The Cleveland Orchestra October 22-26 Concerts

AND

FRANZ WELSER-MÖST

MUSIC OF

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

FATE F R E E D OM

BEETHOVEN SHOSTAKOVICH IN PARTNERSHIP WITH THE CLEVELAND MUSEUM OF ART AND CLEVELAND CINEMATHEQUE

OCTOBER 22-26 Severance Hall 2009-10

1

AND

FRANZ WELSER-MÖST

MUSIC OF

THE CLEVELAND ORCHESTRA A N D

FATE F R E E D OM

BEETHOVEN SHOSTAKOVICH IN PARTNERSHIP WITH THE CLEVELAND MUSEUM OF ART AND CLEVELAND CINEMATHEQUE

OCTOBER 22-26

Experience a week of exploration across the highly tempestuous and deeply emotional intermingling of music and politics. Music Director Franz Welser-Möst and The Cleveland Orchestra take a fascinating look at two highly autobiographical composers, whose lives and careers were separated by over a century, yet whose works demonstrate how artists of two eras wrestled with themes of freedom, as well as personal and collective liberty and politics. The festival includes three concerts, plus two film screenings in partnership with the Cleveland Museum of Art and the Cleveland Institute of Art Cinematheque.

Pre-film and pre-concert talks, and a chamber music performance by members of The Cleveland Orchestra, are also featured.

Tuesday October 22 at 7:00 p.m.

FILM: A CLOCKWORK ORANGE at the Cleveland Institute of Art Cinematheque Opening The Cleveland Orchestra’s “Fate and Freedom” festival, this screening of the movie A Clockwork Orange (1971), directed by Stanley Kubrick, includes introductory remarks by John Ewing, co-founder of the Cinematheque.

Wednesday October 23 at 6:30 p.m.

FILM: THE NEW BABYLON at the Cleveland Museum of Art Shown as part of The Cleveland Orchestra’s “Fate and Freedom” festival, the revolutionary silent film The New Babylon (1929) features Shostakovich’s first film score.

Preceded by a discussion between Frank J. Oteri and John Ewing moderated by James Krukones, associate professor of history at John Carroll University.

THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor at Severance Hall Thursday October 24 at 7:30 p.m.

BEETHOVEN Symphony No. 3 (“Eroica”) SHOSTAKOVICH Symphony No. 6

PRE-CONCERT: Franz Welser-Möst discusses Shostakovich and Beethoven and their symphonies with Mark Williams, the Orchestra’s director of artistic planning, beginning at 6:30 p.m. on the stage at Severance Hall.

Friday October 25 at 8:00 p.m.

BEETHOVEN Symphony No. 4 SHOSTAKOVICH Symphony No. 8

PRE-CONCERT: Frank J. Oteri, New Music USA’s composer advocate and senior editor of NewMusicBox, presents a pre-concert talk with Rebecca Mitchell, visiting assistant professor of Russian/Soviet history at Oberlin College, at 7 p.m. in Reinberger Chamber Hall at Severance Hall.

Saturday October 26 at 8:00 p.m.

BEETHOVEN Symphony No. 5 SHOSTAKOVICH Symphony No. 10

PRE-CONCERT: Cleveland Orchestra musicians perform chamber music works by Beethoven and Shostakovich at 7 p.m. in Reinberger Chamber Hall at Severance Hall.

Related Event OPERA: SHOSTAKOVICH’S THE NOSE Saturday October 26 at 1:00 p.m.

The Metropolitan Opera, Live in HD in select Northeast Ohio movie theaters

For Tickets: clevelandorchestra.com

FALL SEASON

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October 22, 23, 24, 25, 26 FATE AND FREEDOM: THE MUSIC OF BEETHOVEN AND SHOSTAKOVICH

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TA B L E O F C O N T E N T S

THIS WEEK THE

CLEVELAND

ORCHESTRA

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WEEK 5 7

In the News From the Executive Director . . . . . . . . . . . . . . . . . . 7 Orchestra News . . . . . . . . . . . . . . . . . . . . . . . . . . . 72-C

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Copyright © 2013 by The Cleveland Orchestra and the Musical Arts Association

About the Orchestra Musical Arts Association . . . . . . . . . . . . . . . . . . . . .

The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . .

Severance Hall. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Guest Information . . . . . . . . . . . . . . . . . . . . . . . . . . .

COVER PHOTOGRAPHY BY ROGER MASTROIANNI

11 22 88 92

Festival — Week 5 Film: A Clockwork Orange . . . . . . . . . . . . . . . . . . . 27 Film: The New Babylon . . . . . . . . . . . . . . . . . . . . . . 29 Concert Previews and Prelude . . . . . . . . . . . . 30-31 Concerts: October 24, 25, 26 . . . . . . . . . . . 32-33 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . 35 “Will and Freedom, Music and Meaning”

by Franz Welser-Möst . . . . . . . . . . . . . . . . . . . . . 37 “Fate and Freedom: Legacies and Music of Beethoven and Shostakovich” . . . . . . . . . . 43 BEETHOVEN

Symphony No. 3 (“Eroica”) . . . . . . . . . . . . . . . . 49

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

NATIONAL ENDOWMENT FOR THE ARTS

The Cleveland Orchestra 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.

SHOSTAKOVICH

Symphony No. 6 . . . . . . . . . . . . . . . . . . . . . . . . . . 53 BEETHOVEN

Symphony No. 4 . . . . . . . . . . . . . . . . . . . . . . . . . . 59 SHOSTAKOVICH

Symphony No. 8 . . . . . . . . . . . . . . . . . . . . . . . . . . 61 BEETHOVEN

Symphony No. 5 . . . . . . . . . . . . . . . . . . . . . . . . . . 65

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.

SHOSTAKOVICH

Symphony No. 10 . . . . . . . . . . . . . . . . . . . . . . . . . 69 Conductor: Franz Welser-Möst . . . . . . . . . . . . . . . 15

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Support

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Sound for the Centennial . . . . . . . . . . . . . . . . . . . . 56 Heritage Society . . . . . . . . . . . . . . . . . . . . . . . . . . 72-H Endowed Funds . . . . . . . . . . . . . . . . . . . . . . . . . . 72-M Corporate Annual Support . . . . . . . . . . . . . . . . . . . 73 Foundation / Government Annual Support . . . 75 Individual Annual Support . . . . . . . . . . . . . . . . . . 76

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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.

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

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

Table of Contents

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Perspectivesfrom the Executive Director October 2013 With this week’s concerts, we move into the heart of the 2013-14 season, the twelfth of Franz Welser-Möst’s tenure as music director. The artistic excellence for which the Orchestra has long been famous is a core value that has been enhanced under his leadership. At the same time, under Franz’s leadership, the Orchestra’s commitment to serving Northeast Ohio is stronger than ever.

Indeed, to Franz, the Orchestra’s dedication to artistic excellence can only thrive if we are committed to being relevant and vital to the community that supports us. Music education, long one of The Cleveland Orchestra’s core pillars, is central to Franz’s vision for this institution’s future. For Franz, music brings people together — across genres, cultures, countries, and generations. Ensemble music-making, whether by amateurs or professionals, gives meaning to the lives of those participating; for students, music helps inspire the creativity necessary for the long-term vitality of society. To inspire music-making among young people, Franz and the Orchestra’s musicians perform in local schools and share their knowledge and enthusiasm across a range of programs and offerings.

Taking the Orchestra into local neighborhoods, Franz will be at the forefront of the Orchestra’s next “At Home” neighborhood residency, just announced for May 2014 in partnership with Lakewood community businesses and organizations. Like last season’s inaugural event, “The Cleveland Orchestra at Home in Gordon Square,” the 2014 program will be a week-long residency that immerses the Orchestra in a neighborhood, offering a series of events — from musicians visiting area schools, to ensemble performances in local hot spots, to a public concert featuring the entire Orchestra. All free and open to everyone.

Looking even further ahead, to the Orchestra’s 100th Season in 2017-18, Franz has articulated a vision for our Centennial that celebrates the community that has nurtured the Orchestra since its founding and continues to support it through extraordinary generosity, alongside a series of programs and initiatives that look forward, laying a foundation for our second century.

Through excellence, innovation, and collaboration, and by focusing on producing artistic and educational experiences of the highest quality, Franz is leading this institution as an example for our industry worldwide, while serving the interests and needs of the Orchestra’s hometown.

Gary Hanson P.S. Included in this fall’s elections is Issue 1, a replacement levy for services to our community's most vulnerable citizens through Cuyahoga County Health and Human Services. This funding helps ensure a safety net across our community for children, families, and seniors. Every vote can make a critical difference in this election. For further information, visit www.CuyahogaHHS.org.

Severance Hall 2013-14

Perspectives

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CLEVELAND ORCHESTRA ARCHIVES

PHOTO OF THE WEEK follow the Orchestra on Facebook for more archival photos

FEBRUARY 1935 — Cleveland Orchestra music director Artur Rodzinski secured the rights for the American premiere of Shostakovich’s opera Lady Macbeth of Mzensk at Severance Hall, and hired Richard Rychtarik to design the sets (sketch above). They then encored the Cleveland performances with the work’s New York City premiere.

and around the globe, The Cleveland Orchestra remains Northeast Ohio’s most visible international ambassador and 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 Music Festival, in residencies from Miami to Vienna, and on tour around the world, The Cleveland Orchestra sets standards of artistic excellence, creative programming, and active community engagement. With the 2013-14 season, Franz Welser-Möst enters his twelft h year leading the ensemble, with a commitment extending to the Orchestra’s centennial in 2018. This artistic partnership continues to move the ensemble forward through a series of new and ongoing initiatives, including: IN PE RFORMANCE S AT HOME

expansion of education and community programs in Northeast Ohio to feature music as an integral and regular part of everyday life for more people, including the launch this past spring of an “At Home” neighborhood residency program that brings The Cleveland Orchestra to a single neighborhood or town

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About the Orchestra

The Cleveland Orchestra

for an intensive week of special activities and performances, as well as the broadening of the Orchestra’s ongoing education and community engagement initiatives to include Make Music!, a program of active and participatory experience and learning; the establishment of residencies around the world, fostering creative artistic growth and an expanded financial base — including ongoing residencies at the Vienna Musikverein (the first of its kind by an American orchestra) and in Florida under the name Cleveland Orchestra Miami (featuring an annual series of concerts and community activities, coupled with educational presentations and collaborations based on successful programs pioneered at home in Cleveland); creative new artistic collaborations with arts institutions in Northeast Ohio, including staged works, concerts, and chamber music performances; a concentrated and successful effort to develop future generations of audiences for Cleveland Orchestra concerts in Northeast Ohio, through research, targeted discounts, social media promotion, and student ticket programs, with demonstrated results at Severance Hall and Blossom; a variety of new concert offerings (including KeyBank Fridays@7 and Celebrity Series at Severance Hall as well as movie, themed, and family presentations at Blossom) to play more music for more people; the return of ballet as a regular part of the Orchestra’s presentations, featuring ongoing collaborations with Chicago’s Joffrey Ballet; continuing and expanded educational partnerships with schools, colleges, and universities across Northeast Ohio and beyond; concert tours from coast to coast in the United States, including regular appearances at Carnegie Hall; ongoing recording activities, including new releases under the direction of Franz Welser-Möst, Mitsuko Uchida, and Pierre Boulez, as well as a series of acclaimed DVD concert presentations of symphonies by Anton Bruckner led by Welser-Möst.

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 2013-14

The Orchestra Today

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

as of August 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) Loren W. Hershey (DC) Herbert Kloiber (Germany)

Ludwig Scharinger (Austria)

TR U S TE E S E X- O FFIC IO Faye A. Heston, President, Volunteer Council of The Cleveland Orchestra Shirley B. Dawson, President, Women’s Committee of The Cleveland Orchestra Claire Frattare, President, 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 Robert W. Gillespie Gay Cull Addicott Dorothy Humel Hovorka Oliver F. Emerson Robert F. Meyerson Allen H. Ford

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 2013-14

Gary Hanson, Executive Director

Musical Arts Association

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

marks Franz Welser-Möst’s twelfth 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 extending and enhancing its community programming at home in Northeast Ohio, 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 is general music director of the Vienna State Opera.

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. Mr. Welser-Möst’s championship of community music-making expands upon his active participation in educational programs and collaborative programming, including the Cleveland Orchestra Youth Orchestra and partnerships with music conservatories, universities, and other arts institutions 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 regular new 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, Sean Shepherd, and Ryan Wigglesworth.

Franz Welser-Möst has led a series of opera performances during his tenure P H OTO BY S ATO S H I AOYAG I

THE 2013 -14 SEASON

Severance Hall 2013-14

Music Director

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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 and in May 2014 brings an innovative made-for-Cleveland production of Leoš Janáček’s The Cunning Little Vixen to Northeast Ohio.

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 Sven-Eric Bechtolf, and critically praised new productions of Hindemith’s Cardillac and Janáček’s Katya Kabanova and From the House of the Dead. During the 201314 season, his Vienna schedule includes a new production of Puccini’s The Girl of the Golden West, as well as performances of Tristan and Isolde, Verdi’s Don Carlo, Beethoven’s Fidelio, and Richard Strauss’s Ariadne auf Naxos and Der Rosenkavalier.

Mr. Welser-Möst also maintains an ongoing relationship with the Vienna Philharmonic. Recent performances with the Philharmonic include appearances in concert at La Scala Milan, at New York’s Carneige Hall, and in opera presentations at the Salzburg Festival. He also led the Philharmonic’s New Year’s Day concert, viewed by telecast in seventy countries worldwide in 2011 and again in 2013. Across a decadelong 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.

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 five of Bruckner’s 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)

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

T H E

C L E V E L A N D

FRANZ WELSER-MÖST MUSIC

DIRECTOR Kelvin Smith Family Chair

FIRST VIOLINS William Preucil CONCERTMASTER

Blossom-Lee Chair

Yoko Moore

ASSISTANT CONCERTMASTER

Clara G. and George P. Bickford Chair

Peter Otto

FIRST ASSOCIATE CONCERTMASTER

Jung-Min Amy Lee

ASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith Chair

Alexandra Preucil

ASSISTANT CONCERTMASTER

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

Takako Masame Paul and Lucille Jones Chair

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

Kim Gomez Elizabeth and Leslie Kondorossy Chair

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

Miho Hashizume Theodore Rautenberg Chair

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

Alicia Koelz Oswald and Phyllis Lerner Gilroy Chair

Yu Yuan Patty and John Collinson Chair

Isabel Trautwein Trevor and Jennie Jones Chair

Mark Dumm Gladys B. Goetz Chair

Katherine Bormann

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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 Yun-Ting Lee 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

O R C H E S T R A FLUTES Joshua Smith *

PERCUSSION Marc Damoulakis°

HORNS Richard King *

Margaret Allen Ireland Chair

George Szell Memorial Chair

Donald Miller Tom Freer

Elizabeth M. and William C. Treuhaft Chair

Michael Mayhew §

Saeran St. Christopher Marisela Sager 2

Jesse McCormick Hans Clebsch Alan DeMattia

KEYBOARD INSTRUMENTS Joela Jones *

TRUMPETS Michael Sachs *

Carolyn Gadiel Warner

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

Barrick Stees

2

Sandra L. Haslinger Chair

Knight Foundation Chair

Robert and Eunice Podis Weiskopf Chair

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

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

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

Marjory and Marc L. Swartzbaugh Chair

LIBRARIANS Robert O’Brien Donald Miller ORCHESTRA PERSONNEL Karyn Garvin DIRECTOR

Anna Stowe

ACTING MANAGER

ENDOWED CHAIRS CURRENTLY UNOCCUPIED Sidney and Doris Dworkin Chair Sunshine Chair

Richard Stout Alexander and Marianna C. McAfee Chair

Shachar Israel

2

BASS TROMBONE Thomas Klaber EUPHONIUM AND BASS TRUMPET Richard Stout

* Principal

° Acting Principal § 1 2

Associate Principal First Assistant Princi pal Assistant Principal

CONDUCTORS Christoph von Dohnányi MUSIC DIRECTOR LAUREATE

TUBA Yasuhito Sugiyama* Nathalie C. Spence and Nathalie S. Boswell Chair

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

Tom Freer 2

Jonathan Sherwin

Giancarlo Guerrero

PRINCIPAL GUEST CONDUCTOR, CLEVELAND ORCHESTRA MIAMI

Brett Mitchell

ASSISTANT CONDUCTOR

Elizabeth Ring and William Gwinn Mather Chair

Robert Porco

DIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

CONTRABASSOON Jonathan Sherwin

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Rudolf Serkin Chair

The Orchestra

23

Whether you’re traveling for business or pleasure, Cleveland Hopkins International Airport understands you like to move at an upbeat tempo.

That’s why we offer more non-stop flights than any airport in the region.

So you can experience a medley of destinations, without an intermission. www.clevelandairport.com

Going more places, more often.

AND

FRANZ WELSER-MÖST

MUSIC OF

THE CLEVELAND ORCHESTRA A N D

FATE F R E E D OM

BEETHOVEN SHOSTAKOVICH IN PARTNERSHIP WITH THE CLEVELAND MUSEUM OF ART AND CLEVELAND CINEMATHEQUE

OCTOBER 22-26

Film: A Clockwork work Orange . . . . . . . . . . . . . . . 27 Film: The New Babylon . . . . . . . . . . . . . . . . . . 29 Concert Previews . . . . . . . . . . . . . . . . . . . . 30-31 Concerts: The Cleveland Orchestra . . . . . 32-33 About the Music . . . . . . . . . . . . . . beginning on page 35 Severance Hall 2013-14

Beethoven and Shostakovich

25

Ludwig van Beethoven, 1818, pencil drawing by August von Klöber

‘‘

Music should strike fire from the heart of man, and bring tears from the eyes of woman.

‘‘

—Ludwig van Beethoven

Tuesday evening, October 22, 2013, at 7:00 p.m.

