to all of Greater Cleveland for years to come.” The grant to the Orchestra was part of a record $26.6 million in grants in the first quarter of 2013 authorized by the Foundation’s board of directors, including grants in support of core neighborhood and youth initiatives, educational institutions, and efforts to create a vibrant downtown. Established in 1914, the Cleveland Foundation is the world’s first community foundation and one of the largest today. Through the generosity of donors, the foundation improves the lives of Greater Clevelanders by building community endowment, addressing needs through grantmaking, and providing leadership on vital issues.
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Longterm generosity and new commitments by Kulas Foundation and John P. Murphy Foundation recognized through the naming of Severance Hall’s upper lobby and dress circle seating
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Two important parts of Severance Hall — the dress circle seating area of the Concert Hall, and the adjoining dress circle lobby — have been named in recognition of longterm support for The Cleveland Orchestra by two extraordinary local organizations: the John P. Murphy Foundation and the Kulas Foundation. Both have long historical relationships with the Orchestra and have made generous new funding commitments to the Sound for the Centennial Campaign, which spans the decade leading to the Orchestra’s 100th anniversary in 2018. “These two foundations represent a special kind of strong, ongoing commitment to the Orchestra — and to the entire Northeast Ohio community,” said Gary Hanson, executive director of The Cleveland Orchestra, in announcing the named spaces. “We are humbled by their generosity and by their faith in the Orchestra’s efforts to transform itself and to harness the passion and power of music to serve more people across the region.” The John P. Murphy Foundation is now permanently honored at Severance Hall with the naming of the John P. Murphy Dress Circle Lobby. The Foundation and its trustees and officers have been generous supporters of The Cleveland Orchestra since 1970, contributing more than $7.5 million. John P. Murphy began serving on the Musical Arts Association board of trustees in 1953 and continued as a trustee until 1968. The Foundation has made a ten-year commitment of funding to The Cleveland Orchestra as part of the comprehensive Sound for the Centennial Campaign. “The John P. Murphy Foundation has long understood the tremendous value that The Cleveland Orchestra holds for all of Northeast Ohio,” says Nancy W. McCann, president of the Foundation’s board of trustees. “Our $3 million commitment to the Sound for the Centennial Campaign is an investment in this community that will help the Orchestra sustain its world-renowned level of artistic excellence while engag-
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ing more local residents through transformative and innovative musical programming.” With the naming of the Kulas Dress Circle, the Orchestra permanently honors the Kulas Foundation, which has generously supported The Cleveland Orchestra for three-quarters of a century. With their lifelong passion of music, Elroy J. Kulas and his wife, Fynette, began supporting the Orchestra in 1919, long before they established the Kulas Foundation in 1937. Both later served as active members of the Musical Arts Association board of trustees. In the past three decades, the Kulas Foundation has contributed more than $10 million to The Cleveland Orchestra. Their generosity has helped support education programs as well as the construction and naming of Kulas Plaza at Blossom Music Center to provide updated services for donors. They recently committed $3 million for the Sound for the Centennial Campaign. “We are extraordinarily grateful to Kulas Foundation trustees Richard W. Pogue, Patrick F. McCartan, and Nancy W. McCann for their leadership in working to support The Cleveland Orchestra,” said Gary Hanson. “The Cleveland Orchestra is among Northeast Ohio’s top cultural gems,” continued Nancy McCann. “With our commitment to this Campaign, the Kulas Foundation honors the ensemble’s 100th anniversary and looks forward to the Orchestra’s ongoing role as a strong and vibrant part of this community’s future.”
Committed to Accessibility Severance Hall is committed to making performances and facilities accessible to all patrons. For information about accessibility or for assistance, call the House Manager at 216 231-7425.
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OrchestraNews Orchestra will be “at home” in Gordon Square
Inaugural neighborhood residency will bring an intensive week of performances, activities, and concerts on west side, May 11-17
in part by the Machaskee Fund for Community Programming, a fund created by a generous endowment gift from Alex and Carol Machaskee. The centerpiece of the “At Home” in Gordon Square week of over a dozen free music presentations will be a Thursday night concert by The Cleveland Orchestra at Saint Colman Catholic Church. Seating for this is limited and tickets are required. Tickets can be obtained from a variety of Gordon Square businesses and organizations beginning on Saturday, April 27. Complete details of all the free performances and activities for “At Home” in Gordon Square — including family-friendly programs for all age groups — can be found on the Orchestra’s website at clevelandorchestra.com/athome. A new neighborhood or town will be chosen each season to partner with The Cleveland Orchestra in creating a unique and intensive week-long festival of musical activities, performances, exploration, and everyday fun.
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In May, The Cleveland Orchestra launches its “At Home” neighborhood residency program with an intensive week of performances and activities in the Gordon Square Arts District on Cleveland’s west side. All of the events, May 11-17, will be free and open to the public. Leaders and representatives from Gordon Square businesses and associations have partnered with the Orchestra to plan and host the week’s activities. These new “At Home” residencies are being designed to immerse the Orchestra in local neighborhoods through a festival-like week of performances and presentations, in order to bring the Orchestra’s musicians in closer context, contact, and connection with the Northeast Ohio community. “The citizens of this region created The Cleveland Orchestra,” says executive director Gary Hanson, “and continue to support the Orchestra’s music-making and its education programs at a higher level than any other metropolitan area in the country. In thanks for that faithful support, as a way to give back to the community, and as part of our ongoing commitment to Northeast Ohio, we are working to create a real-life everyday connection with neighborhoods throughout the region.” The Cleveland Orchestra’s “At Home” neighborhood residency program is supported
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OrchestraNews Mellon Foundation grants $2.5 million to Cleveland Orchestra for artistic initiatives
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The Andrew W. Mellon Foundation has awarded a new $2.5 million grant to The Cleveland Orchestra to support artistically ambitious programming with special emphasis on opera and ballet. The gift — the largest to the Orchestra in the Foundation’s history — supports the type of programming and partnerships that challenge and expand the Orchestra and help distinguish the ensemble from its peers. “We are grateful to the Andrew W. Mellon Foundation for supporting artistic initiatives as part of our ongoing transformation,” said Gary Hanson, the Orchestra’s executive director, in making the announcement. “Of national philanthropic foundations, the Mellon Foundation is among the most important in the support of symphony orchestras. We deeply appreciate their recognition and endorsement of the work of The Cleveland Orchestra.” The Mellon Foundation award will support opera performances in the next three seasons at Severance Hall, beginning with semi-staged performances of Janáček’s The Cunning Little Vixen in May 2014, led by music director Franz Welser-Möst. In addition, the grant also supports world-renowned guest artists in longterm collaborations with The Cleveland Orchestra, such as conductor Ton Koopman, pianist Mitsuko Uchida, and music director laureate Christoph von Dohnányi. The New York-based Andrew W. Mellon Foundation has a long history of supporting The Cleveland Orchestra and of funding efforts to reach new listeners. Its first gift to the ensemble was in 1977, and a grant of $800,000 in 2009 supported the then-new “Fridays@7”series as well as performances of opera, chamber music, and collaborations with Chicago’s Joffrey Ballet. The new Mellon gift and its challenge component through June 2016 add momentum to current fundraising efforts, which include comprehensive commitments to annual giving and legacy gifts to the Orchestra’s endowment.
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Children’s Choruses present spring concert on May 13 The Cleveland Orchestra Children’s Chorus — along with the group’s Preparatory Chorus — present their annual spring concert on Monday evening, May 13. The program of choral works begins at 7:30 p.m. at University Circle United Methodist Church (1919 East 107th, Cleveland). The concert is free and open to the public.
Blossom Women’s Committee spring membership luncheon to be held on May 8 The Blossom Women’s Committee is holding their spring membership luncheon on Wednesday, May 8, in Pepper Pike. The program includes a performance by retired assistant principal cello Diane Mather together with clarinetist Joseph Fried and pianist Nina Fried. The event includes a pre-lunch reception, luncheon, and the musical performance. Tickets are $38 and can be ordered through May 1. The luncheon takes place at the Country Club (2825 Lander Road). The public is welcome. For additional information, send an email to Lis Hugh at lhugh@windstream.net.
Comings and goings As a courtesy to the performers onstage and the entire audience, late-arriving patrons cannot be seated until the first break in the musical program.
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OrchestraNews Friday Morning concertgoers can enjoy free bus service The Women’s Committee of The Cleveland Orchestra is again sponsoring free bus service to each of the Orchestra’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 in person 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 season’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 Orchestra notes the death on the morning of April 16 of retired Orchestra trumpeter David Zauder, in Colorado surrounded by his family. David was hired by George Szell in 1958, joining the trumpet section of The Cleveland Orchestra. He served until the close of the 1996-97 season, taking on the concurrent role of principal cornet and retiring after 39 years — longer than any other trumpeter in the Orchestra’s history. Equal in importance to his service as a member of the Orchestra was David’s extraordinary tenure as the Orchestra’s personnel manager, a post he held for 25 seasons, through all of Lorin Maazel’s and much of Christoph von Dohnányi’s music directorships. He had earlier served as assistant personnel manager, 1960-71, covering the final decade of George Szell’s tenure. While much of David’s work was out of the spotlight, he stepped forward as a soloist with the Orchestra on several occasions. His final solo appearance was for the opening night gala concert in 1996. He was also the featured soloist in twenty concerts with the Blossom Festival Concert Band, an organization for which he was the guiding spirit from its inception in Blossom’s second season in 1969. In recognition of his extraordinary service, David Zauder was the recipient of the Orchestra’s Distinguished Service Award in 1997. His great humanity and his love of life were shaped by his personal history as a Holocaust survivor. David Zauder was born in Krakow, Poland, in 1928 or 1931 — his birth year is uncertain as his birth certificate was destroyed during the war. As a youth, he was interned in the Auschwitz, Flossenburg, and Sachsenhausen concentration camps. David survived and began his new life in America on May 20, 1946. His story has been told in the published work of his daughter, Karen Brass.
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I.N M.E.M.O.R.I.A.M
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Composer Sean Shepherd met with students last week at Shaker Heights High School (above), Baldwin Wallace University, Cleveland School of Arts, and the Cleveland Institute of Music as part of his work as the Daniel R. Lewis Young Composer Fellow. Shepherd was in town for the world premiere performances of his new work, Tuolumne, created as part of his two-year fellowship with The Cleveland Orchestra. The Plain Dealer wrote of his new work: “Inspired by three photographs by Ansel Adams, the colorful piece readily achieved its goal, evoking the harsh environment of the Sierra Nevada and the tug-of-war between black and white that defines the pictures.”
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OrchestraNews George Gund Foundation supports The Cleveland Orchestra’s “Sound for the Centennial Campaign” with $3 million gift
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The George Gund Foundation awarded a $3 million grant at its February board meeting to support The Cleveland Orchestra’s Sound for the Centennial Campaign. Pledged over six years, the award honors the late George Gund III, who was a trustee of the Musical Arts Association. The Foundation’s commitment permanently endows a new Fund for Artistic Excellence in George Gund’s name, providing immediate support for the Orchestra’s core artistic programming for the community. “This commitment to the Campaign not only celebrates George Gund’s legacy and leadership at the Orchestra,” said David Abbott, the Foundation’s executive director. “It also ensures that one of our community’s most valuable assets can continue to serve Northeast Ohio at the
highest levels of artistic excellence.” George Gund III was elected as an international trustee in 1994 and served on the board of the Musical Arts Association for 19 years. The new gift is the largest gift made by the Gund Foundation to The Cleveland Orchestra, and ranks among the largest institutional leadership commitments to the Sound for the Centennial Campaign thus far, as well as among the Foundation’s largest commitments to a cultural organization in Northeast Ohio. The Orchestra’s Sound for the Centennial Campaign runs through the Orchestra’s centennial in 2018 and will ensure that the Orchestra can continue to thrive now and into the future by building a significant endowment and providing immediate support for artistic excellence and community and education programs.
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Chorus auditions announced for children, youth, and adult singers for Blossom and 2013-14
pare a piece from the OMEA Solo & Ensemble list, or an equivalent classical solo piece; Broadway or “pop” tunes are not acceptable. In addition to the prepared piece, students will be asked to sight-read and demonstrate their vocal range. An accompanist is provided at the audition. The Cleveland Orchestra Chorus is one of the few professionally trained, all-volunteer choruses sponsored by a major American orchestra. Coming from nearly fifty Northeast Ohio communities, members of the Chorus perform with The Cleveland Orchestra in subscription and Christmas concerts each year. Previous choral experience and sight-reading skills are required. The Blossom Festival Chorus includes many members of the Cleveland Orchestra Chorus and other Northeast Ohio choral groups. It has established itself as a permanent annual part of the summertime Blossom Festival and has sung in more than 100 concerts since its 1968 debut. Both groups are directed by Robert Porco. Auditions for the Cleveland Orchestra Chorus and Blossom Festival Chorus will be held May 20 and 21, by appointment only. Those auditioning are asked to prepare two pieces from the classical literature, one of which should be in a foreign language. Each piece should be approximately two minutes in length. Previous choral experience and sight-reading skills are required. An accompanist is provided at the audition. To schedule an audition, call the Chorus Office at 216-231-7374, or send an email to chorus@clevelandorchestra.com.
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Spring audition dates for the choral groups sponsored by The Cleveland Orchestra have been announced. The auditions — for adults, youth, and children — are for membership in groups singing during the 2013 Blossom Music Festival and the 2013-14 Season at Severance Hall. Auditions will take place in May and June. The Cleveland Orchestra Choruses embody a long-standing commitment to choral music in which community members of all ages have the opportunity to participate. The Cleveland Orchestra Children’s Chorus is open to students in grades 6-8 and directed by Ann Usher, and the Cleveland Orchestra Children’s Preparatory Chorus is open to students in grades 5-8 and directed by Suzanne Walters. Both groups are holding auditions on May 20, June 3, and June 8. The Children’s Chorus, formed in 1967, provides musical training in vocal production and choral performance skills. The Children’s Preparatory Chorus provides children with initial choral experiences to which younger singers may not have been exposed, while establishing a solid foundation in vocal production techniques. To audition, children are asked to sing one verse of “America” (My Country, ’Tis of Thee) with piano accompaniment in the key of his or her choice and one verse of “America the Beautiful” (Oh beautiful, for spacious skies) without accompaniment in the key of D. Singing scales and doing some rhythmic exercises may also be included in the audition, for which an accompanist is provided. Students in grades 9-12 are welcome to audition for the Cleveland Orchestra Youth Chorus, directed by Lisa Wong, on May 4, June 1, or June 2. Created in 1991, the Youth Chorus helps raise awareness of choral music-making in the schools of Northeast Ohio and encourages students to continue their choral activities through college and into adulthood. The Youth Chorus collaborates each season in performance with the Cleveland Orchestra Youth Orchestra. Youth Chorus audition requirements are to pre-
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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:
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Cleveland Orchestra member Eliesha Nelson (viola) joins with pianist James Housman for a concert on Sunday afternoon, April 28, at 3 p.m. at Pilgrim Congregational Church (2592 West 14th Street, Cleveland). The program, part of Arts Renaissance Tremont, includes works by Finney, Kapustin, and Schubert. Admission is by freewill offering. Cleveland Orchestra member Paul Yancich (timpani) leads a concert of the Cleveland Institute of Music Percussion Ensemble on Monday evening, April 29, at 8 p.m. The performance takes place at CIM’s Kulas Hall. For more information, call 216-795-5000 or visit cim.edu.
