The Cleveland Orchestra March 6-8 Concerts

WINTER SEASON

SEVERANCE HALL

March 6, 8 RACHMANINOFF’S RHAPSODY, BRITTEN’S SPRING SYMPHONY March 7 KEYBANK FRIDAYS@7: RACHMANINOFF’S RHAPSODY

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

THIS WEEK THE

CLEVELAND

ORCHESTRA

PAGE

WEEK 13 7

In the News

COVER PHOTOGRAPHY BY ROGER MASTROIANNI

From the Executive Director . . . . . . . . . . . . . . . . . . 7 Orchestra News . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

8

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

Music Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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

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

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

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11 15 22 88 92

Copyright © 2014 by The Cleveland Orchestra and the Musical Arts Association Eric Sellen, Program Book Editor E-MAIL: esellen@clevelandorchestra.com Program books for Cleveland Orchestra concerts are produced by The Cleveland Orchestra and are distributed free to attending audience members.

Program book advertising is sold through Live Publishing Company at 216-721-1800

Concert — Week 13 Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . .

Program: March 6, 8 . . . . . . . . . . . . . . . . . . . . . . .

KeyBank Fridays@7: March 7 . . . . . . . . . . . . . .

Introducing the Concerts . . . . . . . . . . . . . . . . . . . .

33 34 35 37

SIBELIUS

Legends from the Kalevala . . . . . . . . . . . . . . . . 41 RACHMANINOFF

Rhapsody on a Theme of Paganini . . . . . . . . . 45 Soloist: Rudolf Buchbinder . . . . . . . . . . . . . . . . 51

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.

WIGGLESWORTH

Locke’s Theatre . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 BRITTEN

Spring Symphony . . . . . . . . . . . . . . . . . . . . . . . . 63 Conductor: Franz Welser-Möst . . . . . . . . . . . . . 15 Guest Soloists . . . . . . . . . . . . . . . . . . . . . . . . . . . 72-B Cleveland Orchestra Chorus . . . . . . . . . . . . . . 72-D Cleveland Orchestra Children’s Chorus . . . . . 72-G

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.

RICHARD STRAUSS

Don Juan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72-I JOHANN STRAUSS JR. Waltz and Czárdás . . . . . . . . . . . . . . . . . . . . . . 72-K

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

Support Sound for the Centennial . . . . . . . . . . . . . . . . . . . .

Corporate Annual Support . . . . . . . . . . . . . . . . . . .

Foundation / Government Annual Support . . .

Individual Annual Support . . . . . . . . . . . . . . . . . .

90

50%

56 73 75 76

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

4

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

Table of Contents

The Cleveland Orchestra

Exceptional

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We invite you to be a part of this amazing experience by advertising in the Severance Hall printed programs. It’s a smart way to put yourself in front of 150,000+ of northeast Ohio’s most influential consumers and business decision-makers.

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Perspectivesfrom the Executive Director March 2014 Musical excellence — which has always been a hallmark of The Cleveland Orchestra — goes hand-in-hand with music education, which has been central to the Orchetra’s mission since its founding.

The National Association for Music Education has designated March as “Music in Our Schools” Month to raise awareness of the importance of music education for all young people — and to serve as a reminder that all children should have access to quality arts education at school, because a child’s education is not complete unless it includes the arts. These are beliefs The Cleveland Orchestra wholeheartedly shares. We stand with teachers and music programs across Northeast Ohio, who are working every day to harness the power of music to engage, educate, and enlighten students of all ages. The arts are not a frill or an extra. They are a core subject of school learning, vital to realizing each child’s full potential.

Throughout his tenure as music director, Franz Welser-Möst has been a great champion of music education. He led The Cleveland Orchestra back into the region’s public schools, performing concerts in local high schools for the first time in thirty years. And it is Franz who is spearheading our Make Music! program to promote active participation in music-making across Northeast Ohio.

Musical Introductions. Many of The Cleveland Orchestra’s education programs give students their first opportunity to experience live classical music. PNC Musical Rainbows introduce pre-school and kindergarten students to the instruments of the orchestra (March features The Clever Clarinet). And specially designed Education Concerts, presented for school children each season at Severance Hall, introduce over 20,000 young people to live classical music performed by the Orchestra.

Learning Through Music. Music has incredible potential and value as a tool for understanding and unlocking learning for other subjects. With programs such as PNC Grow Up Great and Learning Through Music, Orchestra musicians visit local partner schools and present lessons that utilize music as a catalyst to help teach classroom subjects in new and exciting ways — from math and science, to poetry, social studies, and more.

Making Music Together. We also believe in the value of nurturing young musicians — in teaching them how to grow and excel in their music-making, and how to benefit from the life lessons making music offers (teamwork, listening, collaboration, and self expression). Our youth ensembles and community performances all build upon the power of music as an activity to participate in directly, with your hands, voice, and spirit.

Throughout the spring, these and other programs I haven’t yet mentioned are taking place as a regular part of the Orchestra’s annual schedule. The best way to learn more about these programs is to attend and observe them. Please contact Joan Katz Napoli, Director of Education & Community Programs, at 216-231-7348 to schedule a visit to witness our music education programs in action — and to experience the power of music to shape the lives of young people in our community.

Severance Hall 2013-14

Gary Hanson

7

CLEVELAND ORCHESTRA ARCHIVES

IN THE SPOTLIGHT follow the Orchestra on Facebook for more archival photos

Robert Shaw rehearsing the Cleveland Orchestra Chorus for performances of Beethoven’s Missa Solemnis in December 1963, in what was then the chorus rehearsal room at Severance Hall. The allvolunteer Chorus donates thousands of hours in support of the Orchestra’s music-making each year.

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

8

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

9

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

as of December 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 Jeanette Grasselli Brown Alexander M. Cutler Matthew V. Crawford David J. Hooker Michael J. Horvitz

Norma Lerner, Honorary Chair Hewitt B. Shaw, Jr., Secretary Beth E. Mooney, Treasurer

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 Raymond T. Sawyer

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 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 Hewitt B. Shaw, Jr. Richard K. Smucker R. Thomas Stanton Daniel P. Walsh 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

11

Your Role . . . in The Cleveland Orchestra’s Future Genera ons of Clevelanders have supported the Orchestra and enjoyed its concerts. Tens of thousands have learned to love music through its educa on programs, celebrated important events with its music, and shared in its musicmaking — at school, at Severance Hall, at Blossom, downtown at Public Square, on the radio, and with family and friends.

Ticket sales cover less than half the cost of presen ng The Cleveland Orchestra’s season each year. To sustain its ac vi es here in Northeast Ohio, the Orchestra has undertaken the most ambi ous fundraising campaign in our history: the Sound for the Centennial Campaign. By making a dona on, you can make a crucial difference in helping to ensure that future genera ons will con nue to enjoy the Orchestra’s performances, educa on programs, and community ac vi es and partnerships. To make a gi to The Cleveland Orchestra, please visit us online, or call 216-231-7562.

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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

15

in Cleveland, re-establishing the Orchestra as an important operatic ensemble. Following six seasons of opera-in-concert presentations, he brought fully staged opera back to Severance Hall with a three-season cycle of Zurich Opera productions of the MozartDa Ponte operas. He led concert performances of Strauss’s Salome at Severance Hall and at Carnegie Hall in May 2012 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 Carnegie 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

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THE CLEVELAND ORCHESTRA Franz Welser-Möst MUSIC DIREC TOR

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

—Wall Street Journal

—The Guardian (London)

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

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

James W. Wert A. Chace Anderson John Paul Batt Aileen P. Bost Thomas V. David Deborah C. Jira John E. Kohl Cynthia G. Koury Kevin J. McGinty Marcy W. Robbins Douglas J. Smorag

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19

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

Franz Welser-MÜst and The Cleveland Orchestra, performing Bruckner’s Fourth Symphony in concert at Severance Hall in April 2012.

T H E

C L E V E L A N D

FRANZ WELSER-MÖST 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

22

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

Christine Honolke 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

Severance Hall 2013-14

Rudolf Serkin Chair

The Orchestra

23

East meets west.

Come see the new west wing galleries featuring Chinese and Southeast Asian art.

Come see amazing.

www.clevelandart.org

2013 European Festivals Tour draws praise for Welser-Möst, Cleveland Orchestra, and Chorus The following are excerpted from press commentary about the Orchestra’s pererformances during its European Tour and Vienna Residency, November 8-22: “The handshakes from Franz Welser-Möst said it all. In acknowledging the principals of the Cleveland Orchestra Friday night at Vienna’s Musikverein, the music director did what most in attendance probably wished they could do themselves: personally thank the group for three superb performances in a row. Not once in their concerts Wednesday through Friday was it apparent that the group had been traveling abroad nearly three weeks. No, here at the end of their 2013 European Tour, the artists played with new focus and energy, and made sure Vienna enjoyed the fruits of their long musical labor. The main thing apparent, frankly, was that the orchestra had been playing Beethoven and Shostakovich nonstop for weeks, and knew their six scores inside and out. Here as nowhere else, the artists transcended the numerous pages on their stands, and simply took advantage of the Musikverein’s legendary acoustics. No less clear was that the audience recognized expertise, and liked what it heard. . . . The response each night was hugely enthusiastic, giving Welser-Möst cause to repeatedly acknowledge individual players and the ensemble as a whole. On Friday, he even went so far as to jog into the bass section.”

—The Plain Dealer, November 23, 2013

THE CLEVELAND ORCHESTRA

“Franz Welser-Möst’s interpretations are anything but sober, yet clear in their formal articulation. It is not the conceited omniscience of someone who pretends to understand the world. His concerts reveal an earth-bound assurance, free from spectacle, affectation, and sentimentality. He reads the score and interprets what’s there. Self-denial in favor of the message of the artwork — this penchant for directness is beneficial, even if it is certainly not always successful. Franz WelserMöst has long been able to concentrate on works that really suit him, working on pieces he likes to say are ‘close to his heart’.”

—Concerti, November 2013

Cleveland Orchestra News

25

THE CLEVELAND ORC

“The second evening of their visit to Frankfurt started luxuriously: The Cleveland Orchestra’s own chorus performed Beethoven’s Mass in C major at the Alte Oper, joined of course by the orchestra itself from Northeast Ohio, which was the focus of two concerts in the city. The Cleveland Orchestra . . . juxtaposed works by Beethoven with the Sixth and Tenth Symphonies by Dmitri Shostakovich. The symbiosis between the orchestra and the chorus was unsurpassable. Under Austrian conductor Franz Welser-Möst, who has been music director in the city on Lake Erie since 2002, Beethoven’s lyrical, literal setting of the Latin Mass came across lean, subtle, and transparent, despite all the opulence in the performing forces. The balance between singers and instrumentalists was perfect in the soft and mild passages.”

—Allgemeine Zeitung, November 12, 2013

Severance Hall 2013-14

THE CLEVELAND ORCHESTRA THE CLEVELAND ORCHESTRA TRA THE CLEVELAND ORCHESTRA

OrchestraNews

News

THE CLEVELAND ORCHES-

News

OrchestraNews

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FRIDAYS@

A

CLEVELAND ORCHESTRA THE CLEVELAND ORCHESTRA THE CLEVELAND ORCHE

THE CLEVELAND ORCHESTRA

Post-concert performers spruce up spring concerts for KeyBank Fridays@7 series

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 one-hour 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 — Brazilian Carnival comes to Severance Hall as sensation Kenia brings her ensemble to Cleveland. Born in working class Rio de Janeiro, this singer has created her own style, blending traditions with modern, jazz, and soul, enriched with a Latin beat.

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 two or 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.

Save the Date The volunteers of the Women’s Committee of The Cleveland Orchestra are holding their spring benefit evening on Friday, April 25, at Shaker Heights Country Club.

26

Orchestra announces “At Home” neighborhood residency in Lakewood for May 2014 The Cleveland Orchestra and Lakewood have anat home nounced 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.

Cleveland Orchestra News

The Cleveland Orchestra

CMA Performing Arts Series Estrella Morente Wednesday, March 12, 2014, 7:30 p.m.

“Her physical authority is at one with her amazing voice. A tough act to follow” —The Guardian Come see Spanish superstar Estrella Morente perform her internationally acclaimed flamenco music, part of CMA’s Flamenco Festival Cleveland.

Come see amazing.

Buy one ticket, get the second 50% off.

Use code “FLAMENCO”. www.clevelandart.org/performingarts

So delicious, you’ll demand an encore.

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north W point portfolio managers c o r p o r a t i o n Where people with disabilities thrive 216.662.1880 ncch.org Severance Hall 2013-14

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

440.720.1102 440.720.1105 440.720.1104

27

THE CLEVELAND OR-

News

OrchestraNews New album released

by Orchestra musician; featuring trombone hits and transcriptions

Silence is golden

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.

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

A

THE CLEVELAND ORCHESTRA

Massimo La Rosa, principal trombone of The Cleveland Orchestra, released a new album in October 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.

The CD is available for purchase through the Cleveland Orchestra Store at Severance Hall.

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

Collecting for clients is music to our ears.

Call Alan ScottWeinberg, Weltman, Managing Partner, at 216-685-1100.

216-685-1032.

Weltman, Weinberg & Reis Co., LPA

28

Cleveland Orchestra News

The Cleveland Orchestra

THE CLEVELAND ORCHESTRA THE CLEVELAND ORCHES TRA THE CLEVELAND ORCHESTRA

News

OrchestraNews

Mahler, in a photograph taken in 1909 in New York

Cleveland Orchestra launches new group for networking and socializing with dynamic young professionals The Cleveland Orchestra has announced a new group called The Circle, welcoming young professionals ages 21-40. The group is designed for those who share a love of music and an interest in supporting The Cleveland Orchestra in a new and dynamic way. The Circle provides members exclusive access to the Orchestra, with opportunities to meet musicians, and socialize at Severance Hall and at Blossom Music Festival events. Memberships include bi-monthly concert tickets along with opportunities to attend social gatherings to network with friends and cultural business leaders of Northeast Ohio. The objectives of The Circle are to increase engagement opportunities for young people ages 21-40 and to help develop future volunteer community leaders and arts advocates.