Cleveland Institute of Art Cinematheque presents F

A Clockwork Orange (1971)

I L

directed and produced by Stanley Kubrick screenplay by Stanley Kubrick based on the novella A Clockwork Orange by Anthony Burgess

M

original music by Walter Carlos and featuring works

by Ludwig van Beethoven and Gioachino Rossini

S

cinematography John Alcott editing by Bill Butler

C

Warner Bros. / Hawk Films

R E

STARRING Malcolm McDowell as Alex DeLarge Patrick Magee as Mr. Frank Alexander Adrienne Corri as Mrs. Mary Alexander Miriam Karlin as Cat Lady James Marcus as Georgie Warren Clarke as Dim Michael Tarn as Pete Michael Bates as Chief Guard Barnes

E N I N G

Teenage thugs terrorize London in Kubrick’s nasty but aurally and visually dazzling futuristic tale — a sardonic portrait of human nature, freedom, and “civilized” society. In future Britain, charismatic delinquent Alex DeLarge is jailed and volunteers for an experimental aversion therapy developed by the government in an effort to solve society’s crime problem . . . but not all goes to plan.

137 min. 35mm. Rated R (originally X) John Ewing, director of the Cleveland Institute of Art Cinematheque, will introduce the film.

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Film: A Clockwork Orange

27

Dmitri Shostakovich, circa 1964.

‘‘

There can be no music without ideology.

The old composers, whether they knew it or not, were upholding a political theory. Most of them, of course, were bolstering the rule of the upper classes. Only Beethoven was a forerunner of the revolutionary movement. If you read his letters, you will see how often he wrote to his friends that he wished to give new ideas to the public and rouse it to revolt against its masters.

‘‘

—Dmitri Shostakovich

Wednesday evening, October 23, 2013, at 6:30 p.m.

Cleveland Museum of Art presents F

The New Babylon (1929)

I L

directed and written by Grigori Kozintsev and Leonid Trauberg based on a scenario by P. Bliakin

M

music by Dmitri Shostakovich cinematography by Andrei Moskvin and Yevgeny Mikhailov A Sovkino Film

S C

STARRING David Gutman as owner of the ‘New Babylon’ shop Yelena Alexandrovna Kuzmina as Louise Poirier, the shop assistant Pyotr Sobolevsky as Jean, the soldier Sergei Gerasimov as Lutro, the journalist Vsevolod Pudovkin as the police intendent

R E E N

The events of the 1871 Paris Commune are seen through the eyes of a French department store clerk in this incandescent Soviet silent film. Shown accompanied by a recording of Dmitri Shostakovich’s original orchestral score.

I N G

93 min. Blu-ray. Unrated.

Special thanks to Nina Goslar, ZDF/Arte, and Miles Feinberg at G. Schirmer, Inc. At 6:30, before the film screening, John Ewing, curator of film at the Cleveland Museum of Art, talks about politics, music, and cinema with Frank J. Oteri, composer/music journalist, in a discussion moderated by James Krukones of John Carroll University.

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Film: The New Babylon

29

Musician Salute The Musical Arts Association gratefully acknowledges the artistry and dedication of all the musicians of The Cleveland Orchestra. In addition to rehearsals and concerts throughout the year, many musicians donate performance time in support of community engagement, fundraising, education, and audience development activities. We are pleased to recognize these musicians, listed below, who have volunteered for such events and presentations during the 2012-13 and 2013-14 seasons.

Mark Atherton Martha Baldwin Charles Bernard Katherine Bormann Lisa Boyko Charles Carleton Kathleen Collins Patrick Connolly Ralph Curry Maximilian Dimoff Bryan Dumm Tanya Ell Kim Gomez David Alan Harrell Miho Hashizume Shachar Israel Joela Jones Alicia Koelz Mark Kosower Paul Kushious Jung-Min Amy Lee Mary Lynch Takako Masame Eli Matthews Jesse McCormick Sonja Braaten Molloy Eliesha Nelson

Chul-In Park Joanna Patterson Zakany Alexandra Preucil William Preucil Lynne Ramsey Jeffrey Rathbun Frank Rosenwein Jonathan Sherwin Sae Shiragami Emma Shook Joshua Smith Saeran St. Christopher Barrick Stees Jack Sutte Brian Thornton Isabel Trautwein Lembi Veskimets Carolyn Gadiel Warner Stephen Warner Richard Weiss Robert Woolfrey Paul Yancich Jeffrey Zehngut

THIS WEEK’S

Concert Previews REINBERGER CHAMBER HALL

October 24 — Thursday at 6:30 p.m.

“Beethoven and Shostakovich” Franz Welser-Möst discusses this week's festival with Mark Williams, director of artistic planning

October 25 — Friday at 7:00 p.m.

“The Context of History” with guest speaker Frank J. Oteri, composer advocate at New Music USA in conversation with Rebecca Mitchell, visiting assistant professor of history at Oberlin College

October 26 — Saturday at 7:00 p.m.

“Concert Prelude: Beethoven & Shostakovich” performed by members of The Cleveland Orchestra (see opposite page) 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.

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Concert Previews

The Cleveland Orchestra

Concert Prelude AND

Saturday evening, October 26, 2013, at 7:00 p.m.

Reinberger Chamber Hall — Severance Hall

AND

FATE F R E E D OM MUSIC OF BEETHOVEN SHOSTAKOVICH C

DMITRI SHOSTAKOVICH (1906-1975)

Pieces for Two Violins and Piano

O N

1. Prelude 2. Gavotte 3. Waltz

C

William Preucil, violin Alexandra Preucil, violin Carolyn Gadiel Warner, piano

E

LUDWIG VAN BEETHOVEN (1770-1827)

R

from Trio

in B-flat major, Opus 11 for clarinet, cello, and piano

T

1. Theme and Variations: “Pria ch’io l’impegno”/Allegretto

R

BEETHOVEN

in D major, Opus 8 for violin, viola, and cello

E

from Serenade

P

Robert Woolfrey, clarinet Tanya Ell, cello Carolyn Gadiel Warner, piano

L

1. Marcia: Allegro — Adagio 2. Menuetto: Allegretto

U

Sonja Braaten Molloy, violin Lembi Veskimets, viola Martha Baldwin, cello

D E

SHOSTAKOVICH

String Quartet No. 7 in F-sharp minor, Opus 108 1. Allegretto — 2. Lento — 3. Allegro — Allegretto Takako Masame, violin Miho Hashizume, violin Lynne Ramsey, viola Ralph Curry, cello

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Pre-Concert: October 26

31

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

W E L S E R - M Ö ST M U S I C

D I R E C T O R

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Franz Welser-Möst, conductor Thursday evening, October 24, 2013, at 7:30 p.m.

LUDWIG VAN BEETHOVEN (1770-1827)

Symphony No. 3 (“Eroica”) in E-flat major, Opus 55 1.

2.

3.

4.

Allegro con brio Marcia funebre: Adagio assai Scherzo: Allegro vivace Finale: Allegro molto — Poco andante — Presto

INTERMISSION DMITRI SHOSTAKOVICH (1906-1975)

Symphony No. 6 in B minor, Opus 54 1. Largo 2. Allegro 3. Presto The concert will end at approximately 9:10 p.m.

Friday evening, October 25, 2013, at 8:00 p.m.

LUDWIG VAN BEETHOVEN (1770-1827)

Symphony No. 4 in B-flat major, Opus 60 1.

2.

3.

4.

Adagio — Allegro vivace Adagio Allegro vivace Allegro ma non troppo

INTERMISSION DMITRI SHOSTAKOVICH (1906-1975)

Symphony No. 8 in C minor, Opus 65 1.

2.

3.

4.

5.

Adagio — Allegro non troppo Allegretto Allegro non troppo Largo Allegretto

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

32

Concert Program — Week 5

The Cleveland Orchestra

AND

AND

FATE F R E E D OM MUSIC OF BEETHOVEN SHOSTAKOVICH Saturday evening, October 26, 2013, at 8:00 p.m.

LUDWIG VAN BEETHOVEN (1770-1827)

Symphony No. 5 in C minor, Opus 67 1.

2.

3.

4.

Allegro con brio Andante con moto Scherzo: Allegro — Trio — Finale: Allegro

(1906-1975)

Symphony No. 10 in E minor, Opus 93 Moderato Allegro Allegretto Andante — Allegro

N C

1.

2.

3.

4.

O

DMITRI SHOSTAKOVICH

C

INTERMISSION

E

The concert will end at approximately 9:50 p.m.

R T S P L E A S E N O T E that these performances are being broadcast live on WCLV 104.9 FM and around the world via web-streaming. Please silence alarm watches and turn your phones off prior to the start of the concert.

These concerts are sponsored by PNC, a Cleveland Orchestra Partner in Excellence.

LIVE RADIO BROADCASTS

All three concerts are being broadcast live on WCLV (104.9 FM).

These concerts will be rebroadcast on three consecutive Sunday afternoons in December as part of regular weekly programming on WCLV: Beethoven’s Third and Shostakovich’s Sixth on December 8 at 4:00 p.m., Beethoven’s Fourth and Shostakovich’s Eighth on December 15 at 4:00 p.m.

Beethoven’s Fifth and Shostakovich’s Tenth on December 22 at 4:00 p.m.

.. .

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Concert Program — Week 5

33

for getting everyone out of their seats.

Inspiring. Thought Provoking. PNC is proud to sponsor The Cleveland Orchestra. Because we appreciate all that goes into your work.

Š2013 The PNC Financial Services Group, Inc. All rights reserved. PNC Bank, National Association. Member FDIC

INTRODUCING THE CONCERTS

Fate, Freedom& Choices T H I S W E E K ’ S F E S T I VA L

offers a concentrated look at the music (and politics) of two of classical music’s greatest symphonists.

If Mozart and Haydn in the 18th century had evolved the “symphony” from a mere grouping of short movements into a whole statement of musical greatness, Beethoven’s genius grabbed hold of it at the start of the 19th century and made symphonies into a very personal artform — filled with passion and meaning (but still beautiful). Others followed in his footsteps, but few with as much political and philosophical intent.

A century later, Shostakovich, surrounded by the changing lifeand-death politics of 20th-century Russia, used Beethoven’s example to create a new set of personal symphonic statements, filled with meaning and revolution (or at least passionate protest).

As Franz Welser-MÖst discusses beginning on page 37, these two composers approached the creating of their music very differently.

Beethoven was quite open about the politics of freedom in which he believed, and wrote it directly into his music. Shostakovich also believed in freedom, but writing openly would have been suicidal; he was, in effect, forced to stay in the closet as a protester, but able to write protest into his music in creative ways — which could be questioned or ignored, and understood, but would never act as evidence against him.

This week’s concerts offer an unusual opportunity to compare these two great symphonic writers. And to think about — and talk about — how each of us incorporates our beliefs (and the rights of others) into everyday life, into our work, into our friendships. Do we protest? Do we inspire others? Are you making a difference?

—Eric Sellen

Pre-Concert: Talks and Performances . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Franz Welser-Möst discusses the composers’ music and beliefs . . . . . 37 Frank J. Oteri writes about the composers’ lives and music . . . . . . . . . 43 Program Notes for Thursday . . . . . . . . . . . . . . . . . . . . . . beginning on 49 Program Notes for Friday . . . . . . . . . . . . . . . . . . . . . . . . . beginning on 59 Program Notes for Saturday . . . . . . . . . . . . . . . . . . . . . . . beginning on 65

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Introducing the Concerts

35

SH OS TA

B O

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EE AND

V

, L M L I W EEDO FR MUSIC MEANING

H VI E ES LSE R H O TH THE - MÖ VE E N MU PO ST L A N SIC ITI C D SH OF S O ST A KO

W

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by F ranz We l s er- M öst

BE E THOVE N MUSE D ON THE IDE AL S OF HIS TIME

and put those truths forward in an unmistakable way in his music. He let the world know, in no uncertain terms, what he believed in, politically and philosophically.

Under Stalin, Shostakovich would never have survived acting as openly as Beethoven. He had to subtly undermine what he was told to do, in order to express his yearnings for personal and political peace and freedom.

THE FIRST DECADE OF THE 19TH CENTURY

was a turbulent period in Europe, politically, socially, and philosophically. Beethoven’s Third, Fourth, and Fift h symphonies, composed between 1803 and 1808, fall into this period, as does his only opera, Fidelio, and his incidental music for Goethe’s Egmont, a dramatic play about a quintessential hero.

The philosophical ideas of the time were still very much indebted to the French Revolution, even though that Revolution had already betrayed those very ideas and ideals in blood. Beethoven, who many have speculated may have been a Freemason, very much wanted to be a “fighter for the Good.” Within these contexts, a variety of musical details in these three symphonies suggest a strong un-

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Music and Meaning

37

dercurrent of political and philosophical content.

The meaning of Beethoven’s “heroic” Third Symphony is encapsulated in the story of the composer’s violent removal of its original dedication to Napoleon — a man who was at the time the embodiment of the heroic ideal for many.

38

T H E M E A N I N G O F B E E T H OV E N ’ S T H I R D S Y M P H O N Y, the “Eroica” or “heroic” symphony, is encapsulated in its wellknown story of the composer’s violent removal of its original dedication to Napoleon — a man who was the embodiment of the heroic ideal for many members of the middle class, and for some aristocrats, too. This work clearly shows Beethoven as a “fighter for the Good.” This manifests itself from the start, even in the choice of the key of E-flat major, whose three flats stood for liberty, equality, and fraternity, expressing humanity and the sublimity of human expression. Compare this, for example, to Mozart’s The Magic Flute, whose overture opens with a series of solemn, sublime E-flat major chords (which are tellingly repeated later in the scene between the opera’s hero and the Speaker). In the symphony’s Scherzo movement, Beethoven depicts nature within this “fight for the Good,” as he would later do in the “Pastoral” Sixth Symphony and in the second movement of his opus summum, the Ninth Symphony. In the last movement of the “Eroica,” he quotes his own musical theme from the ballet Prometheus, about the Greek mythological figure who was a friend and benefactor of humanity.

One can, in fact, trace a span and lineage of philosophical message translated by Beethoven’s genius into many musical details and coded messages. This should not be surprising to us. Great composers had done this before him, and many have followed after, embedding in the beauty of music the strength of purpose; it is enough to recall the fascinating symbolism of some of Bach’s greatest works to understand that layers of meaning in art are a given and not the exception.

All this is easy enough to see in the “Eroica,” but what about Beethoven’s Fourth Symphony, generally seen as light, cheerful, and humorous? At first glance, it might indeed look that way, if only the first movement didn’t have a dark and ominous introduction. Here, in the gloomy tonality of B-flat minor, the music seems to be searching for something more. This serious undercurrent also shows through in the second movement, in the key of E-flat major (!), as well as the pastoral element in the third movement’s trio section (set in D-flat major, a key of many great musical farewells). But delicate and subtle humor is not incompatible with profound philosophical message. Indeed, humor enlightens.

In the second movement of this often clever and witty

Will and Freedom

The Cleveland Orchestra

symphony, Beethoven leads us once more to the heights (and depths) of human dignity and expression. In Beethoven’s time, humanity itself had become a central focus and arbiter of thought and morality, as distilled and expressed by the philosopher Immanuel Kant. The slow movement sings about such transcendent and selfaware expression in broad, soaring melodies, suggesting a vision of, and a yearning for, the ideals in which Beethoven so firmly believed. There is a great similarity here with Florestan’s great aria from the opening of Act II of Fidelio. In the symphony, the melody is accompanied by small, expressive motifs of sighing. Parallel thirds abound (as they also do in the slow movement of the Ninth Symphony), denoting fraternity and human companionship. (The slow movement of the Ninth also contains a climax in E-flat major, with a quotation from Masonic music.) In addition to the pastoral mood within the third movement, sublimity is also evident at the beginning of the last movement, where Beethoven writes a singing melody that is a close relative of the Prometheus theme in the “Eroica.”

I N H I S F I F T H S Y M P H O N Y , Beethoven’s philosophical-political ideas are sent

through the purifying fire of the Enlightenment. Indeed, the symphony’s music perfectly captured the Latin phrase per aspera ad astra — “through the fire to the stars.” While Beethoven the hothead creates this fiery dramaturgy to such perfect form in the first movement, in the second he takes us to an imaginary world — with music that is quintessentially Viennese. A-flat major, the movement’s home key, is the flat sixth degree of C minor, a degree used as a deceptive cadence (!).

Moreover, it also anticipates, in its harmonies and its layout (if not in its melody or other musical parameters), the dark night in the second act of Wagner’s Tristan and Isolde. In the symphony, this imaginary world is disrupted, time and again, by some powerful C-major fanfares, giving us a foretaste of the last movement yet to come (in which the music really does reach for the stars).

The gloomy scherzo, which revisits the fateful drama of the first movement, also contains a Trio section in which the finale’s triumphant C major is revealed in outline. Yet this triumph will only be possible after the third movement has sunk back into the fateful “knocking” (a heartbeat?!) of the first movement. Here Beethoven — and this was not lost on his contemporaries — fashioned the triumph of the last movement in such a way that the words of the French revoluSeverance Hall 2013-14

Music and Meaning

39

tionary hymn could be easily underlaid to the music. A timeless message was thus wrapped with a clear political statement.

This most classical of all symphonies shows us all of the Beethovenian ideals, inspired by the ancient world and then revived and re-energized by the Enlightenment. Beethoven expresses these musical paths with great power, derived from his innermost soul. This, certainly, is how he wages his “fight for the Good” — through music and meaning. And he very much expects that the outside world will follow him, in message if not in action. This introspectively extroverted music speaks directly to all of us.

Thus we can understand Beethoven.

Shostakovich’s desire for freedom was cast under the cruel rule of Stalinist Russia. This led Shostakovich, by necessity, to flee to an inner world of safety, where he could write “classical” symphonies, taking as a starting point Beethoven’s own achievements.

40

B U T H OW DO TH I N G S S TAN D WITH S H O S TAKOVI C H?