CLEVELAND ORCHESTRA
Cleveland Orchestra member Richard Stout (trombone) leads a concert of the Cleveland Institute of Music Brass Ensemble on Tuesday evening, April 30, at 8 p.m. The performance takes place at CIM’s Kulas Hall. For more information, call 216-795-5000 or visit cim.edu.
Family Concert series concludes in May with storytelling in “Fables, Fantasy, and Folklore” The Cleveland Orchestra’s season of Family Concerts concludes with “Fables, Fantasy, and Folklore” on Sunday afternoon, May 12, led by guest conductor Michael Butterman. The concert features such classics as Rimsky-Korsakov’s Scheherazade (based on Tales from the Arabian Nights), Grieg’s In the Hall of the Mountain King, and Rossini’s William Tell Overture. 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 this concert, visit clevelandorchestra.com.
Silence is golden As a courtesy to everyone around you, patrons are reminded to turn off cell phones and to disengage electronic watch alarms prior to each concert.
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serve University professor Henry Adams (speaking about modern and 20th-century California art), and concludes with a special performance of John Cage’s large-scale multi-media work HPSCHD in the Museum’s Ames Family Atrium on the evening of May 3, from 9 to 11 p.m. The Orchestra and Museum presented their first similar collaboration in 2011, with a series of in-gallery chamber orchestra performances titled “Italian Masterworks.” These Cleveland Orchestra performances are made possible in part by the Keithley Fund for Artistic Collaboration, created through a generous gift to the Orchestra’s endowment. Additional support is provided through endowed funds at the Cleveland Museum of Art. For more information or to purchase tickets to “California Masterworks,” visit the Museum’s website at clevelandart.org.
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The Cleveland Orchestra and the Cleveland Museum of Art renew their collaborative work together in May with “California Masterworks,” featuring two Cleveland Orchestra concerts of works by groundbreaking composers associated with California. James Feddeck, Cleveland Orchestra assistant conductor, conducts two different programs, Wednesday, May 1, and Friday, May 3, at the Museum’s Gartner Auditorium. The programs feature works by John Adams, Henry Cowell, Lou Harrison, Terry Riley, James Tenney, and, in a posthumous world premiere, Dane Rudhyar. In addition to the concerts, “California Masterworks” will also include the showing of three films highlighting California composers (Crossroads and Music with Balls on April 26, and Lou Harrison: A World of Music on April 29), plus Concert Previews talks with Case Western Re-
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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.
Severance Hall 2012-13
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. April 25, 26, 27 “Haydn’s The Seasons” with Francesca Brittan, assistant professor of musicology, Case Western Reserve University
May 3, 4, 5 “Drama from Start to Finish” with Rose Breckenridge, Cleveland Orchestra Music Study Groups administrator and lecturer
May 9, 10 “Handel and George I and George II” with David J. Rothenberg, associate professor of musicology, Case Western Reserve University
May 23, 25 “Fate and Tchaikovsky’s Fifth”
Concert Previews
with Michael Strasser, professor of musicology, Baldwin Wallace University Conservatory of Music For Concert Preview details, visit clevelandorchestra.com
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Thursday evening, April 25, 2013, at 8:00 p.m. Friday evening, April 26, 2013, at 8:00 p.m. Saturday evening, April 27, 2013, at 8:00 p.m.
Franz Welser-Möst, conductor
12 13 SEASON
The Seasons
(oratorio for soloists, chorus, and orchestra) by f. joseph haydn (1732-1809) I. Spring Nos. 1-8
II. Summer Nos. 9-18
INTERMISSION III. Autumn Nos. 19-28
IV. Winter Nos. 29-39
MALIN HARTELIUS, soprano — as hanne MAXIMILIAN SCHMITT, tenor — as lukas LUCA PISARONI, bass-baritone — as simon CLEVELAND ORCHESTRA CHORUS Robert Porco, director (The sung German text and English translation begins on page 59.)
These concerts are sponsored by BakerHostetler, a Cleveland Orchestra Partner in Excellence. The appearance of Malin Hartelius, Maximilian Schmitt, and Luca Pisaroni with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from the Kulas Foundation. With this weekend’s concerts, The Cleveland Orchestra gratefully honors the Kulas Foundation for its generous support. The concert will end at approximately 10:40 p.m. each evening. LIVE RADIO BROADCAST
Saturday evening’s concert is being broadcast live on WCLV (104.9 FM). The concert will be rebroadcast as part of regular weekly programming on WCLV on Sunday afternoon, June 9, at 4:00 p.m.
Severance Hall 2012-13
Concert Program — Week 20
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It Ain’t Over Till... Götterdämmerung on May 11th. Between now and then, listen to LIVE Metropolitan Opera broadcasts on WCLV 104.9 ideastream each Saturday afternoon (check wclv.org for start times). You’ll be there from the moment the orchestra tunes until the curtain falls, and it won’t cost you a penny. Did you just yell “BRAVO”?
The 2012-13 Metropolitan Opera broadcast season is sponsored by Toll Brothers, America’s ’s luxury home builder, with generous long-term support from The Annenberg Foundation and the Vincent A. Stabile Endowment for Broadcast Media.
INTRODUCING THE PROGRAM
Life, Death & Renewal
H AY D N ’ S “ T H E S E A S O N S ” is a work of great simplicity and startling depth. Its arching storyline across the year of a village — and the story’s underlying relation to the recurring cycles of nature, of birth, life, and death — bring forth universal perspectives within everyday matters. Haydn’s masterful detailing of the score, from the deft imitation of the sounds of nature and animals to the wondrous scene painting that marks the beginning of each season, brings clear joy and recognition to new listeners — and new insights for those returning to it from years of acquaintance. Three soloists act as our journey’s guides: a father and daughter, plus a young farmer, who sometimes don other roles. Their interactions with the chorus (in various guises) amidst the evolving heather and heath, weather and whimsy created by the orchestra, provide us an evening of plentiful abundance. And a thankfullness for life — for life’s ever-turning cycles, and life’s seasons of work and repast, creation and joy. This week’s concerts mark the final performances of the full Cleveland Orchestra TH Chorus this season — a season in which we have celebrated this ensemble’s remarkable sixty years of artistry. Created ANNIVERSARY SEASON at the behest of George Szell in 1952, the Chorus has sung in countless concerts here at Severance Hall and on tour CLEVELAND ORCHESTRA and recordings with The Cleveland Orchestra. Their musiCHORUS cal craft and artistry are elegant partners to the Orchestra’s own excellence. Each chorus member volunteers their time and devotion to share their music-making with all of us each year. This season also marks Robert Porco’s fifteenth leading the Chorus — with hearty thanks from all of us for his exacting, untiring, and inspiring work.
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—Eric Sellen ABOVE
Frontispiece illustration from an 18th-century edition of the Scottish poet James Thomson’s “The Seasons.”
Severance Hall 2012-13
Introducing the Program
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(IT’S) ABOUT
Tickets on sale May 1, 2013
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Transformer Station, 9pm CFC @ Transformer Station
Dobama Theatre, 6pm Coffee and Conversation*
Cedar Lee Theater, 7pm The General Wine tasting and concert to follow at the Wine Spot
CFC@Mixon Series, 8pm Riot (Like It’s 1913!)
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Diana & Franklin Cohen
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*indicates a free event, no tickets required.
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Artistic Directors OUR MISSION ChamberFest Cleveland will present world-class musicians for an intensive summer chamber music festival, exploring unique and immersive thematic programming, and creating original, engaging musical experiences for its audiences. This annual event will nurture and enrich the appreciation of classical music in our community.
The Seasons [Die Jahreszeiten] composed 1799-1801 FOLLOWING THE ENORMOUS SUCCES S
by
F. Joseph
HAYDN
born March 31, 1732 Rohrau, Austria died May 31, 1809 Vienna
Severance Hall 2012-13
of his visits to London in the 1790s, it would have been easy enough for Joseph Haydn to rest on his laurels. He had labored for decades in obscurity, but this vote of confidence from the English public enhanced his international stature by several magnitudes and shored up the financial confidence of a composer who had spent the bulk of his career as a servant at the pleasure of his aristocratic patron. Even so, Haydn was eager to accept new creative challenges after he returned to Vienna in 1795. The London sojourn had exposed him to stirring encounters with Handel’s oratorios (in particular, Israel in Egypt and Messiah). A large-scale commemoration of Handel given in 1791 in Westminster Abbey in particular left a deep impression. Haydn “was struck as if he had been put back to the beginning of his studies and had known nothing up to that moment,” an early biographer recalled him remarking. “He meditated on every note and drew from those most learned scores the essence of true musical grandeur.” It wasn’t the music alone that Haydn found so awe-inspiring, but Handel’s remarkable ability to move a diverse audience as well. “I want to write a work that will give permanent fame to my name in the world,” he was reported to have said. So when the opportunity to try his own hand at English-style oratorio arose, it’s not surprising that Haydn eagerly took it on. Thus the composer so often regarded as the founding father of the instrumental genres of the symphony and the string quartet crowned his glorious career with a final flowering of choral music. While Beethoven would incorporate the human voice into his final symphony, Haydn’s symphonic odyssey took him to a limit of expression beyond which he ventured directly into the oratorio. Johann Peter Salomon (1745-1815), the impresario who had organized Haydn’s lucrative series of London concerts, provided him with an English libretto recounting the biblical creation story — a libretto allegedly once offered to the old master Handel himself (which may have added a competitive thrill to Haydn’s undertaking). The decisive catalyst was provided in Vienna by the Baron Gottfried van Swieten (1733-1803), the music-loving diplomat, librarian, and artistic busybody who had earlier enlisted Mozart to retool several of Handel’s oratorios About the Music
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The Scottish poet James Thomson, whose volume of poetry The Seasons formed a basis for creating the libretto to Haydn’s musical work.
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in a style more attractive to contemporary Viennese audiences (in order to present them for the first time in the Hapsburg capital). Van Swieten tailored the English libretto into a version suitable for Haydn, who set about composing The Creation in simultaneous German and English versions. In the 1770s, Haydn had had mixed success with his foray into the Italian-style oratorio in his Il ritorno di Tobia (“The Return of Tobia”). But The Creation, cast on a monumental scale in three parts, signaled an entirely new level of ambition, costing the composer great effort accompanied by a surprising degree of self-doubt. Nevertheless, The Creation earned Haydn even higher praise than before; its premiere in April 1798 in Vienna in fact marked the climactic triumph of his career. And the process of writing The Creation opened up new floodgates of inspiration and led soon thereafter to the idea of a companion oratorio, Die Jahreszeiten (in German) or The Seasons (in English), set, like The Creation, to both German and English versions of the libretto so that Haydn’s large English following could experience the work in their native language. Along with these late-period oratorios, Haydn continued with this outpouring of choral works in a series of Masses. All of these works combine to present a grand summation of Haydn’s artistry, including his mastery of the orchestra. By the time he began The Seasons, the sixty-something composer’s own longevity had made him a statistical anomaly for this era. He had been born into the waning years of the Baroque and lived through the Enlightenment reforms introduced by Emperor Joseph II as well as the first stage of the old order’s reaction to the revolutionary changes unfolding in France. Napoleon was consolidating power and already campaigning in the Middle East and would soon invade the Austrian Empire itself. Haydn died just a few months after Vienna fell a second time to Napoleon’s Grande Armée in 1809. Perhaps the unsettling awareness of a changing world that formed the bass line of life during Haydn’s last decades encouraged thoughts of a countervailing stability, as represented by the recurring patterns of nature. Even after composing The Creation — in which Haydn had undertaken to depict nothing less than the majesty of the cosmos — his gift for representing nature in music was hardly exhausted. Like its predecessor, The Seasons is a testament to Haydn’s evolution as an artist and to the formidable scope of his genius. The score fuses his appreciation for the rhetorical brilliance of the high Baroque with the Classical style Haydn himself had been so instrumental in shaping — all in the service of the Enlightenment-inspired optimism that radiates through his mature works. The Seasons, moreover, anticipates something of the sensibility of the new century being born. The sensational reception of About the Music
The Cleveland Orchestra
The Creation, however, was not extended to The Seasons when it premiered in 1801, and ever since it has tended to be eclipsed by the earlier oratorio’s reputation. THE TEXT
While van Swieten began with a pre-existing English libretto for The Creation, in the case of The Seasons he himself designed the text using a popular, epic-length work by the Scottish poet and playwright James Thomson (1700-1748). Van Swieten inserted some extraneous sources as well into the final part. Beginning with Winter, Thomson originally wrote separate poems for each season (not in sequence) and then gathered and revised these as the epic The Seasons, totaling well over 4,000 lines of blank verse. It became popular throughout 18th-century Europe. (Handel may even have read the poems as they were being published.) From this mass of material, van Swieten culled a few dramatic episodes sure to trigger Haydn’s musical imagination and simplified the verse. He also invented a trio of characters to be represented by the soloists: Simon, a farmer (bass); his daughter, Hanne (soprano); and a young farm worker, Lukas (tenor). These aren’t fully characterized individuals but human archetypes who contribute observations about nature and its effects to complement the ongoing commentary of the chorus. Hanne and Lukas play a pair of sweethearts in the “Summer” section. The rapport between Haydn and van Swieten, a sometime-composer himself, was by no means smooth sailing. The librettist felt no restraint in offering musical recommendations to a composer of Haydn’s stature as to how best to set his text. And van Swieten made sure to include an abundance of animal imagery (leaping lambs, milk-white steeds, and, most notoriously, croaking frogs) so as to capitalize on Haydn’s widely celebrated gift for uncannily eliciting pictorial detail in sound. To a colleague who prepared a piano reduction of the score for rehearsal, Haydn indiscreetly complained about the imitation of frogs at the end of the “Summer” section, scribbling a note that he “was forced to write this Frenchified trash.” Van Swieten got wind of this harsh critique, according to Haydn scholar H.C. Robbins Landon, though a potentially lasting break with the composer was apparently mended. For contemporary audiences, the text derived from Thomson’s poem can seem stilted, though Thomson wielded great Severance Hall 2012-13
About the Music
The score of The Seasons fuses Haydn’s appreciation for the rhetorical brilliance of the high Baroque with the Classical style that Haydn himself had been so instrumental in shaping — all in the service of the Enlightenmentinspired optimism that radiates through his mature works.