The Circle was launched at a Cleveland

Orchestra concert in January, and is continuing to grow. Plans for events throughout the spring are posted on the orchestra’s website, including concert receptions, a tour of Severance Hall, and more.

Cost of membership in The Circle is $15 per month for one membership and $20 per month for two memberships and includes bi-monthly tickets. New members join for a minimum of six months.

For additional information, visit clevelandorchestra.com or send an email to thecircle@clevelandorchestra.com.

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Severance Hall 2013-14

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The Cleveland Orchestra

THE CLEVELAND ORCHESTRA THE CLEVELAND ORCHESTRA TRA THE CLEVELAND ORCHESTRA

News

OrchestraNews

Chorus auditions announced for children, youth, and adult singers for Blossom and 2014-15

Cleveland Orchestra News

31

THE CLEVELAND ORC

Severance Hall 2013-14

or an equivalent classical solo piece; Broadway or “pop” tunes are not acceptable. In addition to the prepared piece, students will be asked to sight-read and demonstrate their vocal range.

An accompanist is provided at the audition.

The Cleveland Orchestra Chorus is one of the few professionally trained, all-volunteer choruses sponsored by a major American orchestra.

Coming from nearly fifty Northeast Ohio communities, members of the Chorus perform with The Cleveland Orchestra in subscription and Christmas concerts each year. Previous choral experience and sight-reading skills are required.

The Blossom Festival Chorus includes many members of the Cleveland Orchestra Chorus and other Northeast Ohio choral groups. It has established itself as a permanent annual part of the summertime Blossom Festival and has sung in more than 100 concerts since its 1968 debut.

Both groups are directed by Robert Porco.

Auditions for the Cleveland Orchestra Chorus and Blossom Festival Chorus will be held April 16 and April 19, by appointment only.

Those auditioning are asked to prepare two pieces from the classical literature, one of which should be in a foreign language. Each piece should be approximately two minutes in length.

Previous choral experience and sight-reading skills are required. An accompanist is provided at the audition.

To schedule an audition, call the Chorus Office at 216-231-7374, or send an email to chorus@clevelandorchestra.com.

THE CLEVELAND ORCHESTRA

Spring audition dates for the choral groups sponsored by The Cleveland Orchestra have been announced. The auditions — for adults, youth, and children — are for membership in groups singing during the 2014 Blossom Music Festival and the 2014-15 Season at Severance Hall. Auditions will take place in May and June.

The Cleveland Orchestra Choruses embody a long-standing commitment to choral music in which community members of all ages have the opportunity to participate.

The Cleveland Orchestra Children’s Chorus is open to students in grades 6-8 and directed by Ann Usher, and the Cleveland Orchestra Children’s Preparatory Chorus is open to students in grades 5-8 and directed by Suzanne Walters. Both groups are holding auditions on June 2, June 7, and June 14. The Children’s Chorus, formed in 1967, provides musical training in vocal production and choral performance skills.

The Children’s Preparatory Chorus provides children with initial choral experiences to which younger singers may not have been exposed, while establishing a solid foundation in vocal production techniques.

To audition, children must sing one verse of “America” (My Country, ’Tis of Thee) with piano accompaniment in the key of his or her choice and one verse of “America the Beautiful” (Oh beautiful, for spacious skies) without accompaniment in the key of D. Singing scales and doing some rhythmic exercises may also be included in the audition, for which an accompanist is provided.

Students in grades 9-12 are welcome to audition for the Cleveland Orchestra Youth Chorus, directed by Lisa Wong, on May 3, May 11, or June 11. Created in 1991, the Youth Chorus helps raise awareness of choral music-making in the schools of Northeast Ohio and encourages students to continue their choral activities through college and into adulthood. The Youth Chorus collaborates each season in performance with the Cleveland Orchestra Youth Orchestra.

Youth Chorus audition requirements are to prepare a piece from the OMEA Solo & Ensemble list,

A DAY AT THE UNIVERSITY April 6, 2014 10:00 AM - 4:30 PM • The Cleveland Museum of Art

This full day event features a choice of twelve unique lectures and discussions, each with a different professor.

Chose four to attend and join us for a film screening and discussion at lunchtime. This is an exciting opportunity to learn from our esteemed faculty’s depth of knowledge, presented by the Laura and Alvin Siegal Lifelong Learning Program at Case Western University.

Early Registration (by March 15): $80 Regular Registration: $95 Parking and lunch not included 10:00 A.M. - 10:30 A.M. 10:30 A.M. - 11:30 A.M.

11:45 A.M. - 12:45 P.M.

Welcome and Check-in

Cleveland history track (grey): The Past, Present, and Future of Cleveland’s Cultural Landscape

Do WIMPs rule?

The Search for Cosmic Dark Matter

The Gilded Age: Islam in America Building a Foundation for a Progressive Cleveland

Dan Akerib

John Grabowski

Before the Lamps Went Out: Europe in Spring/Summer 1914

NEO: What’s Next Steve Litt

Kenneth F. Ledford

Justine Howe

Same-Sex Marriage: Is the Law Running to Catch Up with Events?

Jonathan Entin

1:00 P.M. - 2:00 P.M. Lunch Break

Film Screening (optional)

2:00 P.M. - 3:00 P.M.

Conflict and Cooperation in the Middle East Today

Early Contributors to Cleveland's Cultural Infrastructure

Toni Morrison: Writing America through the Lens of Race and Gender

Pete Moore

David Hammack

Marilyn Mobley

Current and Future Applications of 3-D Printing

Rediscovering the Wades: Landscapes of Opportunity: How yesterday's families Sherman E. Lee’s shaped today's Cleveland Collecting of Chinese Painting for Cleveland Holly Witchey

3:15 P.M. - 4:15 P.M.

University Circle: Creating a Sense of Place (Part II) ON COMMON GROUND: Public Art in the Circle (20 min)

Malcolm Cooke 4:15 P.M. - 4:30 P.M.

Noelle Giufredde

Closing

For faculty bios and registration visit our website: case.edu/lifelonglearning Main Office: 216.368.2090 Beachwood Office: 216.368.2091

. . . for the love of learning

LEARNING MORE ABOUT THE MUSIC

Concert Previews The Cleveland Orchestra offers a variety of options for learning more about the music before each concert begins.

For each concert, the program book includes program notes commenting on and providing background about the composer and his or her work being performed that week, along with biographies of the guest artists and other information. You can read these before the concert, at intermission, or afterward. (Program notes are also posted ahead of time online at clevelandorchestra.com, usually by the Monday directly preceding the concert.)

The Orchestra’s Music Study Groups also provide a way of exploring the music in more depth. These classes, professionally led by Dr. Rose Breckenridge, meet weekly in locations around Cleveland to explore the music being played each week and the stories behind the composers’ lives.

Free Concert Previews are presented one hour before most subscription concerts throughout the season at Severance Hall. The previews (see listing at right) feature a variety of speakers and guest artists speaking or conversing about that weekend’s program, and often include the opportunity for audience members to ask questions.

Severance Hall 2013-14

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.

March 6, 8 “Meet the Composer” with Ryan Wigglesworth in conversation with Meaghan Heinrich followed by a talk about the entire concert:

“Voices of Reawakening” with Meaghan Heinrich education and community programs advisor, The Cleveland Orchestra

March 27, 29, 30 “Schumann the Symphonist” with Jason Harris, assistant professor of choral conducting, Oberlin College Conservatory of Music

April 3, 4, 5 “Tales of a Virtuoso” with Francesca Brittan, assistant professor of musicology, Case Western Reserve University

April 10, 11, 12 “Romantic vs. Modern”

Concert Previews

with Rose Breckenridge, Cleveland Orchestra Music Study Groups administrator and lecturer

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

W E L S E R - M Ö ST M U S I C

D I R E C T O R

Severance Hall

Thursday evening, March 6, 2014, at 7:30 p.m.

Saturday evening, March 8, 2014, at 8:00 p.m.

Franz Welser-Möst, conductor jean sibelius

Lemminkäinen’s Return

sergei rachmaninoff

Rhapsody on a Theme of Paganini, Opus 43

(1865-1957)

(1873-1943)

No. 4, from Legends, Opus 22

RUDOLF BUCHBINDER, piano

INTERMISSION

ryan wigglesworth (B. 1979)

benjamin britten (1913-1976)

Locke’s Theatre — UNITED STATES PREMIERE 1. The First Music 2. Rustic Music 3. Curtain Music (with Storm)

Spring Symphony, Opus 44 Part I 1. Introduction: Shine Out 2. The Merry Cuckoo 3. Spring, the Sweet Spring 4. The Driving Boy 5. The Morning Star Part II 6. Welcome, Maids of Honour!

7. Waters Above 8. Out on the lawn I lie in bed Part III 9. When will my May come?

10. Fair and Fair 11. Sound the Flute!

Part IV 12. Finale: London, to thee I do present KATE ROYAL, soprano JAMIE BARTON, mezzo-soprano JOHN TESSIER, tenor CLEVELAND ORCHESTRA CHORUS Robert Porco, director CLEVELAND ORCHESTRA CHILDREN’S CHORUS Ann Usher, director

34

Concert Program — Week 13

The Cleveland Orchestra

Severance Hall

Friday evening, March 7, 2014, at 7:00 p.m.

Franz Welser-Möst, conductor The musical selections for this evening’s concert have been changed from what was originally announced. The following selections will be presented:

sergei rachmaninoff (1873-1943)

Rhapsody on a Theme of Paganini, Opus 43 RUDOLF BUCHBINDER, piano

richard strauss

Don Juan, Opus 20

johann strauss jr.

Waltz: From the Mountains, Opus 292

johann strauss jr.

Czárdás, from Ritter Pázmán

(1864-1949)

(1825-1899)

[Aus den Bergen]

7

FRIDAYS@

This weekend’s concerts are sponsored by KeyBank, a Cleveland Orchestra Partner in Excellence.

Rudolf Buchbinder’s appearance with The Cleveland Orchestra Rudolph Buchbinder’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from Elizabeth Dorothy Robson.

The Thursday evening concert is dedicated to Hewitt and Paula Shaw in recognition of their extraordinary generosity in support of The Cleveland Orchestra’s 2012-13 Annual Fund.

The concert on Thursday will end at about 9:30 p.m. and Saturday’s at approximately 10:00 p.m.

The Friday evening concert is performed without intermission and will end at about 8:15 p.m.

Additional information about the Fridays@7 evening can be found on page 39.

Severance Hall 2013-14

Concert Program — Week 13 Friday

>

> >

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celebrating our community We enjoy living and working in our community for the same reasons you do.

That’s why supporting our traditions and celebrations is a big part of our investment in the community.

KeyBank proudly supports supports The The Cleveland Cleveland Orchestra’s Orchestra’s opening performances of Rachmaninoff’s Rhapsody.

Bravo! night performance of Rachmaninoff’s Rhapsody.

Bravo! go to key.com/community

©2014 KeyCorp. KeyBank is Member FDIC. Key.com is a federally registered service mark of KeyCorp. CS1089134918

36

The Cleveland Orchestra

INTRODUCING THE CONCERTS

Reawakening&Spring THIS WEEKEND’S CONCERTS

offer a hopeful glimpse of spring (amidst the challenging cold of our current winter), mixed together with additional musical works of reinvention, rebirth, and reawakening.

On Thursday and Saturday nights, the most obvious signal of the new season is Benjamin Britten’s Spring Symphony. In this large-scale work, this deft composer utilized texts often centuries old to bring together a joyous (and thoughtful) celebration of spring and life’s ongoing cycles of annual renewal and seasonal awakenings.

It is both big and intimate, like a full night of fresh frost melting to nourish the first small and tender flower of spring.

Paired with Britten’s Spring is a brand-new work by Ryan Wigglesworth, written specifically to help celebrate the centenary of Britten’s birth. In Locke’s Theatre, this promising young composer brings a fresh and 21st-century take on 18th century music, giving it a new guise, purpose, and sound world.

Rachmaninoff ’s Rhapsody on a Theme of Paganini, heard at all three concerts this weekend, represented a reawakening of sorts for this composer, after many years of fallowness in writing and busy-ness as a performer.

Its variations offer variety — and sheer beauty and bliss.

Works by Sibelius and two Strausses round out the concerts, with the KeyBank Fridays@7 program featuring music ranging “from the mountains” to an operetta’s flashy dance rhythms to the death of Don Juan.

—Eric Sellen

7

@

Program Notes begin on page: SIBELIUS - Lemminkäinen’s Return, from Legends . . . . . . . . . . . . . . . 41 RACHMANINOFF - Rhapsody on a Theme of Paganini . . . . . . . . . . . . 45 WIGGLESWORTH - Locke’s Theatre . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 BRITTEN - Spring Symphony . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 RICHARD STRAUSS - Don Juan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72-I J. STRAUSS JR. - From the Mountains / Czárdás . . . . . . . . . . . . . . . 72-K

Severance Hall 2013-14

Introducing the Concerts

37

A Rich Inheritance

Caring for those in need never goes out of style.

Whether helping people in crisis, ensuring dignity for the elderly, or working to alleviate poverty – our Jewish values have always inspired us to act. Those same values teach us to care for the next generation. By making a legacy gift, you leave your children and grandchildren a precious inheritance, and a lasting testimony to your values.

To learn about making a legacy gift, contact Carol Wolf at 216.593.2805 or cwolf@jcfcleve.org.

Jewish Federation OF CLEVELAND

Mandel Building | 25701 Science Park Drive | Cleveland, Ohio 44122 www.jewishcleveland.org 1083

7

D N A A R L E V E ST FRIDAYS H E T LE H C RC O March 7 friday evening SEVERANCE HALL

@

pre-concert st@rters 5:00 p.m.

doors open, snacks and drinks available

6:00 p.m.

the evening begins in Reinberger Chamber Hall: featuring Oberlin Performance & Improvisation Ensembles

6

— linking classical and jazz traditions to create a unique blending and building of individual voices and styles, and featuring the music of Israeli pianist Alon Yavnai read about the performers on page 52 > > >

clevel@nd orchestra concert THE CLEVELAND ORCHESTRA

7:00 p.m.