If Beethoven’s path led from the inside to the outside, with Shostakovich, it is exactly the opposite. His desire and will for freedom were cast under the cruel rule of Stalinist Russia. This led Shostakovich, by necessity, to flee to an inner world of safety — where extra messages within the music can speak meaning while also adding a layer of security and deniability. Here, Shostakovich wrote “classical” symphonies, taking as a starting point Beethoven’s own achievements.

Like the Beethoven symphonies we have examined, Shostakovich’s Sixth (1939) and Eighth (1943) were written during turbulent times, in the destructive storm of World War II. This was also during Stalin’s reign of absolute power, which was personally very difficult for Shostakovich. In his first symphonic message from after the war, the Tenth Symphony (1953), he wrestled with Stalin and his times, soon after the dictator’s death. While Shostakovich’s music often has a political background, this is emphatically true for all three of these symphonies. Within that context, his wish for personal artistic freedom is deeply connected to a yearning for liberty for his country.

S H O S TAKOVI C H ’S S I X TH SY M PH O N Y

begins with a long slow movement in B minor, widely seen as the key of suffering. It is a monumental expression of pain, often reduced to mere whisper, to describe the unspeakable coldness and emptiness of Shostakovich’s world. In order to satisfy the demands of the regime, the composer followed this long and weighty lament with two brief fast movements. These can superficially be heard as cheerful, yet their grotesque features pervert, contradict, and undermine the wishes of Stalin’s henchmen.

Will and Freedom

The Cleveland Orchestra

In the Eighth Symphony, the funeral lament from the second movement of Beethoven’s “Eroica” is present from the very start. The tonality of C minor is the same. And, like its predecessor, it is a funeral march. In contrast to Beethoven’s work, however, this music offers no perspective of a better world, and instead erupts in a single outcry against the injustices and cruelties of World War II. Yes, Shostakovich ends the monumental movement in C major, but this expresses not hope but the fact that redemption is completely out of reach.

Thus, the first movement of the Eighth Symphony is monumental in the intensity of its lament and, indeed, in its very duration. But the story continues in the next two movements, both in fast tempo and portraying the various cruelties and the incredible stupidity of the war and its brainless massacres.

The fourth-movement passacaglia — musically connected to the first movement by the repeated outcry — is a slow but unceasing funeral lament. And then, finally, the fift h movement, with the childlike simplicity of a waltz in C major, once again removes the yearned-for peace and freedom into a realm that is out of our reach. It is thus only logical that, at the end, the all-determining outcry should be heard again for one last time, before the movement and this entire, deeply moving antiwar utterance dissolves in the pure C-major of a possible yet improbable future.

In the Baroque era, C major was the tonality of the divine; in Classical times it stood for a divinity that might possibly be attained. Here it is only the expression of a divinity that mankind has irretrievably lost.

The Tenth Symphony is perhaps Shostakovich’s most personal utterance about his own lack of freedom. Written in the melancholy key of E minor, the first movement is a perpetual Valse triste or “sad waltz,” which rises up, from time to time, in great despair, whipping into a great frenzy, only to fade into a kind of icy silence. In the second movement — in a dark and gloomy B-flat minor — Shostakovich paints a merciless mug of Stalin. In the third — a cautious and deliberate waltz — he encodes the name of his muse and beloved, Elmira Nazirova, while his own initials (D-S-C-H) are repeated over and over again. The movement, which is in C minor, ends on a melancholy A-minor chord, with another dash of the composer’s initials thrown in. The introduction to the final movement is an elegy, followed by a pseudo-happy folk festival — a last dance, as it were — in E major. And yet, even here, Shostakovich wouldn’t be the great tragedian that he is if he didn’t hammer his initials into our ears one last time just before the end.

D E S P I T E T H E I R D I F F E R E N C E S — and perhaps as much because of their similarities — Beethoven and Shostakovich both wrote music that lives beyond the circumstances in which they were created. Both composers deliver timeless messages about freedom and human dignity. Music has value and meaning to creator and listener alike. Hearing is believing, music can deliver understanding.

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Music and Meaning

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Committed

to classical around the clock.

WCLV…now also heard on 90.3 WCPN HD2 WCLV.org

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F ex leg E E

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SH O ST AK O

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BY FRANK J. OTERI Severance Hall 2013-14

T H E C E N T U RY T H AT T R A N S P I R E D

between the death of Ludwig van Beethoven and the emergence of Dmitri Shostakovich as a composer was a time of transformative change — from the advent of electricity, recorded sound, and motion pictures to the unleashing of the destructive power of modern warfare, the globalization of the world, and an enlarging struggle for human rights, liberty, and freedoms. Even so, Beethoven and Shostakovich’s music and their shared outlook on humanity’s place in the world show a remarkable kinship.

Beethoven and Shostakovich both began their compositional careers as child prodigies and were also formidable piano virtuosos. They both shared their most private thoughts in their string Fate and Freedom

43

BEETHOVEN

N E VO H T E E B

Beethoven and Shostakovich were consummate musical dramatists, yet opera proved to be something of a quagmire in both of their careers.

44

quartets, but made their most important public musical statements with their symphonies. In fact, both took the abstract instrumental genre of the symphony and used it to tell compelling narratives. For example, both composers created symphonies that attempted to sonically convey the concept of fate — perhaps most notably for Beethoven in his Fifth Symphony and for Shostakovich in his tragic Eighth Symphony, which he composed during the Second World War. (Both of these symphonies are among those being performed as part of The Cleveland Orchestra’s “Fate and Freedom” Festival, October 22-26.)

Works such as these reveal that Beethoven and Shostakovich were consummate musical dramatists, yet opera proved to be something of a quagmire in both of their careers.

The strained relationships both composers had with the politically powerful are also equally legendary — Beethoven’s disdain for authority and aristocracy perhaps best exemplified by his crossing out the dedication of his Third Symphony, the “Eroica” (or “heroic”), to Napoleon upon learning that that small man had declared himself an emperor; and Shostakovich’s run-ins with a dictator even more ruthless than Napoleon, Joseph Stalin.

A curious correlation to Beethoven’s abandoned Eroica dedication is Shostakovich’s abortive attempt at creating a “Lenin Symphony,” which he described working on 1938. Such a symphony never materialized; in its place was the purely instrumental Sixth Symphony in 1939. (The Cleveland Orchestra pairs the Eroica with this Sixth Symphony on Thursday, October 24.)

Beethoven and Shostakovich also both suffered from chronic poor health in their later years, yet their final compositions seem to transcend the vagaries of human existence. After their deaths, each was hailed as a champion for individual artistic freedom who triumphed despite often adverse personal conditions. Nowadays musicologists as well as avid fans are still attempting to find hidden meanings buried in their scores — such as the allusions to Freemasonry in Beethoven’s Fourth Symphony (performed on October 25) or secret autobiographical ciphers in Shostakovich’s Tenth Symphony (performed on October 26).

But the parallels run much deeper than that. While Haydn and Mozart both hinted at it, Beethoven was the first composer to fully imbue the symphony with the same narrative and emotional heft as a novel, play, or epic poem. Shostakovich, while certainly not the only significant symphonist of his era, was among the few composers who remained steadfastly committed Fate and Freedom

The Cleveland Orchestra

Beethoven’s abrasiveness was notorious and he never apologized; Shostakovich reinvented his outward musical persona simply to survive.

SHOSTAKOVICH

to creating large musical statements in this medium at a time when most composers rejected the symphony as an anachronism. Shostakovich completed a total of fifteen symphonies over the course of nearly half a century.

For Shostakovich, like many Soviet musicians, Beethoven’s music remained the pre-eminent role model — the greatest repertoire an instrumentalist or a conductor could interpret and the standard bearer for what music was to be. A bust of this key compositional hero was a fi xture of Shostakovich’s writing studio. And, fittingly, the Soviet quartet that premiered nearly all of Shostakovich’s string quartets (13 of the 15) was named the Beethoven Quartet. So deep was the influence of Beethoven on the young Shostakovich that the central theme for his earliest multi-movement orchestral work, the Theme and Variations in B-flat minor, Opus 3, which he composed at the age of 15, bears an uncanny resemblance to the most famous theme of Beethoven’s Ninth Symphony.

Following Beethoven’s precedent in that monumental symphony, Shostakovich also added a chorus to the final movements of his Second and Third symphonies — although both of these early compositions take nascent Soviet patriotism to an almost unbearably propagandistic level. (There is, however, a later work that clearly echoes the pathos of Beethoven’s setting of Schiller’s paean to universal brotherhood, Shostakovich’s controversial Symphony No. 13, “Babi Yar,” a work which also sets the words of a major poet, Yevgeny Yevtushenko, an outspoken critic of injustice in the Soviet Union. But Shostakovich’s 13th Symphony, which was virtually banned in the Eastern Bloc for nearly a decade after its first performance and finally entered the repertoire after a copy of the score was smuggled into the West, is a far cry from an Ode to Joy; if anything, it is an Ode to Despair!)

D E S P I T E T H E D E E P C O N N E C T I O N S between these two composers, there are also some stark differences between Beethoven and Shostakovich which are equally fascinating. Beethoven was a lifelong bachelor whose romantic liaisons will forever be

Severance Hall 2013-14

Fate and Freedom

45

For Shostakovich, like many Soviet musicians, Beethoven’s music remained the pre-eminent role model — the greatest repertoire an artist could interpret and the standard bearer for what music was to be.

shrouded in mystery; Shostakovich was married three times.

Beethoven was notorious for his abrasiveness and never apologized; the castigated Shostakovich reinvented his compositional persona several times during his life to survive the cultural purges that Stalin unleashed and ultimately triumphed because of this — Shostakovich famously declared his masterful Fift h Symphony to be “a Soviet artist’s reply to just criticism” and the work was an instant sensation both at home and abroad and it remains so to this day.

Perhaps most strikingly, cinema did not exist during Beethoven’s lifetime and writing music for movies was an important revenue stream for Shostakovich throughout his career — in fact his 35 film soundtracks dwarf the combined total of his number of symphonies and string quartets. Shostakovich’s film scores also allowed him greater freedom to experiment than he had most of the time with his music for the concert hall; several of his soundtracks include music featuring the theremin, an early electronic instrument that would become a hallmark of American horror and sci-fi movie scores years after Shostakovich pioneered its use in motion pictures. Beethoven, of course, did not live into the age of electricity and therefore could never have tinkered with a theremin. He did, however use a glass armonica (a musical curiosity that sounds similarly otherworldly) for the incidental music he composed for the 1814 production of Johann Friedrich Duncker’s play Leonore Prohaska, music that is rarely revived nowadays.

During the week-long Fate and Freedom Festival, The Cleveland Orchestra’s juxtaposition of some of the greatest works

by Beethoven and Shostakovich — along with a rare screening of the 1929 silent film The New Babylon featuring Shostakovich’s very first film score — offers audiences a unique opportunity to reflect on how each of these composers responded to the central concerns of their respective eras and how their now timeless work continues to have a deep impact on all of us.

ASCAP award-winning composer and music journalist Frank J. Oteri is the composer advocate at New Music USA and senior editor of its web magazine “NewMusicBox.”

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Fate and Freedom

The Cleveland Orchestra

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THURSDAY

Symphony No. 3 (“Eroica”) in E-flat major, Opus 55 composed 1802-04

by

Ludwig van

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

Severance Hall 2013-14

T H E O R I G I N S O F A W O R K as momentous in its impact on history as on hearers of every generation cannot be lightly traced. Yet, for this symphony, two separate impulses seem to have fused in Beethoven’s mind, as in some white-hot cauldron, creating a solid artifact whose effect and power dwarf the mere historical circumstances of its composition.

The first impulse was Beethoven’s admiration for Napoleon as a symbol of human heroism. The idea of basing a symphony on Bonaparte was said to have been suggested by General Bernadotte, the French ambassador to Vienna, with whom Beethoven was certainly acquainted. The story of the title page of the completed symphony, headed “Bonaparte,” being angrily torn up by Beethoven on hearing that Napoleon had crowned himself Emperor is well attested. From what we know of Beethoven’s character, he is more than likely to have drawn a comparison between Napoleon and himself, feeling within him the power to refashion the art of music as comprehensively as Napoleon was redrawing the map of Europe.

The second impulse was personal. In October 1802, Beethoven drew up the extraordinary document known as the Heiligenstadt Testament, in which he calmly acknowledged the likely permanence of his deafness and less calmly bequeathed his earthly goods to his two brothers. But for his art, he admits, he would have ended his own life: “It seemed impossible to leave the world until I had brought forth all that I felt was within me.” Since his Third Symphony, the “Eroica,” was already planned and was to preoccupy him throughout the summer of 1803, it may be said to have saved his life — as though music itself achieves its own triumphs over human frailty, a theme suggested in the splendor of the Third Symphony’s finale, and even more affirmatively in the Fifth Symphony.

After the “Eroica,” Beethoven’s music was irretrievably changed. Great landscapes were opened up, which he spent the rest of his life exploring, but at the same time the sense of primal beauty — which is more perfectly expressed in Beethoven’s early works than in any other music, even Mozart — was lost.

Beethoven’s gift of flowing, elegant melody was now swamped by the relentless dynamic energy of the heroic Middle Period.

About the Music

49

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His orchestration became heavier, his movements longer, and the domestic quality of his music was transformed into great idealism, on the one hand, and profound inner searching, on the other.

Not just Beethoven’s music was changed, all music was irretrievably changed. The 18th century was chronologically and culturally buried, and pre-Romantic civilization left for modern archaeology to uncover. Music was henceforth inescapably personal, expressive, and dramatic, and earlier music, no matter what its origins, was now interpreted in the new way.

The conventions of listening and interpretation that Beethoven forced on his Viennese audiences are with us still today.

Not all those early listeners found the Third Symphony agreeable. In 1805, everyone was struck by its great length, while many found it headed in the wrong direction. “His music,” wrote one critic, “could soon reach the point where one would derive no pleasure from it, unless well trained in the rules and difficulties of the art, but rather would leave the concert hall with an unpleasant feeling of fatigue from having been crushed by a mass of unconnected and overloaded ideas and a continuous tumult from all the instruments.” Another writer confessed that he found in the new symphony “too much that is glaring and bizarre,” turning at once to a symphony by Anton Eberl (a composer now largely forgotten) that gave him more pleasure.

The strength of the “Eroica” is surely that it challenges us to see new significance and new meaning in it at every performance. Those who predicted that it would take centuries before it was fully understood may have been right.

The first movement adopts the key and melodic language of Mozart’s Symphony No. 39, but expands it on an immense scale; both development and coda are hugely extended. Unlike the Mozart symphony, it has no slow introduction, but is prefaced by two robust chords of E-flat major, like an affirmation of solidity and strength with the sort of finality one expects to find at the end of a movement, not the beginning. A movement in 3/4 meter allows rich opportunities for cross-rhythms and cross-accents, of which Beethoven takes full advantage, sometimes laying the stress on the second rather than the first beat of the measure, sometimes leaving the first beat silent, and at moments of greatest tension hammering out dissonant chords at two-beat intervals as if to deny the movement’s basic pulse altogether. At other times, the music glides effortlessly along, Severance Hall 2013-14

About the Music

With his Third Symphony, not just Beethoven’s music was changed, all music was irretrievably changed. The 18th century was chronologically and culturally buried, and pre-Romantic civilization left for modern archaeology to uncover.

51

At a Glance Beethoven composed his Third Symphony between 1802 and 1804. He conducted the first performance at a private concert in the home of Prince Lobkowitz, to whom the work is dedicated, in December 1804.

The first public performance took place at the Theateran-der-Wien on April 7, 1805, again with the composer conducting.

This symphony runs about 50 minutes in performance. Beethoven scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 3 horns, 2 trumpets, timpani, and strings.

The Cleveland Orchestra first performed Beethoven’s “Eroica” Symphony in October 1920, under Nikolai Sokoloff’s direction. Most recently, it was performed in October 2010 at Severance Hall, in November 2010 on tour in Japan and Korea, and at Blossom in July 2013, each time under the direction of Franz Welser-Möst.

The Cleveland Orchestra has recorded Beethoven’s Third three times: in 1957 with George Szell, in 1977 with Lorin Maazel, and in 1983 with Christoph von Dohnányi.

52

even if distant storms are never far over the horizon, and the movement ends with the same two solid chords with which it had opened.

The second movement, an awesome funeral march, is somber and processional in the minor key, drawing an intense sound from the strings that would have been unimaginable in the previous century. The major key pierces the tragedy with the winds, led off by the oboe, unfolding a noble melody that reaches a strong climax before returning to the march. A fugal episode generates enormous power, and the desolate ending is beyond words.

Even the third-movement Scherzo, in which Beethoven would normally settle for a lighter mood, finds extraordinary dynamic strength, and its Trio section puts the three horns on display (when just two horns would previously have been normal in a symphonic work like this).

It is typical of Beethoven that in a work of such high seriousness he finds room for his incessant humor. It sometimes makes you wonder if he was serious at all. The well-known moment at the first movement’s recapitulation, when the horn apparently makes a false entry comes across as a well-intended joke. So too is the portentous rush of notes (in the wrong key) at the beginning of the fourth-movement finale, leading not to a weighty thematic declaration, but to a simple, almost inane, bass line bereft of theme, which acts as an expectant anticipation of the main theme. When the theme does arrive, it turns out to be no more than a dance tune of surpassing obviousness borrowed from the ballet The Creatures of Prometheus, which Beethoven had written just a couple of years earlier. Ballet music! Just as we start to wonder how he could have sunk so low, the music becomes fugal, then dramatic, then aggressive, then elegiac, then massively grand and conclusive. Once again, Beethoven has outwitted his listeners by the sheer power of his invention. Keeping pace with his thought processes is an exhausting, but happily inexhaustible, occupation.

—Hugh Macdonald © 2013 Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis and is a noted authority on French music. He has written books on Beethoven, Berlioz, and Scriabin.