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The Cleveland Orchestra
influence among his own contemporaries and into the 19th century. Some of the difficulty has to do with van Swieten’s own problematic mangling of the original in his German version and in his “retranslation” of the latter back to English to fit the music. One novelty of the way Haydn introduced the score is that he insisted it be published in a bilingual edition, with the German and English versions side by side. THE MEANING AND THE MUSIC
Still, van Swieten designed a structure of neatly proportioned contrasts that served the composer well. “Spring” presents a paean to nature that gravitates toward praise of the Creator, anticipating the utopian vision reached by the end of the work. But “Summer” introduces a contrastingly conflicting portrayal of nature as both triumphant and endangering, with its climactic thunderstorm at last yielding to idyllic repose. The remaining two seasons mirror this pattern — the unified focus on the bounty of the harvest in “Autumn” gives way to the divergent moods found in “Winter.” And the ambivalence of this last season is especially multilayered. Human community provides shelter from the bleakness outdoors, but with the triumph of Winter, “silent fear oppresses nature all around.” The oratorio’s focus subsequently turns toward the spiritual realm to find meaning in this endless cycle of birth and death. “Often, in pastoral music of the 18th century, the disruption of an idyll is represented merely as a misunderstanding between lovers or the arrival of bad weather — tempests, storms, lightning and thunder — soon followed by the return of calm,” writes Maynard Solomon in his insightful book Late Beethoven. He draws attention to the philosophical significance of Haydn’s approach to this pastoral subject matter: “At the loftiest level of this process, Haydn’s oratorios The Seasons and The Creation are versions of a rational Enlightenment pastoral that locates harmonious patterns everywhere in a divine hierarchical arrangement of the universe.” Van Swieten also supplied brief descriptions for what the purely instrumental introductions to each season should conjure. In part one, devoted to “Spring,” the first music we hear is, surprisingly, of a gloomy G-minor cast, suggesting “the passage from Winter to Spring.” The richness of invention in this prelude announces that Haydn intends to draw fully on his combination of craft and imagination as a symphonist. In Severance Hall 2012-13
About the Music
At a Glance Haydn composed The Seasons, one of his last major works, between 1799 and 1801, during a period when he was dealing with a decline in his health. The libretto (with versions in English and in German) had been assembled by Gottfried van Swieten, utilizing some parts of a volume of poetry by James Thomson. The composer led the first performance, for a select audience of aristocratic patrons, on April 24, 1801, and the general public premiere on May 29, both in Vienna. The Seasons runs about 140 minutes in performance (plus intermission). Haydn scored it for 2 flutes (first doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, timpani, percussion (triangle, bass drum, cymbals), fortepiano, and strings, plus mixed chorus and three soloists (soprano, tenor, and bass). The Cleveland Orchestra first performed Haydn’s The Seasons during the 1922-23 season. Robert Shaw led performances during the 1965-66 season, at Severance Hall and at Carnegie Hall in New York. The only other Cleveland Orchestra performances took place in October 1998, conducted by Franz Welser-Möst.
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Gottfried van Swieten, who created the libretto for Haydn’s The Seasons.
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terms of the Classical orchestra, the ensemble is remarkably expanded and includes a sizeable brass presence. This vividly energetic music stands as a microcosm of the ever-changing face of nature itself. And right from the beginning, Haydn establishes a fundamental tension that underlies The Seasons as a whole — nature’s bountiful and life-enhancing dimension is juxtaposed with a reminder of its darker power. The human voice at last enters as each of the soloists hails the departure of Winter. For all the variety of his moment-by-moment musical gestures, Haydn is a careful architect of the cumulative effect, always reinforcing the unity of his design over the large scale. The gentle, lilting first chorus is only the first stage of a gradual crescendo of joy registering the effects of Spring’s reawakening. This continues through Simon’s aria of the husbandman (here Haydn quotes the famous tune from the Andante movement of his “Surprise” Symphony No. 94, changing the surprise to the appearance of a “whistling” piccolo) and the marvelous catalog of creatures sung by the trio, and right up to the invocation of the divinity at the end of “Spring.” With a dramatically abrupt shift in tonality (from D to B-flat major), Haydn moreover establishes another significant pattern. Focus on the manifestations of nature in the here and now is enlarged to embrace a cosmic, deistic perspective. It’s often been noticed that The Seasons provided Beethoven with a model for aspects of his Sixth Symphony (nicknamed “Pastoral”) — especially the storm sequence in “Summer” — but this harmonic gesture also looks ahead to a similarly awe-inspiring moment and shift of focus in the finale of Beethoven’s Ninth Symphony. The introduction to “Summer” also starts in a minor key (C minor) and gives us a picture of night yielding to dawn. This occasions a splendid instance of Haydn’s signature musical pictorialism (a full century before Richard Strauss’s primal sunrise at the start of Also Sprach Zarathustra) — the glorious arrival of the new day, which forms the first big climax of this second part. Yet however much this passage makes us think of “programmatic” musical feats of the later Romantics, Haydn literally puts his music first. An often-noted feature of The Seasons is that the musical image usually precedes the verbal one. Even more, Haydn’s music generates feelings of tension and release that have an inherent logic of their own, as we experience in the sluggish but anxious moments presaging the gathering of energy for the storm’s outburst and the newfound sense of peace as the day draws to its quiet close. Nature’s patterns and cycles, in a sense, almost seem to mimic musical ones. Beginning with “the farmer’s delight in the abundant harvest,” “Autumn” includes some of the most memorable genre painting of The Seasons. About the Music
The Cleveland Orchestra
Despite its pious ode to labor, this is perhaps the most pagan of the oratorio’s four parts. Like a symphonic scherzo, it certainly contains the most unbridled revelry, and the fun begins in earnest with the innocent pleasure of the lovers, continuing on into the sequences of hunting and drinking. Thomson’s depiction of this hunting episode in his original poem was actually intended as a passionate protest against the practice, lamenting our capacity “to joy at anguish, and delight in blood.” For his part, Haydn creates the musical equivalent of a Dutch master’s lively detail in evoking the fall of the shot bird and, in the quickening string figurations juxtaposed with the hunting calls of horns, the stag’s futile flight; the final wine-fueled carousel sets off an intensifying whirl of counterpoint. With yet another C-minor prelude — now suggesting “the dense fog which marks the beginning” of “Winter” — The Seasons launches its most revelatory section. As in Thomson’s poem, the cycle of seasons is seen to project an allegory of the stages of human life and its inevitable demise. What does all this gathered experience amount to? Haydn, looking back over his own career, seems to have included in The Seasons an element of self-portraiture. The genre scene in the inn (in which Haydn sets texts interpolated by van Swieten that were not in Thomson’s poem) offers momentary respite through the patterns generated by art, but the story told in “Winter” must return to the inescapable reality of our mortal nature. By contrast, The Creation had concluded with Adam and Eve still in Paradise, their fall still in the future. The tonal meandering of Simon’s final aria — a single voice left to contemplate life’s dissolution — conveys an extraordinary restlessness, into which Haydn introduces dramatically resonant silences. At last a resolution is achieved in the exultant concluding trio and double chorus. The journey has come full circle, but — as in a symphonic recapitulation, following a richly worked-through development — the perspective is new, hard won, sublime. Haydn’s love of nature expressed throughout The Seasons reaffirms his faith in a beneficent order behind its patterns, to which his music now gives reverberant voice. —Thomas May © 2013
The cycle of seasons is seen to project an allegory of the stages of human life and its inevitable demise. What did all this gathered experience amount to? Indeed, Haydn, looking back over his own career, seems to have included in The Seasons an element of self-portraiture. And the story in “Winter” returns to the inescapable reality of our mortal nature.
Thomas May, a frequent contributor to Cleveland Orchestra program books, writes regularly about music and theater. His books include Decoding Wagner and The John Adams Reader.
Severance Hall 2012-13
About the Music
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Malin Hartelius Swedish soprano Malin Hartelius is known for her roles in the operas of Mozart, Johann Strauss, and Richard Strauss. She first collaborated with Franz Welser-Möst at the 1996 Salzburg Festival, and since her Cleveland Orchestra debut in 2002, has performed in many works under his direction here. Her most recent appearances with the Orchestra, in October and November 2011, were in Mozart’s Mass in C minor in both Cleveland and Vienna. After studies at the Vienna Conservatory with Margarethe Bence, Malin Hartelius was a member of the Vienna State Opera for three seasons. She then joined the Zurich Opera, where she has sung in many operas under Mr. Welser-Möst. Ms. Hartelius also performs on the opera stages of Berlin, Frankfurt, Hamburg, Munich, and Paris, and at the Salzburg Festival. In concert, she has appeared with the Leipzig Gewandhaus Orchestra, London Symphony Orchestra, Philharmonia Orchestra, Royal Concertgebouw Orchestra, Tonhalle Orchestra, and the Vienna Philharmonic. Her discography includes works by Bach, Brahms, Handel, and Haydn, and opera performances at Salzburg and Zurich. In 2010, the King of Sweden awarded her the Litteris et Artibus medal.
Kulas Series Keyboard Conversations® Kulas Series of of Keyboard Conversations® with Siegel withJeffrey Jeffrey Siegel
Season 2011-2012 25th 24th Anniversary Season 2012-2013 Presented by Cleveland State University’s Center for Arts and Innovation
Presented by Cleveland State University’s Center for Arts and Innovation
Masterly Masterly
Sunday, Sunday,October 2,2,2011 October Sunday, October 2, 2011 2011 Sunday, October 14, 2012 AA Beethoven Beethoven Bonanza! Bonanza!The Themany many A Beethoven Bonanza! The many
ASpellbinding Beethoven Bonanza! The many Bach B moods moods ofofgenius! genius! moods moods of of genius! genius! Sunday, November 11, 2012 Enthralling Enthralling Free Family Concert! B Sunday, Sunday, November 20,Young 2011 2011 MusicNovember for the Young 20, and at Heart Charming presented in honor of Mr. Siegel’s 25th Charming The The Romantic Romantic Music Music of of Franz Franz Liszt Liszt The Romantic Music State of Franz Liszt anniversary at Cleveland University B Sunday, January 27, 2013 Scintillating Scintillating Sunday, Sunday,March March4,4,2012 2012
“An afternoon of entertaining talk and “An afternoon of entertaining talk and exhilarating music.” exhilarating music.” –The Washington Post - The Washington Post
Claude Debussy: Clair de lune, a Rochmaninoff Rochmaninoff andTchaikovsky Tchaikovsky Fireworks andand Beyond!
Sunday, March 24, 2013 March 6, 2012 2012 y 6, Age Sunday, Sunday, March 2012 Schubert in the6, of the Sound Bite
A musical love triangle: Robert, Clara and andJohannes! Johannes! Bach and the Romantics
AA musical musical love lovetriangle: triangle: Robert, Robert,Clara Clara Sunday, April 28, 2013 and Johannes!
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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Guest Artists
The Cleveland Orchestra
Maximilian Schmitt German tenor Maximilian Schmitt began singing as a choirboy with the Regensburg Cathedral Choir. He then studied voice at the Berlin University of the Arts with Anke Eggers and later, with Ann Murray and Robert Dean Smith. In 2005 and 2006, he was a Young Ensemble member at the Bavarian State Opera, and from 2008 to 2012, he was in the Mannheim National Theatre ensemble. Mr. Schmitt also has performed with the Amsterdam Opera and at the Salzburg State Theatre, as well as with the Academy for Ancient Music Berlin, Basel Chamber Orchestra, Concerto Köln, Leipzig Gewandhaus Orchestra, Orchestre de Paris, Scottish Chamber Orchestra, and the Vienna Symphonic Orchestra, among others. In recital, he collaborates with pianist Gerold Huber and soprano Christina Landshamer. In 2011, the duo released an album of Schumann songs for Oehms classics. Mr. Schmitt’s discography also includes music by Bach’s sons and Haydn’s The Creation on Harmonia Mundi, Bach’s St. Matthew Passion on Decca, and Bach’s Christmas Oratorio on BR-Klassik. He is making his Cleveland Orchestra debut with this weekend’s performances. For more information, visit www.maximilianschmitt.com.
Luca Pisaroni Italian bass-baritone Luca Pisaroni made his Cleveland Orchestra debut in May 2011. Commanding a diverse repertoire that includes Mozart’s operas, Mr. Pisaroni has performed with the Chicago Lyric Opera, England’s Glyndebourne Festival, Houston Grand Opera, Metropolitan Opera, Opéra Bastille, Opéra National de Paris, Netherlands Opera, San Francisco Opera, Santa Fe Opera, and the Vienna State Opera, as well as in Aix-en-Provence, Amsterdam, BadenBaden, Madrid, Salzburg, and Vienna. He has also sung with the Berlin Philharmonic, Boston Symphony Orchestra, Dallas Symphony Orchestra, and the Philadelphia Orchestra, and in recital in Amsterdam, Chicago, London, and New York. Luca Pisaroni can be heard on the Virgin Classics recording of Handel’s La Resurrezione and in Deutsche Grammophon’s recent album of Mozart’s Don Giovanni. His DVDs of Mozart operas include performances at Glyndebourne, Netherlands Opera, Salzburg Festival, and Théâtre des Champs-Élysées. Raised in Verdi’s hometown of Busseto, Luca Pisaroni studied music in Milan, Buenos Aires, and New York. At age 26, he made his debut at the Salzburg Festival with the Vienna Philharmonic. For further information, visit www.lucapisaroni.com.
Severance Hall 2012-13
Guest Artists
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Ancient catastrophe. Modern obsession.
The storied destruction of Pompeii remains a modern muse for artists from Duchamp and Warhol to Rothko, Ingres, and dozens more. Come see their powerful interpretations of this cataclysmic event, open now through July 7.