7

@

conducted by Franz Welser-Möst < < <

biographical information on page 15

“Rachmaninoff’s Rhapsody” featuring works by Rachmaninoff, Richard Strauss, and Johann Strauss < < < musical selection details listed on page 35 read background and commentary about the music: < < < Introduction (page 37), Rachmaninoff (page 45) , Strauss/Strauss (page 72-I) > > >

@fterparty after the concert ends, the evening continues . . . in the Bogomolny-Kozerefski Grand Foyer: 8:15 p.m. — performing a cross-section and crunky combination

8

of sounds from Balkan traditions, Turkish roots, with Gypsy soul, American sensibility, and wild good fun . . .

New York Gypsy All-Stars

@

bio information on page 53 > > >

bars are open around the performance

Severance Hall 2013-14

KeyBank Fridays@7 — March 7

39

BW CSI: CONSERVATORY SUMMER INTENSIVE investigating college music study while exploring careers in music, for high school students July 6–19, 2014 Including private lessons, wind ensemble, orchestra, choir, music theatre, composition, piano and organ. Under the guidance of Artistic Director Bryan Bowser, Instrumental Director Laura Joss, and Vocal Director Sally Schneider, faculty and guest artists include members of The Cleveland Orchestra and BW Conservatory faculty. A quality pre-college experience in stateof-the-art music facilities on BW’s beautiful campus. Opportunities to focus on chamber music, music theatre, composition, jazz or piano/organ and elective courses include conducting, music technology, improvisation, percussion ensemble and others. Additional “Audition Preparation Program” available for students entering grade 12.

Audition and application deadline: April 1, 2014

Additional Baldwin Wallace University 2014 Summer Music Programs . . .

For students in grades 4-9: String Camp, June 14-19 Piano Camp A, June 14-19 Piano Camp B, June 21-26

Band Camp, June 21-26 Music Theatre Camp, June 21-26

For high school students: International Guitar Festival, concerts, master classes, workshops and lectures with world-renowned guitarists, May 17-18 Music Theatre Overtures, the best college music theatre audition preparation, July 13-18

For adults: International Guitar Festival, concerts, master classes, workshops and lectures with world-renowned guitarists, May 17-18 Summer Institute for Music Teaching and Learning, professional development courses for music educators, June & July

For more information, contact: Conservatory Outreach Department 440-826-2365 or conreach@bw.edu www.bw.edu/summer-music-programs Baldwin Wallace University does not discriminate on the basis of race, creed, age, disability, national origin, gender or sexual orientation in the administration of any policies or programs.

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The Cleveland Orchestra

THURSDAY AND SATURDAY

Lemminkäinen’s Return from Four Legends from the Kalevala, Opus 22 composed 1893-1895 T O T H E F I N N I S H P E O P L E , the Kalevala is much more than

by

Jean

SIBELIUS born December 8, 1865 Hämeenlinna, Finland died September 20, 1957 Järvenpää, Finland

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a literary work. It stands as a symbol of Finnish national identity, the most important early document of the language, and a treasure trove of stories that most Finns are intimately familiar with. Its many lines of poetry were assembled together in the 19th century by two hardworking men intent on saving Finland’s disappearing tales of the country’s past, which had been handed down from one generation to the next for centuries. The publications of this long epic, first in 1835 and then in an expanded form in 1849, became a rallying call for a national renewal movement. For centuries, Finland had been dominated by foreign powers (Sweden, then Russia), and the language of educated people was Swedish. The publication of the Kalevala gave the decisive impetus to the movement that established Finnish as the country’s primary language. This in turn led to the struggle for national independence, which finally came in 1918.

Sibelius, who came of age during this period of momentous changes in Finnish history, could not help but be profoundly influenced by the Kalevala. The national epic gave him life-long inspiration, from his early choral symphony Kullervo (1892) to his last symphonic work, Tapiola (1926). In no fewer than ten major works and many short ones, he evoked various adventures or scenes from Kalevala’s legends, and perhaps unconsciously patterned some of its spoken rhythms within his musical style.

His suite Opus 22, known simply as Legends or as Four Legends of the Kalevala, focuses on one of the poem’s central characters, Lemminkäinen. This youthful Don Juan is courageous to the point of recklessness, and embodies a spirit of adventure and boundless energy. The set of four pieces, in a way, outlines the structure of a four-movement symphony: “Lemminkäinen and the Maidens of the Island of Saari” represents the opening, “The Swan of Tuonela” the slow movement, “Lemminkäinen in Tuonela” a scherzo, and “Lemminkäinen’s Homeward Journey” the finale.

Throughout the suite, the hero’s adventures range from the romantic to the tragic and supernatural. Accordingly, the music encompasses a wide array of emotions, evoking in turn About the Music

41

At a Glance Sibelius composed his Four Legends from the Kalevala between 1893 and 1895.

(This work is also known as the Lemminkäinen Suite.)

The composer conducted the first performance in Helsinki on April 13, 1896, with “Lemminkäinen in Tuonela” as the second movement and “The Swan of Tuonela” third.

Sibelius later reversed the order of these two movements in the published score.

Sibelius revised the whole suite in 1897, and individual sections in 1900, and made additional revisions as late as 1939.

The Four Legends run a total of about 45 minutes in performance. (The final movement, “Lemminkäinen’s Return,” runs about 15 minutes.) Sibelius scored the suite for 2 flutes, piccolo, 2 oboes, english horn (with a prominent solo in “The Swan of Tuonela”), 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba (only in “Lemminkäinen’s Return”), timpani, percussion (triangle, tambourine, cymbals, bass drum), harp (only in “The Swan of Tuonela”), and strings.

The Cleveland Orchestra most recently presented this suite of four pieces in October 2004, conducted by Franz Welser-Möst.

42

the mysteries of the cold, dark Northern landscape and the vigorous activities of the people who inhabit it. Some of the work’s musical ideas were derived from an opera project, The Building of the Boat, that Sibelius had abandoned, also based on a story from the Kalevala.

In the first movement, Lemminkäinen and the Maidens of the Island, our hero sets off for the island of Saari. Here he amuses himself with many of the local women — alluring many of them, but provoking their husbands and families to violence against him. Sibelius, according to his leading Finnish biographer, Erik Tawaststjerna, “does not follow an exact literary programme but chooses rather to evoke the general atmosphere of the poem.” The movement is based on a characteristic chord (a triad with an added sixth), presented at the outset by the four horns. The dance-like main theme is introduced by the woodwinds, a more emotional contrasting idea by the string section (emphasizing the cellos). Both themes are amply developed; there are several dramatic climaxes but the movement ends in a subdued pianissimo as the girls of the island lament Lemminkäinen’s departure.

The second movement is The Swan of Tuonela, related to a story in which the hero journeys to the Underworld of Death to win a wife. The music is a reworking of Sibelius’s sketch for a prelude to his never-finished opera. Here, a sorrowful english horn solo represents the slow motion of the swan, floating in the River of Death. The gloomy atmosphere is lifted for only a brief moment when a harp enters and an unexpected modulation shows a momentary glimpse of a happier world. The tragic mood, however, soon returns and the piece ends as sadly as it began.

The third movement is Lemminkäinen in Tuonela. The hero wanted to marry a daughter of Pohjola (this maiden would later become the subject of another Sibelius tone poem, Pohjola’s Daughter, Opus 49). To win her hand, he was sent to the underworld of Tuonela by the girl’s mother, the sorceress Louhi, tasked to shoot the Swan of Tuonela using a single arrow. The outcome of this expedition turned out to be fatal, but for Lemminkäinen, not the swan. Stalking the swan, the hero was attacked and slain by a servant of the sorceress (or, in a different tale, he is pierced by his own poison-tipped arrow). The son of the underworld’s ruler then cut his body up in pieces and scattered them in the River of Death. This would have been the end of Lemminkäinen, were it not for his mother’s magic powAbout the Music

The Cleveland Orchestra

ers. She hurries to the scene with a long rake (custom-made for her by the divine smith Ilmarinen), collects all the parts of her son’s body and miraculously joins them together and — with the essence of a bee’s honey — brings Lemminkäinen back to life, as healthy and vigorous as ever.

Sibelius’s music paints a vivid image in sound of an inferno filled with horrors at every turn. The quiet middle section (with the violins playing tremolos in a high register) sounds like a lullaby; according to Tawaststjerna, this is the moment where “the mother enters the picture!” The music becomes slower and slower; the short central phrase for strings and bass drum may then stand for the mother’s magic incantations, which restore Lemminkäinen to life. The wild inferno music is then briefly repeated — but the ending is again soft and peaceful as we leave the realm of death.

The last legend, Lemminkäinen’s Return or Lemminkäinen’s Homeward Journey, uses a motif from the previous movement. Now, however, the same theme that sounded gloomy and foreboding in the underworld scene returns bright and full of energy. This music shows the hero returned to life and the world, aged with wisdom, strength, and maturity and, as the score preface indicates, born by “his cares and troubles.” Here he rides several gallant horses, inspiring the Finnish people with showmanship and charisma, checked by history and sorrow. The whole movement is a series of crescendos, each more powerful than the preceding one. The increase in volume is matched by a corresponding acceleration in tempo. The piece ends with a coda where even the last trace of a shadow disappears — the dark minor mode that has prevailed until now finally gives way to a glorious and resplendent E-flat major sonority.

—Peter Laki Copyright © Musical Arts Association

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About the Music

Two illustrations by Akseli Gallen-Kallela of tales from the Kalevala.

TOP: A 1901 painting showing the hero Kullervo trumpeting a call to arms.

BOTTOM: A painting from 1895 showing Lemminkäinen’s anguished mother trying to bring life back to her son’s body on the banks of the River of Death. The swan of Tuonela floats in the background.

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Rhapsody on a Theme of Paganini, Opus 45 composed 1934 SERGEI RACHMANINOFF

by

Sergei

RACHMANINOFF born April 1, 1873 Semyonovo, Russia died March 28, 1943 Beverly Hills, California

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spent much of his life wondering what he should do. Although his musical gifts were recognized and encouraged from an early age, he had many doubts and misgivings about what specialty to pursue. Even after achieving international fame, he was quoted as saying: “I have never been quite able to make up my mind as to which was my true calling — that of a composer, pianist, or conductor. I am constantly troubled by the misgiving that, in venturing into too many fields, I may have failed to make the best use of my life. In the old Russian phrase, I have ‘hunted three hares.’ Can I be sure that I have killed any one of them?”

For the world at large, Rachmaninoff had in fact pursued and mortally wounded all three rabbits. From the 1920s on, he was, first and foremost, a well-known and revered pianist, as renowned a performer as his friends Fritz Kreisler and Vladimir Horowitz. His annual concert tours across Europe and the United States — as many as 100 performances each year, as piano soloist and/or conductor — brought him fortune as well as fame. And almost always his programs included one of his own works.

But like many artists similarly blessed, Rachmaninoff had difficulty keeping all three of his careers — pianist, conductor, composer — moving forward simultaneously. Time spent practicing or concertizing left little time to compose. And composing required a kind of peace and quiet almost impossible to find while performing on the road.

Rachmaninoff struggled with these conflicting demands all his life. After heady student days, when he had finished both of his degrees (in piano and in composition) a year early, everything seemed possible. Until his First Symphony was given a disastrous reception in 1897, causing the 23-year-old composer “wannabe’’ to give up writing new music for three years. He devoted himself instead to keyboard concert appearances, in Russia and in parts of Europe.

Such single-minded pursuit of popular approval, however, did not help resolve the despair Rachmaninoff felt from the First Symphony’s failure. He renewed attempts to find a cure for his depression and eventually found a doctor who, with a series of “new-fangled” treatments via hypnosis, gave him the About the Music

45

Music is enough for a lifetime, but a lifetime is not enough for music. â&#x20AC;&#x201D;Sergei Rachmaninoff

courage to start composing again.

In 1901, he scored renewed success with the premiere of his Second Piano Concerto. And over the following decade and a half, while also busily conducting and appearing as a soloist, he found time to write some of his most enduring works — including the Second Symphony (1908), Isle of the Dead (1909), The Bells (1913), and Vespers (1915).

The Russian Revolutions of 1917, in February and October, however, diverted Rachmaninoff the composer completely off course. With his wife, Natalia, and their two daughters, he slipped out of Russia just before Christmas that year “to perform several concerts in Stockholm.” In reality, they were leaving home forever. The necessity of departing quickly — and the limitations imposed by the temporary visas they could secure — meant that they could take almost nothing beyond the clothes they were wearing.

Fortunately, by redoubling his concert commitments, Rachmaninoff was soon able to support his family with his own hands, quite literally. Over the next decade, his international fame multiplied and his performances became eagerly anticipated throughout Europe and North America. And so he played and conducted, earned money, and composed almost nothing.

Finally, in 1927, he finished his Fourth Piano Concerto, but it was so badly received at the premiere that he withdrew it immediately for revisions. In 1931, he completed Variations on a Theme by Corelli for piano, which he began playing frequently in recital — but doubts lingered, and he routinely shortened it in performance anytime an audience fidgeted or coughed.

COMPOSING ANEW

Despite ongoing doubts, Rachmaninoff still wanted to write new music. He wanted something new for his concerts and recitals, not just old works, mostly written in his youth, long ago, in Russia.

For the next three summers, Rachmaninoff tried to compose anew. He even announced his intentions publicly. But the summers of 1932 and 1933 were largely given over to superintending his new villa on Lake Lucerne: planting trees, gardens, and vineyards; overseeing the construction of a new house; and, in 1933, racing his new speedboat (something he’d always wanted) back and forth across the lake.

The year 1934, however, proved to be fruitful for RachSeverance Hall 2013-14

About the Music

Like many artists similarly blessed, Rachmaninoff had difficulty keeping all three of his careers — pianist, conductor, composer — moving forward simultaneously.

Time spent practicing or concertizing left little time to compose.

Composing required peace and quiet impossible to find on the road.

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At a Glance Rachmaninoff composed this Rhapsody between July 3 and August 24, 1934, at his house on Lake Lucerne in Switzerland. It was first performed on November 7, 1934, in Baltimore, Maryland, by the Philadelphia Orchestra, with the composer as soloist and Leopold Stokowski conducting.