About the Music

The Cleveland Orchestra

THURSDAY

Symphony No. 6 in B minor, Opus 54 composed 1937-39 S H O S TA KOV I C H

by

Dmitri

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

Severance Hall 2013-14

was thirty-three when he composed his Sixth Symphony, the same age as Beethoven when he wrote his Third, the “Eroica.” There are many fruitful comparisons to be made between these two great composers, and in this case we have to observe how both composers were at that moment in their lives coming to terms with traumatic conditions that had begun to cast a shadow over their future.

For Beethoven it was the relentless progress of his deafness.

For Shostakovich it was the terrifying atmosphere of political oppression triggered by Stalin’s purges. Soviet artists were not immune — some notable poets and theater directors “disappeared,” and any composer unwilling or unable to conform to the rigid expectations of the men in power lived in fear for his livelihood, and often for his life.

In this context, Shostakovich’s “Eroica” — his artistic rejoinder to the changing circumstances of his life — was the Fifth Symphony. This was his response, after two years of silence, to what he described as the “just criticism” leveled at his opera Lady Macbeth of Mtsensk, premiered in 1935. The critique was actually a tirade of printed abuse from the Soviet authorities, as dictator Stalin continued consolidating his power over everything and everyone. The apparatchiki beneath him abused the next levels down, tightening the screws of command. This included a vast and concerted effort to place all art and artists at the ready disposal of the government’s propaganda purposes — all new art was to be patriotic, rallying and uplifting the people.

What the authorities and the public took to be the Fift h’s strongly optimistic tone when it was heard in 1937 won for its composer a gale of popularity and favor. And Shostakovich knew that the dark, pessimistic streak in his make-up would bring trouble on his head if he allowed it to surface too strongly.

His trick, therefore, was to end the Fift h Symphony in a riot of brassy celebration in order to dim any memory of introspection that might be heard in its earlier movements. Although Shostakovich was said to admit that the finale of the Fifth was ironic in tone, it served its purpose well enough.

In the Sixth, then, composed in 1939, he adopted a similar tactic. By traditional symphonic standards, it is crudely unbalAbout the Music

53

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The Cleveland Orchestra

anced, having a long, thoughtful, slow movement to start, followed by a lively scherzo and an even more high-spirited finale.

Perhaps it is a traditional four-movement symphony without a first movement. But the apparent lack of weight in the scherzo and finale seems to assign them to a different world than that of the actual first movement, whose unhurried exploration of abstract material foreshadows much of Shostakovich’s later music.

From the audience’s point of view, this is not a problem.

With concentration fresh, we trace the shapely themes that emerge one by one in the first movement, usually associated with a single instrument. After a strong start, the first violins lay out an important, desolate theme; then the piccolo introduces one; then the english horn has another, echoed by distant trumpets; then the flute. Later, it is the flute who is allowed a passage of what sounds like free improvisation. The movement’s recapitulation arrives very late, just in time to bring this richly woven tapestry to a close.

Great virtuosity is called for in the scherzo second movement scherzo, especially from the winds. The torrent of notes begets a carnival atmosphere with heavy-booted peasants dancing in the streets. Then, once the timpani have had their say, everything is delicate and feather-light to the end.

The finale seems to go even faster. It is a playful burlesque, often recalling that same side of Prokofiev’s music. Rossini also comes to mind, that joker among composers for whom (unlike Shostakovich) there was no dissembling. Eventually the horns come up with a boisterous tune that suggests nothing so much as a circus band, and from that moment on the riotous momentum is not to be stopped.

The Sixth Symphony was first performed in Leningrad in November 1939 in a concert that also premiered Prokofiev’s cantata extracted from the film Alexander Nevsky. Such was the enthusiasm for Prokofiev’s patriotic music that the new Shostakovich symphony was almost overlooked. Sometimes Shostakovich, a painfully shy man, preferred it that way.

—Hugh Macdonald © 2013

Severance Hall 2013-14

About the Music

At a Glance Shostakovich composed his Sixth Symphony between 1937 and 1939. His original intentions were to create a symphony on the subject of Soviet leader Vladimir Lenin, and during part of this period he considered or attempted including sung text with chorus and soloists. He eventually decided to write a purely orchestral work, without any direct connection to Lenin. The symphony was premiered in November 1939, in Leningrad (today’s St. Petersburg), with Evgeny Mravinsky conducting the Leningrad Philharmonic Orchestra.

This symphony runs about 30 minutes in performance. Shostakovich scored it for 3 flutes (third doubling piccolo), 3 oboes (third doubling english horn), 4 clarinets (third doubling e-flat clarinet and fourth doubling bass clarinet), 3 bassoons (third doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (snare drum, bass drum, cymbals, triangle, tambourine, tam-tam, and xylophone), harp, celesta, and strings.

The Cleveland Orchestra first performed Shostakovich’s Sixth Symphony at a weekend of concerts in January 1945, conducted by Fritz Reiner. It was most recently presented in 2012, at Severance Hall, and on tour in the United States and Europe, conducted

by Franz Welser-Möst.

55

Sound for the Centennial TH E C A M PAI G N FO R TH E C LE V EL AN D O RC H ESTR A

In anticipation of The Cleveland Orchestra’s 100th anniversary in 2018, we have embarked on the most ambitious fundraising campaign in its history. The Sound for the Centennial Campaign seeks to build the Orchestra’s Endowment through THE cash gifts and legacy commitments, while also securing broad-based and increasCLEVELAND ORCHESTRA ing annual support from across Northeast Ohio.

The generous individuals and organizations listed on these pages have made long-term commitments of annual and endowment support, and legacy declarations to the Campaign as of October 20, 2013. We gratefully recognize their extraordinary commitment toward the Orchestra’s future success. Your participation can make a crucial difference in helping to ensure that future generations of concertgoers experience, embrace, and enjoy performances, collaborative presentations, and education programs by The Cleveland Orchestra. To join this growing list of visionary contributors, please contact Jon Limbacher, Chief Development Officer, at 216-231-7520.

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Nordson Corporation Foundation The Honorable and Mrs. John Doyle Ong Parker Hannifin Corporation The Payne Fund Charles and Ilana Horowitz Ratner Mr. and Mrs. Lawrence M. Sears Mr. and Mrs. Richard K. Smucker Anonymous

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FRIDAY

Symphony No. 4 in B-flat major, Opus 60 composed 1806 T WO YEARS INTERVENED

by

Ludwig van

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

Severance Hall 2013-14

after the completion of his Third Symphony (the “Eroica”) before Beethoven ventured upon another symphony. Three symphonies (the Fourth, Fift h, and Sixth) followed in succession, each very different from the others in character and scale.

The Fourth is always observed to be less forceful and dramatic than the Third and Fifth, but it surpasses them in athletic energy and, in places, in sheer beauty of sound. Yet Beethoven’s purpose was never quite what it seems, so that simply to characterize the Fourth as “light-weight” or “relaxed” is to tell only a part of the story. Robert Schumann compared it to a “slender Greek maiden,” but even he would admit that the extremes of seriousness and skittishness found in the work do not properly belong to such a maiden’s drapery.

The Fourth Symphony was composed mainly in 1806 and first performed the following year in Vienna at the house of Prince Lobkowitz (whose family heritage of Beethoven memorabilia has recently been restored to their residence in Prague, now a museum). It was dedicated to Count Oppersdorff. Beethoven enjoyed the hospitality and support of both noblemen at that time.

Like many of Haydn’s symphonies — and a few of Mozart’s — Beethoven’s Fourth Symphony opens with a slow introduction. The purpose of these introductions was not to foreshadow the themes or even the mood of the rest of the movement, but to act like the overture to an opera, and accustom the audience to the orchestra’s sound and to induce a serious concentration.

In the “Eroica,” Beethoven had dispensed with an introduction, but the Fourth has a fine one, dark and mysterious in character, and without any clear sense of direction until a fortissimo burst and some rocket-like figures in the violins force the issue.

Once the first movement’s main Allegro vivace section — and the true key of the symphony, B-flat major, is established — all tension evaporates. The standard procedures of classical sonata form fall into their assigned places. In the development, the actual pace of the music is still brisk, but the harmonic pace is very slow, giving an impression of immense breadth, like a glance forward to Wagner or Bruckner. Beethoven keeps us waiting expectantly for the return of the opening theme, even after the correct key has been firmly reached. The rest of the About the Music

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At a Glance Beethoven composed his Fourth Symphony during the summer and early fall of 1806. The first performance took place at Prince Lobkowitz’s residence in Vienna in March 1807; the first public performance was at the Burgtheater on April 13, 1808. Beethoven conducted both performances.

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

The Cleveland Orchestra first performed Beethoven’s Fourth Symphony during the 1924-25 season with founding music director Nikolai Sokoloff. The most recent performances were led by Franz Welser-Möst in November 2012 at Severance Hall in Cleveland and at Carnegie Hall.

movement duly follows, with only a brief coda, not another massive peroration in the manner of the “Eroica.”

Berlioz likened the slow movement to the story of Francesca da Rimini in Dante’s Divine Comedy, so moving that it reduced Virgil to tears and caused Dante to fall “like a dead body.” He then introduced another image: “This movement seems as if it had been softly murmured by the Archangel Michael one day when, overcome by a feeling of melancholy, he contemplated the universe from the threshold of the Empyrean.”

The main melody is indeed of wonderful serenity. The second melody, introduced by the solo clarinet, provides not contrast but rather completion, as though the whole first paragraph were a single sentence. There are stern pages in this movement, bleak pages, too, but its profound placidity marks it off as one of the greatest of Beethoven’s slow movements. None of his contemporaries could approach him on this ground.

Although marked Menuetto, the third movement has the character of a scherzo, with teasing cross-accents and a lively pace. The Trio section is a little slower, and pastoral in character.

The strings join in later with some strange rumbling inner lines, and the original tempo returns. Beethoven repeats the whole process, so that the Trio is heard twice, the Scherzo three times.

The finale is as muscular and energetic as a tiger. The bustling opening theme has no introduction and immediately plunges into the bass register. It is more often used as accompaniment than as theme, though it can serve either purpose. The flow is sometimes broken by more relaxed passages and there is an extraordinary series of harsh baying chords that recur from time to time. The recapitulation is marked by the spotlight falling briefly and famously on the first bassoon, and at the end the principal melody stops running, apparently exhausted. But its faint is merely a feint. This is another of Beethoven’s jokes — just when you think his melody cannot keep going even one bar more, it leaps up and slaps you rudely in the face.

—Hugh Macdonald © 2013

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About the Music

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FRIDAY

Symphony No. 8 in C minor, Opus 65 composed 1943

by

Dmitri

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

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T H E G E R M A N A R M Y ’ S S I E G E of Leningrad began in August 1941. In October, before the worst privations overtook the city, Shostakovich and his family, along with other artists and musicians, were evacuated to Kyubyshev, deep in the heart of central Russia, where life was uncomfortable but free from danger. Here, Shostakovich was able to complete his Seventh Symphony, the so-called “Leningrad” Symphony, and to witness from afar its worldwide success. It quickly became a symbol of Russia’s heroic defiance at a time when the outcome of the struggle against Nazi Germany was anything but clear.

In the summer of 1943, Shostakovich spent a few months at a special musicians’ retreat in Ivanovo, much nearer Moscow than Kyubyshev. These “Houses of Rest and Creativity,” set up by the Soviet government, offered composers a working milieu and the freedom to compose in relative comfort. Here, in the space of little more than two months, he composed his next symphony, the Eighth, an immense work of great depth and range, and had it ready for performance in Moscow in November of that year.

Interpreting Shostakovich’s music is like walking on very thin ice, yet critics and admirers, from that day to this, have confidently proclaimed that such a work as the Eighth Symphony, so obviously an important and profound piece of music, must therefore be lamenting the fate of Russia, or proclaiming the greatness of the Soviet Union, or mocking the composer’s tormentors with layers of irony, or any other scenario that the music might suggest.

In 1943, the authorities were clear that it was a pessimistic work, full of “unhealthy individualism,” at a time when (after the Battle of Stalingrad) the Germans were in retreat, and the prospect of victory was for the first time there for all to see. Shostakovich’s symphony was therefore relegated to the list of works “not recommended” for performance — banned, in effect.

For some later critics, free of Soviet ideology, the Eighth is a tragic work, lamenting the millions killed or mutilated in the war. For others, its meaning is hidden beneath a veneer of irony, since Shostakovich’s ambiguous position as a Soviet artist (fettered by the unpredictable responses of his masters) bred in him a highly developed skill at dissimulation: he became good at saying one thing and meaning another, of making declara-

About the Music

61

tions in public that he might contradict in private. If that same irony informs his music, how do we know whether his merriment is real or his misery is feigned?

We don’t know. Music may be a language, but we don’t know what it means. Shostakovich was in any case a very private, not to say inscrutable, individual, leaving us free to adopt almost any view of his work without any certainty that our view will coincide with his. He himself never gave out any kind of program or message to attach to the Eighth Symphony, nor did he connect it with the traumatic times in which it was composed. We are simply left with a big symphony in five movements, which encompasses long, quiet, thoughtful passages, some explosions of untamed force, some meditations on easy-going material of little substance, some bursts of comic humor, some pages of intense musical argument, and much else.

THE MUSIC

Like the popular Fift h Symphony, the Eighth has an opening movement that grows gradually from a slow, pithy start to a climax of cataclysmic force. It passes through a section of blatant crudity to a second climax, then returns to the isolated emptiness of the beginning.

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About the Music

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This huge twenty-five-minute movement displays Shostakovich in all his various humors — the long wandering themes (often given to a solo instrument), the frantic bursts of energy, the high whooping horns, the fury of the percussion, the eerie calm of low strings barely moving. The themes are carefully and fully developed. One that is worth following in its various appearances is first heard in the violins over a gentle rhythmic accompaniment, in a quintuple beat:

This is the second main theme of the movement and it recurs in many forms.

The same variety of mood characterizes the other four movements. The second movement, with a certain burlesque flavor, has a memorable solo for the piccolo. The third is even more lively, a scherzo in 2/4 time set off by the violas alone.

This movement has abundant humor. How could they ever have thought it was pessimistic? It’s fun to watch, too. When the trombones take on the violas’ figuration, they present a splendid sight with their slides darting back and forth. And the timpani, too, has the same figure, a pair of sticks flying over three drums.

The fourth movement is intensely serious. It is a passacaglia, built on a ten-measure theme that starts in unison on the full orchestra, all of whom gradually fall away to leave the violins alone. This theme is repeated a dozen times with a series of different counter-themes — notably in the horn, then the piccolo, then four fluttering flutes, then the clarinet — and then passes almost imperceptibly into the fifth-movement finale.

This is introduced by the bassoon family going their merry way, and the music remains carefree even when the tempo increases to fast. But there is tension in the air, and the catastrophe soon strikes with the same force and the same climactic music as in the first movement. A long solo for the bass clarinet has the task of restoring calm, and the end has a seraphic quality, in the deep repose of C major.

The symphony has traced the complete gamut of human feeling, but does it have a precise meaning? Let those of us listening decide for ourselves, one by one.

At a Glance Shostakovich wrote his Eighth Symphony during the summer of 1943. It was first performed on November 3, 1943, by the USSR Symphony Orchestra conducted by Yevgeny Mravinsky. The first performance in the United States was presented by the New York Philharmonic led by former Cleveland Orchestra music director Artur Rodzinski.

This symphony runs about 60 minutes in performance. Shostakovich scored it for 4 flutes (third and fourth doubling piccolo), 2 oboes, english horn, 3 clarinets, bass clarinet, 3 bassoons (third doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (triangle, tambourine, snare drum, 2 cymbals, bass drum, tam-tam, xylophone), and strings.

The Cleveland Orchestra first performed Shostakovich’s Eighth Symphony in March 1976, under the direction of Kirill Kondrashin.

It has been heard a few times since, most recently led by Franz Welser-Möst at Blossom in July 2013 and at Severance Hall and on tour during the 2002-03 season.

—Hugh Macdonald © 2013 Severance Hall 2013-14

About the Music

63

SATURDAY

Symphony No. 5 in C minor, Opus 67 composed 1804-08 EVERY LISTENER

by

Ludwig van

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

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may feel free to interpret this immortal work in his or her own fashion. The idea that it represents the composer’s mighty but victorious struggle with destiny was put into circulation by Beethoven himself, or at least by his fantasy-spinning amanuensis Anton Schindler, who reported the composer’s explanation of the opening motif as “So pocht das Schicksal an die Pforte” (‘Thus Fate knocks at the door’).

Perhaps Beethoven did say that, and it certainly offers a vivid image for an extraordinarily unconventional opening for a classical symphony. But there are so many other forces at work in this symphony, besides that of fate, that we need to open our ears and minds to every signal it sends out. Most listeners agree that the signals can be different at each hearing.

Fate struck Beethoven most cruelly in about 1802 when, still in his early thirties, he acknowledged the fact of his deafness and began the long process of coming to terms with a handicap that was less of a musical disability (it did not interfere with his ability to compose) than a social one. His standing as a virtuoso pianist with excellent connections at court was seriously threatened, and his relations with friends, and especially with women, were now forever circumscribed.

We might think that as a composer his reactions were far more violent than the situation warranted. The “Eroica” Symphony (No. 3), the immediate product of that profound crisis, transformed the world of classical music forever. But he did not stop there. The superhuman creative energy that produced his great heroic works of that decade had never been heard in music before. One colossal path-breaking work followed another, combining unearthly beauty of invention, technical virtuosity, vastness of conception, and a radical freedom of expression and form.

Beethoven may have — privately — felt inordinately sorry for himself, but there is no self-pity in the music. Defiance, yes certainly, although the sense of triumph expressed in the conclusion of the Fifth Symphony is surely more than a tongue-sticking-out I-told-you-so addressed to fate. Beethoven’s triumph gloats not just over an unfair destiny cowering at his feet, but rather over all humanity, over all of us who have the misfortune not to measure up to his infinite creative spirit.

If Beethoven gave up the unequal struggle to take care of About the Music

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worldly and domestic concerns, if he lost control of his finances, if he quarreled with landlords and servants, if he felt robbed by publishers and creditors, if he lived in squalor, if he could not count on the affection and loyalty of friends, there always remained one domain in which he was the unchallenged master: music itself. He could change the world by scratching barely legible lines and dots on ruled paper, the physical manifestation of a cauldron of sound and pride that boiled in his brain.