Come see amazing. ClevelandArt.org 7YLZLU[PUN ZWVUZVY
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60 TH
Cleveland Orchestra Chorus Robert Porco, Director
ANNIVERSARY SEASON
CLEVELAND ORCHESTRA CHORUS
Lisa Wong, Assistant Director Joela Jones, Principal Accompanist
Celebrating its 60th anniversary throughout the 2012-13 season, the Cleveland Orchestra Chorus is one of the few professionally-trained, all-volunteer choruses sponsored by a major American orchestra. Founded at the request of George Szell in 1952 and following in the footsteps of a number of earlier community choruses, the Cleveland Orchestra Chorus has sung in hundreds of performances at home, at Carnegie Hall, and on tour, as well as in more than a dozen recordings. Its members hail from nearly fifty Cleveland-area communities and together contribute over 15,000 volunteer hours to the Orchestra’s music-making each year. H AY DN’S TH E SE ASONS SOPRANOS
ALTOS
TENORS
BASSES
Amy F. Babinski Cathleen R. Bohn ♦♦♦ Emily Bzdafka Mary Jane Carlin ♦♦ Susan Cucuzza Carrie Culver Lisa Rubin Falkenberg ♦ Rosie Gellott Danielle Greenway Debbie Gutowski Rebecca S. Hall Lisa Hrusovsky ♦ Shannon R. Jakubczak Sarah Jones Hope Klassen-Kay ♦ Kate Macy ♦ Lisa Manning Julie Myers-Pruchenski Noreen Norka ♦ Jennifer Heinert O’Leary Sarah Osburn Melissa Patton Lenore M. Pershing Joy Powell Roberta Privette Cassandra E. Rondinella Jennifer R. Sauer Monica Schie Sharon Shaffer Samantha J. Smith Sidney Storry ♦ Jane TimmonsMitchell ♦♦ Sarah Tobias Melissa Vandergriff Sharilee Walker Carole Weinhardt Marilyn Wilson ♦ Mary Wilson ♦ Constance Wolfe ♦
Alexandria L. Albainy Emily Austin ♦ Beth Bailey Katherine Brown Julie A. Cajigas Lydia Chamberlin Barbara J. Clugh Carolyn Dessin Marilyn Eppich ♦ Amanda Evans Nancy Gage ♦♦♦ Diana Weber Gardner Ann Marie Hardulak ♦♦♦ Betty Huber ♦ Karen Hunt Jenna Kirk Lucia Leszczuk ♦♦ Diana Martin Ginger Mateer ♦ Danielle S. McDonald Peggy Norman ♦ Marta Perez-Stable Cindy Pitera Ginny Roedig Becky A. Seredick ♦♦ Peggy Shumate ♦ Shari Singer ♦ Shelley B. Sobey Ina Stanek-Michaelis ♦ Martha Cochran Truby Sarah B. Turell Laure Wasserbauer ♦ Meredith S. Whitney Flo Worth ♦ Debra Yasinow ♦
Eric H. Berko Gerry C. Burdick ♦♦ Brent Chamberlin Thomas Ginsburg Thomas Glynn Daniel M. Katz ♦ Peter Kvidera Tod Lawrence Steve Lawson Rohan Mandelia James Newby ♦♦ Tremaine Oatman ♦♦♦ Robert Poorman ♦ Matthew Rizer John Sabol Lee Scantlebury James Storry ♦♦♦ Charles Tobias ♦ William Venable Chester F. Willey ♦
Craig Astler Jack Blazey Nikola Budimir Charles Carr ♦ Peter B. Clausen Dwyer Conklyn Steve diLauro ♦♦♦ Jeffrey Duber Matthew Englehart Thomas E. Evans ♦ Richard Falkenberg ♦ Robert Higgins Kurtis B. Hoffman Paul Hubbard Thomas Hull Joshua Jones Joel Kincannon Jason Levy Scott Markov ♦ Tyler Mason Shaun McGrath Roger Mennell ♦ Robert Mitchell Tom Moormann Keith Norman ♦♦ John Riehl ♦ Corey Rubin Robert Seaman Michael Seredick ♦♦ Steven Skaggs David A. Welshhans S. David Worhatch Paul Zeit ♦♦
Severance Hall 2012-13
Service Recognition ♦ 15-24 years ♦♦ 25-34 years ♦♦♦ 35-44 years
Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee
Jill Harbaugh, Manager of Choruses Rachel Novak, Assistant to the Manager of Choruses
Cleveland Orchestra Chorus
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60 TH
Robert Porco
Director of Choruses Frances P. and Chester C. Bolton Endowed Chair The Cleveland Orchestra
ANNIVERSARY SEASON
CLEVELAND ORCHESTRA CHORUS
Robert Porco is in his fifteenth year as director of choruses for The Cleveland Orchestra. In addition to overseeing choral activities and preparing the Cleveland Orchestra Chorus and the Blossom Festival Chorus for a variety of concert programs each season, Mr. Porco conducts the Orchestra’s annual series of Christmas concerts at Severance Hall and regularly conducts subscription concert programs both at Severance Hall and Blossom. He has also served as director of choruses for the Cincinnati May Festival since 1989. In 2011, Mr. Porco was honored by Chorus America with its annual Michael Korn Founders Award for a lifetime of significant contributions to the professional choral art. The Ohio native served as chairman of the choral department at Indiana University, 1980-98, and in recent years has taught doctoral-level conducting at the school. As a teacher and mentor, Mr. Porco has guided and influenced the development of hundreds of musicians, many of whom are now active as professional conductors, singers, or teachers. As a sought-after guest instructor and coach, his teaching work has included programs at Harvard University, Westminster Choir College, and the University of Miami Frost School of Music.
Lisa Wong Assistant Director of Choruses Lisa Wong became assistant director of choruses for The Cleveland Orchestra with the 2010-11 season. In this capacity, she assists in preparing the Cleveland Orchestra Chorus and Blossom Festival Chorus for performances each year. With the 2012-13 season, she has taken on the added position of director of the Cleveland Orchestra Youth Chorus. In addition to her duties at Severance Hall, Ms. Wong is a faculty member at the College of Wooster, where she conducts the Wooster Chorus and the Wooster Singers and teaches courses in conducting and music education. She previously taught in public and private schools in New York, Pennsylvania, and Indiana. Active as a clinician, guest conductor, and adjudicator, Ms. Wong holds a bachelor’s degree in music education from West Chester University and master’s and doctoral degrees in choral conducting from Indiana University.
The Cleveland Orchestra Chorus expresses congratulations and thanks to ROBERT PORCO in commemorating your first fifteen years as Director of Choruses!
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Cleveland Orchestra Chorus
The Cleveland Orchestra
60 TH
ANNIVERSARY SEASON
CLEVELAND ORCHESTRA CHORUS
Proclamation O F F I C E O F T H E M AY O R
WHEREAS, on behalf of the citizens of the City of Cleveland, I am honored to offer this Proclamation in recognition of the 60th Anniversary of the Cleveland Orchestra Chorus; and WHEREAS, the Cleveland Orchestra Chorus is one of the few professionally trained, all volunteer choruses sponsored by a major American orchestra. In addition to performing with The Cleveland Orchestra in concerts each season here in Northeast Ohio, the Chorus has appeared with the Orchestra on tour in New York, Brussels, Lucerne, London, Edinburgh, on television, and on numerous recordings; and WHEREAS, members of the Cleveland Orchestra Chorus volunteer more than 15,000 hours annually through rehearsals and performances, and raise their own funds for international tours through a variety of projects and special events; and WHEREAS, I would like to recognize the creative efforts of the Cleveland Orchestra Chorus, as they celebrate their 60th Anniversary and continue to use their talents and gifts to entertain the people of the City of Cleveland; and NOW, THEREFORE, I, Frank G. Jackson, the 56th Mayor of the City of Cleveland, do hereby offer this Proclamation recognizing the 60th Anniversary of the Cleveland Orchestra Chorus. I urge all citizens to join me in recognizing their accomplishments, acknowledging their contributions to Cleveland, and wishing them many more years of success. In witness thereof, I have set my hand and caused the Corporate Seal of the City of Cleveland to be affixed on this 25th day of April in the year 2013.
Mayor Frank G. Jackson
Severance Hall 2012-13
Cleveland Orchestra Chorus
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“THE
MEDIUM IS THE MESSAGE.”
– Marshall McLuhan, 1911-1980
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60 TH
ANNIVERSARY SEASON
CLEVELAND ORCHESTRA CHORUS
SHERROD BROWN OHIO
Dear Friends: Although I cannot be with you this weekend, it is my pleasure to welcome you to these performances as you celebrate the 60th anniversary season of the Cleveland Orchestra Chorus. For the past sixty years, the Cleveland Orchestra Chorus has represented the region’s vibrant arts community. In this fifteenth season under the direction of Robert Porco, your efforts emphasize the importance of the arts by compelling others to think about and see the world in a different manner. Creativity is vastly important to success in every aspect of life. The Cleveland Orchestra has become one of the most sought-after performing ensembles in the world, setting standards of artistic excellence, concert programming, and community engagement. I am proud that you continue to epitomize the best of what Cleveland and the state of Ohio have to offer. Your efforts renew our commitment to tolerance, equality, friendship, and the notion of increasing global cultural understanding through singing and making music together. Please accept my best wishes for you in these performances and for continued success in the future. Sincerely,
Sherrod Brown United States Senator
Severance Hall 2012-13
Cleveland Orchestra Chorus
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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 April 5, 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
The Cleveland Foundation Mr. and Mrs. Alexander M. Cutler
Maltz Family Foundation Anonymous
GIFTS OF $1 MILLION TO $5 MILLION
Art of Beauty Company, Inc. BakerHostetler Mr. William P. Blair III Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mrs. M. Roger Clapp Eaton Corporation FirstEnergy Foundation Forest City Enterprises, Inc. The George Gund Foundation Mr. and Mrs. Michael J. Horvitz The Walter and Jean Kalberer Foundation Mr. and Mrs. Joseph P. Keithley KeyBank Kulas Foundation Mr. and Mrs. Dennis W. LaBarre Mrs. Norma Lerner The Lubrizol Corporation The Andrew W. Mellon Foundation
David and Inez Myers 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 Ralph and Luci Schey Foundation The Kelvin and Eleanor Smith Foundation The J. M. Smucker Company Joe and Marlene Toot Anonymous
GIFTS OF $500,000 TO $1 MILLION
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
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Mr. and Mrs. Jon A. Lindseth Ms. Nancy W. McCann The Honorable and Mrs. John Doyle Ong The Payne Fund Mr. and Mrs. Richard K. Smucker
Sound for the Centennial Campaign
The Cleveland Orchestra
GIFTS OF $250,000 TO $500,000
Randall and Virginia Barbato John P. Bergren* and Sarah S. 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. O’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
GIFTS OF $100,000 TO $250,000
Mr. and Mrs. George N. Aronoff Ben and Ingrid Bowman George* and Becky Dunn Dr. and Mrs. Hiroyuki Fujita Albert I. and Norma C. Geller Iris and Tom Harvie Jeff and Julia Healy Mr. and Mrs. S. Lee Kohrman Mrs. Emma S. Lincoln Mr. Gary A. Oatey RPM International Inc.
Hewitt and Paula Shaw Naomi G. and Edwin Z. Singer Virginia and Bruce Taylor Ms. Ginger Warner Denise G. and Norman E. Wells, Jr. Family Foundation Mr. Max W. Wendel Paul and Suzanne Westlake Marilyn J. White Mr. Donald Woodcock * deceased
Severance Hall 2012-13
Sound for the Centennial Campaign
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In tune with each other and committed to excellence in Northeast Ohio.
perfect harmony The Cleveland Orchestra. Tucker Ellis.
tuckerellis.com
CLEVELAND COLUMBUS DENVER LOS ANGELES SAN FRANCISCO
THE SEASONS music by F. Joseph Haydn (1732-1809) German text by Gottfried van Swieten (1733-1803) after a poem by James Thomson (1700-1749)
Spring No. 1 — INTRODUCTION AND RECITATIVE (The introduction depicts the passage from winter to spring.) simon Seht, wie der strenge Winter flieht, zum fernen Pole zieht er hin. Ihm folgt auf seinen Ruf der wilden Stürme brausend Heer, mit grässlichem Geheul.
See how harsh winter flees! He withdraws to the distant pole. At his summons, the roaring crowd of wild storms follows with fearful roaring.
lukas Seht, wie vom schroffen Fels der Schnee In trüben Strömen sich ergiesst!
See how, from the rugged cliffs, the snow into turbid streams melts.
hanne Seht, wie vom Süden her, durch laue Winde sanft gelockt der Frühlingsbote streicht.
See how, from the south, gently lured by mild breezes, the messenger of spring comes!
No. 2 — CHORUS OF COUNTRYFOLK countryfolk Komm, holder Lenz! Des Himmels Gabe, komm! Aus ihrem Todesschlaf erwecke die Natur!
Come, sweet spring! Gift of heaven, come! From her sleep of death awaken Nature!
maidens and wives Es nahet sich der holde Lenz, schon fühlen wir den linden Hauch, bald lebet alles wieder auf.
Sweet spring draws near, already we feel her gentle breath, soon everything springs to life again.
the men Frohlocket ja nicht allzufrüh, oft schleicht, in Nebel eingehüllt, der Winter wohl zurück und streut auf Blüt’ und Keim sein starres Gift.
Do not rejoice all too soon, for often, wrapped in mists, winter creeps back again and strews on blossom and bud his rigid poison.
all Komm, holder Lenz! Des Himmels Gabe, komm! Auf uns’re Fluren senke dich, o komm, holder Lenz, o komm und weile länger nicht. Komm, komm!
Come, sweet spring! Gift of heaven, come! Descend to our fields, come, sweet spring, and delay no longer! Come, come! P L E A S E T U R N PA G E Q U I E T LY
Severance Hall 2012-13
The Seasons — Sung Text
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No. 3 — RECITATIVE
simon Vom Widder strahlet jetzt die helle Sonn’ auf uns herab. Nun weichen Frost und Dampf und schweben laue Dünst’ umher; der Erde Busen ist gelöst; erheitert ist die Luft.
From Aries now the bright sun shines down on us. Now frost and mist give way, and gentle vapors hover around; the earth’s bosom is unbound, the air made cheerful.
No. 4 — ARIA
simon Schon eilet froh der Ackersmann zur Arbeit auf das Feld, in langen Furchen schreitet er dem Pfluge flötend nach. In abgemess’nem Gange dann wirft er den Samen aus, den birgt der Acker treu und reift ihn bald zur gold’nen Frucht.
Already the husbandman cheerfully hastens to his work in the field, striding in the long furrows behind his plow, whistling. Then with measured step he casts the seed, which the soil faithfully conceals and soon nurtures to golden fruit.
No. 5 — RECITATIVE
lukas Der Landmann hat sein Werk vollbracht und weder Müh’ noch Fleiss gespart: Den Lohn erwartet er aus Händen der Natur, und fleht den Himmel an.
The farmer has finished his work, sparing neither toil nor industry; he looks for his reward from the hands of Nature, and prays for it to heaven.
No. 6 — TRIO AND CHORUS: PRAYER
lukas, then chorus Sei nun gnädig, milder Himmel! Öffne dich und träufe Segen über unser Land herab!
Be gracious now, kindly Heaven! Open, and pour forth blessings down upon our land!
lukas, simon Lass deinen Tau die Erde wässern! Lass Regenguss die Furchen tränken!
Let your dew water the earth! Let downpours drench the furrows!
hanne Lass deine Lüfte wehen sanft, lass deine Sonne scheinen hell!
May your breezes blow gently, may your sun shine brightly!
hanne, lukas, simon, chorus Uns spriesset Überfluss alsdann, und deiner Güte Dank und Ruhm. Sei nun gnädig, milder Himmel! Öffne dich und träufe Segen über unser Land herab!
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An abundance shall flow over us, with your blessing and glory. Be gracious now, kindly Heaven! Open, and pour forth blessings down upon our land! The Seasons — Sung Text
The Cleveland Orchestra
No. 7 — RECITATIVE
hanne
Erhört ist unser Fleh’n, der laue West erwärmt und füllt die Luft mit feuchten Dünsten an. Sie häufen sich — nun fallen sie und giessen in der Erde Schoss den Schmuck und Reichtum der Natur.
Our prayer is heard; the gentle west wind warms and fills the air with moist vapors. They build up; now they fall and pour into the lap of earth the beauty and richness of Nature.
No. 8 — SONG OF JOY (with alternating chorus of young people)
hanne
O wie lieblich ist der Anblick der Gefilde jetzt! Kommt, ihr Mädchen, lasst uns wallen auf der bunten Flur!
Oh, how lovely is the sight of the countryside now! Come, maidens, let us wander in the colorful fields.
lukas O wie lieblich ist der Anblick der Gefilde jetzt! Kommt, ihr Burschen, lasst uns wallen zu dem grünen Hain!
Oh, how lovely is the sight of the countryside now! Come, lads, let us wander to the green woods.
hanne, lukas O wie lieblich, usw.
Oh, how lovely is the sight, etc.
hanne Seht die Lilie, seht die Rose, seht die Blumen all’!
See the lilies, see the roses, see all the flowers!
lukas Seht die Auen, seht die Wiesen, seht die Felder all’!
See the pastures, see the meadows, see all the fields!
hanne Seht die Erde, seht die Wer, seht die helle Luft!
See the earth, see the water, see the clear air!
lukas Alles lebet, alles schwebet, alles reget sich.
Everything lives, everything moves, everything bestirs itself.
hanne Seht die Lämmer, wie sie springen!