This work runs about 25 minutes in performance.

Rachmaninoff scored it for 2 flutes, piccolo, 2 oboes, english horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (snare drum, triangle, cymbals, bass drum, and bells), harp, and strings, in addition to the solo piano.

The Cleveland Orchestra first performed this work at a pair of subscription concerts in November 1937, with Artur Rodzinski conducting and Rachmaninoff as the soloist.

Rachmaninoff played it in Cleveland again in 1941, and the Orchestra has presented it quite frequently since that time. It was most recently performed in October 2010, with soloist Kirill Gerstein and conductor Semyon Bychkov.

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maninoff the composer. On April 12, the Steinway Company presented him with a piano. Rachmaninoff, who did much of his composing at the keyboard, found the new instrument — constructed especially for him — to be particularly inspiring.

The summer’s work at last yielded a new composition: Rhapsody on a Theme of Paganini. The Rhapsody is, in fact, what Rachmaninoff had intended his Fourth Piano Concerto to be: summit and summation of his musical writing for piano and orchestra — with the theme-and-variations structure of the Rhapsody providing him the kind of framework that critics said was lacking in the Fourth Concerto.

THE MUSIC

Most obvious and most commented upon, though not necessarily most interesting, is how the piece begins — not with the usual statement of theme followed by 24 variations, but instead with the first variation coming before the theme itself (which is afterwards fully stated by the violins). Rachmaninoff probably took his cue for this from the last movement of Beethoven’s Third Symphony, the “Eroica.” There, the movement opens with the bass line of its eventual main theme, whereas in the Rhapsody, variation 1 is more of a melodic outline than a harmonic bass line.

The theme itself was published by Paganini in 1820 as the last of his Twenty-Four Caprices for Solo Violin, Opus 1. Before Rachmaninoff worked with it, Paganini, Liszt, Schumann, and, most famously, Brahms had all composed music around this theme. Indeed, Brahms’s Piano Variations, from 1863, was particularly well known and highly regarded, and might have seemed to preclude further exploitation. But Rachmaninoff thought differently — and proved himself right. (Subsequently, in the 1940s, both Boris Blacher and Witold Lutoslawski also based new compositions on this same theme. And, more recently, a number of American composers were commissioned to write new variations to commemorate Leonard Slatkin’s years as music director of the Saint Louis Symphony Orchestra.)

Once Paganini’s original theme is stated, the rest of the Rhapsody’s variations are divided by pauses into “idea” groups of five or six: 2-6, 7-11, 12-18, and 19-24. Within these groupings, much of the music runs continuously. So subtle are some of the changes in scoring and harmony, and some variations so short, that the boundaries between them can be difficult to detect.

About the Music

The Cleveland Orchestra

In variation 5, the Dies Irae (â&#x20AC;&#x153;Day of Wrathâ&#x20AC;?) theme is introduced.

This tune fragment, taken from the Catholic churchâ&#x20AC;&#x2122;s medieval setting for the mass for the dead, was a particular favorite of Rachmaninoff â&#x20AC;&#x2122;s and one that he included in several of his major compositions.Perhaps coincidentally, it also turns out to be a near relative of the basic harmonic progression of Paganiniâ&#x20AC;&#x2122;s original theme, and it subsequently reappears throughout much of the rest of the Rhapsody. (The appearance of the Dies Irae was used to particularly good effect in 1939, when choreographer Mikhail Fokine created a ballet to the music of Rachmaninoff â&#x20AC;&#x2122;s â&#x20AC;&#x153;Paganini Rhapsody.â&#x20AC;? In the ballet, at the composerâ&#x20AC;&#x2122;s suggestion, the Dies Irae tune represented the devil, to whom Paganini was supposed to have traded his soul in order to gain â&#x20AC;&#x153;perfection in art.â&#x20AC;?)

Beginning with renewed momentum in variation 13, the Rhapsody pushes toward the lush, romantic â&#x20AC;&#x201D; and well-known â&#x20AC;&#x201D; tune of variation 18. This released-tension climax is adeptly prepared during variation 17, which former San Francisco program annotator Michael Steinberg described as â&#x20AC;&#x153;making your way, hands along the wall, through a dark cave,â&#x20AC;? from which we suddenly emerge â&#x20AC;&#x153;into soft moonlight.â&#x20AC;? And what a magnificent moonlit night variation 18 is, accompanied by Paganiniâ&#x20AC;&#x2122;s original theme turned upside down (almost exactly). Rachmaninoff once likened music itself to â&#x20AC;&#x153;a calm moonlit night.â&#x20AC;? When he said it, he was speaking sarcastically. With the Rhapsody, however, Rachmaninoff makes it briefly possible to believe that this music is moonlight in sound â&#x20AC;&#x201D; and we are momentarily bewitched.

Following a drawn-out farewell to variation 18, the music accelerates and runs through increasingly animated variations. Finally, almost suddenly, Rachmaninoff maneuvers the orchestra and piano to a deft and fitting close. â&#x20AC;&#x201D;Eric Sellen Š 2014 Eric Sellen serves as program editor for The Cleveland Orchestra.

His program notes have appeared for orchestras and at festivals across North America and Europe.

&DUO 7RSLORZ FRQGXFWRU &LDUiQ 6KHHKDQ YRFDOLVW z0XUSK\ ,ULVK 'DQFHUV z3RSV &KRUXV z%UHQGDQ 5LQJ z/HZLV =RX SLDQLVW z&OHYHODQG )LUHILJKWHUV 0HPRULDO 3LSHV 'UXPV z z

Â&#x192;Â&#x2013;Â&#x2014;Â&#x201D;Â&#x2020;Â&#x192;Â&#x203A;ÇĄ Â&#x192;Â&#x201D;Â&#x2026;Â&#x160; ͳ͡Â&#x2013;Â&#x160; Ěą ͺǣͲͲ Â&#x2019;ǤÂ?Ǥ Ěą Â&#x2021;Â&#x2DC;Â&#x2021;Â&#x201D;Â&#x192;Â?Â&#x2026;Â&#x2021; Â&#x192;Â&#x17D;Â&#x17D; Ěą ʹͳ͸njʹ;ͳnjͳͳͳͳ

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About the Music

49

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Rudolf Buchbinder Austrian pianist Rudolf Buchbinder frequently performs with major orchestras and at festivals around the globe. His first appearance with The Cleveland Orchestra was in August 1983. He last appeared here in October 1998.

Mr. Buchbinder is known for his meticulous study of musical sources. He owns thirty-five complete editions of Beethoven’s sonatas and an extensive collection of autographed scores, first editions, and original documents. He is acclaimed for his performances of Beethoven’s complete sonatas in cities around the world, including Beijing, Berlin, Buenos Aires, Milan, Munich, St. Petersburg, Vienna, and Zurich. Mr. Buchbinder’s performances of Beethoven’s piano sonatas at Dresden’s Semperoper were recorded live by Sony/RCA Red Seal. In 2012, the release won both an Echo Klassik Award and the Choc de l’année.

A discography of more than 100 recordings documents the scope and diversity of Rudolf Buchbinder’s repertoire.

His Teldec album of Haydn’s complete works for piano earned the Grand Prix du Disque in 1977. In recent years, he has favored recordings made of his live performances.

These albums include the Brahms piano concertos with the Royal Concertgebouw Orchestra, two DVDs featuring six Mozart concertos with Mr. Buchbinder conducting the Vienna Philharmonic from the keyboard, the Brahms piano concertos with the Israel Philharmonic, and a set of Mozart concertos with Vienna’s Concentus Musicus. In 2009, he was featured in the award-winning German-Austrian documentary Pianomania, about a Steinway & Sons piano tuner and directed by Lilian Franck and Robert Cibis.

In 2007, Rudolf Buchbinder became the founding artistic director of the Grafenegg Music Festival near Vienna. He served as the first artist-in-residence for the Staatskapelle Dresden during the 2010-11 season. Mr. Buchbinder studied with Bruno Seidlhofer at the Vienna Academy of Music. Among his many honors and awards are the Austrian Cross of Honor for Science and Art, Bruckner Ring of the Vienna Konzerthaus, and the Gold Medal of Salzburg and Vienna. His published biography, Da Capo: An Artist’s Portrait, features an introduction by German music critic Joachim Kaiser.

For additional information, please visit www.buchbinder.net.

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Guest Artist

51

st@rters

D PRE-CONCER T N A A E EL TR 7 H h T EV ES c r C LRCH Oberlin Ma Performance O and Improvisation Ensemble

Timothy Daniels, oboe

6

Oberlin’s Performance and Improvisation EnEthan Philion, bass Robis Popadiuk, cello sembles provide an opportunity for students Benjamin Rempel, percussion to enrich their existing musical vocabularJoshua Rosner, guitar ies and skills through practical exploration of many different world musics and improvisation techniques. Varying ensemble groupings combine like-minded Classical and Jazz students as they develop their own language and styles. Emphasis is placed on transcription and creating a means of adaptation to each student’s primary (western) instrument.

PI ensembles (as they are referred to on campus) are typically made up of some of the most adventurous and dedicated musicians from the world-famous Oberlin Conservatory’s Classical and Jazz departments.

Instruction is divided into modules each semester, each focusing on musical styles of a particular region. Student ensembles participate in intensive residencies and collaborative performances with visiting artists.

For tonight’s Fridays@7 pre-concert performance, two groups of students explore the music of Israeli pianist Alon Yavnai.

6 p.m.

Jamey Haddad has curated and planned the world music performances for The Cleveland Orchestra’s Fridays@7 concerts since the series began in 2009. Born in Cleveland, Ohio, he holds a unique position in the world of jazz and contemporary music, with his musical voice transcending styles and trends. Regarded as one of the foremost world music and jazz percussionists in the United States, Mr. Haddad is an associate professor at the Cleveland Institute of Music, Oberlin Conservatory of Music, Boston’s Berklee College of Music, and the New England Conservatory. To learn more, visit www.jameyhaddadmusic.com.

KeyBank Friday@7

NEXT: April 11 — Brazilian Carnival

@fterparty

May 2 — Requiem to Ressurection for more information, visit clevelandorchestra.com

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Guest Artists — Fridays@7

The Cleveland Orchestra

POS T-CONCER T

@fterparty

New York Gypsy All-Stars Ismail Lumanovski, clarinet Tamer Pinarbasi, kanun Panagiotis Andreou, bass Jason Lindner, keyboard Engin Kaan Gunaydin, drums & percussion ussion

7

S@ Y A D I FR

A Greek bassist ducked into a littlee bar in New York’s Alphabet City and heard uththe Eastern Mediterranean and Southcked ern Balkans pouring across the packed nd room. The clarinet was keening and singing, and he knew every tune.

From this blown-away moment of discovery, the New York Gypsy All-Stars sprang, uniting bi-musical virtuosi raised on the lush sounds of Macedonian, Greek, Turkish, and American roots and forged in the halls of thee world’s best music schools. With composerly ears and a madcap relish ntet of crack musicians tears for ill and crunky sounds, the quintet he region’s interlocking roots on the longlong through the tollgates separating the awaited album of original pieces, Romantech (Traditional Crossroads).

“We cover all the Balkans melodically,” explains classically trained, traditionally raised Macedonian clarinet wonder and band headman Ismail Lumanovski, “and we cover the world rhythmically 8:15 p.m. and harmonically.” Zooming with Roma-inspired zeal from swinging salsa to pulsing bhangra, the group never loses its sharp musical focus, astounding chops, and true spirit of their Gypsy namesakes.

The All Stars come by this impulse and skill naturally. It’s a rare thing, even in music-rich Southeastern Europe and in musician-packed New York, to find conservatory-caliber musicians who grew up playing weddings or rocking a cocek or a çiftetelli with local masters. Alongside degrees from places like Juilliard and Berklee, they grew up jamming with local roots musicians or defiantly attacking traditional zithers with their bare fingers, getting into Latin jazz or bringing the funk. In addition to Mr. Lumanovski, the NY Gypsy All-Stars showcases Tamer Pinarbasi from Turkey playing the kanun (dulcimer), bassist Panagiotis Andreou from Greece, Australia-born Turkish drummer Engin Kaan Gunaydin, and Jason Lindner from the United States on keyboard.

8

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Guest Artists — Fridays@7

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Where you turn after you turn oďŹ&#x20AC; the day.

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Kent State University, Kent State and KSU are registered trademarks and may not be used without permission. Kent State University, an equal opportunity, afďŹ rmative action employer, is committed to attaining excellence through the recruitment and retention of a diverse workforce. 13-1685

Student attendance continues to grow at Severance Hall As The Cleveland Orchestra’s 2013-14 season has gotten 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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Student Attendance

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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 our 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 February 20, 2014. 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.

GIFTS OF $5 MILLION AND MORE

The Cleveland Foundation Mr. and Mrs. Alexander M. Cutler

Maltz Family Foundation Anonymous

GIFTS OF $1 MILLION TO $5 MILLION

Art of Beauty Company, Inc. BakerHostetler Mr. William P. Blair III Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mrs. M. Roger Clapp Eaton FirstEnergy Foundation Forest City Enterprises, Inc. The George Gund Foundation Hyster-Yale Materials Handling NACCO Industries, Inc. Mr. and Mrs. Michael J. Horvitz The Walter and Jean Kalberer Foundation Mr. and Mrs. Joseph P. Keithley KeyBank Kulas Foundation Mr. and Mrs. Dennis W. LaBarre Mrs. Norma Lerner The Lubrizol Corporation

The Andrew W. Mellon Foundation Ms. Beth E. Mooney Sally S. and John C. Morley John P. Murphy Foundation David and Inez Myers Foundation The Eric & Jane Nord Family Fund The Payne Fund PNC Bank Julia and Larry Pollock Mrs. Alfred M. Rankin, Sr. Mr. and Mrs. Alfred M. Rankin, Jr. Mr. and Mrs. Albert B. Ratner James and Donna Reid Barbara S. Robinson The Sage Cleveland Foundation The Ralph and Luci Schey Foundation The Kelvin and Eleanor Smith Foundation The J. M. Smucker Company Joe and Marlene Toot Anonymous (4)

GIFTS OF $500,000 TO $1 MILLION

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

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Nordson Corporation Foundation The Honorable and Mrs. John Doyle Ong Charles and Ilana Horowitz Ratner Sally and Larry Sears Mr. and Mrs. Richard K. Smucker Thompson Hine LLP Anonymous (2) * deceased

Sound for the Centennial Campaign

The Cleveland Orchestra

GIFTS OF $250,000 TO $500,000

Randall and Virginia Barbato John P. Bergren* and Sarah S. Evans The William Bingham Foundation Mr. and Mrs.* Harvey Buchanan Cliffs Natural Resources Mr. and Mrs. Matthew V. Crawford William and Anna Jean Cushwa Nancy and Richard Dotson Sidney E. Frank Foundation Mary Jane Hartwell David and Nancy Hooker Mrs. Marguerite B. Humphrey James D. Ireland III Trevor and Jennie Jones Mr. Clarence E. Klaus, Jr.