The famous four-note motif that opens the symphony is heard constantly in the first movement, but it is far from being the all-pervading idea that many people suppose. Listen out for others! The second movement deft ly and curiously blends gorgeous cantilena with military trumpets, all wrapped in variation form. The third movement is full of mystery; not defiant, not triumphant, more humorous or spectral, and out of it grows the huge shout of triumph of the fourth-movement finale, as the trombones proclaim a new order of the universe, supported by piccolo, contrabassoon, and the full weight of C major, the key that Haydn had assigned to the completion of Creation itself.

The disorder and confusion that reigned at the first performance of this symphony in a famously long concert — which also included the first performances of the Fourth Piano Concerto, the Sixth Symphony, and the Choral Fantasia — perfectly illustrates the sorry mis-match between reality in Beethoven’s life, when a long, difficult concert had to be rehearsed and performed, and the sublime quality of the music itself. No wonder Viennese audiences were confused by this giant in their midst.

—Hugh Macdonald © 2013 Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis and is a noted authority on French music. He has written books on Beethoven, Berlioz, and Scriabin.

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About the Music

At a Glance Beethoven began sketching this symphony as early as 1804, and completed it during the first months of 1808.

The first performance took place on December 22, 1808, at the Theater-an-der-Wien in Vienna, at a legendary marathon concert led by the composer and devoted entirely to his works (the program also included the premiere of the Sixth Symphony, Fourth Piano Concerto, and Choral Fantasy — all in an unheated hall, and seriously under-rehearsed).

This symphony runs about 35 minutes in performance. Beethoven scored it for piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 2 horns, 2 trumpets, 3 trombones, timpani, and strings. The piccolo, contrabassoon, and trombones (which Beethoven had not used in his first four symphonies) play only in the fourth movement.

The Cleveland Orchestra first played Beethoven’s Fifth Symphony during its inaugural season, in April 1919. It has been performed frequently ever since — most recently conducted by Franz WelserMöst at Severance Hall in autumn 2009 and at Blossom in 2012 led by Jahja Ling.

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SATURDAY

Symphony No. 10 in E minor, Opus 93 composed 1948-53

by

Dmitri

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

Severance Hall 2013-14

S H O S TA KO V I C H made it known publicly that he composed the great Tenth Symphony in the months following Stalin’s death, which took place on March 5, 1953 (the same day as Prokofiev’s death). It is clear to us now, however, and was probably clear to many of his friends then, that he had been working on the symphony for several years — and that it was written under the shadow of events in January 1948 when Andrei Zhdanov, the politburo member with responsibility for the arts, led a purge on Soviet musicians, with Shostakovich as the main target. An important group of composers, which included both Shostakovich and Prokofiev, were singled out for their sins against the ideals of Soviet music and in particular for “formalism,” the recurrent catch-all accusation that had been heard in official pronouncements throughout the Stalinist era.

Of course all music is formal, and so, in a sense, it must also be “formalist.” In this case, the State required music to serve a political purpose, and that could only be done with words or a message conveyed in song or onscreen or even with just an appropriate title. “Symphony” or “Concerto” or “String Quartet” were vague and inadequate titles for the purpose — and thus open to condemnation not simply for not supporting the official line but actually for subverting it.

At the moment when the purge occurred, Shostakovich was engaged in composing a violin concerto written in admiration of the playing of David Oistrakh. He continued writing the concerto, but only in secret, and it could not be performed.

Shostakovich turned to film music and choral works instead, as his sole means of retaining recognition as a composer. But in private, he was also working on string quartets and on a successor to the Ninth Symphony of 1945. Sketches for the Tenth in fact go back as early as 1946, and there is evidence that he was working on it in 1951.

The year 1953 — and Stalin’s death — thus released the backlog of music that had been waiting to be brought out in public. The Violin Concerto was not ready until 1955, but the Fourth and Fifth String Quartets were heard toward the end of 1953, along with the Tenth Symphony, presented on December 17 by the Leningrad Philharmonic Orchestra under Shostakovich’s leading interpreter of the day, Yevgeny Mravinsky. The Tenth

About the Music

69

was soon acclaimed in the West as one of the composer’s major works. International recognition of Shostakovich as a leading living composer dated back to his First Symphony in 1925, but Shostakovich’s standing across the West was reenforced by new works in the 1950s and for the last twenty years of his life. His writing was widely appreciated as a counterblast to the craze for serial and atonal music that gripped many young composers, especially in the United States.

Interpreting the Tenth Symphony, as with any work by Shostakovich, presents immense problems. From his many years grappling with officialdom, he had learned to dissemble and mask his true feelings about what he created.

In addition, he was a very private, not to say inscrutable, individual.

All these circumstances allow us to adopt almost any view of his work, but without any certainty that our view will coincide with his.

The layers of irony are deep. What seem to be depictions of misery or horror may be nothing of the kind. The hollow hymns of triumph may not be hollow.

He was indeed a “formalist” composer, deeply concerned with the structure and shape of his music, always looking for new ways to insert contrast or its opposite, hinting at references that may be decoys, and extracting veins of gold from the traditional large orchestra.

THE MUSIC

Of the Tenth Symphony’s four parts, the first movement is the longest and perhaps the bleakest, giving prominence (as does

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the whole symphony) to the leading woodwinds. A clarinet, for example, is the first to join the strings’ opening meditations, and a low flute is the first to present an important new theme later on. Two lonely piccolos are heard at the close. The music is in no hurry. Twice the music rises to fearsome climaxes, fed on the frightening rap of the snare drum and the weight of the full brass.

The raw energy of the second movement is unrivaled in 20th-century music, like a runaway train. Is it exultation or fury? It’s hard to say. Over the wild gambols of the rest, the brass occasionally stamp out what sounds like an Orthodox Russian chant. What can that mean?

The relaxed air of the third movement is more than welcome, and it becomes more personal when Shostakovich gradually hones in on his personal signature, the D-S-C-H motif that permeated a number of his later works. This was created from the way his name is spelled in German, as Dmitrij SCHostakowitsch, and the fact that in German the note of E-flat is “Es” (and thus S) and B-natural is H:

Another prominent tune that keeps recurring on the horn seems planets away from the tone and color of the movement.

This too has been shown to have an explanation as ELMIRA, the name of one of his female students, although, as before, the significance of her intrusion in the symphony is a mystery:

The movement concludes with what sounds like a corny brass band playing loose with D-S-C-H, as if in mockery.

Before the true finale begins, there is a thoughtful introduction featuring oboe and bassoon and casting a veil of mystery.

This is dispelled in the exuberant fourth movement Allegro, whose climax is a triumphant writing-on-the-wall of the letters D-S-C-H. Triumph or cataclysm? It could be either. It is certainly an exhilarating musical experience whatever we read into its meaning.

—Hugh Macdonald © 2013

Severance Hall 2013-14

About the Music

At a Glance Shostakovich composed his Tenth Symphony during the summer and autumn of 1953, although some thematic material may date from the previous two years.

It was premiered in Leningrad on December 17, 1953, by the Leningrad Philharmonic Orchestra conducted

by Yevgeny Mravinsky.

The first United States performance took place on October 14, 1954, with the New York Philharmonic under Dimitri Mitropoulos’s direction.

This symphony runs just over 50 minutes in performance. Shostakovich scored it for 3 flutes (second and third doubling piccolo), 3 oboes (third doubling english horn), 3 clarinets (third doubling bass clarinet), 3 bassoons (third doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (snare drum, bass drum, cymbals, tam-tam, triangle, tambourine, xylophone), and strings.

The Cleveland Orchestra first performed Shostakovich’s Tenth Symphony in December 1967 under David Oistrakh’s direction. The most recent performances were given in January 2013 under the baton of Franz Welser-Möst.

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Student attendance continues to grow at Severance Hall As The Cleveland Orchestra’s 2013-14 season gets underway, more Student Advantage Members, Frequent Fan Card holders, Student Ambassadors, and student groups are contributing to the continued success of these programs.

The Orchestra’s ongoing Student Advantage Program provides opportunities for students to attend concerts at Severance Hall and Blossom through discounted ticket offers. Membership is free to join and rewards members with discounted ticket purchases. For this season, a record 6,000 students have joined.

The Student Frequent Fan Card was introduced a year ago with great success. The program is continuing to grow, with the number of Frequent Fan Card holders tripling so far this season over 2012-13. Priced at $50, the Fan Card offers students unlimited single tickets (one ticket per card holder) to weekly classical subscription concerts all season long.

The Student Ambassador program is also growing. These young volunteers help to promote the Orchestra’s concert offerings and student programs directly on campuses across Northeast Ohio.

Also this year, a group of Student Marketing Advisors was formed to help the Orchestra incorporate student feedback and insight to programs, and give local marketing majors a chance to work closely with the Orchestra’s sales team.

In addition, attendance through Student Group sales are also bringing in more and more young people to Cleveland Orchestra concerts. From as far as Toronto and Nashville, these groups make up an integral part of the overall success toward generating participation and interest among young people.

All of these programs are supported by The Cleveland Orchestra’s Center for Future Audiences, through 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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The Cleveland Orchestra

OrchestraNews

The Cleveland Orchestra and Music Director Franz Welser-Möst’s live recording of Bruckner’s Symphony No. 4, released earlier this year, is receiving wide acclaim in reviews from around the world — including a new award announced this fall. The Bruckner Society of America has just announced that it is giving this DVD its “best video of the year” ear designation, lauding the performance and the presentation.

The performance was filmed in 2012 at the beautiful 17th-century baroque Abbey of St. Florian in Austria. Emmy Award-winner Brian Large directed the video recording. This is the first video produced of thee recent critical edition of the 1888 8 version of Bruckner’s Fourth Symmphony, edited by Benjamin Korsttvedt and published in 2004 as part art of the Bruckner Collected Works edition.

Reviewers’ praise includes: “How does one approach Anton Bruckner and his exuberant Fourth Symphony distinctively? Franz Welser-Möst and his fellow Clevelanders accomplished it. And in such a way!”

—Vienna Zeitung, June 2013 “A great orchestra, a Bruckner expert. . . . Five out of five stars.” —Kurier (Austria), May 2013 “In St. Florian, Franz Welser-Möst and The Cleveland Orchestra breathed new life into this version. A glorious concert.” —Die Presse (Austria), May 2013 Clasart produced the recording, which is being distributed by Arthaus and Naxos.

The Cleveland Orchestra’s long-term partnership with Clasart has resulted in five Bruckner DVDs to date. Founded in Munich in 1977, Clasart is part of the Tele München Group. The Cleveland Orchestra extends special thanks to Raiffeisenlandesbank Oberösterreich and Tele München Group for their ongoing support for electronic media projects.

Severance Hall 2013-14

Cleveland Orchestra News

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THE CLEVELAND OR-

Committed to welcoming more young people and families, The Cleveland Orchestra has significantly expanded its “Under 18s Free” program for the 2013-14 season at Severance Hall — to include forty-six concerts from September to May, an increase from just fourteen “Under 18s Free” concerts in the 2012-13 season. “Under 18s Free” tickets will be available for all family programming at Severance Hall, along with Cleveland Orchestra concerts on Fridays and Sundays. The concerts include the Family Concert Series, PNC Musical Rainbows, Cleveland Orchestra Youth Orchestra and Youth Chorus concerts, as well as The Cleveland Orchestra’s Friday morning and evening concerts and Sunday matinees.

“We’re dedicated to serving more people in our community,” says Gary Hanson, the Orchestra’s executive director. “The expansion of our ‘Under 18s Free’ program will provide access to more than three times as many performances for families and young people this season.”

Since the creation of the Center for Future Audiences in 2010, funding from the Center has helped enable nearly 60,000 young people to attend Blossom Music Festival concerts and performances at Severance Hall. The Center’s ticket initiatives include “Under 18s Free,” Student Advantage, and Student Ambassadors programs. The Center for Future Audiences, created with a lead endowment gift from the Maltz Family Foundation, was established to fund programs to develop new generations of audiences for Cleveland Orchestra concerts in Northeastern Ohio.

The “Under 18s Free” program offers free tickets (one per regular-priced adult paid admission) to young people ages 7-17. (Holiday concerts and Celebrity Series concerts are excluded from the “Under 18s Free” offer.) Individual free tickets for Severance Hall concerts for this program must be purchased through the Severance Hall Ticket Office; some series purchases can be made online.

THE CLEVELAND ORCHESTRA

Orchestra’s recording of Bruckner 4th receives praise and awards

THE CLEVELAND ORCHESTRA

Under 18s Free ticketing program extended to new series and concerts at Severance Hall

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News

OrchestraNews

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Two new appointments to Orchestra’s management team Gary Hanson, executive director of The Cleveland Orchestra, has announced two new appointments to the Orchestra’s management team.

Jennifer Barlament has been appointed to the position of General Manager effective September 23, overseeing Orchestra operations, concert production, collective bargaining, electronic media, and facilities (Severance Hall and Blossom).

“It is a great pleasure to welcome Jennifer Barlament to the staff of The Cleveland Orchestra,” said Hanson in making the appointment. “Her strong musical background and record of achievement are among the terrific portfolio of skills and talent she will bring to us.” Barlament has served as executive director of the Kalamazoo Symphony Orchestra since 2009, and was general manager of the Omaha Symphony, 2002-09. She was the 2013 recipient of the Orchestra League’s Helen M. Thompson Award for extraordinary achievement and commitment in the field of orchestra management.

Carol Lee Iott, who has served as Director of Orchestra Personnel since 2005 and as Acting General Manager this year, is taking on the new position of Director of Strategy and Special Initiatives, overseeing institutional strategy, major cross-departmental initiatives, Orchestra personnel, and education and community programs.

“I’m delighted that Carol Lee has accepted my invitation to create this new position,” said Hanson. “In this role, Carol Lee’s portfolio of initiatives will include planning our Centennial celebration, establishing programs to realize Franz’s ‘Make Music!’ vision, and leading an expansion of our neighborhood residencies initiative.” Prior to coming to Cleveland, Iott served as director of orchestra personnel with the Chicago Symphony Orchestra, 1995-2005.

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Post-concert performers chosen for spring concerts in KeyBank Fridays@7 series Following the first performance in September, The Cleveland Orchestra’s Fridays@7 series continues in 2014 with three popular concert offerings, pairing orchestral favorites with an array of post-concert world music presentations.

The three spring concerts (March 7, April 11, and May 2) feature popular works for piano and orchestra by Rachmaninoff, plus Mozart’s Requiem. The onehour concerts include the early 7 p.m. start time, plus extra music both before and after.

The post-concert presentations in the spring will be: March 7 — New York Gypsy All-Stars.

Back by popular demand to Fridays@7, the New York Gypsy All-Stars jump the turnstiles of Balkanalia, Turkish roots, and gypsy soul with funky refinement.

April 11 — The Medicine Show reaches people in hard-to-get places. The international group made up of players from Brazil, America, Japan, and Germany who are inspired by the intersection of their collective desire to play music that is a passport into another dimension.

May 2 — Requiem to Resurrection.

Gospel legend Theresa Thomason and the Mt. Zion Congregational Church gospel choir will lift the rafters in a musical journey for the soul.

Let the spirit move you!

Special three-concert series packages are available for the spring KeyBank Fridays@7 performances. Contact Severance Hall Ticket Services for complete details, or purchase online at clevelandorchestra.com.

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FRIDAYS@

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.

Cleveland Orchestra News

The Cleveland Orchestra

OrchestraNews New album being released

by Orchestra musician; benefit recital takes place on Sunday, October 27

Massimo La Rosa, principal trombone of The Cleveland Orchestra, is releasing a new album on October 24 titled Sempre Espressivo. The album features works for trombone, including J.S. Bach’s Suite No. 1 in G major for solo cello (performed on trombone) and a new arrangement of the Intermezzo from Puccini’s opera Manon Lescaut.

In conjunction with the release, La Rosa performs a benefit recital at the First Unitarian Church in Shaker Heights on Sunday, October 27, beginng at 3:00 p.m. A reception follows the performance, with funds raised at the recital to benefit dystonia research.

Women’s Committee Fall Benefit features evening of music and food at Nighttown on November 7

The Women’s Committee’s Fall Benefit event takes place on Thursday evening, November 7, at Nighttown restaurant in Cleveland Heights. The evening includes dining and socializing, plus a musical performance by the Oberlin Conservatory of Music Improvisation Ensemble under the direction of Jamey Haddad — exploring a range of musical genres and styles from around the world. Reservations are $75 per person, or $100 for the patronlevel ticket. Reservations can be made by calling Cleveland Orchestra Ticket Services at 216-231-1111.

THE CLEVELAND ORCHESTRA THE CLEVELAND ORCHESTRA TRA THE CLEVELAND ORCHESTRA

News

THE CLEVELAND ORCHESTRA

Severance Hall 2013-14

Cleveland Orchestra News

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THE CLEVELAND ORCHE

Where people with disabilities thrive 216.662.1880 ncch.org

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News

OrchestraNews Brett Mitchell joins Orchestra as assistant conductor and music director of Youth Orchestra With the start of the 2013-14 season, The Cleveland Orchestra welcomes new assistant conductor Brett Mitchell. As assistant conductor, he serves as cover conductor for Severance Hall and Blossom Music Festival subscription concerts, and provides assistance to music director Franz Welser-Möst. He is also serving as music director of the Cleveland Orchestra Youth Orchestra. Mitchell holds the Elizabeth Ring and William Gwinn Mather Assistant Conductor Endowed Chair.

In addition to his appointment in Cleveland, Brett Mitchell is currently in his fourth season as music director of Michigan’s Saginaw Bay Symphony Orchestra. He has guest conducted widely and served as assistant conductor of the Houston Symphony (2007-11), where he concurrently held a League of American Orchestras American Conducting Fellowship. Since that

Part Emotion, Part Memory

All Magic

The Cleveland Carousel Society is bringing back the Grand Carousel from Euclid Beach Park’s historic past for all to ride again.