See the lambs — how they leap!
lukas Seht die Fische, welch Gewimmel!
See the fish — what a multitude!
hanne Seht die Bienen, wie sie schwärmen!
See the bees — how they swarm!
lukas Seht die Vögel, welch Geflatter!
See the birds — what a fluttering! P L E A S E T U R N PA G E Q U I E T LY
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The Seasons — Sung Text
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The Cleveland Orchestra
chorus Alles lebet, alles schwebet, alles reget sich.
Everything lives, everything moves, everything stirs itself anew.
young women Welche Freude, welche Wonne schwellet unser Herz!
What joy, what rapture swells our hearts!
young men Süsse Triebe, sanfte Reize heben uns’re Brust!
Sweet desires, gentle impulses exalt our hearts!
simon Was ihr fühlet, was euch reizet, ist des Schöpfers Hauch.
What you feel, what arouses you, is the Creator’s breath.
chorus Lasst uns ehren, lasst uns loben, lasst uns preisen Ihn!
Let us honor him, let us glorify him, let us praise him!
men Lasst erschallen, ihm zu danken, eure Stimmen hoch!
Sing out with thanks to him, your voices lifted high!
chorus Es erschallen, ihm zu danken, uns’re Stimmen hoch!
Sing out with thanks to him our voices sounding on high!
all Ewiger, mächtiger, gütiger Gott!
Everlasting, mighty, gracious God!
hanne, lukas, simon Von Deinem Segensmahle hast Du gelabet uns.
From your feast of blessing you have restored us.
men Mächtiger Gott!
Mighty God!
hanne, lukas, simon Vom Strome Deiner Freuden hast Du getränket uns. Gütiger Gott!
From the stream of your joys you have given us to drink. Gracious God!
all Ewiger, mächtiger, gütiger Gott!
Everlasting, mighty, gracious God!
hanne, lukas, simon Ewiger! Mächtiger! Gütiger Gott!
Everlasting, mighty, gracious God!
all Ehre, Lob und Preis sei Dir, ewiger, mächtiger, gütiger Gott!
Honor, glory, and praise be unto you, everlasting, mighty, gracious God! P L E A S E T U R N PA G E Q U I E T LY
Severance Hall 2012-13
The Seasons — Sung Text
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Summer No. 9 — INTRODUCTION AND RECITATIVE (The introduction depicts dawn.)
lukas In grauem Schleier rückt heran das sanfte Morgenlicht; mit lahmen Schritten weicht vor ihm die träge Nacht zurück. Zu düst’ren Höhen flieht der Leichenvögel blinde Schar; ihr dumpfer Klageton beklemmt das bange Herz nicht mehr.
simon
Against a gray veil, the soft light of dawn approaches; with faltering steps the sluggish night retreats before it. To dark caverns flees the blind flock of funeral birds; their gloomy note oppresses the fearful heart no more. The day heralds its coming; with sharp sounds it summons to renewed work the rested farmer.
Des Tages Herold meldet sich; mit scharfem Laute rufet er zu neuer Tätigkeit den ausgeruhten Landmann auf. No. 10 — ARIA AND RECITATIVE
simon
The cheerful shepherd now gathers his happy flocks around him; to rich pastures on green heights he slowly drives them forth. Then he stands looking to the east, leaning on his staff, to see the first ray of the sun, which he is awaiting.
Der munt’re Hirt versammelt nun die frohen Herden um sich her, zur fetten Weid’ auf grünen Höh’n treibet er sie langsam fort. Nach Osten blickend steht er dann, auf seinem Stabe hingelehnt, zu seh’n den ersten Sonnenstrahl, welchem er entgegen harrt.
hanne Die Morgenröte bricht hervor, wie Rauch verflieget das leichte Gewolk, der Himmel pranget im hellen Azur, der Berge Gipfel im feurigen Gold.
The rosy dawn breaks forth; like smoke the thin clouds disperse. The heavens shine in bright azure, the mountaintops in fiery gold.
No. 11 — TRIO AND CHORUS
hanne
Sie steigt herauf, die Sonne, sie steigt.
It rises now, the sun, it rises,
hanne, lukas Sie naht, sie kommt.
it draws near, it appears,
hanne, lukas, simon Sie strahlt, sie scheint.
it beams, it shines!
chorus Sie scheint in herrlicher Pracht, in flammender Majestät! Heil! O Sonne, Heil!
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It shines in magnificent splendor, in flaming majesty! Hail, Oh sun, hail! The Seasons — Sung Text
The Cleveland Orchestra
Des Lichts und Lebens Quelle, Heil! O du des Weltalls Seel’ und Aug’, der Gottheit schönstes Bild! Dich grüssen dankbar wir!
Hail! Source of light and life, Oh thou, soul and eye of the universe, fairest image of the Godhead! Thankfully we greet thee!
hanne, lukas, simon Wer spricht sie aus, die Freuden alle, die deine Huld in uns erweckt? Wer zählet sie, die Segen alle, die deine Mild’ auf uns ergiesst?
Who can express all the joys that thy grace awakens in us? Who can count all the blessings that thy kindness pours out on us?
chorus Die Freuden! O wer spricht sie aus? Die Segen! O wer zählet sie? Wer spricht sie aus? Wer zählet sie, wer?
The joys, who can express them? The blessings, who can count them? Who can express them? Who can count them?
hanne Dir danken wir, was uns ergötzt.
We thank You for what delights us.
lukas Dir danken wir, was uns belebt.
We thank You for what revives us.
simon We thank You for what sustains us.
Dir danken wir, was uns erhält.
hanne, lukas, simon Dem Schöpfer aber danken wir, was deine Kraft vermag.
But we thank the Creator for what Your power permits us.
all Heil! O Sonne, Heil! Des Lichts und Lebens Quelle, Heil! Dir jauchzen alle Stimmen, dir jauchzet die Natur.
Hail, Oh sun, hail! Hail! Source of light and life, For You all voices rejoice, for You nature rejoices.
No. 12 — RECITATIVE
simon
Nun regt und bewegt sich alles umher; ein buntes Gewühle bedecket die Flur. Dem braunen Schnitter neiget sich der Saaten wallende Flut, die Sense blitzt — da sinkt das Korn. Doch steht es bald und aufgehäuft in festen Garben wieder da.
Now everything around stirs and moves; a colorful throng covers the field. Before the brown reaper the waving flood of grain bows down; the scythe flashes — the grain falls; yet soon it stands, piled together in tight sheaves.
lukas Die Mittagssonne brennet jetzt in voller Glut und giesst durch die entwölkte Luft ihr mächtiges Feu’r in Strömen herab. Ob den gesengten Flächen schwebt, im nieder’n Qualm, ein blendend Meer von Licht und Widerschein.
The midday sun now burns at full glow, and through the cloudless sky a mighty blaze pours streaming down. Above the scorched plain there floats, in low-lying mists, a dazzling sea of light and reflection. P L E A S E T U R N PA G E Q U I E T LY
Severance Hall 2012-13
The Seasons — Sung Text
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No. 13 — CAVATINA
lukas Dem Druck erlieget die Natur. Welke Blumen, dßrre Wiesen, trock’ne Quellen, alles zeigt der Hitze Wut, und kraft los schmachten Mensch und Tier am Boden hingestreckt.
Nature succumbs to the burden, withered flowers, arid meadows, dry springs, everything reveals the heat’s fury, and bereft of strength, man and beast languish, stretched out on the ground.
No. 14 — RECITATIVE
hanne Willkommen jetzt, o dunkler Hain, wo der bejahrten Eiche Dach den kßhlenden Schirm gewährt, und wo der schlanken Espe Laub mit leisem Gelispel rauscht! Am weichen Moose rieselt da in heller Flut der Bach, und frÜhlich summend irrt und wirrt die bunte Sonnenbrut. Der Kräuter reinen Balsamduft verbreitet Zephirs Hauch, und aus dem nahen Busche tÜnt des jungen Schäfers Rohr.
Welcome now, dark grove, where the canopy of ancient oaks affords us cooling shelter, and where the slender aspen’s leaves rustle with hushed murmuring! On soft moss the brook trickles there in sparking flow, and, humming cheerfully, the sun’s bright brood twists and turns about. Zephyr’s breath spreads abroad the pure balsam scent of plants, and from the nearby thicket, the young shepherd’s reed sounds.
No. 15 — ARIA
hanne Welche Labung fßr die Sinne! Welch’ Erholung fßr das Herz! Jeden Aderzweig durchstrÜmet, und in jeder Nerve bebt erquickendes Gefßhl. Die Seele wachet auf zum reizenden Genuss, und neue Kraft erhebt durch milden Drang die Brust.
What comfort for the senses! What refreshment for the heart! Every vein is flowing, and in every nerve now beats a reviving sensation. The soul awakens to delicious pleasure and new strength lifts the breast with gentle impulse.
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The Seasons — Sung Text
The Cleveland Orchestra
No. 16 — RECITATIVE
simon O seht! Es steiget in der schwülen Luft am hohen Saume des Gebirgs von Dampf und Dunst ein fahler Nebel auf. Empor gedrängt dehnt er sich aus, und hüllet bald den Himmelsraum in schwarzes Dunkel ein.
Look! There rises in the sultry air by the high mountain border a pale cloud of mist and vapor. Pressed upward, it stretches out and soon envelops the entire sky in black darkness.
lukas Hört, wie vom Tal ein dumpf Gebrüll den wilden Sturm verkünd’t! Seht, wie von Unheil schwer die finst’re Wolke langsam zieht und drohend auf die Eb’ne sinkt!
Hear how from the valley a muffled roar announces the wild storm! See how, heavy with trouble, the dark cloud moves slowly, and sinks menacingly to the plain!
hanne In banger Ahnung stockt das Leben der Natur: Kein Tier, kein Blatt beweget sich, und Todesstille herrscht umher.
In fearful anticipation all nature stands still. No animal, no leaf moves, and deathly stillness prevails all around.
No. 17 — CHORUS
chorus Ach, das Ungewitter naht! Hilf uns, Himmel! O wie der Donner rollt! O wie die Winde toben! Wo flieh’n wir hin? Flammende Blitze durchwühlen die Luft, den zackigen Keilen berstet die Wolke, und Güsse stürzen herab. Wo ist Rettung? Wütend rast der Sturm; der weite Himmel entbrennt. Weh’ uns Armen! Schmetternd krachen Schlag auf Schlag die schweren Donner fürchterlich. Weh’ uns! Weh’ uns! Erschüttert wankt die Erde bis in des Meeres Grund.
Ah, the thunderstorm draws near! Help us, Heaven! Oh, how the thunder rolls! Oh, how the winds rampage! Whither shall we flee? Lightning flashes rend the air, the cloud bursts with jagged thunder bolts, and torrents plunge downward. Where is salvation? Violently the storm rages, The expanse of sky catches fire. Woe to us wretches! Sparking, crashing, stroke on stroke, the heavy thunder cracks terribly. Woe to us! Woe to us! Shaken, the earth reels, down to the bottom of the sea. P L E A S E T U R N PA G E Q U I E T LY
lec.edu 1.855.GO.STORM Severance Hall 2012-13
The Seasons — Sung Text
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No. 18 — TRIO AND CHORUS
lukas The dark clouds divide, the storm’s wrath is stilled.
Die düst’ren Wolken trennen sich; gestillet ist der Stürme Wut.
hanne Before setting the sun looks out once more, and from its last rays the meadow sparkles, adorned with pearls.
Vor ihrem Untergange blickt noch die Sonn’ empor; und vor dem letzten Strahle glänzt mit Perlenschmuck geziert die Flur.
simon Zum langgewohnten Stalle kehrt gesättigt und erfrischt das fette Rind zurück.
To long familiar stall, nourished and refreshed, the fat cattle return.
lukas Den Gatten ruft die Wachtel schon.
Already the quail calls its mate.
hanne Im Grase zirpt die Grille froh.
In the grass the cricket chirps merrily.
simon Und aus dem Sumpfe quakt der Frosch.
And from the marsh, the frog croaks.
lukas, hanne, simon Die Abendglocke tönt. Von oben winkt der helle Stern und ladet uns zur sanften Ruh.
The evening bell tolls. From on high the bright star shines and invites us to gentle rest.
men Mädchen, Burschen, Weiber, kommt! Unser wartet süsser Schlaf; wie reines Herz, gesunder Leib und Tagesarbeit ihn gewährt.
Girls, lads, women, come! Sweet sleep awaits us, as pure heart, healthy body, and daily labor assure them.
women Wir geh’n, wir geh’n, wir folgen euch.
We go, we go, we’ll follow you!
all Die Abendglocke hat getönt. Von oben winkt der helle Stern und ladet uns zur sanften Ruh,
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The evening bell has tolled. From on high the bright star shines and invites us to gentle rest.
The Seasons — Sung Text
The Cleveland Orchestra
Autumn
No. 19 — INTRODUCTION AND RECITATIVE (The introduction depicts the farmer’s satisfaction at the abundant harvest.)
hanne All that the blossoms of spring once promised, all that the warmth of summer ripened, is revealed in the fullness of autumn to the happy country man.
Was durch seine Blüte der Lenz zuerst versprach, was durch seine Wärme der Sommer reifen hiess, zeigt der Herbst in Fülle dem frohen Landmann jetzt.
lukas Den reichen Vorrat fährt er nun auf hochbelad’nen Wagen ein. Kaum fasst der weiten Scheune Raum, was ihm sein Feld hervorgebracht.
The rich harvest he now brings in on high-laden wagons. The broad storerooms scarcely hold what his field has produced.
simon Sein heit’res Auge blickt umher, es misst den aufgetürmten Segen ab, und Freude strömt in seine Brust.
His cheerful eye looks round, measuring off the piled-up harvest, and joy streams in his heart.
No. 20 — TRIO AND CHORUS
simon So lohnet die Natur den Fleiss; ihn ruft, ihn lacht sie an, ihn muntert sie durch Hoffnung auf, ihm steht sie willig bei; ihm wirket sie mit voller Kraft.
Thus Nature rewards Industry; she summons it, smiles upon it, bolsters it with hope, and stands by it willingly; she works on it with her full strength.
hanne, lukas Von dir, o Fleiss, kommt alles Heil. Die Hütte, die uns schirmt, die Wolle, die uns deckt, die Speise, die uns nährt, ist deine Gab’, ist dein Geschenk.
From thee, oh Industry, come all good things: The cottage that protects us, the wool that covers us, the food that nourishes us, is your gift and your bounty.
hanne, lukas, simon Industry, oh noble Industry! From thee come all good things.
O Fleiss, o edler Fleiss! Von dir kommt alles Heil!
hanne You cause virtue to flow in, and you soften uncouth manners.
Du flössest Tugend ein, und rohe Sitten milderst du.
lukas Du wehrest Laster ab und reinigest der Menschen Herz.
You avert blasphemy and purify the human heart. P L E A S E T U R N PA G E Q U I E T LY
Severance Hall 2012-13
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simon You strengthen courage and inclination toward the good and to each duty.
Du stärkest Mut und Sinn zum Guten und zu jeder Pflicht.
all From thee, oh, Industry! From thee come all good things!
O Fleiss, o edler Fleiss! Von dir kommt alles Heil! No. 21 — RECITATIVE
hanne Lo, how to the hazel bush there the speedy boys hasten. On every branch the merry troops of youngsters are swinging, and from the shaken bushes falls, like a shower of hail, the ripened fruit.