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Severance Hall 2013-14

Mr. Thomas F. McKee The Nord Family Foundation Mr. Gary A. Oatey Helen Rankin Butler and Clara Rankin Williams Audra and George Rose RPM International Inc. Mrs. David Seidenfeld Naomi G. and Edwin Z. Singer Ms. Lorraine S. Szabo Virginia and Bruce Taylor Ms. Ginger Warner The Denise G. and Norman E. Wells, Jr. Family Foundation Mr. Max W. Wendel Paul and Suzanne Westlake Marilyn J. White Katie and Donald Woodcock William Wendling and Lynne Woodman Anonymous

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2013-14 SEASON BREATH AND IMAGINATION February 14 – March 9, 2014 Before the inspiring voices of Marian Anderson and Paul Robeson, there was an AfricanAmerican tenor named Roland Hayes. This musical tale of faith, hope, and family traces a remarkable journey from rural Georgia to Carnegie Hall and Buckingham Palace.

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THURSDAY AND SATURDAY

Locke’s Theatre composed 2012-13

Ryan Wigglesworth is serving as The Cleveland Orchestra’s Daniel R. Lewis Young Composer Fellow for the 2013-14 and 201415 seasons. Locke’s Theatre, written to be a part of celebrations marking the centenary of Benjamin Britten’s birth, received its world premiere this past November. This weekend’s performances are the work’s United States premiere.

The composer has written the following comments about the creation of this new work:

by

Ryan

WIGGLESWORTH born August 31, 1979 Yorkshire, England currently resides London

L O C K E ’ S T H E A T R E , an orchestral work in three short movements, takes as its departure point incidental music written for Shakespeare’s The Tempest by the 17th-century English composer Matthew Locke. Aspects of Locke’s idiosyncratic and daringly advanced harmonic and rhythmic language were to be adopted (some might say perfected) by his younger friend and protégé Henry Purcell. But it is the very rawness and directness of Locke’s theater music that I wished to acknowledge and emulate. In each of my work’s three movements — entitled respectively “The First Music,” “Rustic Music,” and “Curtain Music (with Storm)” — the baroque originals, though very often submerged, remain a constant, shadowy presence.

—Ryan Wigglesworth At a Glance

BENJAMIN

Bri en

1OO

AT

This is one of several works that The Cleveland Orchestra is performing this season in commemoraƟon of the 100th anniversary of BriƩen’s birth.

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Wigglesworth created Locke’s Theatre on a commission from Aldeburgh Music to celebrate the 100th anniversary of Benjamin Britten’s birth in 2013. The world premiere took place on November 22, 2013, at the Snape Maltings Concert Hall in Aldeburgh, England, with Oliver Knussen leading the BBC Symphony Orchestra.

This work runs just over 10 minutes in performance.

Wigglesworth scored it for 2 flutes (doubling piccolo) and piccolo, 2 oboes (second doubling english horn), 3 clarinets (third doubling

About the Music

bass clarinet), 3 bassoons (third doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, side drums, tam-tams, temple blocks, tambourine, whip, clave, cymbals, chinese cymbals, antique cymbals, 2 anvils, bells, triangle, glockenspiel, vibraphone, xylophone), 2 harps, celesta, and strings.

The Cleveland Orchestra is presenting the United States premiere of this work at this weekend’s concerts.

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The source of everything I do is my composing — although whatever I conduct teaches me a little more about composition.

Conducting allows me to know how orchestras react. One of the most crucial things for a composer to understand is what’s possible to achieve in a limited amount of rehearsal time.

—Ryan Wigglesworth

Ryan Wigglesworth, photo by Benjamin Ealovega

W

About the Composer R YA N W I G G L E S W O R T H

is a composer, pianist, and conductor. He was born in Yorkshire, England, in 1979. He attended Oxford University and the Guildhall School of Music and Drama. He was a Lecturer at Cambridge University and a Fellow of Corpus Christi College, 2007-09.

Wigglesworth’s orchestral work Sternenfall, written for the BBC Symphony Orchestra and premiered under the composer’s direction in February 2008, established him as among a new generation of leading composers. Two further works for the BBC Symphony Orchestra followed, The Genesis of Secrecy, commissioned by the BBC Proms and premiered in August 2009 under the direction of Andrew Davis, and Augenlieder, an orchestral song cycle for soprano Claire Booth premiered with Wigglesworth conducting in November 2009. The song cycle went on to receive the vocal prize of the 2010 British Composer Awards.

Ryan Wigglesworth is the current Daniel R. Lewis Young Composer Fellow with The Cleveland Orchestra; a newly commissioned work will be premiered during the Orchestra’s 2014-15 season. He is also serving as composer-in-residence with English National Opera, for whom he is writing an opera to be premiered in the 2016-17 season, and with whom he conducts a new production every season.

Wigglesworth has an ongoing relationship with the BBC Symphony Orchestra, as well as with the Hallé Orchestra, who gave the first performance of his revised Violin Concerto with soloist Barnabás Kelemen in February 2014 under the composer’s direction. As a conductor, he has led over forty premieres, introducing major works by Harrison Birtwistle, Elliott Carter, and Alexander Goehr, and featuring the music of Oliver Knussen, from whose advice and guidance he has benefitted for several years. In 2013, he conducted the revival of Birtwistle’s The Minotaur with London’s Royal Opera House, as well as a new production of Knussen’s Where the Wild Things Are and Higgelty, Piggelty, Pop! with the Britten Sinfonia for Aldeburgh and the Barbican.

The current season includes engagements with ENO (leading Così fan tutte), Bergen Philharmonic, Northern Sinfonia, and the Residentie Orchestra, including performances of his own Augenlieder and A First Book of Inventions (a work for piano and orchestra). Upcoming commissions include a major song cycle for Mark Padmore, to be premiered in July 2014, and orchestral works for Amsterdam’s Royal Concertgebouw Orchestra and The Cleveland Orchestra.

Wigglesworth’s recent recording of orchestral works by Harrison Birtwistle, on an album with Hallé for NMC, won awards from Gramophone and BBC Music magazines.

The Daniel R. Lewis Young Composer Fellowship program is made possible by the Young Composers Endowment Fund, created with a generous gift to The Cleveland Orchestra from Jan R. and Daniel R. Lewis.

Severance Hall 2013-14

About the Composer

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The Cleveland Orchestra

THURSDAY AND SATURDAY

Spring Symphony, Opus 44 composed 1948-49 BE E THOVE N

by

Benjamin

BRITTEN born November 22, 1913 Lowestoft Suffolk, England died December 4, 1976 Aldeburgh Suffolk, England

BENJAMIN

Bri en

1OO

AT

This is one of several works that The Cleveland Orchestra is performing this season in commemoraƟon of the 100th anniversary of BriƩen’s birth.

Severance Hall 2013-14

launched the idea of a choral symphony, and in the 20th century the concept was eagerly seized on as a way to combine the energies of symphonic form with the expressive range of poetry. In Benjamin Britten’s case, his models were, in British music, Vaughan Williams’s Sea Symphony and Gustav Holst’s Choral Symphony, and from the continent, Mahler’s Third Symphony and The Song of the Earth (just solo voices, in this last case). Britten’s Spring Symphony in turn became the model for Shostakovich’s Fourteenth Symphony.

Britten had a wider taste in poetry than any of these other composers, so it was wise of him to abandon his original idea of using medieval Latin verse for his celebration of spring and instead to draw on a variety of English poetry and weld his selection into a four-movement structure on the analogy of a traditional symphony, using a large orchestra in support.

He wrote it in response to a commission from the visionary Serge Koussevitsky, music director of the Boston Symphony Orchestra, who, having already commissioned the opera Peter Grimes from Britten, had been rewarded with an undisputed masterpiece. The Spring Symphony has never had the same renown as the opera, but it reveals Britten’s versatile gifts to the full and reflects humanity’s sense of wonder and rejuvenation every year when spring dispatches the frosts of winter.

The poems Britten chose are all from English poets of earlier centuries, with the exception of the selected stanzas he took from his friend W. H. Auden’s “Out on the lawn I lie in bed.” Although this poem’s mention of the “windless nights of June” is its slight connection to the theme of spring, it also veers briefly toward Britten’s pacifist and social concerns, otherwise hidden in the symphony’s rich panegyric to the pastoral delights of spring. For Britten, above all, felt that, notwithstanding the invocation to “all the shires” in the last section, he was conveying the spirit of that particular part of England, east Suffolk, that he had made his home.

As always with Britten, the plan of the work is thought out with remarkable imagination and care, for the four-movement symphonic outline shows through the widely different combinations of voices and instruments that such a range of poems demands. The diversity of color and mood is held in About the Music

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At a Glance Britten composed his Spring Symphony in the autumn and winter of 1948-49 and finished the scoring by late spring of 1949. He wrote it as a commission for Serge Koussevitzky, to whom he dedicated the score. The premiere took place in Amsterdam on July 14, 1949, as part of that year’s Holland Festival, with the Concertgebouw Orchestra, Dutch Radio Chorus, Boys Choir of Rotterdam’s St. Willibrorduskerk, and soloists (Jo Vincent, Kathleen Ferrier, and Peter Pears), conducted

by Eduard van Beinum.

This work runs about 45 minutes in performance.

Britten scored it for 3 flutes (doubling alto flute and piccolo), 2 oboes, english horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, cow horn, timpani, percussion (snare drum, tenor drum, bass drum, woodblock, tambourine, castanets, cymbals, gong, bells, xylophone, vibraphone), 2 harps, and strings, plus mixed adult chorus, boys’ (or children’s) choir, and three vocal soloists.

The Cleveland Orchestra first performed Britten’s Spring Symphony at concerts in March 1967 under the direction of Robert Shaw.

the embrace of a larger plan. Thus the beginning all too vividly portrays the icy grip of winter, while the close of the finale says farewell to spring by introducing the 12th-century English round “Soomer is acoomen in,” intoned by the boys’ choir and four horns against the complex counterpoint that the finale has built up from its opening phrases. That frigid opening section carefully sets out the orchestral groups in turn — strings, then woodwinds, then brass, then all at once — in anticipation of the selection of smaller groups assigned to accompany later songs.

The larger four parts match the traditional form of a symphony reasonably closely — the first part covering broad ground, the second part quiet and thoughtful, the third part scherzo-like and lively, and the finale longer and valedictory.

Already with the second song, “The merry cuckoo,” the choice of three trumpets as the only support for the tenor soloist is very striking. The first song in Part 2, “Welcome, Maids of Honour,” is a delicate portrait of flowers for the alto soloist supported by woodwinds and lower strings. This is followed by “Waters Above!” for the upper strings alone on a wispy, threadbare line against the tenor’s delight in an April shower.

Each of the three constituent parts of the third part has an element of teasing jollity, and the third song in the set — “Sound the Flute!” — sounds the entire orchestra in a brilliant eruption of primavera vitality.

The finale introduces a cow horn in an already large percussion section, and after a quiet introduction with rotating figures in the woodwinds, the music breaks into a suitably happy Allegro to celebrate the moment when “the fragrant flowers do spring and sprout in seemly sort.” Britten saves his broadest effects for the end, when the rotating figures return in a complex web of counterpoint and the affirmative arrival of summer.

Koussevitsky allowed the first performance to take place in Europe, since the Holland Festival had regularly featured Britten’s music, then it was heard soon after at Tanglewood.

The Dutch boys’ choir from a Rotterdam church did remarkably well with the English, spurred on by Britten at a rehearsal exhorting them to “Bite the consonants as though they were an apple!”

—Hugh Macdonald © 2014 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

The Cleveland Orchestra

Benjamin Britten, circa 1945.

It is cruel, you know, that music should be so beautiful. It has the beauty of loneliness, of strength and freedom. The beauty of disappointment and never-satisfied love.

The cruel beauty of nature, and the everlasting beauty of monotony. â&#x20AC;&#x201D;Benjamin Britten

S PRI N G SY M PH O N Y music by Benjamin Britten

Part I.

1. Introduction: Shine Out [chorus] text often attributed to anonymous, now thought to be by George Chapman (circa 1560-1634) from “The Masque of the Twelve Months”

Shine out, fair Sun, with all your heat, Show all your thousand-coloured light!

Black Winter freezes to his seat; The grey wolf howls, he does so bite; Crookt Age on three knees creeps the street; The boneless fish close quaking lies And eats for cold his aching feet; The stars in icicles arise: Shine out, fair sun, and make this winter night Our beauty’s Spring, our Prince of Light!

2. The Merry Cuckoo [tenor solo] text by Edmund Spenser (1552-1599)

The merry cuckoo, messenger of Spring, His trumpet shrill hath thrice already sounded: That warns all lovers wait upon their king, Who now is coming forth with garlands crowned.

With noise thereof the quire of birds resounded Their anthems sweet devised of love’s praise, That all the woods their echoes back rebounded, As if they knew the meaning of their lays.

But ’mongst them all, which did Love’s honour raise, No word was heard of her that most it ought, But she his precept proudly disobeys, And doth this idle message set at nought.

Therefore O love, unless she turn to thee Ere Cuckoo end, let her a rebel be!