You can be a part of this historic restoration by becoming a member, naming donor or sponsor of the Carousel horses right now.

Go to: www.clevelandcarousel.org Or call: 216-752-1505

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time, he has returned to lead that orchestra regularly as a guest conductor. He was also an assistant conductor to Kurt Masur at the Orchestre National de France (2006-09).

A native of Seattle, Brett Mitchell holds a doctor of musical arts degree from the University of Texas at Austin, where he was also music director of the University Orchestra. He earned a bachelor of music degree in composition from Western Washington University.

A complete biography can be read at clevelandorchestra.com.

The Cleveland Orchestra

Guide to Fine Schools Consistently ranked among “Best Communities for Music Education” in the Nation!

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

Other fine schools advertising in The Cleveland Orchestra’s Severance Hall programs include:

Baldwin Wallace University Conservatory of Music 440-826-2369 Cleveland Institute of Music 216-791-5000 Cleveland State University Kulas Series of Keyboard Conversations with Jeffrey Siegel 216-687-5018 Lake Erie College 1-855-GO-STORM The Oberlin Conservatory of Music 440-775-8413

Cleveland Orchestra News

The Cleveland Orchestra

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

Franklin Cohen serves on competition jury and teaches in China, Japan, and Korea

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.

Committed to Accessibility

Severance Hall 2013-14

Cleveland Orchestra News

at home

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THE CLEVELAND OR-

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.

The Cleveland Orchestra and Lakewood have announced a new partnership to present the Orchestra’s next “At Home” neighborhood residency in May 2014. The centerpiece of this week of activities, education programs, and public performances will be a free Cleveland Orchestra concert at the Civic Auditorium in Lakewood on Saturday evening, May 24. The concert will be recorded for a delayed broadcast on WVIZ/PBS ideastream, and a radio broadcast on WCLV 104.9. The television broadcast will also feature a segment about the Orchestra’s performances, collaborations, and events in Lakewood.

“Creating a grassroots opportunity for Lakewood to experience perhaps the greatest orchestra in the world at a very personal level is a cultural experience that we will remember for years to come,” commented Lakewood Mayor Michael P. Summers in announcing the collaboration. “Our increasingly vibrant commercial corridors and neighborhoods will be made ever-more-so by the music and the musicians.” Ian Andrews, executive director of LakewoodAlive, Lakewood’s nonprofit economic development organization, added, “Lakewood is known for its commitment to the arts. The Orchestra’s events will strengthen this commitment and showcase the city’s great quality of life, local organizations, restaurants, schools, and businesses that make our community special.”

The Cleveland Orchestra introduced its “At Home” neighborhood residency program in May 2013 with a week of performances and activities in the Gordon Square community of Cleveland. Events include free performances by Orchestra musicians and education programs for children, students, and families. Details of The Cleveland Orchestra’s Lakewood neighborhood residency will be announced in March 2014, along with information about acquiring tickets for the free Cleveland Orchestra concerts.

THE CLEVELAND ORCHESTRA

Franklin Cohen, principal clarinet of The Cleveland Orchestra, is on a foururweek trip to Asia during which he has been invited to serve on the jury, with other prominent clarinetists from around the world, for the 2013 Beijing ng International Clarinet Competition.

After the competition, he will give masterclasses for the international contestants who have come to par-ticipate. Cohen will then visit Seoul,l, Osaka, and Tokyo, where he will present concerts, seminars, and classes at several of Japan and Korea’s major conservatories.

Orchestra announces “At Home” neighborhood residency in Lakewood for May 2014

THE CLEVELAND ORCHESTRA

Please join in extending congratulations and warm wishes to: Sonja Braaten Molloy (violin) and her husband, Owen Molloy, whose baby boy, Cormac Henry, was born June 22.

Charles Bernard (cello) and Jeff Williams, who were married on September 5.

Lyle Steelman (trumpet) and Leslie Brown, who were married on September 14.

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News

Legacy & Planned Giving THE CLEVELAND ORCHESTRA

H E R I TAGE S O C I ET Y The Heritage Society honors those individuals who are helping to ensure the future of The Cleveland Orchestra with a Legacy gift. Legacy gifts come in many forms, including bequests, charitable gift annuities, and insurance policies. The following listing of members is current as of September 2013.

For more information, please call Bridget Mundy, Legacy Giving Officer, at 216-231-8006.

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

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

Legacy Giving

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

The Cleveland Orchestra

Legacy & Planned Giving THE CLEVELAND ORCHESTRA

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

Jerry and Martha* Jarrett Merritt Johnquest Allan V. Johnson E. Anne Johnson Nancy Kurfess Johnson, M.D. Paul and Lucille Jones* Mrs. R. Stanley Jones* William R. Joseph* David and Gloria Kahan Julian and Etole Kahan Drs. Julian* and Aileen Kassen Milton and Donna* Katz Patricia and Walter* Kelley Bruce and Eleanor Kendrick Malcolm E. Kenney Nancy H. Kiefer* Charles M. and Janet G. Kimball* James and Gay* Kitson Mr. Clarence E. Klaus, Jr. Mary Elizabeth and G. Robert Klein* Julian H. and Emily W. Klein* Thea Klestadt* Paul and Cynthia Klug Martha D. Knight Mr. and Mrs. Robert Koch Dr. Vilma L. Kohn Elizabeth Davis Kondorossy* Clayton Koppes Mr.* and Mrs. James G. Kotapish, Sr. LaVeda Kovar* Margery A. Kowalski Bruce G. Kriete* Mr. and Mrs. Gregory G. Kruszka Thomas and Barbara Kuby Eleanor and Stephen Kushnick Mr. and Mrs. Dennis W. LaBarre James I. Lader Mr. and Mrs. David A. Lambros Dr. Joan P. Lambros* Mrs. Carolyn Lampl Marjorie M. Lamport Louis Lane Charles K. László and Maureen O’Neill-László Anthony T. and Patricia Lauria Charles and Josephine Robson Leamy Fund Teela C. Lelyveld Mr. and Mrs. Roger J. Lerch Judy D. Levendula Gerda Levine Dr. and Mrs. Howard Levine Bracy E. Lewis Mr. and Mrs.* Thomas A. Liederbach Rollin and Leda Linderman Ruth S. Link Dr. and Mrs. William K. Littman Jeff and Maggie Love Dr. Alan and Mrs. Min Cha Lubin Ann B. and Robert R. Lucas* Kate Lunsford Mr. and Mrs. Thomas E. Lynch* Patricia MacDonald

Alex and Carol Machaskee Jerry Maddox Mrs. H. Stephen Madsen Alice D. Malone Mr. and Mrs. Donald Malpass, Jr. Lucille Harris Mann Mr. and Mrs. Richard A. Manuel Clement P. Marion Mr. Wilbur J. Markstrom* Dr. and Mrs. Sanford E. Marovitz David C. and Elizabeth F. Marsh Duane and Joan* Marsh Florence Marsh, Ph.D.* Mr. and Mrs. Anthony M. Martincic Kathryn A. Mates Dr. Lee Maxwell and Michael M. Prunty Alexander and Marianna* McAfee Nancy B. McCormack Mr. William C. McCoy Marguerite H. McGrath* Dorothy R. McLean Jim* and Alice Mecredy James and Virginia Meil Mr. and Mrs.* Robert F. Meyerson Brenda Clark Mikota Christine Gitlin Miles Chuck and Chris Miller Edith and Ted* Miller Leo Minter, Jr. Mr. and Mrs. William A. Mitchell Robert L. Moncrief Ms. Beth E. Mooney Beryl and Irv Moore Ann Jones Morgan Mr. and Mrs. Stanley L. Morgan* George and Carole Morris Mr. and Mrs. Thomas W. Morris Mr. and Mrs.* Donald W. Morrison Joan R. Mortimer, PhD Florence B. Moss Susan B. Murphy Dr. and Mrs. Clyde L. Nash, Jr Deborah L. Neale Mrs. Ruth Neides David and Judith Newell Dr.* and Mrs. S. Thomas Niccolls Russell H. Nyland* Katherine T. O’Neill Mr. and Mrs. John D. Ong Aurel Fowler-Ostendorf* Mr. J. William and Dr. Suzanne Palmer R. Neil Fisher and Ronald J. Parks Nancy and W. Stuver Parry Mrs. John G. Pegg* Dr. and Mrs. Donald Pensiero Mary Charlotte Peters Mr. and Mrs. Peter Pfouts* Janet K. Phillips* Florence KZ Pollack Julia and Larry Pollock Victor and Louise Preslan Mrs. Robert E. Price* Lois S.* and Stanley M. Proctor LISTING CONTINUES

Severance Hall 2013-14

Legacy Giving

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Legacy & Planned Giving THE CLEVELAND ORCHESTRA

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

L I S T I N G C O N T I N U ED

Mr. David C. Prugh Leonard and Heddy Rabe M. Neal Rains Mr. George B. Ramsayer Joe L. and Alice Randles* Mrs. Alfred M. Rankin, Sr. Mrs. Theodore H. Rautenberg* James and Donna Reid Mrs. Hyatt Reitman* Mrs. Louise Nash Robbins* Dr. Larry J.B.* and Barbara S. Robinson Dwight W. Robinson Margaret B. Babyak* and Phillip J. Roscoe Dr. Eugene and Mrs. Jacqueline Ross Helen Weil Ross* Robert and Margo Roth Marjorie A. Rott Howard and Laurel Rowen Professor Alan Miles Ruben and Judge Betty Willis Ruben Florence Brewster Rutter Mr. James L. Ryhal, Jr. Renee Sabreen Scott Sabreen Marjorie Bell Sachs Vernon Sackman Sue Sahli Mr. and Mrs. James A. Saks Mr. and Mrs. Sam J. SanFilipo* Larry J. Santon Stanford and Jean B. Sarlson Sanford Saul Family James Dalton Saunders Patricia J. Sawvel Ray and Kit Sawyer Richard Saxton* Alice R. Sayre In Memory of Hyman and Becky Schandler Robert Scherrer Sandra J. Schlub Ms. Marian Schluembach Robert and Betty Schmiermund Mr.* and Mrs. Richard M. Schneider Lynn A. Schreiber* Jeanette L. Schroeder Mr. Frank Schultz Carol* and Albert Schupp Roslyn S. and Ralph M. Seed Nancy F. Seeley Edward Seely Oliver E. and Meredith M. Seikel Russell Seitz* Reverend Sandra Selby Eric Sellen Andrea E. Senich Thomas and Ann Sepúlveda Elsa Shackleton* B. Kathleen Shamp Jill Semko Shane

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

Legacy Giving

Elliot Veinerman* Nicholas J. Velloney* Steven Vivarronda Hon. William F. B. Vodrey Pat and Walt* Wahlen Mrs. Clare R. Walker John and Deborah Warner Mr. and Mrs. Russell Warren Joseph F. and Dorothy L. Wasserbauer Charles D. Waters* Reverend Thomas L. Weber Etta Ruth Weigl Lucile Weingartner Eunice Podis Weiskopf* Max W. Wendel William Wendling and Lynne Woodman Marilyn J. White Robert and Marjorie Widmer* Yoash and Sharon Wiener Alan H. and Marilyn M. Wilde Elizabeth L. Wilkinson* Helen Sue* and Meredith Williams Carter and Genevieve* Wilmot Miriam L. and Tyrus W.* Wilson Mr. Milton Wolfson* and Mrs. Miriam Shuler-Wolfson Nancy L. Wolpe Mrs. Alfred C. Woodcock Katie and Donald Woodcock Dr.* and Mrs. Henry F. Woodruff Marilyn L. Wozniak Nancy R. Wurzel Michael and Diane Wyatt Mary Yee Emma Jane Yoho, M.D. Libby M. Yunger Dr. Norman Zaworski* William L.* and Joan H. Ziegler Carmela Catalano Zoltoski* Roy J. Zook* Anonymous (105)

*deceased

The lotus blossom is the symbol of the Heritage Society.

It represents eternal life and recognizes the permanent benefits of legacy gifts to The Cleveland Orchestra’s endowment. Said to be Elisabeth Severance’s favorite flower, the lotus is found as a decorative motif in nearly every public area of Severance Hall.

The Cleveland Orchestra

Ronald J. Lang Diane M. Stack Daniel J. Dreiling

440.720.1102 440.720.1105 440.720.1104

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TOWN HALL SPEAKER SERIES 2013-2014

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NOV 4, 2013

Martin Jacques “When China Rules the World”

DEC 9, 2013

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JAN 27, 2014

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VISIT OUR SHOWROOM 5656 Mayfield Road 440-473-1900 east

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Academic Sponsor

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

lished to fund programs to develop new generations of audiences for Cleveland Orchestra concerts in Northeast Ohio. The Center was created in 2010 with a $20 million lead endowment gift from the Maltz Family Foundation. Centerfunded programs focus on addressing economic and geographic barriers to attending Cleveland Orchestra concerts at Severance Hall and Blossom Music Center. Programs include research, introductory offers, targeted discounts, student ticket programs, and integrated use of new technologies.

The goal is to create one of the youngest audiences of any symphony orchestra in the country. For additional information about these plans and programs, call us at 216-231-7464.

E N DOWE D FU N DS

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

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

THANK YOU

for helping develop tomorrow’s audiences today.

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Center for Future Audiences

The Cleveland Orchestra

THE

CLEVELAND ORCHESTRA

Endowed Funds

funds established as of August 2013

The generous donors listed here have made endowment gifts to support specific artistic initiatives, education and community programming and performances, facilities maintenance costs, touring and residencies, and more. (Additional endowment funds are recognized through the naming of Orchestra chairs, listed on pages 22-23.) Named funds can be established with new gifts of $250,000 or more. For information about making your own endowment gift to The Clevelamd 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

Guest Artists Fund

George Gund III Fund

Artistic Collaboration Joseph P. and Nancy F. Keithley

Artist-in-Residence Malcolm E. Kenney

Young Composers Jan R. and Daniel R. Lewis

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

Radio Broadcasts Robert and Jean Conrad Dr. Frederick S. and Priscilla Cross

Cleveland Orchestra Chorus Jerome and Shirley Grover Meacham Hitchcock and Family

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

The Eleanore T. and Joseph E. Adams Fund Mrs. Warren H. Corning The Gerhard Foundation, Inc. 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

Concert Previews Dorothy Humel Hovorka

International Touring Frances Elizabeth Wilkinson

Unrestricted Art of Beauty Company, Inc. William P. Blair III Fund for Orchestral Excellence John P. Bergren and Sarah S. Evans Nancy McCann Margaret Fulton-Mueller Virginia M. and Jon A. Lindseth

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, is working to develop new generations of audiences for The Cleveland Orchestra.

Center for Future Audiences Maltz Family Foundation

Student Audiences Alexander and Sarah Cutler

Endowed Funds listing continues

Severance Hall 2013-14

Endowed Funds

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CLEVELAND ORCHESTRA

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

Education Programs Anonymous, in memory of Georg Solti Hope and Stanley I. Adelstein Kathleen L. Barber Isabelle and Ronald Brown Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Alice H. Cull Memorial Frank and Margaret Hyncik Junior Committee of The Cleveland Orchestra Mr. and Mrs. David T. Morgenthaler John and Sally Morley The Eric & Jane Nord Family Fund The William N. Skirball Endowment

Education Concerts Week

In-School Performances Alfred M. Lerner Fund

Classroom Resources Charles and Marguerite C. Galanie

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

Musical Rainbows Pysht Fund

Community Programming Alex and Carol Machaskee

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

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

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

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

Severance Hall Preservation Severance family and friends

BLOSSOM MUSIC CENTER and BLOSSOM FESTIVAL endowed funds support the Orchestraâ&#x20AC;&#x2122;s summer performances and maintenance of Blossom Music Center.

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

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

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

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Endowed Funds

The Cleveland Orchestra

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Severance Hall 2013-14

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The Cleveland Orchestra

THE CLEVELAN D ORCHESTRA

Corporate Support The Cleveland Orchestra gratefully acknowledges and salutes these corporations for their generous support toward the Orchestra’s Annual Fund, benefit events, tours and residencies, and special projects.

Cumulative Giving

Annual Support

JOHN L. SEVERANCE SOCIETY

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

$5 MILLION AND MORE

KeyBank PNC $1 MILLION TO $5 MILLION

gifts of $2,500 or more during the past year, as of September 5, 2013

PARTNERS IN EXCELLENCE $300,000 AND MORE

BakerHostetler Bank of America Eaton FirstEnergy Foundation Forest City Enterprises, Inc. The Goodyear Tire & Rubber Company Hyster-Yale Materials Handling NACCO Industries, Inc. The Lubrizol Corporation / The Lubrizol Foundation Merrill Lynch Parker Hannifin Corporation The Plain Dealer PolyOne Corporation Raiffeisenlandesbank Oberösterreich (Europe) The J. M. Smucker Company

Hyster-Yale Materials Handling NACCO Industries, Inc. KeyBank The Lubrizol 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 September 2013.

$50,000 TO $99,999

PARTNERS IN EXCELLENCE $200,000 TO $299,999

BakerHostetler Eaton 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

Jones Day Quality Electrodynamics (QED) voestalpine AG (Europe) Anonymous $25,000 TO $49,999 Dix & Eaton The Giant Eagle Foundation Litigation Management, Inc. Northern Trust Bank of Florida (Miami) Park-Ohio Holdings Corp.

The Plain Dealer RPM International Inc. Squire Sanders (US) LLP Thompson Hine LLP

$2,500 TO $24,999 AdCom Communications Akron Tool & Die Company AkronLife Magazine American Fireworks, Inc.