Seht, wie zum Haselbusche dort die rasche Jugend eilt! An jedem Aste schwinget sich der Kleinen lose Schar, und der bewegten Staud’ entstürzt gleich Hagelschau’r die lock’re Frucht.
simon Here the young farmer climbs the high trunk’s length, up the ladder briskly. From the top, which conceals him, he sees his sweetheart drawing near, and in her direction there flies, in tender jest, a round nut.
Hier klimmt der junge Bau’r den hohen Stamm entlang, die Leiter flink hinauf. Vom Wipfel, der ihn deckt, sieht er sein Liebchen nah’n, und ihrem Tritt entgegen fliegt dann in trautem Scherze die runde Nuss herab.
lukas In the garden, around each tree, stand the girls, big and little, fresh-colored, just like the fruits that they are gathering.
Im Garten steh’n um jeden Baum die Mädchen gross und klein, dem Obste, das sie klauben, an frischer Farbe gleich. No. 22 — DUET
lukas Ihr Schönen aus der Stadt, kommt her! Blickt an die Tochter der Natur, die weder Putz noch Schminke ziert. Da seht mein Hannchen, seht! Ihr blüht Gesundheit auf den Wangen; im Auge lacht Zufriedenheit, und aus dem Munde spricht das Herz, wenn sie mir Liebe schwört.
You pretty city girls, come here! Behold the daughter of Nature, using neither ornament nor rouge. Behold there my little Hanne! Good health blossoms on her cheek; contentment laughs from her eye, and her lips tell her heart’s words, when she avows her love to me.
hanne Ihr Herrchen süss und fein, bleibt weg! Hier schwinden eure Künste ganz, und glatte Worte wirken nicht; man gibt euch kein Gehör.
70
You fine, sweet gentlemen, away! Here your arts are utterly useless, and smooth words have no effect; we pay them no heed.
The Seasons — Sung Text
The Cleveland Orchestra
Nicht Gold, nicht Pracht kann uns verblenden, ein redlich Herz ist, was uns rührt; und meine Wünsche sind erfüllt, wenn treu mir Lukas ist.
Neither gold nor finery can dazzle us, an honest heart is what touches us; and my wishes are fulfilled if my Lukas is true to me.
lukas Leaves fall, fruits shrivel away, days and years may pass, but not my love.
Blätter fallen ab, Früchte welken hin, Tag und Jahr vergeh’n, nur meine Liebe nicht.
hanne The leaf shows a fairer green, the fruit tastes sweeter, the day shines brighter when your love speaks.
Schöner grünt das Blatt, süsser schmeckt die Frucht, heller glänzt der Tag, wenn deine Liebe spricht.
lukas, hanne Welch ein Glück ist treue Liebe! Uns’re Herzen sind vereinet, trenn kann sie Tod allein.
What happiness is true love! Our hearts are united, death alone can divide them.
lukas Dearest little Hanne!
Liebstes Hannchen!
hanne Darling Lukas!
Bester Lukas!
hanne, lukas Lieben und geliebet werden, ist der Freuden höchster Gipfel, ist des Lebens Wonn’ und Glück!
To love and be loved is the highest summit of joy, life’s rapture and bliss.
No. 23 — RECITATIVE
simon Nun zeiget das entblösste Feld der ungebet’nen Gäste Zahl, die an den Halmen Nahrung fand und irrend jetzt sie weitersucht. Des kleinen Raubes klaget nicht der Landmann, der ihn kaum bemerkt; dem Übermasse wünscht er doch nicht ausgestellt zu sein. Was ihn dagegen sichern mag, sieht er als Wohltat an, und willig frohnt er dann zur Jagd, die seinen guten Herrn ergötzt.
Now the denuded field shows the number of unbidden guests who found nourishment among the stalks and wander now to seek them elsewhere. The countryman does not lament these small thefts; he hardly notices them. He does not wish to be criticized for excessive gain. Whatever keeps him safe from that, he regards as a favor, and willingly then joins the hunt, which gives pleasure to his good master.
P L E A S E T U R N PA G E Q U I E T LY
Severance Hall 2012-13
The Seasons — Sung Text
71
No. 24 — ARIA
simon
Seht auf die breiten Wiesen hin, Seht, wie der Hund im Grase streift! Am Boden suchet er die Spur und geht ihr unablässig nach. Jetzt aber reisst Begierd’ ihn fort; er horcht auf Ruf und Stimme nicht mehr; er eilet zu haschen — da stockt sein Lauf, und er steht unbewegt wie Stein. Dem nahen Feinde zu entgeh’n erhebt der scheue Vogel sich; doch rettet ihn nicht schneller Flug. Es blitzt, es knallt, ihn erreichet das Blei und wirft ihn tot aus der Luft herab.
Look at the wide fields! See how the hound reconnoiters in the grass! seeking the scent on the ground and tirelessly pursuing it. Now eagerness carries him away; he heeds call or voice no longer; he hastens to the catch, then stops running and stands motionless as a stone. In order to evade his nearby enemy the timorous bird springs up; but rapid flight does not save him. There’s a flash, a bang, and the lead hits it, and casts it down, dead, from the air.
No. 25 — RECITATIVE
lukas
Here a tight ring drives the hares out of their lairs. Pressed on all sides, no flight helps them. Already they fall and soon lie in rows joyfully counted.
Hier treibt ein dichter Kreis die Hasen aus dem Lager auf. Von allen Seiten hergedrängt, hilft ihnen keine Flucht. Schon fallen sie und liegen bald in Reihen freudig hingezählt.
No. 26 — CHORUS OF THE FARMERS AND HUNTERS
men
Listen! Hear the loud tone sounding there in the forest!
Hört, hört das laute Getön, das dort im Walde klinget!
women What a loud tone sounds through the entire forest!
Welch ein lautes Getön durchklingt den ganzen Wald!
all It is the call of the shrill horns, the baying of eager hounds.
Es ist der gellenden Hörner Schall, der gierigen Hunde Gebelle.
men Schon flieht der aufgesprengte Hirsch; ihm rennen die Doggen und Reiter nach.
72
Already the bounding stag flees, the hounds and riders pursuing.
The Seasons — Sung Text
The Cleveland Orchestra
women He flees, he flees. Oh, how he stretches!
Er flieht, er flieht. O wie er sich streckt!
all Ihm rennen die Doggen und Reiter nach. O wie er springt! O wie er sich streckt!
Pursued by the hounds and riders. Oh, how he leaps, how he stretches out!
women Da bricht er aus den Gesträuchen hervor und läuft über Feld in das icht hinein.
There he breaks out of the undergrowth and races across the field into the thicket.
men Jetzt hat er die Hunde getäuscht; zerstreuet schwärmen sie umher.
Now he has deceived the hounds; they rush around in confusion.
all The hounds are scattered; they rush back and forth.
Die Hunde sind zerstreut: sie schwärmen hin und her.
hunters Tally ho! Tally ho! Tally ho!
Tajo, tajo, tajo!
men Der Jäger Ruf, der Hörner Klang versammelt aufs neue sie.
The hunters’ cry, the sound of horns gathers them anew.
hunters Ho! Ho! Ho! Tally ho! Ho! Ho!
Ho, ho, ho! Tajo! Ho, ho!
men and women Mit doppeltem Eifer stürzet nun der Haufe vereint auf die Fährte los.
With redoubled zeal now the pack unites on the scent.
hunters Tally ho! Tally ho! Tally ho!
Tajo, tajo, tajo!
women Von seinen Feinden eingeholt, an Mut und Kräften ganz erschöpft, erlieget nun das schnelle Tier.
Surrounded by its enemies, drained of strength and energy, the speedy animal now succumbs.
men His looming end is announced by the jubilant song of the sounding brass, the hunter’s joyful cry of victory.
Sein nahes Ende kündigt an des tönenden Erzes Jubellied, der freudigen Jäger Siegeslaut.
hunters Hurrah! Hurrah! Hurrah!
Halali! Halali! Halali!
women Den Tod des Hirschen kündigt an des tönenden Erzes Jubellied, der freudigen Jäger Siegeslaut.
The stag’s death is announced by the jubilant song of the sounding brass, the hunter’s joyful cry of victory.
hunters Halali! Halali! Halali!
Hurrah! Hurrah! Hurrah! P L E A S E T U R N PA G E Q U I E T LY
Severance Hall 2012-13
The Seasons — Sung Text
72-A
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all Den Tod des Hirschen kündigt an des tönenden Erzes Jubellied, der freudigen Jäger Siegeslaut. Halali! Halali! Halali!
The stag’s death is announced by the jubilant song of the sounding brass, the hunter’s joyful cry of victory. Hurrah! Hurrah! Hurrah!
No. 27 — RECITATIVE
hanne Am Rebenstocke blinket jetzt die helle Traub’ in vollem Safte und ruft dem Winzer freundlich zu, dass er zu lesen sie nicht weile.
Now on the vine sparkle the bright grapes full of juice, calling amiably to the vintner that he not delay picking them.
simon Already vat and cask have been brought to the hill and from their huts, to the cheerful day’s work, the merry folk stream forth.
Schon werden Kuf’ und Fass zum Hügel hingebracht, und aus den Hütten strömet zum frohen Tagewerke das munt’re Volk herbei.
hanne Look how the entire hillside is full of people! Listen, how the joyous sound rings out on every hand.
Seht, wie den Berg hinan von Menschen alles wimmelt! Hört, wie der Freudenton von jeder Seit’ erschallet.
lukas Die Arbeit fördert lachender Scherz vom Morgen bis zum Abend hin, und dann erhebt der brausende Most die Fröhlichkeit zum Lustgeschrei.
The work encourages laughing jests from morning to evening, and then the fermenting wine lifts the merriment to shouts of delight.
No. 28 — RECITATIVE
all Hurrah! Hurrah! There is the wine, the barrels are filled, now let us be merry, and cry “Hurrah! Hurrah! Hurrah!” full-throatedly.
Juchei! Juchei! Der Wein ist da, die Tonnen sind gefüllt, nun lasst uns fröhlich sein, und Juchei! Juchei! Juch! Aus vollem Halse schrei’n.
men Lasst uns trinken! Trinket, Brüder, lasst uns fröhlich sein!
Let’s drink! Drink, brothers, let’s be merry!
women Lasst uns singen! Singet alle! Lasst uns fröhlich sein!
Let’s sing! Sing, everyone! Let’s be merry!
all Juchei! Juch! Es lebe der Wein!
Hurrah! Hurrah! Hurrah! Long live wine! P L E A S E T U R N PA G E Q U I E T LY
Severance Hall 2012-13
The Seasons — Sung Text
72-C
men Long live the land, where it matures! Long live the barrel, that preserves it! Long live the jug from which it flows!
Es lebe das Land, wo er uns reift! Es lebe das Fass, das ihn verwahrt! Es lebe der Krug, aus dem er fliesst!
all Hurrah! Hurrah! Long live wine!
Juchei! Juch! Es lebe der Wein!
men Kommt, ihr Brüder! Füllt die Kannen, leert die Becher! Lasst uns fröhlich sein!
Come, brothers! Fill the tankards, empty the glasses! Let’s be merry!
all Heisa! Lasst uns fröhlich sein und Juchei! Juchei! Juch! Aus vollem Halse schrei’n. Juchei! Juch! Juch! Es lebe der Wein!
Hurrah! Let’s be merry! and cry “Hurrah! Hurrah! Hooray!” full-throatedly. Hurrah! Hooray! Hooray! Long live wine!
women Nun tönen die Pfeifen und wirbelt die Trommel. Hier kreischet die Fiedel, da schnarret die Leier, und dudelt der Bock.
Now the pipes sound and the drum rolls. Here the fiddle screeches, there the hurdy-gurdy rasps, and the bagpipe drones.
men Schon hüpfen die Kleinen und springen die Knaben, dort fliegen die Mädchen, im Arme der Bursche, den ländlichen Reih’n.
Already the little ones jump, the lads leap, there the girls fly into the arms of the boys, for the country rounds.
women Heisa, hopsa, lasst uns hüpfen!
Cheers! Let us skip!
men Ihr Brüder, kommt!
Come, brothers!
women Heisa, hopsa, lasst uns springen!
Cheers! Let us leap!
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72-D
The Seasons — Sung Text
The Cleveland Orchestra
men Fill the tankards!
Die Kannen füllt!
women Cheers! Let us dance!
Heisa, hopsa, lasst uns tanzen!
men Empty your glasses!
Die Becher leert!
all Hurrah! Let’s be merry! and cry “Hurrah! Hurrah! Hooray!” full-throatedly.
Heisa! Lasst uns fröhlich sein und Juchei! Juchei! Juch! aus vollem Halse schrei’n.
men Revel, shout, leap, dance, laugh, sing! Now we take the last drink!
Jauchzet, lärmet! Springet, tanzet! Lachet, singet! Nun fen wir den letzten Krug!
everyone else Cheers! Hooray! Hurrah! Cheers! Hip-Hooray! Hurrah! etc.
Heisa! Juchei! Juch! Heisasa! Hopsasa! Heisa! Hopsa! usw.
men And we sing in full chorus to the joy-giving juice of the vine:
Und singen dann im vollen Chor dem freudenreichen Rebensaft:
all others Cheers! Hey! Hurrah! Hooray! Cheers! Hooray!
Heisa, hei! Juchei! Juch Heisasa! Juch!
all Long live wine, noble wine, which banishes melancholy and grief! Let its praise resound high and loud in a thousandfold cry of jubilation! Hey, let’s be happy and sing “Hurrah! Hurrah! Hooray!” full-throatedly.
Es lebe der Wein, der edle Wein, der Grillen und Harm verscheucht! Sein Lob ertöne laut und hoch in tausendfachem Jubelschall! Heisa, lasst uns fröhlich sein und Juchei! Juchei! Juch! aus vollem Halse schrei’n.
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Severance Hall 2012-13
The Seasons — Sung Text
72-E
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72-F
The Cleveland Orchestra
Winter
No. 29 — INTRODUCTION AND RECITATIVE (The Introduction depicts the thick fogs, with which winter begins.)
simon Nun senket sich das ble Jahr und fallen Dünste kalt herab. Die Berg’ umhüllt ein grauer Dampf, der endlich auch die Flächen drückt, und am Mittage selbst der Sonne matten Strahl verschlingt.
Now the pale year sinks away, and cold vapors descend. A gray mist surrounds the mountains, eventually oppressing the plains, too, and even at noon swallows up the sun’s weak rays.
hanne Aus Lapplands Höhlen schreitet her der stürmisch düst’re Winter jetzt. Vor seinem Tritt erstarrt in banger Stille die Natur.
From the caves of Lapland strides the stormy, gloomy winter now. At his footstep, Nature freezes into anxious silence.
No. 30 — CAVATINA
hanne Licht und Leben sind geschwächet, Wärm’ und Freude sind verschwunden. Unmutsvollen Tagen folget schwarzer Nächte lange Dauer.
Light and life have grown weak, warmth and joy have disappeared. Upon disgruntled days follows black nights’ long duration.