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Britten: Spring Symphony Texts

The Cleveland Orchestra

3. Spring, the Sweet Spring [soloists and chorus] text by Thomas Nashe (1567-1601), from “Summer’s Last Will & Testament,” published 1600

Spring, the sweet Spring, is the year’s pleasant king; Then blooms each thing, then maids dance in a ring, Cold doth not sting, the pretty birds do sing, Cuckoo, jug-jug, pu-we, to-witta-woo!

The palm and may make country houses gay, Lambs frisk and play, the shepherds pipe all day, And we hear aye birds tune this merry lay, Cuckoo, jug-jug, pu-we, to-witta-woo!

The fields breathe sweet, the daisies kiss our feet, Young lovers meet, old wives a-sunning sit, In every street these tunes our ears do greet, Cuckoo, jug-jug, pu-we, to-witta-woo!

Spring, the sweet Spring!

P L E A S E T U R N PA G E Q U I E T LY

Conservatory of Music Concert held in Gamble Auditorium Kulas Musical Arts Bldg.

96 Front St., Berea For more information: www.bw.edu/ conservatory 866-BW-MUSIC music@bw.edu Baldwin Wallace University does not discriminate on the basis of race, creed, age, disability, national origin, gender or sexual orientation in the administration of any policies or programs.

Severance Hall 2013-14

Mr. Dwight Oltman

Dr. Clint Needham

Celebrating 44 Years at Baldwin Wallace

Composer-in-Residence, 2014 CPAC Creative Workforce Fellow (Cleveland)

BW SYMPHONIC WIND ENSEMBLE, Fri., Mar. 28, 8 pm Premiere of Concerto for Wind Symphony by Dr. Needham Additional works by Dello Joio, Hultgren, Mahler and Mashima Britten: Spring Symphony Texts

67

4. The Driving Boy [soprano solo and children’s choir] text by George Peele (circa 1556-1596), from “The Old Wives’ Tale,” published 1595

Whenas the rye reach to the chin, And chop-cherry, chop-cherry ripe within, Strawberries swimming in the cream, And schoolboys playing in the stream; Then, O, then, O then, O, my true love said, Till that time come again She could not live a maid. text by John Clare (1793-1864)

The driving boy beside his team of Maymonth’s beauty now will dream And cock his hat and turn his eye On flower and tree and deep’ning sky And oft burst loud in fits of song And whistle as he reels along Crack his whip in starts of joy A happy dirty driving boy.

Kulas Series of Keyboard Conversations® with Jeffrey Siegel 26th Season 2013-2014 Presented by Cleveland State University’s Center for Arts and Innovation

Masterly Enthralling Charming Scintillating “An afternoon of entertaining talk and exhilarating music.”

– The Washington Post

Sunday, September 29, 2013 The Miraculous Mozart

Sunday, December 15, 2013 The Glory of Beethoven

Sunday, January 26, 2014 The Romantic Music of Chopin

Sunday, May 4, 2014 Mistresses and Masterpieces All concerts begin at 3:00 pm in Cleveland State University’s Waetjen Auditorium, Euclid Ave. and E. 21st St. For more information call 216.687.5018 or visit www.csuohio.edu/concertseries/kc

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Britten: Spring Symphony Texts

The Cleveland Orchestra

5. The Morning Star [chorus] text by John Milton (1608-1674), “Song on May Morning” from 1632-33

Now the bright morning star, day’s harbinger, Comes dancing from the East, and leads with her The flowry May, who from her green lap throws The yellow cowslip, and the pale primrose.

Hail bounteous May that dost inspire Mirth and youth, and warm desire, Woods and groves, are of thy dressing, Hill and dale, doth boast thy blessing.

Thus we salute thee with our early Song, And welcome thee, and wish thee long.

Part II.

6. Welcome, Maids of Honour [mezzo-soprano solo] text by Robert Herrick (1591-1674), “To Violets”

Welcome, maids-of-honour! You do bring In the spring, and wait upon her.

She has virgins many, fresh and fair; Yet you are . . . more sweet than any.

You’re the maiden posies, and so grac’d To be plac’d . . . ’fore damask roses.

Yet, though thus respected, by-and-by Ye do lie, poor girls, neglected.

7. Waters Above [tenor solo] text by Henry Vaughan (1622-1695)

Waters above! Eternal springs!

The dew that silvers the Dove’s wings!

O welcome, welcome to the sad!

Give dry dust drink, drink that makes glad!

Many fair ev’nings many flowers Sweetened with rich and gentle showers, Have I enjoyed, and down have run Many a fine and shining Sun; But never, never, till this happy hour, Was blest with such an evening shower!

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Britten: Spring Symphony Texts

P L E A S E T U R N PA G E Q U I E T LY

69

8. Out on the lawn I lie in bed [mezzo-soprano and chorus] text by W. H. Auden (1907-1973), from “A Summer Night” — copyright © Random House

Out on the lawn I lie in bed, Vega conspicuous overhead In the windless nights of June, As congregated leaves complete Their day’s activity; my feet Point to the rising moon.

Now north and south and east and west Those I love lie down to rest; The moon looks on them all, The healers and the brilliant talkers, The eccentrics and the silent walkers, The dumpy and the tall.

To gravity attentive, she Can notice nothing here, though we Whom hunger does not move, From gardens where we feel secure Look up and with a sigh endure The tyrannies of love: And, gentle, do not care to know, Where Poland draws her eastern bow, What violence is done, Nor ask what doubtful act allows Our freedom in this English house, Our picnics in the sun.

Part III.

9. When will my May come? [tenor solo] text by Richard Barnfield (1574-1627)

When will my May come, that I may embrace thee?

When will the hower be of my soule’s joying?

If thou wilt come and dwell with me at home, My sheepcote shall be strowed with new greene rushes We’ll haunt the trembling prickets as they rome About the fields, along the hauthorne bushes; I have a pie-bald curre to hunt the hare, So we will live with daintie forest fare.

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Britten: Spring Symphony Texts

The Cleveland Orchestra

And when it pleaseth thee to walke abroad — Abroad into the fields to take fresh aire, The meades with Flora’s treasure should be strowed — The mantled meaddowes, and the fields so fair.

And by a silver well with golden sands I’ll sit me downe, and wash thine iv’ry hands.

But it thou wilt not pittie my complaint, My teares, nor vowes, nor oathes, made to thy beautie: What shall I do but languish, die, or faint, Since thou dost scorne my tears, and my soules duty: And tears contemned, vowes and oathes must faile, And where teares cannot, nothing can prevaile.

When will my May come, that I may embrace thee?

10. Fair and Fair [soprano and tenor soloists] text by George Peele (circa 1556-1596)

Fair and fair, and twice so fair, As fair as any may be; The fairest shepherd on our green, A love for any lady.

Fair and fair, and twice so fair, As fair as any may be; Thy love is fair for thee alone, And for no other lady.

My love is fair, my love is gay, As fresh as bin the flowers in May, And of my love my roundelay, My merry, merry, merry roundelay.

Concludes with Cupid’s curse: “They that do change old love for new, pray gods they change for worse!”

My love can pipe, my love can sing, My love can many a pretty thing, And of his lovely praises ring My merry, merry, merry roundelays Amen to Cupid’s curse: “They that do change old love for new, pray gods they change for worse!”

P L E A S E T U R N PA G E Q U I E T LY

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Britten: Spring Symphony Texts

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11. Sound the Flute! [chorus and children’s choir] text by William Blake (1757-1827), “Spring” from “Songs of Innocence and Experience” — published 1789

Sound the Flute! Now it’s mute.

Birds delight Day and Night; Nightingale In the dale, Lark in Sky, Merrily, Merrily, Merrily, to welcome in the Year.

Little Boy, full of Joy; Little Girl, Sweet and small; Cock does crow, So do you; Merry voice, Infant noise; Merrily, Merrily, to welcome in the Year.

Little Lamb, here I am; Come and lick My white neck; Let me pull Your soft Wool; Let me kiss Your soft face; Merrily, Merrily, to welcome in the Year.

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Britten: Spring Symphony Texts

The Cleveland Orchestra

Part IV.

12. Finale: London, to thee I do present [all] text by Francis Beaumont (1584-1616) and John Fletcher (1579-1625) from “The Knight of the Burning Pestle,” Act IV, Scene 5, Ralph/Rafe

London, to thee I do present the merry month of May; Let each true subject be content to hear me what I say: With gilded staff and cross’d scarf, the May-lord here I stand.

Rejoice, oh, English hearts, rejoice! rejoice, oh, lovers dear!

Rejoice, oh, city, town, and country! rejoice, eke every shire!

For now the fragrant flowers do spring and sprout in seemly sort, The little birds do sit and sing, the lambs do make fine sport; And now the birchen-tree doth bud, that makes the schoolboy cry The morris rings, while hobby-horse doth foot it feateously; The lords and ladies now abroad, for their disport and play, Do kiss sometimes upon the grass, and sometimes in the hay; Now butter with a leaf of sage is good to purge the blood; Fly Venus and phlebotomy, for they are neither good; Now little fish on tender stone begin to cast their bellies, And sluggish snails, that erst were mewed, do creep out of their shellies; The rumbling rivers now do warm, for little boys to paddle; The sturdy steed now goes to grass, and up they hang his saddle; The heavy hart, the bellowing buck, the rascal, and the pricket, Are now among the yeoman’s peas, and leave the fearful thicket: And be like them, oh, you, I say, of this same noble town, And lift aloft your velvet heads, and slipping off your gown, With bells on legs, and napkins clean unto your shoulders tied, With scarfs and garters as you please, and “Hey for our town!” cried.

March out, and show your willing minds, by twenty and by twenty, To Hogsdon or to Newington, where ale and cakes are plenty; And let it ne’er be said for shame, that we the youths of London Lay thrumming of our caps at home, and left our custom undone.

Up, then, I say, both young and old, both man and maid a-maying, With drums, and guns that bounce aloud, and merry tabor playing!

(Anonymous text, 13th century)

Soomer is i-coomen in, loode sing cuckoo. Groweth sayd and bloweth mayd and springth the woodë new. Sing cuckoo.

Awë blayteth after lamb, lowth after calvë coo.

Bullock stairteth, bookë vairteth, mirry sing cuckoo.

Cuckoo, cuckoo, well singës thoo cuckoo, nay sweek thoo nayver noo.

Which to prolong, God save our king, and send his country peace And root out treason from the land! and so, my friends, I cease.

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Britten: Spring Symphony Texts

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THURSDAY AND SATURDAY

Kate Royal British soprano Kate Royal is the winner of the 2004 Kathleen Ferrier Award, 2004 John Christie Award, and 2007 Royal Philharmonic Society Young Artist Award. She is making her Cleveland Orchestra debut with this weekend’s concerts. Ms. Royal’s father is a television singer-songwriter, and her mother is a dancer and model. Kate Royal grew up in London and Dorset, where she made her show business debut singing Cole Porter standards. As a teen, her gift for opera was recognized by a music teacher, and she subsequently enrolled at the Guildhall School of Music and Drama and the National Opera Studio. Ms. Royal’s professional career began in 2004, when she was asked to sing the role of Pamina in Mozart’s The Magic Flute at the Glyndebourne Festival with four hours’ notice.

Since that time, Kate Royal has performed at the Aix-en-Provence Festival, English National Opera, Glyndebourne on Tour, Lucerne Festival, Metropolitan Opera, Paris Opera, London’s Royal Opera House, and the Teatro Real Madrid.

Her repertoire ranges across operas by Adés and Britten to Bizet, Handel, Monteverdi, and Mozart. In concert, Kate Royal’s engagements have included performances with orchestras across Europe, including the Bavarian Radio Symphony Orchestra, Berlin Philharmonic, Rotterdam Philharmonic, and the Scottish Chamber Orchestra. She devotes half her year to recitals and has an exclusive recording contract with EMI Classics, for which she has made three operatic albums.

Jamie Barton American mezzo-soprano Jamie Barton is the winner of both the Main Prize and Song Prize at the 2013 BBC Cardiff Singer of the World Competition and a winner of the 2007 Metropolitan Opera National Council Auditions. She is making her Cleveland Orchestra debut with this weekend’s concerts.

Born in Georgia, Jamie Barton graduated from Shorter College and Indiana University. She was a member of the Houston Grand Opera Studio and Opera Theatre of Saint Louis, and received extensive training as a recitalist at the Tanglewood Music Center, where she worked with Phyllis Curtin, Kayo Iwama, James Levine, Ira Siff, Lucy Shelton, Alan Smith, Dawn Upshaw, and Olly Wilson.

Ms. Barton’s recent and upcoming engagements include operas ranging from

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Guest Artists

The Cleveland Orchestra

THURSDAY AND SATURDAY

Bellini’s Norma to Wagner’s Ring cycle, with companies ranging from the Houston Grand Opera and Lyric Opera of Chicago to New York’s Metropolitan Opera and Opera Memphis, as well as engagements with the Aspen, Lanaudière, Montreuilsur-Mer, and Saito Kinen festivals. She also has performed with the Atlanta Opera, Bayerische Staatsoper, Canadian Opera Company, Santa Fe Opera, and the Wolf Trap Opera Company.

In concert, Jamie Barton has appeared with orchestras including Ars Lyrica, Colorado Symphony, Melbourne Symphony, Milwaukee Symphony Orchestra, Omaha Symphony, Orchestra of St. Luke’s, and the San Diego Symphony. Her recital schedule has taken her to Carnegie Hall, Washington D.C.’s Kennedy Center, and Atlanta’s Spivy Hall. She recently recorded Scarlatti’s La Dirindina with Ars Lyrica in Houston. For more information, visit jamiebartonmezzo.com.

John Tessier Canadian tenor John Tessier has garnered praise for his performances around the world in opera, concert, and recital. He made his Cleveland Orchestra debut in December 2005, and sang here most recently in May 2011.