Severance Hall 2013-14

Corporate Annual Support

American Greetings Corporation BDI Bank of America Brouse McDowell Eileen M. Burkhart & Co LLC Buyers Products Company Cleveland Clinic The Cleveland Wire Cloth & Mfg. Co. Cohen & Company, CPAs Community Behavioral Health Center Conn-Selmer, Inc. Consolidated Graphics Group, Inc. Dollar Bank Dominion Foundation Ernst & Young LLP Evarts-Tremaine-Flicker Company Feldman Gale, P.A. (Miami) Ferro Corporation FirstMerit Bank Frantz Ward LLP Victor Kendall, Friends of WLRN Gallagher Benefit Services Great Lakes Brewing Company Gross Builders Hahn Loeser + Parks LLP Hyland Software The Lincoln Electric Foundation Littler Mendelson, P.C. C. A. Litzler Co., Inc. Live Publishing Company 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 Pricewaterhouse Coopers LLP The Prince & Izant Company Richey Industries, Inc. The Sherwin-Williams Company Stern Advertising Agency Swagelok Company TriMark S.S. Kemp Tucker Ellis Ulmer & Berne LLP University Hospitals Ver Ploeg & Lumpkin, P.A. (Miami) WCLV Foundation Westlake Reed Leskosky Anonymous (2)

73

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This world premiere takes us into the personal and national debate about science vs. belief and whether our DNA is our destiny.

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THE CLEVELAN D ORCHESTRA

Foundation & Government Support The Cleveland Orchestra gratefully acknowledges and salutes these Foundations and Government agencies for their generous support toward the 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

The George Gund Foundation Knight Foundation (Cleveland, Miami) The Andrew W. Mellon Foundation John P. Murphy Foundation $1 MILLION TO $5 MILLION

The William Bingham Foundation The George W. Codrington Charitable Foundation GAR Foundation Ann and Gordon Getty Foundation The Louise H. and David S. Ingalls Foundation Martha Holden Jennings Foundation David and Inez Myers Foundation National Endowment for the Arts The Eric & Jane Nord Family Fund The Payne Fund The Reinberger Foundation The Sage Cleveland Foundation

gifts of $2,000 or more during the past year, as of September 5, 2013

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

Kulas Foundation John P. Murphy Foundation The Eric & Jane Nord Family Fund Ohio Arts Council $100,000 TO $249,999

Sidney E. Frank Foundation GAR Foundation Elizabeth Ring Mather and William Gwinn Mather Fund David and Inez Myers Foundation $50,000 TO $99,999

The George W. Codrington Charitable Foundation Martha Holden Jennings Foundation Myra Tuteur Kahn Memorial Fund of The Cleveland Foundation The Mandel Foundation National Endowment for the Arts Donald and Alice Noble Foundation, Inc. The Nord Family Foundation 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 Mary and Dr. George L. Demetros Charitable Trust Fisher-Renkert Foundation The Harry K. Fox and Emma R. Fox Charitable Foundation The William O. and Gertrude Lewis Frohring Foundation Funding Arts Network (Miami) The Hankins Foundation The Muna & Basem Hishmeh Foundation Richard H. Holzer Memorial 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 Kenneth W. Scott Foundation The Sherwick Fund Lloyd L. and Louise K. Smith Memorial Foundation The South Waite 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 and 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 September 2013.

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 John S. and James L. Knight Foundation The Margaret Clark Morgan Foundation The Frederick and Julia Nonneman Foundation William J. and Dorothy K. O’Neill Foundation Peacock Foundation, Inc. (Miami) Polsky Fund of Akron Community Foundation The Reinberger Foundation The Sisler McFawn Foundation

Severance Hall 2013-14

Foundation/Government Annual Support

75

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 September 5, 2013 INDIVIDUAL GIFTS OF $500,000 AND MORE

$10 MILLION AND MORE

Daniel R. and Jan R. Lewis (Miami, Cleveland) $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 $1 MILLION TO $5 MILLION

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 The Ralph and Luci Schey Foundation Anonymous (3) The Severance Society recognizes generous contributors of $1 million or more in lifetime giving to The Cleveland Orchestra.

As of September 2013.

76

Daniel R. and Jan R. Lewis (Miami) Peter B. Lewis and Janet Rosel (Miami) Mr. and Mrs. Albert B. Ratner INDIVIDUAL GIFTS OF $200,000 TO $499,999

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

James D. Ireland III Mr. and Mrs. Joseph P. Keithley Dr. and Mrs. Herbert Kloiber (Europe) Mrs. Emma S. Lincoln Elizabeth F. McBride Mr. and Mrs. Franz Welser-Mรถst Janet and Richard Yulman (Miami) INDIVIDUAL GIFTS OF $75,000 TO $99,999

Mr. and Mrs. Douglas A. Kern Mr. and Mrs. Dennis W. LaBarre 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 Mr. Allen H. Ford Hector D. Fortun (Miami) Mr. and Mrs. Michael J. Horvitz Elizabeth B. Juliano (Cleveland, Miami) R. Kirk Landon and Pamela Garrison (Miami) Toby Devan Lewis Mr. and Mrs. Edward A. Lozick

Individual Annual Support

The Cleveland Orchestra

Leadership Council

Robert M. Maloney and Laura Goyanes Ms. Beth E. Mooney Mr. Patrick Park (Miami) Charles and Ilana Horowitz Ratner James and Donna Reid Barbara S. Robinson Mr. and Mrs. Lawrence M. Sears Hewitt and Paula Shaw Mr. and Mrs. Richard K. Smucker Mary M. Spencer (Miami) Barbara and David Wolfort Anonymous

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

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

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 Judith and George W. Diehl Mr. and Mrs. Geoffrey Gund George Gund* Trevor and Jennie Jones Giuliana C. and John D. Koch Dr. Vilma L. Kohn Charlotte R. Kramer Ms. Nancy W. McCann Sally S. and John C. Morley Mrs. Jane B. Nord Julia and Larry Pollock Mrs. Alfred M. Rankin, Sr. Luci and Ralph* Schey R. Thomas and Meg Harris Stanton

Gay Cull Addicott Mr. and Mrs. William W. Baker Randall and Virginia Barbato Jill and Paul Clark Mr. and Mrs. Matthew V. Crawford Do Unto Others Trust (Miami) Esther L. and Alfred M. Eich, Jr. Jeffrey and Susan Feldman (Miami) Dr. Edward S. Godleski Andrew and Judy Green Gary Hanson and Barbara Klante Mr. and Mrs. Jack Hoeschler Richard and Erica Horvitz (Cleveland, Miami) Mr. and Mrs. Christopher Kelly Jonathan and Tina Kislak (Miami) Joy P. and Thomas G. Murdough, Jr. (Miami) William J. and Katherine T. O’Neill Mr. and Mrs. James A. Saks Marc and Rennie Saltzberg Raymond T. and Katherine S. Sawyer Mr. and Mrs. Donald Stelling (Europe) Mr. Joseph F. Tetlak Tom and Shirley Waltermire Mr. Gary L. Wasserman and Mr. Charles A. Kashner (Miami) The Denise G. and Norman E. Wells, Jr. Family Foundation Women’s Committee of The Cleveland Orchestra Anonymous gift from Switzerland (Europe)

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

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

Dr. and Mrs. Hiroyuki Fujita Mr. and Mrs. Jeffrey Healy Mrs. Marguerite B. Humphrey Junior Committee of The Cleveland Orchestra Dr. David and Janice Leshner Mr. and Mrs. Jon A. Lindseth Maltz Family Foundation Margaret Fulton-Mueller Mr. and Mrs. James A. Ratner Richard and Nancy Sneed (Cleveland, Miami) Paul and Suzanne Westlake

Dr. Christopher P. Brandt and Dr. Beth Sersig Mr. and Mrs. David J. Carpenter Scott Chaikin and Mary Beth Cooper Martha and Bruce Clinton (Miami) Mr. Peter and Mrs. Julie Cummings (Miami) Mr. and Mrs. Peter O. Dahlen George* and Becky Dunn Colleen and Richard Fain (Miami) Joyce and Ab* Glickman Richard and Ann Gridley Mrs. John A Hadden Jr. Jack Harley and Judy Ernest

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

listings continue

Severance Hall 2013-14

Individual Annual Support

77

THE CLEVELAN D ORCHESTRA

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

listings continued

Mary and Jon Heider (Cleveland, Miami) David and Nancy Hooker Tati and Ezra Katz (Miami) Mr.* and Mrs. Arch J. McCartney Mr. Thomas F. McKee Mr. and Mrs. Stanley A. Meisel Miba AG (Europe) Lucia S. Nash Mr. Gary A. Oatey (Cleveland, Miami) Claudia and Steven Perles (Miami) Steven and Ellen Ross Mr. and Mrs. David A. Ruckman Mrs. David Seidenfeld Dr. and Mrs. Neil Sethi David and Harriet Simon Rick, Margarita and Steven Tonkinson (Miami) Mr. and Mrs. Jeffrey M. Weiss Anonymous INDIVIDUAL GIFTS OF $12,500 TO $14,999

Mr. and Mrs. William E. Conway Tim and Linda Koelz Mr. and Mrs. Richard A. Manuel Rachel R. Schneider Kim Sherwin Mr. and Mrs. Alfred Umdasch (Europe)

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 Elizabeth Arnett, Manager, Leadership Giving, by calling 216-231-7522.

Mr. and Mrs. George N. Aronoff Mr. William Berger Jayusia and Alan Bernstein (Miami) Marsha and Brian Bilzin (Miami) Mr. D. McGregor Brandt, Jr. Augustine* and Grace Caliguire Mr.* and Mrs. R. Bruce Campbell Richard J. and Joanne Clark Mrs. Barbara Cook Mr. and Mrs. Robert P. Duvin Mike S. and Margaret Eidson (Miami) Dr. and Mrs. Lloyd H. Ellis Jr. Ms. Dawn M. Full Francisco A. Garcia and Elizabeth Pearson (Miami) Mr. and Mrs. Richard T. Garrett Albert I. and Norma C. Geller Mr. and Mrs. Robert W. Gillespie Mr. David J. Golden Elaine Harris Green Robert K. Gudbranson and Joon-Li Kim Sondra and Steve Hardis T. K. and Faye A. Heston Joan and Leonard Horvitz Pamela and Scott Isquick Mr. and Mrs. Donald M. Jack, Jr. Allan V. Johnson Andrew and Katherine Kartalis Janet and Gerald Kelfer (Miami) Mrs. Elizabeth R. Koch Mr. Jeff Litwiller Edith and Ted* Miller Mr. Donald W. Morrison Elisabeth and Karlheinz Muhr (Europe) Brian and Cindy Murphy Donald and Alice Noble Foundation, Inc. Mr. and Mrs. William M. Osborne, Jr. Brian and Patricia Ratner Audra and George Rose Dr. Tom D. Rose Dr. and Mrs. Ronald J. Ross Dr. Isobel Rutherford Mr. Larry J. Santon Dr. E. Karl and Lisa Schneider Mr. and Mrs. Oliver E. Seikel Dr. Gerard and Phyllis Seltzer and the Dr. Gerard and Phyllis Estelle Seltzer Foundation Mrs. Gretchen D. Smith Jim and Myrna Spira Lois and Tom Stauffer Charles and Rosalyn Stuzin (Miami) Mrs. Blythe Sundberg Mrs. Jean H. Taber Dr. Russell A. Trusso Sandy and Ted Wiese Anonymous (3)* INDIVIDUAL GIFTS OF $7,500 TO $9,999

Mr. and Mrs. Dean Barry Laurel Blossom Mr. and Mrs. Richard L. Bowen Mr. Robert W. Briggs Ellen E. & Victor J. Cohn Supporting Foundation Mrs. Barbara Ann Davis Henry and Mary Doll listings continue

78

Individual Annual Support

The Cleveland Orchestra

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Severance Hall 2013-14

79

THE CLEVELAN D ORCHESTRA listings continued

Nancy and Richard Dotson Mr. Paul Greig Kathleen E. Hancock Mary Jane Hartwell Iris and Tom Harvie Mrs. Sandra L. Haslinger Amy and Stephen Hoffman Joela Jones and Richard Weiss Judith and Morton Q. Levin Mr. and Mrs.* Robert P. Madison Mr. and Mrs. Thomas B. McGowan Mr. Raymond M. Murphy Pannonius Foundation Douglas and Noreen Powers Paul A. and Anastacia L. Rose Rosskamm Family Trust Patricia J. Sawvel Carol* and Albert Schupp Mr. Eric Sellen and Mr. Ron Seidman Naomi G. and Edwin Z. Singer Family Fund Mr. and Mrs. Donald W. Strang, Jr. Mrs. Marie S. Strawbridge* Bruce and Virginia Taylor Anonymous (2) INDIVIDUAL GIFTS OF $5,000 TO $7,499

Norman and Helen Allison Susan S. Angell Mr. and Mrs. Albert A. Augustus Mr. and Mrs. Robert H. Baker Stephen Barrow and Janis Manley (Miami) Fred G. and Mary W. Behm Dr. Ronald and Diane Bell Drs. Nathan A. and Sosamma J. Berger Dr. and Mrs. Eugene H. Blackstone Paul and Marilyn* Brentlinger Dr. and Mrs. Jerald S. Brodkey Dr. Ben H. and Julia Brouhard 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. Owen Colligan Marjorie Dickard Comella Mr. and Mrs. Gerald A. Conway Corinne L. Dodero Foundation for the Arts and Sciences Mr. and Mrs. Ralph Daugstrup Mr. and Mrs. Edward B. Davis Pete and Margaret Dobbins Mr. and Mrs. Terry C. Z. Egger Dr. and Mrs. Robert Elston Mary and Oliver Emerson Mr. and Mrs. Alex Espenkotter Dr. D. Roy and Diane A. Ferguson Christopher Findlater (Miami) Joy E. Garapic Mr. and Mrs. David Goldberg Mr. and Mrs. Henry J. Goodman Mr. and Mrs. Randall J. Gordon Harry and Joyce Graham David and Robin Gunning Clark Harvey and Holly Selvaggi Henry R. Hatch Robin Hitchcock Hatch

80

Barbara Hawley and David Goodman Janet D. Heil* Anita and William Heller Thomas and Mary Holmes Bob and Edith Hudson (Miami) Ms. Charlotte L. Hughes Mr. James J. Hummer Mr. and Mrs. Brinton L. Hyde Mr. and Mrs. Christopher Hyland Donna L. and Robert H. Jackson Mr. and Mrs. Richard A. Janus Rudolf D. and Joan T. Kamper Milton and Donna* Katz Dr. and Mrs. William S. Kiser Mr. and Mrs. S. Lee Kohrman Mrs. Justin Krent Mr. Donald N. Krosin Mr. and Mrs. Peter A. Kuhn Mr. and Mrs. Arthur J. Lafave, Jr. David C. Lamb Shirley and William Lehman (Miami) Mr. Lawrence B. and Christine H. Levey Mr. and Mrs. Adam Lewis Mr. Dylan Hale Lewis Ms. Marley Blue Lewis Mr. Jon E. Limbacher and Patricia J. Limbacher 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 Mr. and Mrs. James Meil Claudia Metz and Thomas Woodworth Mr. and Mrs. Abraham C. Miller (Miami) Drs. Terry E. and Sara S. Miller Mr. and Mrs. William A. Mitchell Ann Jones Morgan Richard and Kathleen Nord Mr. Henry Ott-Hansen Mr. J. William and Dr. Suzanne Palmer Nan and Bob Pfeifer Mr. and Mrs. John S. Piety Dr. and Mrs. John N. Posch William and Gwen Preucil Lois S.* and Stanley M. Proctor Mr. and Mrs. Thomas A. Quintrell Drs. Raymond R. Rackley and Carmen M. Fonseca Mr. and Mrs. Roger F. Rankin Ms. Deborah Read Mr. William J. Ross Mr. and Mrs. Robert C. Ruhl Mrs. Florence Brewster Rutter Mr. and Mrs. David R. Sawyier Bob and Ellie Scheuer David M. and Betty Schneider Linda B. Schneider Dr. and Mrs. James L. Sechler Lee G. and Jane Seidman Charles Seitz (Miami) Mrs. Frances G. Shoolroy Marjorie B. Shorrock David Kane Smith George and Mary Stark Howard Stark M.D. and Rene Rodriguez (Miami) Stroud Family Trust Ms. Lorraine S. Szabo Mr. and Mrs. Paul A. Teel, Jr.