No. 31 — RECITATIVE
lukas Gefesselt steht der breite See, gehemmt in seinem Laufe der Strom. Im Sturze von türmenden Felsen hängt gestockt und stumm der Werfall. Im dürren Haine tönt kein Laut. Die Felder deckt, die Täler füllt ein’ ungeheure Flockenlast. Der Erde Bild ist nur ein Grab, wo Kraft und Reiz erstorben liegt, wo Leichenfarbe traurig herrscht und wo dem Blicke weit umher nur öde Wüstenei sich zeigt.
The broad lake stands in fetters, arrested in its course the stream. In its plunge from towering cliffs the waterfall stands frozen and mute. In the withered grove no sound is heard. An immense burden of snowflakes covers the fields, fills the valleys. The image of earth is now a grave, where strength and allure lie dead, where a deathlike hue bleakly rules, and where, to the circling gaze, only desolate waste is seen.
No. 32 — ARIA
lukas Hier steht der Wand’rer nun verwirrt und zweifelhaft, wohin den Schritt er lenken soll. Vergebens suchet er den Weg: Ihn leitet weder Pfad noch Spur.
Here stands the traveller now, confused and doubting, whither he should turn his steps. In vain he seeks the way; neither path nor track guide him. P L E A S E T U R N PA G E Q U I E T LY
Severance Hall 2012-13
The Seasons — Sung Text
72-G
Vergebens strenget er sich an und watet durch den tiefen Schnee, er find’t sich immer mehr verirrt. Jetzt sinket ihm der Mut, und Angst beklemmt sein Herz, da er den Tag sich neigen sieht, und Müdigkeit und Frost ihm alle Glieder lähmt. Doch plötzlich trifft sein spähend Aug’ der Schimmer eines nahen Lichts. Da lebt er wieder auf; vor Freuden pocht sein Herz. Er geht, er eilt der Hütte zu, wo starr und matt er Labung hofft.
In vain he exerts himself and wades through the deep snow; he finds himself ever more lost. Now his courage fails and fear seizes his heart, as he sees the day draw to an end, and weariness and cold have paralyzed all his limbs. But suddenly his searching eye discerns the shimmer of a nearby light. He revives again; his heart beats with joy. He goes, he hastens toward the hut, where, cold and weak, he seeks comfort.
No. 33 — RECITATIVE
lukas So wie er naht, schallt in sein Ohr, durch heulende Winde nur erst geschreckt, heller Stimmen lauter Klang.
And as he nears, there echoes in his ear, just now terrified by howling winds, the loud sound of happy voices.
hanne Die warme Stube zeigt ihm dann des Dörfchens Nachbarschaft, vereint in trautem Kreise den Abend zu verkürzen mit leichter Arbeit und Gespräch.
The warm room reveals to him then the neighbors of the little village, united in a cozy circle to shorten the evening with light work and conversation.
simon Am Ofen schwatzen hier von ihrer Jugendzeit die Väter; zu Körb’ und Reusen flicht die Weidengert’ und Netze Strickt der Söhne munt’rer Haufe dort. Am Rocken spinnen die Mütter, am laufenden Rade die Töchter; und ihren Fleiss belebt ein ungekünstelt frohes Lied.
Here by the stove the fathers chatter of their boyhood; there the happy crowd of sons plait willow withes into baskets and hampers and weave their nets. The mothers spin on the distaff, their daughters on the spinning wheel; and an artless cheerful song enlivens their industry.
No. 34 — SONG WITH CHORUS — SPINNING SONG by gottfried august bürger
wives and maidens Knurre, schnurre, knurre, schnurre, Rädchen, schnurre!
Rumble, whir, rumble, whir, little wheel, whir!
hanne Drille, Rädchen, lang und fein, drille fein ein Fädelein mir zum Busenschleier!
72-H
Turn, little wheel, long and fine, spin a fine little thread to make a veil for my bosom.
The Seasons — Sung Text
The Cleveland Orchestra
wives and maidens Rumble, whir, rumble, whir, little wheel, whir!
Knurre, schnurre, knurre, schnurre, Rädchen, schnurre!
hanne Weaver, weave delicately, finely, weave the gossamer veil for me to wear at the fair.
Weber, webe zart und fein, webe fein das Schleierlein mir zur Kirmesfeier.
wives and maidens Rumble, whir, rumble, whir, little wheel, whir!
Knurre, schnurre, knurre, schnurre, Rädchen, schnurre!
hanne Bright without and pure within must the maiden’s breast be, though the veil cover it.
Aussen blank und innen rein, muss de Mädchens Busen sein, wohl deckt ihn der Schleier.
wives and maidens Knurre, schnurre, knurre, schnurre, Rädchen, schnurre!
Rumble, whir, rumble, whir, little wheel, whir!
hanne Aussen blank und innen rein, fleissig, fromm und sittsam sein, locket wack’re Freier.
Bright without and pure within, be industrious, pious, and modest, to attract a gallant suitor.
all Aussen blank und innen rein, fleissig, fromm und sittsam sein, locket wack’re Freier.
Bright without and pure within, be industrious, pious, and modest, to attract a gallant suitor.
No. 35 — RECITATIVE
lukas Abgesponnen ist der Flachs, nun steh’n die Räder still. Da wird der Kreis verengt und von dem Männervolk umringt, zu horchen auf die neue Mär, die Hanne jetzt erzählen wird.
Now the flax has all been spun, now the wheels are still. Now the circle closes in and, surrounded by the menfolk, attends to the latest story, which Hanne will now relate.
No. 36 — SONG WITH CHORUS
hanne Ein Mädchen, das auf Ehre hielt, liebt’ einst ein’ Edelmann; da er schon längst auf sie gezielt, traf er allein sie an. Er stieg sogleich vom Pferd und sprach: Komm, küsse deinen Herrn! Sie rief vor Angst und Schrecken: Ach! Ach ja, von Herzen gern.
A girl who cared for her reputation once loved a nobleman; since he had long been after her, he met her all alone. He climbed down from his horse and said: “Come, kiss your lord!” She cried with fear and terror, “Oh! Oh yes, with all my heart.” P L E A S E T U R N PA G E Q U I E T LY
Severance Hall 2012-13
The Seasons — Sung Text
72-I
chorus Eh, eh, why not “no”?
Ei, ei, warum nicht nein?
hanne Sei ruhig, sprach er, liebes Kind, und schenke mir dein Herz; denn meine Lieb’ ist treu gesinnt, nicht Leichtsinn oder Scherz. Dich mach ich glücklich: Nimm dies Geld, den Ring, die gold’ne Uhr! Und hab’ ich sonst, was dir gefällt, o sag’s und ford’re nur!
“Be calm,” he said, “dear child, and give me your heart; for my love is honorable, neither frivolous nor a joke. I’ll make you happy: take this money, this ring, this golden watch! And if I have anything else you like, just name it and ask for it!”
chorus Eh, eh, that sounds very fine!
Ei, ei, das klingt recht fein!
hanne “No,” says she, “that would be too daring, my brother might see, and if he told my father, what would become of me? He is plowing all too near us here . . . Otherwise it might work. Just look — from that hill there you can see him plowing.”
Nein, sagt sie, das wär’ viel gewagt, mein Bruder möchte’ es seh’n, und wenn er’s meinem Vater sagt, wie wird mir’s dann ergeh’n? Er ackert uns hier allzu nah . . . Sonst könnt’ es wohl gescheh’n. Schaut nur, von jenem Hügel da könnt Ihr ihn ackern seh’n.
chorus Ho, ho, what does this mean?
Ho, ho, was soll das sein?
hanne Indem der Junker geht und sieht, schwingt sich das lose Kind auf seinen Rappen und entflieht geschwinder als der Wind. Lebt wohl, rief sie, mein gnäd’ger Herr! So räch’ ich meine Schmach. Ganz eingewurzelt stehet er und gafft ihr staunend nach.
While the squire goes and sees, the lively girl swings up on his black horse and escapes faster than the wind. “Farewell,” she cried, “my noble lord! Thus I avenge my shame.” Utterly rooted, he stands there and gapes after her in wonder.
chorus Ha, ha, das war recht fein.
Ha, ha, that was a good one!
No. 37 — RECITATIVE
simon Vom dürren Osten dringt ein scharfer Eishauch jetzt hervor. Schneidend fährt er durch die Luft, verzehret jeden Dunst und hascht des Tieres Odem selbst. Des grimmigen Tyranns, des Winters Sieg ist nun vollbracht, und stummer Schrecken drückt den ganzen Umfang der Natur.
72-J
From the desolate East a sharp icy breath now presses forward. It cuts through the air as it comes, consumes all the vapor and snatches the very breath of the animals. The victory of Winter, the grim tyrant, is now complete, silent terror oppresses the entire circuit of Nature. The Seasons — Sung Text
The Cleveland Orchestra
No. 38 — ARIA AND RECITATIVE
simon Erblicke hier, betörter Mensch, erblicke deines Lebens Bild. Verblühet ist dein kurzer Lenz, erschöpfet deines Sommers Kraft. Schon welkt dein Herbst dem Alter zu, schon naht der bleiche Winter sich und zeiget dir das off ’ne Grab. Wo sind sie nun, die hoh’n Entwürfe, die Hoffnungen vom Glück, die Sucht nach eitlem Ruhme, der Sorgen schwere Last? Wo sind sie nun, die Wonnetage, verschwelgt in Üppigkeit? Und wo die frohen Nächte, im Taumel durchgewacht? Wo sind sie nun? Wo? Verschwunden sind sie wie ein Traum. Nur Tugend bleibt.
Look here, deluded man, observe the image of your life. Faded is your brief springtime, exhausted your summer’s strength. Already your autumn fades to age, already pale winter draws near and shows you your open grave. Where are they now, the lofty schemes, the hopes of happiness, the quest after idle fame, the heavy burden of sorrows? Where are they now, the days of rapture, wasted in luxury? And where the happy nights spent in intoxication? Where are they now? Where? They are vanished like a dream. Only virtue remains.
simon Die bleibt allein und leitet uns, unwandelbar, durch Zeit und Jahreswechsel, durch Jammer oder Freude bis zu den höchsten Zielen hin.
It alone remains and leads us, changeless, through change of times and seasons, through sorrow or joy to the highest goal.
No. 39 — TRIO AND DOUBLE CHORUS
simon Dann bricht der grosse Morgen an, der Allmacht zweites Wort erweckt zum neuen Dasein uns, von Pein und Tod auf immer frei.
Then dawns the great morning, the Almighty’s second word awakens us to the new being, forever free of pain and death.
lukas, simon Die Himmelspforten öffnen sich, der heil’ge Berg erscheint. Ihn krönt des Herren Zelt, wo Ruh’ und Frieden thront.
The gates of heaven open, the holy mount appears. The Lord’s tabernacle crowns it, where rest and peace are enthroned.
first chorus Wer darf durch diese Pforten geh’n?
Who may pass through these gates? =
hanne, lukas, simon Der Arges mied und Gutes tat.
He who avoided evil and did good.
second chorus Wer darf besteigen diesen Berg?
Who may ascend this mountain? P L E A S E T U R N PA G E Q U I E T LY
Severance Hall 2012-13
The Seasons — Sung Text
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hanne, lukas, simon He from whose lips flowed truth.
Von dessen Lippen Wahrheit floss.
first chorus Who may dwell in this tabernacle?
Wer darf in diesem Zelte wohnen?
hanne, lukas, simon He who assisted the poor and needy.
Der Armen und Bedrängten half.
first chorus Who will enjoy the peace there?
Wer wird den Frieden dort geniessen?
hanne, lukas, simon He who gave protection and support to the innocent.
Der Schutz und Recht der Unschuld gab.
first chorus Behold, the great morning draws near.
O seht, der grosse Morgen naht.
second chorus Behold, it shines already.
O seht, er leuchtet schon.
both choruses The gates of heaven open, the holy mount appears.
Die Himmelspforten öffnen sich, der heil’ge Berg erscheint.
first chorus Past . . .
Vorüber sind,
second chorus calmed are . . .
verbrauset sind
first chorus . . . the days of sorrow,
die leidenvollen Tage,
second chorus . . . the winter storms of life.
des Lebens Winterstürme.
both choruses An eternal springtime reigns; and boundless bliss is the reward of the just. May we, too, gain such a reward some day! Let us work, let us strive!
Ein ew’ger Frühling herrscht; und grenzenlose Seligkeit wird der Gerechten Lohn! Lasst uns wirken, lasst uns streben!
first chorus Let us struggle,
Lasst uns kämpfen,
second chorus Let us wait in confidence,
lasst uns harren,
both choruses . . . to win this prize. May Thy hand lead us, oh God! Lend us strength and courage; then shall we sing, then shall we enter into the splendor of Thy kingdom. Amen.
zu erringen diesen Preis. Uns leite Deine Hand, o Gott! Verleih’ uns Stärk’ und Mut; dann siegen wir, dann geh’n wir ein in Deines Reiches Herrlichkeit. Amen.
DA S 72-L
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The Seasons — Sung Text
The Cleveland Orchestra
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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 March 2013
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 Excellence George Gund III Fund
Artistic Collaboration Keithley Fund
Artist-in-Residence 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
American Conductors Fund Douglas Peace Handyside Holsey Gates Handyside
Severance Hall Guest Conductors 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
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Endowed Funds
The Cleveland Orchestra
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
In-School Performances
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.
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
Organ
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
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
Severance Hall 2012-13
Endowed Funds
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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 months of the current Severance Hall season, student attendance 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.
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Student Ticket Programs
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 PolyOne Corporation Raiffeisenlandesbank Oberösterreich (Europe) 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 February 2013.
gifts of $2,500 or more during the past year, as of February 25, 2013
KeyBank The Lubrizol Corporation NACCO Industries, Inc. Raiffeisenlandesbank Oberösterreich (Europe) 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
The Cliffs Foundation Google, Inc. Medical Mutual of Ohio Parker Hannifin Corporation $50,000 TO $99,999
Exile LLC Jones Day Quality Electrodynamics (QED) 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 AdCom Communications Akron Tool & Die Company AkronLife Magazine American Fireworks, Inc. American Greetings Corporation BDI Brouse McDowell Eileen M. Burkhart & Co LLC
Severance Hall 2012-13
Corporate Annual Support
Buyers Products Company Cedar Brook Financial Partners, LLC The Cleveland Wire Cloth & Mfg. Co. 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 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)
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CLEVELAND INSTITUTE OF MUSIC 11021 East Boulevard Cleveland, OH 44106 | 216.791.5000 | cim.edu
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We believe in working for the greater good of all and we are proud to support any organization that shares this value. We thank The Cleveland Orchestra for its commitment to excellence! Ken Lanci, Chairman & CEO Consolidated Companies 74
The Cleveland Orchestra
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 Orchestra’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
gifts of $2,000 or more during the past year, as of February 25, 2013
The Cleveland Foundation Cuyahoga County residents through Cuyahoga Arts and Culture The George Gund Foundation The Andrew W. Mellon Foundation David and Inez Myers 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 Ohio Arts Council
The George Gund Foundation The Andrew W. Mellon Foundation John P. Murphy Foundation
$100,000 TO $249,999
$1 MILLION TO $5 MILLION
$50,000 TO $99,999
GAR Foundation Ann and Gordon Getty Foundation The Louise H. and David S. Ingalls Foundation Martha Holden Jennings Foundation Knight Foundation (Cleveland, Miami) David and Inez Myers Foundation National Endowment for the Arts The Payne Fund The Reinberger Foundation The Sage Cleveland Foundation
Sidney E. Frank Foundation GAR Foundation
The George W. Codrington Charitable Foundation Martha Holden Jennings Foundation Myra Tuteur Kahn Memorial Fund of The Cleveland Foundation John S. and James L. Knight Foundation The Mandel Foundation Elizabeth Ring Mather and William Gwinn Mather Fund National Endowment for the Arts Donald and Alice Noble Foundation, Inc. The Payne Fund The Sage Cleveland Foundation Surdna Foundation $20,000 TO $49,999
$2,000 TO $19,999 The Abington Foundation 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 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)
The Severance Society recognizes generous contributors of $1 million or more in cumulative giving to The Cleveland Orchestra. Listing as of February 2013.