Mr. Tessier’s current schedule includes appearances with Boston Lyric Opera, Calgary Opera, English National Opera, L’Opéra de Montréal, Netherlands Opera, Royal Opera House Covent Garden, Teatro Colón, Théâtre des Champs-Élysées, and the Vienna State Opera — in repertoire by Beethoven, Bellini, Mozart, Rossini, Verdi, and Wagner. He has performed at the Arizona Opera, Edmonton Opera, Frankfurt Opera, Glimmerglass Opera, Grand Théâtre de Genève, Minnesota Opera, New York City Opera, Seattle Opera, Teatro Colón, Vancouver Opera, Verbier Festival, and the Washington National Opera in works by Ambroise Thomas, Donizetti, Mozart, Rossini, and Richard Strauss.

In concert, John Tessier has sung with orchestras across North America and beyond, including those of Atlanta, Baltimore, Los Angeles, Minnesota, Nashville, New York, Philadelphia, San Francisco, and Toronto, as well as with Le Concert d’Astrée, Orchestra of Saint Luke’s, Russian National Orchestra, and the Sydney Symphony Orchestra.

Mr. Tessier’s discography on BIS, Dorian, Naxos, and Telarc features works by John Corigliano, Mozart, and Stephen Paulus. He recently joined the faculty of the University of Alberta as an assistant professor of voice.

For more information, visit www.johnptessier.com.

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Guest Artists

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THURSDAY AND SATURDAY

Robert Porco Director of Choruses Frances P. and Chester C. Bolton Endowed Chair The Cleveland Orchestra

Robert Porco became director of choruses for The Cleveland Orchestra in 1998. In addition to overseeing choral activities and preparing the Cleveland Orchestra Chorus and the Blossom Festival Chorus for a variety of concert programs each season, Mr. Porco conducts the Orchestra’s annual series of Christmas concerts at Severance Hall and regularly conducts subscription concert programs both at Severance Hall and Blossom. He has also served as director of choruses for the Cincinnati May Festival since 1989.

In 2011, Mr. Porco was honored by Chorus America with its annual Michael Korn Founders Award for a lifetime of significant contributions to the professional choral art. The Ohio native served as chairman of the choral department at Indiana University 1980-98, and in recent years has taught doctoral-level conducting at the school. As teacher and mentor, Mr. Porco has guided and influenced the development of hundreds of musicians, many of whom are now active as professional conductors, singers, or teachers. As a sought-after guest instructor and coach, he has taught at Harvard University, Westminster Choir College, and the University of Miami Frost School of Music.

Lisa Wong

Assistant Director of Choruses

Lisa Wong became assistant director of choruses for The Cleveland Orchestra with the 2010-11 season. In this capacity, she assists in preparing the Cleveland Orchestra Chorus and Blossom Festival Chorus for performances each year. With the 2012-13 season, she took on the added position of director of the Cleveland Orchestra Youth Chorus. In addition to her duties at Severance Hall, Ms. Wong is a faculty member at the College of Wooster, where she conducts the Wooster Chorus and the Wooster Singers and teaches courses in conducting and music education. She previously taught in public and private schools in New York, Pennsylvania, and Indiana, where she worked with the choral department of the Indiana University Jacobs School of Music (including directing the Chamber Choir of the Indiana University Children’s Choir). Active as a clinician, guest conductor, and adjudicator, Ms. Wong holds a bachelor’s degree in music education from West Chester University and master’s and doctoral degrees in choral conducting from Indiana University.

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Cleveland Orchestra Chorus

The Cleveland Orchestra

THURSDAY AND SATURDAY

Cleveland Orchestra Chorus Robert Porco, Director

Lisa Wong, Assistant Director Joela Jones, Principal Accompanist Now in its seventh decade, the Cleveland Orchestra Chorus is one of the few professionallytrained, all-volunteer choruses sponsored by a major American orchestra. Founded at the request of George Szell in 1952 and following in the footsteps of a number of earlier community choruses, the Cleveland Orchestra Chorus has sung in hundreds of performances at home, at Carnegie Hall, and on tour, as well as in more than a dozen recordings. Its members hail from nearly fifty Cleveland-area communities and together contribute thousands of volunteer hours to the Orchestraâ&#x20AC;&#x2122;s music-making each year.

SOPRANOS

ALTOS

TENORS

BASSES

Amy F. Babinski Cathleen R. Bohn Emily Bzdafka Merissa Coleman Susan Cucuzza Carrie Culver Emily Engle Lisa Rubin Falkenberg Samantha Garner Rosie Gellott Danielle Greenway Rebecca S. Hall Lisa Hrusovsky Shannon R. Jakubczak Sarah Jones Hope Klassen-Kay Kate Macy Lisa Manning Julie Myers-Pruchenski Jennifer Heinert Oâ&#x20AC;&#x2122;Leary Sarah Osburn Melissa Patton Lenore M. Pershing Joy Powell Roberta Privette Cassandra E. Rondinella Jennifer R. Sauer Monica Schie Laura Schupbach Sharon Shaffer Samantha J. Smith Sidney Storry Jane Timmons-Mitchell Sarah Tobias Melissa Vandergriff Sharilee Walker Carole Weinhardt Kiko Weinroth Marilyn Wilson Mary Wilson Constance Wolfe

Alexandria L. Albainy Emily Austin Beth Bailey Mariann Bjelica Katherine Brown Julie Cajigas Lydia Chamberlin Barbara J. Clugh Janet Crews Carolyn Dessin Marilyn Eppich Amanda Evans Nancy Gage Diana Weber Gardner Ann Marie Hardulak Betty Huber Karen Hunt Sarah N. Hutchins Jenna Kirk Lucia Leszczuk Ginger Mateer Danielle S. McDonald Karla McMullen Mary-Francis Miller Peggy Norman Marta Perez-Stable Ginny Roedig Becky A. Seredick Peggy Shumate Shari Singer Shelley B. Sobey Ina Stanek-Michaelis Martha Cochran Truby Sarah B. Turell Laure Wasserbauer Meredith S. Whitney Flo Worth Debra Yasinow

Nathan Bachofsky Eric H. Berko Gerry C. Burdick Robert Cannon Brent Chamberlin Thomas Glynn William Hamilton Daniel M. Katz Peter Kvidera Steve Lawson Rohan Mandelia James Newby Tremaine Oatman Robert Poorman Matthew Rizer John Sabol Lee Scantlebury Jarod Shamp James Storry Charles Tobias William Venable Steven Weems

Christopher Aldrich Craig Astler Jack Blazey Nikola Budimir Charles Carr Peter B. Clausen Dwyer Conklyn Chris Dewald Steve diLauro Jeffrey Duber Alister Englehart Matthew Englehart Thomas E. Evans Richard Falkenberg Robert Higgins Kurtis B. Hoffman Paul Hubbard Thomas Hull Joshua Jones Joel Kincannon Sam Kitzler Jason Levy Tim Manning Scott Markov Roger Mennell Robert Mitchell Tom Moormann Keith Norman Glenn Obergefell John Riehl Steven Ross Robert Seaman Michael Seredick Steven Skaggs Matt Skitzki Jayme Stayer S. David Worhatch Paul Zeit

Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee

Jill Harbaugh, Manager of Choruses

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Cleveland Orchestra Chorus

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Committed

to classical around the clock.

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

THURSDAY AND SATURDAY

Cleveland Orchestra Children’s Chorus Ann Usher, Director

Suzanne Walters, Assistant Director Dianna White-Gould, Accompanist

Created in 1967, the Cleveland Orchestra Children’s Chorus is an ensemble of children in grades 6-9 who perform annually with The Cleveland Orchestra. A Preparatory Chorus, comprised of children in grades 5-8, performs twice each year with the Children’s Chorus. The members of the Children’s Chorus and of the Preparatory Chorus rehearse weekly during the school year and are selected by audition with the director (held annually in May and June). A number of Children’s Chorus graduates have continued their association as members of the Youth Chorus or Youth Orchestra or have become adult members of the Cleveland Orchestra Chorus.

Samantha Apanasewicz Sydney Ball Emily Beal Ryan Benda Anna Buescher Ryan Burdick Giovanni Castiglione Hannah Cogar Maksim Damljanovic Alex Dodd Joseph Feng Mariana Gomez Athena Grasso Josephine Gwinnell* Adam Holthaus Elizabeth Javorsky

Lexy Jensen Amelia Johnson Suzy Lefelhocz* Jennifer Lutz Anna Victoria MacGregor David Malkin Annamarie Martin Maddy Massey Genesis L. Merritt Eunice Min Nathan Niedzwiecki Emily Osburn* Sarah Parker* Molly Pavilonis* Claire Peyrebrune Rosalie Phillips*

Macie Poskarbiewicz* Justin Prindle Megan Qiang David Ricci Lauren Rogers Lili Roosa Jennifer Rowan Drew Russell Julia Sabik Amanda Sachs Joseph Schueller Abby Schwarz Kailee Shaver Taylor Sulzbach* Kayla Thompson Lauren Venesile

Madison Violand Marissa Vitalone* Eric Walters Emma Weihe* Julie White* Hannah Woodside Alex Wuertz Ben Wykoff Olivia Zackary Kathryn Zorman* * a select number of singers from the Cleveland Orchestra Youth Chorus are performing with the Children’s Chorus for these concerts.

Michelle Holy, Coordinator, Youth and Children’s Choruses

Ann Usher

Director, Cleveland Orchestra Children’s Choruses

Ann Usher has served as director of the Cleveland Orchestra Children’s Choruses since 2000. She prepares the Children’s Chorus for their appearances as part of the annual Christmas concerts, community concerts, and in the Orchestra’s performances of operas and symphonic works that call for children’s voices. Ms. Usher is a professor at the University of Akron and director of the School of Music. She teaches graduate and undergraduate choral music education courses and previously served as interim director of the School of Dance, Theater, and Arts Administration. She previously taught choral music in the public schools, specializing in the middle school level. Active as a clinician and adjudicator, Ann Usher holds a bachelor of music education degree from the University of Northern Iowa, and a master of music degree in choral conducting and a doctorate in music education from Kent State University.

Severance Hall 2013-14

Cleveland Orchestra Children’s Chorus

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The Cleveland Orchestra

F R I DAY

Don Juan, Tone Poem after Lenau, Opus 20 composed 1888 I N O L D A G E , Strauss appeared to be the most undemonstra-

by

Richard

STRAUSS born June 11, 1864 Munich died September 8, 1949 Garmisch-Partenkirchen, Bavaria

Severance Hall 2013-14

tive of men, especially on the podium, where the movement of a single finger would serve where other conductors would semaphore with both arms and dance with both feet. Did he have a heart, one might wonder? Did he convey all that passion and drama and violence in his operas while sustaining the most perfect coolness in himself?

He liked his comfortable bourgeois life and was not afraid to depict it in such pieces as the Sinfonia domestica, where the trivialities of family life are portrayed in music of intricate sophistication. Not trivialities, he would say — the relationships of men, women, and children in the home are central to the lives of all of us and deserve elevation in art.

But before he married (the marriage lasted 55 years), Strauss was a young blood whose pursuit of women was also worth portraying in music. There is no reason to think that his conquests were in any way legendary, but the sensational tone-poem Don Juan, his first unmistakable masterpiece, took the best known of all Lotharios as the subject of a morality tale with certain autobiographical overtones. The music appears to narrate four or five different amours, while in real life Strauss himself was more focused on a single lady, Dora Wihan, née Weis, a young divorcée. Their affair lasted about four years, including the period in which this music was written.

The central character, Don Juan, is the Spanish rake familiar from innumerable plays and operas, by Molière and Mozart among many others. But Strauss’s source was an unfinished play by a 19th-century Austrian poet, Nikolaus Lenau, in which there is no Commendatore, no statue, and no dinner. Don Juan lives always for the moment: “Passion is always and only the new passion; it cannot be carried from this one to that; it must die here and spring anew there; it knows nothing of repentance.”

Disillusionment eventually takes over, and the Don awaits the enemy (a certain Don Pedro) who will spare him the prospect of a futile life ahead. The final section of the music represents the duel in which Don Juan, though victorious, throws his rapier away and allows Pedro to pierce him through the heart.

To begin, there is no suggestion of regret or conscience, merely the exuberance of virility and youth, expressed with About the Music

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At a Glance Strauss wrote most of Don Juan during 1888 (he may have begun sketching parts of it as early as the fall of 1887), and completed the orchestration in 1889. He conducted the work’s premiere on November 11,1889, at the Weimar Hopfkapelle.

Published in 1890, Don Juan is dedicated to Strauss’s friend Ludwig Thuille.

Don Juan runs about 15 minutes in performance.

Strauss scored it for 2 flutes, piccolo (doubling third flute), 2 oboes, english horn, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (triangle, cymbals, bells), harp, and strings.

The Cleveland Orchestra has recorded Don Juan three times: in 1957 with George Szell, in 1979 with Lorin Maazel, and in 1989 with Vladimir Ashkenazy.

tremendous brilliance by a virtuoso orchestra. There are two full-blown love scenes, a carnival, and moments of reflection, even remorse. At its height, the music can represent Don Juan as more than a master seducer — he is a valiant hero, a fact made abundantly clear with a theme grandly pronounced by four horns in unison.

Don Juan was an immediate success and it brought Strauss’s name to the forefront everywhere. It was, in fact, his first megahit. In the next twenty years, he continued to produce a series of grand orchestral works, followed by some brazenly modern operas, and he was universally regarded for many years as the greatest of living composers.

—Hugh Macdonald © 2014

Don Juan as Mozart’s Don Giovanni,

by Max Slevogt, 1912, oil on canvas.

(Alte Nationalgalerie, Berlin)

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About the Music

The Cleveland Orchestra

F R I DAY

Waltz: From the Mountains composed 1864

Czárdás, from the operetta Ritter Pázmán composed 1892

by

Johann Jr.

STRAUSS born October 25, 1825

Vienna died June 3, 1899 Vienna

Severance Hall 2013-14

1 9 T H - C E N T U R Y V I E N N A was dominated by two forms of popular music — the operetta and the waltz. Both were much discussed in the city’s famous coffee shops, and their best tunes were written up for performance everywhere — at home, in the streets and parklands, as well as in theaters, ballrooms, and casinos. A great “Golden Age” of operetta blossomed in the city beginning in the 1860s. Johann Strauss Jr., then at the height of his popularity, turned his attention to the theater as Vienna’s economy boomed throughout the next decade. He and his chief rival, Franz von Suppé, created new works for each theater season, often including topical commentary on contemporary events (carefully veiled from the government’s censors behind humor and witty transposition of character or country).