Individual Annual Support

listings continue

The Cleveland Orchestra

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THE CLEVELAN D ORCHESTRA listings continued INDIVIDUAL GIFTS OF $5,000 TO $7,499 CONTINUED

Mr. and Mrs. Bill Thornton Mr.* and Mrs. Robert N. Trombly Robert and Marti Vagi Don and Mary Louise Van Dyke Mr. Gregory Videtic Bill Appert and Chris Wallace (Miami)

Mr. and Mrs. Fred A. Watkins Dr. Edward L. and Mrs. Suzanne Westbrook Tom and Betsy Wheeler Fred and Marcia Zakrajsek Anonymous (3)

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

Ms. Nancy A. Adams Dr. and Mrs. D. P. Agamanolis Mrs. Joanne M. Bearss Mr. and Mrs. Jules Belkin Suzanne and Jim Blaser Ms. Mary R. Bynum and Mr. J. Philip Calabrese Dr. and Mrs. William E. Cappaert Mrs. Millie L. Carlson Drs. Mark Cohen and Miriam Vishny Diane Lynn Collier Ms. Maureen A. Doerner and Mr. Geoffrey T. White Peter and Kathryn Eloff Mr. Brian L. Ewart and Mr. William McHenry Peggy and David* Fullmer Robert N. and Nicki N. Gudbranson Mr. Robert D. Hart Hazel Helgesen and Gary D. Helgesen Mr. David and Mrs. Dianne Hunt Dr. and Mrs. Scott R. Inkley Helen and Erik Jensen Barbara and Michael J. Kaplan Mr. James and Mrs. Gay* Kitson Dr. Gilles and Mrs. Malvina Klopman Mr. Thomas and Mrs. Deborah Kniesner

Cynthia Knight (Miami) Marion Konstantynovich 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 Joel and Mary Ann Makee Martin and Lois Marcus William and Eleanor McCoy Dr. Susan M. Merzweiler Bert and Marjorie Moyar Richard B. and Jane E. Nash Mr. and Mrs. Peter R. Osenar Mr. Robert S. Perry Mr. and Mrs. Richard W. Pogue In memory of Henry Pollak Dr. Robert W. Reynolds Mrs. Charles Ritchie Amy and Ken Rogat Fred Rzepka and Anne Rzepka Family Foundation Mr. Paul H. Scarbrough Ginger and Larry Shane Ms. Frances L. Sharp Mr. Richard Shirey

Howard and Beth Simon Dr. Marvin and Mimi Sobel Mr. and Mrs. William E. Spatz Dr. Elizabeth Swenson Mr. Karl and Mrs. Carol Theil Mr. and Mrs. Lyman H. Treadway Miss Kathleen Turner Mr. and Mrs. Mark Allen Weigand Robert C. Weppler Richard Wiedemer, Jr. Nancy V. and Robert L. Wilcox Mr. and Dr. Ann Williams Anonymous

Ms. Mary E. Chilcote Mr. and Mrs. Homer D. W. Chisholm Mr. and Mrs. Stanley Cohen (Miami) Dr. Dale and Susan Cowan Mr. and Mrs. Manohar Daga Mrs. Frederick F. Dannemiller Charles and Fanny Dascal (Miami) Jeffrey and Eileen Davis Mrs. Lois Joan Davis Dr. and Mrs. Richard C. Distad Dr. M. Meredith Dobyns Mr. George and Mrs. Beth Downes David and Margaret Ewart Harry and Ann Farmer Dr. Aaron Feldman and Mrs. Margo Harwood Carl and Amy Fischer Mr. Isaac Fisher Scott Foerster, Foerster and Bohnert Joan Alice Ford Mrs. Amasa B. Ford Mr. Randall and Mrs. Patrice Fortin Mr. and Mrs. John R. Fraylick Marvin Ross Friedman and Adrienne bon Haes (Miami) Arthur L. Fullmer Jeanne Gallagher Marilee L. Gallagher

Barbara and Peter Galvin Mrs. Georgia T. Garner Mr. Wilbert C. Geiss, Sr. Anne and Walter Ginn Mr. and Mrs. David A. Goldfinger Dr. and Mrs. Ronald L. Gould Mr. and Mrs. Robert T. Graf 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. Donald F. Hastings Mr. and Mrs. Jerry Herschman Mr. Robert T. Hexter Dr. and Mrs. Robert L. Hinnes Dr. Feite F. Hofman Dr.* and Mrs. George H. Hoke Peter A. and Judith Holmes Dr. Keith A. and Mrs. Kathleen M. Hoover Dr. Randal N. Huff and Ms. Paulette Beech Ms. Carole Hughes Ms. Luan K. Hutchinson Ruth F. Ihde Ms. LaVerne Jacobson

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

Mr. and Mrs. Charles Abookire, Jr. Ms. Nancy A. Adams Nancy L. Adams, PhD Stanley I. and Hope S. Adelstein Mr. and Mrs. Robert J. Amsdell Mr. and Mrs. Jeffrey R. Appelbaum Dr. Mayda Arias Agnes Armstrong Ms. Delphine Barrett Ellen and Howard Bender Mr. Roger G. Berk Kerrin and Peter Bermont (Miami) Barbara and Sheldon Berns Mrs. Marguerite S. Bertin Julia and David Bianchi (Cleveland, Miami) Bill* and Zeda Blau Mr. Doug Bletcher Dennis and Madeline Block Mr. and Mrs. Richard H. Bole John and Anne Bourassa Lisa and Ron Boyko Mrs. Ezra Bryan J. C. and Helen Rankin Butler Mr. and Mrs. Frank H. Carpenter Leigh Carter Mr. and Mrs. James B. Chaney Dr. and Mrs. Ronald Chapnick

82

Individual Annual Support

listings continue

The Cleveland Orchestra

CONCERT SERIES

Find out first. Visit cim.edu to join our mailing list.

216.791.5000 | 11021 East Boulevard | Cleveland, OH 44106

Severance Hall 2013-14

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

Dr. Michael and Mrs. Deborah Joyce Rev. William C. Keene Angela Kelsey and Michael Zealy (Miami) The Kendis Family Trust: Hilary & Robert Kendis and Susan & James Kendis Bruce and Eleanor Kendrick Fred and Judith Klotzman Mr. Ronald and Mrs. Kimberly Kolz Ellen Brad and Bart Kovac Dr. Ronald H. Krasney and Ms.* Sherry Latimer Mr. James Krohngold Mr. and Mrs. S. Ernest Kulp Mrs. Carolyn Lampl Mr. and Mrs. John J. Lane 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. Rudolf and Mrs. Eva Linnebach Martha Klein Lottman Herbert L. and Rhonda Marcus Dr. and Mrs. Sanford E. Marovitz David and Elizabeth Marsh Dr. Ernest and Mrs. Marian Marsolais Mr. Julien L. McCall Ms. Nancy L. Meacham Mr. James E. Menger Stephen and Barbara Messner Bessie Benner Metzenbaum Foundation Ms. Betteann Meyerson Mr. and Mrs. Roger Michelson (Miami) Curt and Sara Moll Joan Katz Napoli and August Napoli Mr. David and Mrs. Judith Newell Marshall I. Nurenberg and Joanne Klein Richard and Jolene O’Callaghan Mr. and Mrs. Robert D. Paddock Deborah and Zachary Paris Dr. Lewis and Janice B. Patterson Mr. Thomas and Mrs. Tommie Patton Mrs. Ingrid Petrus Drs. John Petrus and Sharon DiLauro Dr. Roland S. Philip and Dr. Linda M. Sandhaus Dale and Susan Phillip Ms. Maribel Piza (Miami) Dr. Marc and Mrs. Carol Pohl Mr. Richard and Mrs. Jenny Proeschel Kathleen Pudelski Ms. Rosella Puskas

Dr. James and Lynne Rambasek Ms. C. A. Reagan Alfonso Conrado Rey (Miami) David and Gloria Richards Carol Rolf and Steven Adler Robert and Margo Roth Miss Marjorie A. Rott Michael and Roberta Rusek Dr. Harry S. and Rita K. Rzepka Dr. and Mrs. Martin I. Saltzman Ms. Patricia E. Say Mr. James Schutte Ms. Adrian L. Scott Dr. John Sedor and Ms. Geralyn Presti Drs. Daniel and Ximena Sessler Harry and Ilene Shapiro Norine W. Sharp Dr. and Mrs. William C. Sheldon Laura and Alvin A. Siegal Robert and Barbara Slanina Ms. Donna-Rae 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 Mr. Taras G. Szmagala, Jr. Ken and Martha Taylor Greg and Suzanne Thaxton Dr. and Mrs. Thomas A. Timko Steve and Christa Turnbull Robert A. Valente Brenton Ver Ploeg (Miami) Mr. and Mrs. Joaquin Viñas (Miami) Mr. and Mrs. Les C. Vinney Dr. Michael Vogelbaum and Mrs. Judith Rosman Ms. Laure A. Wasserbauer Philip and Peggy Wasserstrom Mr. and Mrs. Jerome A. Weinberger Dr. Paul R. and Mrs. Catherine Williams Michael H. Wolf and Antonia Rivas-Wolf Mr. Robert Wolff and Dr. Paula Silverman Kay and Rod Woolsey Tony and Diane Wynshaw-Boris Rad and Patty Yates Mr. Kal Zucker and Dr. Mary Frances Haerr Anonymous (7) * member of the Leadership Council (see page 77)

* deceased

84

Individual Annual Support

THE

CLEVELAND ORCHESTRA

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 with The Cleveland Orchestra, please contact our Philanthropy & Advancement Office by calling 216-231-7545.

The Cleveland Orchestra

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

The Cleveland Orchestra’s catalog of recordings continues to grow. The newest DVD features Bruckner’s Fourth Symphony recorded live in the Abbey of St. Florian in Austria under the direction of Music Director Franz Welser-Möst in 2012 and released in May 2013.

W “A great orchestra, a Bruckner expert. . . . Five out of five stars,” declared Austria’s Kurier o newspaper. Released in 2012, Dvořák’s opera Rusalka on CD, recorded live at the Salzburg Festival, elicited the reviewer for London’s Sunday Times to praise the performance as “the most spellbinding account of Dvořák’s miraculous score I have ever heard, either in the themiraculou atre 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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HAILED AS ONE OF

88

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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89

THE CLEVELAND C O N C E R T

C A L E N D A R

Tuesday October 22 at 7:00 p.m.

FILM: A CLOCKWORK ORANGE at the Cleveland Institute of Art Cinematheque As part of The Cleveland Orchestra’s “Fate and Freedom” festival, this screening of the movie A Clockwork Orange (1971), directed by Stanley Kubrick, includes introductory remarks by John Ewing.

Wednesday October 23 at 6:30 p.m.

FILM: THE NEW BABYLON at the Cleveland Museum of Art As part of The Cleveland Orchestra’s “Fate and Freedom” festival, this screening of The New Babylon (1929) features Shostakovich’s first film score. Preceded by a discussion between Frank J. Oteri and John Ewing with James Krukones.

FATE AND FREEDOM: MUSIC OF BEETHOVEN AND SHOSTAKOVICH THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Thursday October 24 at 7:30 p.m.

BEETHOVEN Symphony No. 3 (“Eroica”) SHOSTAKOVICH Symphony No. 6 Friday October 25 at 8:00 p.m. <18s BEETHOVEN Symphony No. 4 SHOSTAKOVICH Symphony No. 8 Saturday October 26 at 8:00 p.m.

BEETHOVEN Symphony No. 5 SHOSTAKOVICH Symphony No. 10 Sponsor: PNC

Celebrity Concert: Preservation Hall Jazz Band Sunday October 27 at 7:00 p.m.

PRESERVATION HALL JAZZ BAND

This lauded ensemble derives its name from the venerable music venue located in the heart of the French Quarter of New Orleans. The band brings new life to hot rhythms, cool chords, and sultry Southern sounds. Don’t miss this special concert just in time for Halloween and All Souls’ Day!

Under 18s Free FOR FAMILIES Concerts with this symbol are eligible for "Under 18s Free" ticketing. The Cleveland Orchestra is committed to developing the youngest audience of any orchestra in the United States. Our "Under 18s Free" program offers free tickets for young people attending with their families (one per paid adult admission).

Beethoven’s Mass in C major Thursday October 31 at 7:30 p.m.

Saturday November 2 at 8:00 p.m.

THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Luba Orgonášová, soprano Kelley O’Connor, mezzo-soprano Herbert Lippert, tenor Ruben Drole, baritone Joela Jones, piano Cynthia Millar, ondes martenot Cleveland Orchestra Chorus

BEETHOVEN Mass in C major BEETHOVEN Grosse Fuge MESSIAEN Three Small Liturgies of the Divine Presence Sponsor: Litigation Management, Inc.

Welser-Möst: All-Beethoven Friday November 1 at 8:00 p.m.

THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor

<18s

BEETHOVEN “Leonore” Overture No. 3 BEETHOVEN Grosse Fuge BEETHOVEN Symphony No. 5

Cleveland Orchestra Youth Orchestra Sunday November 3 at 3:00 p.m. <18s CLEVELAND ORCHESTRA YOUTH ORCHESTRA Brett Mitchell, conductor

SHOSTAKOVICH Festive Overture STRAVINSKY Symphonies of Winds KILAR Orawa MUSSORGSKY Pictures at an Exhibition (orchestrated by Maurice Ravel)

Barber, Copland, and the Common Man Friday November 29 at 8:00 p.m. <18s Saturday November 30 at 8:00 p.m.

Sunday December 1 at 3:00 p.m. <18s THE CLEVELAND ORCHESTRA Marin Alsop, conductor David Fray, piano

BARBER Essay No. 2 SCHUMANN Piano Concerto COPLAND Symphony No. 3

<18s 90

Concert Calendar

The Cleveland Orchestra

ORCHESTRA I N

Beethoven, Uchida and Fleisher

T H E

S P O T L I G H T

Thursday December 5 at 7:30 p.m.

Friday December 6 at 8:00 p.m. <18s Saturday December 7 at 8:00 p.m.

THE CLEVELAND ORCHESTRA Leon Fleisher, conductor Mitsuko Uchida, piano

MENDELSSOHN Overture: The Hebrides BEETHOVEN Piano Concerto No. 2 BEETHOVEN Piano Concerto No. 3 Sponsor: Hyster-Yale Materials Handling

PNC Musical Rainbows for the Holidays

for young people and their families Sunday December 1 at 12:30 p.m. at The Temple-Tifereth Israel

MUSIC OF CHANUKAH H

Friday December 13 at 10 a.m.

Saturday December 14 at 11 a.m. at Severance Hall

CHRISTMAS BRASS QUINTET Celebrity Concert: Natalie Cole

Wednesday December 11 at 8:00 p.m.

THE CLEVELAND ORCHESTRA with Natalie Cole Nine-time Grammy-winner Natalie Cole joins The Cleveland Orchestra for a magical and memorable one-nightonly performance. For her Severance Hall concert, she performs audience favorites in an evening of sultry and sophisticated classics — plus hits for the holiday season.

Celebrity Concert: Home Alone

Wednesday December 18 at 7:30 p.m..

THE CLEVELAND ORCHESTRA David Newman, conductor A true holiday favorite, this heart-warming classic comedy comes to Severance Hall for one night only — with composer John Williams’s delightful musical score performed live by The Cleveland Orchestra. With the film projected on a large screen above the Severance Hall stage.

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

Cleveland Orchestra

CHRISTMAS

Friday Dec 13 at 7:30 p.m.

Saturday Dec 14 at 2:30 & 7:30 p.m.

Sunday Dec 15 at 2:30 p.m.

Thursday Dec 19 at 7:30 p.m.

Friday Dec 20 at 7:30 p.m.

Saturday Dec 21 at 2:30 & 7:30 p.m.

Sunday Dec 22 at 2:30 & 7:30 p.m.

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

Celebrate the holiday season with a he favorite Cleveland tradition — with The Cleveland Orchestra and Chorus in these annual offerings of music for the Christmas Season. Including sing-alongs and more.

CLEVELAND ORCHESTRA TICKETS PHONE

216 - 231-1111 800-686-1141

clevelandorchestra.com Severance Hall 2013-14

Concert Calendar

91

11001 Euclid Avenue, Cleveland, Ohio 44106 CLEVELANDORCHESTRA.COM

AT SE V E R A N C 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 clevelandorchestra.com.

Concert concession service of beverages and light refreshments is available before most concerts and at intermissions in the Smith Lobby on the street level, in the Bogomolny-Kozerefski Grand Foyer, and in the Dress Circle Lobby.

FREE PUBLIC TOURS Free public tours of Severance Hall are offered on select Sundays during the year. Free public tours of Severance Hall this season are on October 13, December 1, January 12, February 16, March 30, and May 4. For more information or to make a reservation 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. Catering provided by Marigold Catering. 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 $15 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 $11 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 2013-14

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

Subscribers may exchange their subscription tickets for another subscription program up to five days prior to a performance. There will be no service charge for the five-day advance ticket exchanges.

If a ticket exchange is requested within 5 days of the performance, there is a $10 service charge per concert. Visit clevelandorchestra.com for details and blackout dates.

UNABLE TO USE YOUR TICKETS? Ticket holders unable to use or exchange their tickets are encouraged to notify the Ticket Office so that those tickets can be resold. Because of the demand for tickets to Cleveland Orchestra performances, “turnbacks” make seats available to other music lovers and can provide additional income to the Orchestra. If you return your tickets at least 2 hours before the concert, the value of each ticket 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.

93

THE CLEVELAND ORCHESTRA U P C O M I N G

C O N C E R T S

AT SEVERANCE HALL . . .

Julia Fischer

Mitsuko Uchida

BEETHOVEN, JULIA FISCHER UCHIDA & FLEISHER PLAYS BRAHMS Thursday December 5 at 7:30 p.m.

Friday December 6 at 8:00 p.m.

Saturday December 7 at 8:00 p.m.

THE CLEVELAND ORCHESTRA Leon Fleisher, conductor Mitsuko Uchida, piano

In the 1960s, Leon Fleisher performed in what are regarded among the finest recordings of the Beethoven piano concertos — with The Cleveland Orchestra under the baton of George Szell. Now, for these oneof-a-kind concerts in Cleveland, Fleisher returns as conductor with a remarkable pianist and Cleveland favorite, Mitsuko Uchida, for not-to-be-missed performances of two of Beethoven’s towering concertos.

Sponsor: Hyster-Yale Materials HandlingNew!

Thursday January 9 at 7:30 p.m.

Friday January 10 at 8:00 p.m.

Saturday January 11 at 8:00 p.m.

Sunday January 12 at 3:00 p.m.

THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Julia Fischer, violin

Franz Welser-Möst begins the new year with a special weekend of Brahms symphonies, overtures, and the Violin Concerto with guest soloist Julia Fischer. Two different programs (Thursday and Friday, Saturday and Sunday) present Brahms’s Second and Fouth Symphonies paired with either his Tragic or Academic Festival Overture. Plus the beauty of one of the greatest concertos ever written — expansive, melodious, bright-eyed, and magnificent.

Sponsor: Medical Mutual of OhioN

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 Cleveland Orchestra concerts.

TICKETS

94

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

Dreams can come true

Cleveland Public Theatreâ&#x20AC;&#x2122;s STEP Education Program Photo by Steve Wagner

... WITH INVESTMENT BY CUYAHOGA ARTS & CULTURE Cuyahoga Arts & Culture (CAC) uses public dollars approved by you to bring arts and culture to every corner of our County. From grade schools to senior centers to large public events and investments to small neighborhood art projects and educational outreach, we are leveraging your investment for everyone to experience.

Your Investment: Strengthening Community Visit cacgrants.org/impact to learn more.

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.

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Please call our Advancement Team at 1.877.554.5054 ClevelandFoundation.org