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 Helen Wade Greene Charitable Trust The Margaret Clark Morgan Foundation The Frederick and Julia Nonneman Foundation The Nord Family Foundation William J. and Dorothy K. O’Neill Foundation Peacock Foundation, Inc. (Miami) The Reinberger Foundation The Sisler McFawn Foundation
Severance Hall 2012-13
Foundation/Government Annual Support
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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 February 25, 2013 INDIVIDUAL GIFTS OF $500,000 AND MORE
$10 MILLION AND MORE
Daniel R. and Jan R. Lewis (Miami, Cleveland)
Daniel R. and Jan R. Lewis (Miami) INDIVIDUAL GIFTS OF $200,000 TO $499,999
$5 MILLION TO $10 MILLION
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, Sr. Mr. and Mrs. Albert B. Ratner
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)
$1 MILLION TO $5 MILLION
INDIVIDUAL GIFTS OF $100,000 TO $199,999
Irma and Norman Braman (Miami) Mr. Francis J. Callahan Mrs. M. Roger 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)
James D. Ireland III 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)
The Severance Society recognizes generous contributors of $1 million or more in lifetime giving to The Cleveland Orchestra. As of February 2013.
76
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 Elizabeth B. Juliano (Cleveland, Miami) Mr. and Mrs. Dennis W. LaBarre R. Kirk Landon and Pamela Garrison (Miami) Toby Devan Lewis Mr. and Mrs. Edward A. Lozick Ms. Beth E. Mooney James and Donna Reid Barbara S. Robinson
Individual Annual Support
The Cleveland Orchestra
Mr. and Mrs. Richard K. Smucker Barbara and David Wolfort Anonymous 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 Giuliana C. and John D. Koch (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 $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 Margaret Fulton-Mueller Mrs. Jane B. Nord Mr. and Mrs. James A. Ratner Hewitt and Paula Shaw Richard and Nancy Sneed (Cleveland, Miami) R. Thomas and Meg Harris Stanton 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 Mr. and Mrs. Matthew V. Crawford Bruce and Beth Dyer Esther L. and Alfred M. Eich, Jr. Jeffrey and Susan Feldman Dr. Edward S. Godleski Andrew and Judy Green Gary Hanson and Barbara Klante
Severance Hall 2012-13
Mr. and Mrs. Jack Hoeschler Richard and Erica Horvitz (Cleveland, Miami) Mrs. Marguerite B. Humphrey Joy P. and Thomas G. Murdough, Jr. (Miami) William J. and Katherine T. O’Neill 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 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 INDIVIDUAL GIFTS OF $15,000 TO $19,999
Randall and Virginia Barbato Jayusia and Alan Bernstein (Miami)
listings continue
Crescendo
Annual Campaign Patrons
Barbara Robinson, chair Robert Gudbranson, vice chair Gay Cull Addicott William W. Baker Ronald H. Bell Henry C. Doll Judy Ernest Nicki Gudbranson
Jack Harley Iris Harvie Brinton L. Hyde Randall N. Huff 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
77
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
Scott Chaikin and Mary Beth Cooper Martha and Bruce Clinton (Miami) Mr. and Mrs. Peter O. Dahlen George* and Becky Dunn Colleen and Richard Fain (Miami) 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 Mr. and Mrs. William E. Conway Mrs. Barbara Cook Bruce Coppock and Lucia P. May (Miami) Mr. Peter and Mrs. Julie Cummings (Miami) Mr. and Mrs. Robert P. Duvin
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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 Elaine Harris Green 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. Jeff Litwiller 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 Dr. Tom D. Rose Mr. and Mrs. David A. Ruckman Dr. Isobel Rutherford 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 Mrs. Jean H. Taber 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. and Mrs.* Robert P. Madison Mrs. Robert H. Martindale
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THE CLEVELAN D ORCHESTRA listings continued
Mr. and Mrs. Thomas B. McGowan Mr. Donald W. Morrison Mr. Raymond M. Murphy Pannonius Foundation Douglas and Noreen Powers 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. Robert H. Baker 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
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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. 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 Mr. and Mrs. Robert C. Ruhl Mrs. Florence Brewster Rutter David M. and Betty Schneider Linda B. Schneider Larry and Sally Sears Dr. and Mrs. James L. Sechler Charles Seitz (Miami) 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 Fred and Marcia Zakrajsek Anonymous (6)
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THE CLEVELAN D ORCHESTRA listings continued INDIVIDUAL GIFTS OF $3,500 TO $4,999
Dr. and Mrs. D. P. Agamanolis 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 Judy and Donald Lefton (Miami) 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 Bert and Marjorie Moyar Richard B. and Jane E. Nash 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 Mr. Paul H. Scarbrough Bob and Ellie Scheuer Ms. Freda Seavert Ginger and Larry Shane Mr. Richard Shirey Howard and Beth Simon 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 Mr. and Mrs. Lyman H. Treadway 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
Mr.* and Mrs. Robert A. Clark Mr. and Mrs. Stanley Cohen (Miami) Mr. and Mrs. David J. Cook Dr. Dale and Susan Cowan Mrs. Frederick F. Dannemiller Charles and Fanny Dascal (Miami) Jeffrey and Eileen Davis Mrs. Lois Joan Davis 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 Peter A. and Judith Holmes 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. Carole Hughes 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)
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 Madeline and Dennis A. Block Mr. and Mrs. Richard H. Bole 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
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Individual Annual Support
The Cleveland Orchestra
!
THE CLEVELAN D ORCHESTRA listings continued INDIVIDUAL GIFTS OF $2,500 TO $3,499 CONTINUED
The Kendis Family Trust: Hilary & Robert Kendis and Susan & James Kendis Bruce and Eleanor Kendrick Mr. James Kish Natalie Kittredge Fred and Judith Klotzman Jacqueline and Irwin Kott (Miami) Ellen Brad and Bart Kovac Dr. Ronald H. Krasney and Ms. Sherry* Latimer Mr. Donald N. Krosin Mr. and Mrs. S. Ernest Kulp Mrs. Carolyn Lampl Mr. and Mrs. John J. Lane Mr. and Mrs. Israel Lapciuc (Miami) 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
Mr. David and Mrs. Judith Newell Marshall I. Nurenberg and Joanne Klein 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 Drs. John Petrus and Sharon DiLauro Dr. Roland S. Philip and Dr. Linda M. Sandhaus Ms. Maribel Piza (Miami) 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. 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 Lucy and Dan Sondles 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. and Mrs. William W. Taft Mr. Nelson S. Talbott Ken and Martha Taylor Greg and Suzanne Thaxton Mr. Karl and Mrs. Carol Theil Parker D. Thomson Esq. (Miami) Dr. and Mrs. Thomas A. Timko Mr. and Mrs. Robert J. Tomsich Steve and Christa Turnbull Miss Kathleen Turner Robert A. Valente Brenton Ver Ploeg (Miami) Mr. Gregory Videtic 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 Tony and Diane Wynshaw-Boris Rad and Patty Yates Mr. Kal Zucker and Dr. 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.
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Individual Annual Support
The Cleveland Orchestra
Accepting Exceptional Consignments Cowanâ&#x20AC;&#x2122;s Auctions holds two Fine Jewelry & Timepieces auctions annually. For information on how to bid, consign and receive free appraisals visit cowans.com
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Contact Brad Wanstrath jewelry@cowans.com 513.871.1670 x17 6270 Este Ave. Cincinnati, OH 45232
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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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11001 Euclid Avenue Cleveland, Ohio 44106
P H OTO BY S T E V E H A L L © H E D R I C H B L E S S I N G
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
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Georgian exterior was constructed to harmonize with the classical architecture of other prominent buildings in the University Circle area. The interior of the building reflects a combination of design styles, including Art Deco, Egyptian Revival, Classicism, and Modernism. An extensive renovation, restoration, and expansion of the facility was completed in January 2000. In addition to serving as the home of The Cleveland Orchestra for concerts and rehearsals, the building is rented by a wide variety of local organizations and private citizens for performances, meetings, and gala events each year.
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THE CLEVELAND C O N C E R T
C A L E N D A R
SPRING SEASON 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 James Feddeck, 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
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, bass-baritone Cleveland Orchestra Chorus
HAYDN The Seasons Sponsor: BakerHostetler
Friday April 26 at 10:00 a.m. Saturday April 27 at 10:00 a.m. Saturday April 27 at 11:00 a.m. PNC MUSICAL RAINBOW
SPECTACULAR STRINGS Alexandra Preucil, violin David Alan Harrell, cello
30-minute programs for ages 3 to 6. For a complete schedule of future events and performances, or to purchase tickets online 24/ 7 for Severance Hall concerts, visit www.clevelandorchestra.com.
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 daring sounds of musical works that originated from composers living and writing in California during the 20th century — and welcomed 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
MOZART Symphony No. 1 FISCHER Symphony with Eight Timpani MOZART Symphony No. 17* REBEL Overture to The Elements * HAYDN Symphony No. 45 (“Farewell”) *not included on Friday Morning Matinee Thursday May 9 at 8:00 p.m. Friday May 10 at 8:00 p.m. THE CLEVELAND ORCHESTRA Ton Koopman, conductor Jay Carter, countertenor Steven Soph, tenor Klaus Mertens, bass Cleveland Orchestra Chamber Chorus
HANDEL Water Music, Suite No. 1 HANDEL Zadok the Priest HANDEL Dettingen Te Deum Sponsor: Thompson Hine LLP
Sunday May 12 at 2:00 p.m. THE CLEVELAND ORCHESTRA Michael Butterman, conductor FAMILY CONCERT
FABLES, FANTASY, AND FOLKLORE Discover how music can bring characters and stories to life, then use your imagination to help create your own musical story with the help of The Cleveland Orchestra! This highly interactive concert includes such classics as Rimsky-Korsakov’s Scheherazade (based on Tales from the Arabian Nights), Grieg’s In the Hall of the Mountain King, Rossini’s William Tell Overture, and Berlioz’s Symphonie fantastique. Bring your family, and your imagination for storytelling on the big stage. Sponsor: The Giant Eagle Foundation
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Sunday May 12 at 7:00 p.m. CLEVELAND ORCHESTRA YOUTH ORCHESTRA James Feddeck, conductor Hannah Moses, cello
BARBER Overture to The School for Scandal DVOŘÁK Cello Concerto SZYMANOWSKI Etude R. STRAUSS Death and Transfiguration May 11 to 17 THE CLEVELAND ORCHESTRA NORTHEAST OHIO NEIGHBORHOOD RESIDENCY
THE CLEVELAND ORCHESTRA AT HOME IN GORDON SQUARE
The Cleveland Orchestra presents its inaugural neighborhood residency in Northeast Ohio May 11-17 in Cleveland’s Gordon Square Arts District. During this first residency, the Orchestra offers more than fifteen events for the community throughout the week, including performances by Cleveland Orchestra musicians, ensembles from the Cleveland Orchestra Youth Orchestra and Youth Chorus, a Cleveland Orchestra concert preview, and educational programs for local students. All of the events will be free and open to the public. For details, visit clevelandorchestra.com.
Saturday May 18 at 8:00 p.m. THE CLEVELAND ORCHESTRA James Feddeck, conductor with Patti Austin
HANDEL’S WATER MUSIC Thursday May 9 at 8:00 p.m. Friday May 10 at 8:00 p.m. THE CLEVELAND ORCHESTRA Ton Koopman, conductor Jay Carter, countertenor Steven Soph, tenor Klaus Mertens, bass Cleveland Orchestra Chamber Chorus
CELEBRITY SERIES
PATTI AUSTIN: MUSIC OF ELLA AND ELLINGTON Pop-jazz superstar Patti Austin began her career as a fouryear-old, onstage with legend Dinah Washington. Since then, she has performed hit songs all over the world. In a tribute to jazz giants Ella Fitzgerald and Duke Ellington, Patti Austin joins The Cleveland Orchestra for a program of all-time favorites such as “Cottontail,” “I Got It Bad,” “Honeysuckle Rose,” “Mr. Paganini,” and more!
Thursday May 23 at 8:00 p.m. Saturday May 25 at 7:00 p.m.* Sunday May 26 at 3:00 p.m. THE CLEVELAND ORCHESTRA Manfred Honeck, conductor Lars Vogt, piano *
MARTINSSON Open Mind BEETHOVEN Piano Concerto No. 3 * TCHAIKOVSKY Symphony No. 5 *not included on KeyBank Fridays@7 Thursday/Saturday Sponsor: BakerHostetler
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. Sponsor: Thompson Hine LLP
CLEVELAND ORCHESTRA TICKETS PHONE
216 - 231-1111 800-686-1141
clevelandorchestra.com Severance Hall 2012-13
Concert Calendar
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11001 Euclid Avenue, Cleveland, Ohio 44106 CLEVELANDORCHESTRA.COM
AT SE V E R A NC E H A LL CONCERT DINING AND CONCESSION SERVICE Severance Restaurant at Severance Hall is open for 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
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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.
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THE CLEVELAND ORCHESTRA U P C O M I N G
C O N C E R T S
At Severance Hall . . .
FABLES , FANTASY, AND FOLKLORE
PATTI AUSTIN
Music of Ella and Ellington Saturday May 18 at 8:00 p.m.
Sunday May 12 at 2:00 p.m. THE CLEVELAND ORCHESTRA Michael Butterman, conductor
The Cleveland Orchestra’s season of Family Concerts concludes with a program of musical storytelling led by guest conductor Michael Butterman. The concert features such classics as Rimsky-Korsakov’s Scheherazade (based on Tales from the Arabian Nights), Grieg’s In the Hall of the Mountain King, and Rossini’s William Tell Overture. Intended for children ages 7 and older, the series is designed to introduce young people to classical music. In addition to the one-hour Orchestra concert, each Family Concert features free, pre-concert activities, including an “Instrument Discovery” in which children find their inner musicians with handson experience.
THE CLEVELAND ORCHESTRA James Feddeck, conductor with Patti Austin, vocalist
Pop-jazz superstar Patti Austin began her career as a four-year-old, onstage with the legendary Dinah Washington. Since then, she has performed hit songs all over the world — and is considered one of the most stunning interpreters of song onstage today. In a tribute to jazz giants Ella Fitzgerald and Duke Ellington. She joins with The Cleveland Orchestra for this program featuring songs from Austin’s Grammynominated album For Ella, including such favorites as “I’ve Got You Under My Skin,” “I Only Have Eyes For You,” “Mack the Knife,” and more!
Sponsor: The Giant Eagle Foundation
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
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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