The waltz swept across Europe in the closing decades of the 18th century. The word itself came from the German verb walzen, which was originally not much more specific than the English word “dance.” Eventually, faster waltzing overtook the slower minuet in popularity, and the verb became a noun, first in English and then in German. Although he wrote dance music, Mozart never called any of his pieces a waltz. Beethoven wrote a few, but still called them dances (tanzen). In 1819, Carl Maria von Weber wrote a piano piece titled Invitation to the Dance. Its popularity, first as a piano piece and then as orchestrated by Berlioz, set the pattern for what quickly became the typical Viennese waltz — not one dance, but a string of dance tunes written together as a group, often alternating slower and faster sections, with the various tunes and sections repeated and developed . . . almost like a short symphony.

The waltz carried forward on successive waves of renewed popularity throughout the 19th century, propelled by the artistry and showmanship of one particular family of composers, beginning with Johann Strauss Sr. (1804-1849). His touring orchestra, along with that of his even more famous son, Johann Jr., spread the waltz craze throughout Europe and even to American shores.

Among the factors that helped keep the waltz fresh and

About the Music

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The typical Viennese waltz is not one dance, but a string of dance tunes written together as a group, often alternating slower and faster sections, with the various tunes and sections repeated and developed . . . almost like a short symphony.

new for more than a century was the adaptability of subject matter portrayed. After composing on such obvious subjects as the changing seasons, favorite places (rivers, woods, and nations), women, and galloping horsemen, the Strausses learned to watch for new fads and inventions. Pieces were written about trains and locomotives, about bicycles (or velocipedes, as they were known when Europe enthusiastically embraced them in the 1870s), and other modern contrivances and discoveries. In part, music as a language very much allowed for subtle social commentary that was difficult for government censors to prove or prevent.

We begin with Aus den Bergen [From the Mountains], a waltz that Johann Strauss Jr. composed in 1864 and premiered as part of a lucrative season of concerts he presented in Pavlovsk, Russia, with his orchestra. He dedicated the piece to Eduard Hanslick, a notedly thorny music critic in Vienna, who had earlier taken Johann Jr. to task for writing “waltz requiems” with overly large orchestras. Often enough, however, it seems that Hanslick had good things to say about Strauss’s music — or Strauss was intent on making a peace offering. The work was given its Viennese premiere in December 1864 as part of celebrations surrounding Johann Jr.’s 20th anniversary of first conducting concerts at the city’s Dommayer Casino.

Next we have a musical excerpt, in the form of a Hungarian Czárdas from Ritter Pázmán [“Knight Pazman”], Johann Jr.’s only opera (without any spoken dialogue). The entire work was premiered on New Year’s Day 1892, and, although Strauss’s music was generally well received, the opera itself was panned for the sluggishness of its storyline and its overly ornate text.

Strauss, ever the musician and businessman, soon enough excerpted some of the opera’s best tunes and rhythms into independent works for his concerts, including this rhythmically delightful dance.

—Eric Sellen © 2014 Eric Sellen serves as program book editor for The Cleveland Orchestra.

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About the Music

The Cleveland Orchestra

Act one begins

Beck Center for the Arts

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The Cleveland Orchestra

Education and Music Serving the Community The Cleveland Orchestra draws together traditional and new programs in music education and community involvement to deepen connections with audiences throughout Northeast Ohio

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

T H E C L E V E L A N D O R C H E S T R A has a long and proud history of sharing the value and joy of music with citizens throughout Northeast Ohio. Education and community programs date to the Orchestra’s founding in 1918 and have remained a central focus of the ensemble’s activities for over ninety years. Today, with the support of many generous individual, foundation, corporate, and governmental funding partners, the Orchestra’s educational and community programs reach more than 60,000 young people and adults annually, helping to foster a love of music and a lifetime of involvement with the musical arts. On these pages, we share photographs from a sampling of these many programs. For additional information about these and other programs, visit us at clevelandorchestra.com or contact the Education & Community Programs Office by calling 216-231-7355.

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

Severance Hall 2013-14

Education & Community

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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 Bank $1 MILLION TO $5 MILLION

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 The Severance Society recognizes generous contributors of $1 million or more in cumulative giving to The Cleveland Orchestra.

Listing as of December 2013.

gifts of $2,500 or more during the past year, as of December 15, 2013

PARTNERS IN EXCELLENCE $300,000 AND MORE

Hyster-Yale Materials Handling NACCO Industries, Inc. KeyBank The Lubrizol Corporation Raiffeisenlandesbank Oberösterreich (Europe) The J. M. Smucker Company PARTNERS IN EXCELLENCE $200,000 TO $299,999

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

The Cliffs Foundation Google, Inc. Medical Mutual of Ohio Nordson Corporation and Foundation Parker Hannifin Corporation $50,000 TO $99,999

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.

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Corporate Annual Support

American Greetings Corporation BDI Bank of America Brothers Printing Co., Inc. Brouse McDowell Eileen M. Burkhart & Co LLC Buyers Products Company Calfee, Halter & Griswold LLP Cleveland Clinic The Cleveland Wire Cloth & Mfg. Co. Cohen & Company, CPAs Community Behavioral Health Center Conn-Selmer, Inc. Consolidated Solutions 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 Macy’s Materion Corporation Miba AG (Europe) MTD Products, Inc. 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 Tucker Ellis Ulmer & Berne LLP University Hospitals Ver Ploeg & Lumpkin, P.A. (Miami) WCLV Foundation Westlake Reed Leskosky Anonymous (2)

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LEOŠ JANÁČEK’S LEO

SEV ER A N C E HA L L

May 17 . 20 . 22 . 24

A N EW P R OD U C T I ON F E ATU R I N G P R OJ E C TE D A N I M ATI O N AND L I V E AC T I ON , SU N G I N C Z E C H W I TH E N G L I S H S U P E R TI TL E S

THE CLEVELAND ORCHESTRA conducted by Franz Welser-Möst

T ENN! EV O A S R EA PE S O E E TH TH OF

Don’t miss this unique, made-for-Cleveland opera presentation! Staged at Severance Hall with an international cast and innovative, original animated projections. While plumbing the depths of human experience, The Cunning Little Vixen tells a charmingly bittersweet tale of love, peril, freedom, f and family. The opera’s title character, portrayed by Czech soprano Martina M Janková, wends her way through life’s cycles of learning and danger, dange love and happiness. Janáček’s score mixes lyrical symphonic writing with wit the songful serenity and energetic pulse of Moravian folk music.

This Cleveland Orchestra opera presentation is supported in part by The Andrew W. Mellon Foundation and by the National Endowment for the Arts

TICKETS

216-231-1111

CLEVELANDORCHESTRA .COM

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 Elizabeth Ring Mather and William Gwinn Mather Fund 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 December 15, 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 Ann and Gordon Getty Foundation The Hearst Foundations Martha Holden Jennings Foundation Myra Tuteur Kahn Memorial Fund of The Cleveland Foundation Miami-Dade County Department of Cultural Affairs (Miami) 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 The Conway Family Foundation Mary and Dr. George L. Demetros Charitable Trust 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 The Mandel Foundation Bessie Benner Metzenbaum Foundation Paintstone Foundation The Charles E. & Mabel M. Ritchie Memorial Foundation The Leighton A. Rosenthal Family Foundation SCH Foundation Albert G. & Olive H. Schlink Foundation Harold C. Schott Foundation Kenneth W. Scott Foundation Jean C. Schroeder 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 December 2013.

The Helen C. Cole Charitable Trust The Mary S. and David C. Corbin Foundation The Gerhard Foundation, Inc. The Helen Wade Greene Charitable Trust John S. and James L. Knight Foundation The Margaret Clark Morgan Foundation National Endowment for the Arts 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

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THE CLEVELAN D ORCHESTRA

Individual Support The Cleveland Orchestra and Musical Arts Association gratefully recognize the individuals listed here, who have provided generous gifts of cash or pledges of $2,500 or more to the Annual Fund, benefit events, tours and residencies, and special annual donations.

Lifetime Giving

Annual Support

JOHN L. SEVERANCE SOCIETY

gifts during the past year, as of December 15, 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 December 2013.

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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) David and Francie Horvitz Family Foundation (Miami) The Walter and Jean Kalberer Foundation Mrs. Norma Lerner and The Lerner Foundation Susan Miller (Miami) INDIVIDUAL GIFTS OF $100,000 TO $199,999

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

Mr. and Mrs. Alexander M. Cutler 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. 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

Robert M. Maloney and Laura Goyanes Ms. Beth E. Mooney Mr. Patrick Park (Miami) Mrs. Alfred M. Rankin, Sr. 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 INDIVIDUAL GIFTS OF $30,000 TO $49,999

Mr. and Mrs. Daniel M. Bell (Miami) Dr. and Mrs. Wolfgang Berndt (Europe) Blossom Women’s Committee Mr. and Mrs. Charles P. Bolton The Brown and Kunze Foundation Jeanette Grasselli Brown and Glenn R. Brown 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 Mr. and Mrs. Jon A. Lindseth Ms. Nancy W. McCann Sally S. and John C. Morley Mrs. Jane B. Nord Luci and Ralph* Schey Richard and Nancy Sneed (Cleveland, Miami) R. Thomas and Meg Harris Stanton

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

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

Gay Cull Addicott Mr. and Mrs. William W. Baker Randall and Virginia Barbato Mr. and Mrs. Matthew V. Crawford Esther L. and Alfred M. Eich, Jr. Jeffrey and Susan Feldman (Miami) Dr. Edward S. Godleski Andrew and Judy Green 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) 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

Robert and Jean* Conrad Mr. and Mrs. Gerald A. Conway Do Unto Others Trust (Miami) George* and Becky Dunn Dr. and Mrs. Hiroyuki Fujita Gary Hanson and Barbara Klante Mr. and Mrs. Jeffrey Healy Mrs. Marguerite B. Humphrey Junior Committee of The Cleveland Orchestra Dr. David and Janice Leshner Maltz Family Foundation Margaret Fulton-Mueller William J. and Katherine T. O’Neill Julia and Larry Pollock Mr. and Mrs. James A. Ratner Paul and Suzanne Westlake

Severance Hall 2013-14

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

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 Colleen and Richard Fain (Miami) Joyce and Ab* Glickman Richard and Ann Gridley Mrs. John A Hadden Jr. Jack Harley and Judy Ernest Mary and Jon Heider (Cleveland, Miami) David and Nancy Hooker Mr. and Mrs. Donald M. Jack, Jr. Tati and Ezra Katz (Miami)

Individual Annual Support

listings continue

77

THE CLEVELAN D ORCHESTRA

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

listings continued

Mr.* and Mrs. Arch J. McCartney Mr. Thomas F. McKee Mr. and Mrs. Stanley A. Meisel 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 Ms. Dawn M. Full Tim and Linda Koelz Mr. and Mrs. Richard A. Manuel Rachel R. Schneider Mr. and Mrs. Oliver E. Seikel Kim Sherwin Mr. and Mrs. Alfred Umdasch (Europe)

Leadership

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, education activities, and community projects.

The Leadership 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. Paul and Marilyn* Brentlinger Augustine* and Grace Caliguire Jill and Paul Clark Richard J. and Joanne Clark Mrs. Barbara Cook Mrs. Barbara Ann Davis Mr. and Mrs. Robert P. Duvin Mike S. and Margaret Eidson (Miami) Dr. and Mrs. Lloyd H. Ellis Jr. Mr. Neil Flanzraich 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 Allan V. Johnson Andrew and Katherine Kartalis Janet and Gerald Kelfer (Miami) Mr. Jeff Litwiller Edith and Ted* Miller Mr. Donald W. Morrison Elisabeth and Karlheinz Muhr (Europe) Brian and Cindy Murphy Mr. Raymond M. 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. 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 B. and Rosalyn Stuzin (Miami) 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 Dr. and Mrs. Jerald S. Brodkey Dr. Ben H. and Julia Brouhard Ellen E. & Victor J. Cohn Supporting Foundation Henry and Mary Doll Nancy and Richard Dotson listings continue

78

Individual Annual Support

The Cleveland Orchestra

Pediatric emergency care is right in your neighborhood.

Available 24/7 at nine locations.

You’re now closer than ever to emergency services

Marcy R. Horvitz Pediatric Emergency Center at UH Rainbow Babies & Children’s Hospital 11100 Euclid Avenue, Cleveland

designed specifically for babies and children with kid-focused physicians, nurses and support staff and backed by University Hospitals Rainbow Babies & Children’s Hospital – the most trusted name in children’s health care – as well as the region’s only Level I Pediatric Trauma Center, if a higher level of care is required.

All in nine convenient locations with staff dedicated to getting you and your family the care you need as quickly as possible.

Marcy R. Horvitz Pediatric Emergency Center at UH Ahuja Medical Center 3999 Richmond Road, Beachwood UH Geauga Medical Center 13207 Ravenna Road, Chardon UH Twinsburg Health Center 8819 Commons Boulevard Suite 101, Twinsburg St. John Medical Center 29000 Center Ridge Road, Westlake New! Mercy Allen Hospital 200 West Lorain Street, Oberlin New! Mercy Regional Medical Center 3700 Kolbe Road, Lorain Southwest General Health Center 18697 Bagley Road, Middleburg Heights New! Southwest General Brunswick Medical Center 4065 Center Road, Brunswick

There’s only one Rainbow.

216-UH4-KIDS (216-844-5437) | RainbowBabies.org Facebook.com/UHRainbowBabies | Twitter.com/UHRainbowBabies © 2013 University Hospitals

RBC 00793

THE CLEVELAN D ORCHESTRA listings continued

Harry and Joyce Graham 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 Kenneth M. Lapine and Rose E. Mills Judith and Morton Q. Levin Mr. and Mrs.* Robert P. Madison Mr. and Mrs. Thomas B. McGowan Pannonius Foundation Douglas and Noreen Powers Paul A. and Anastacia L. Rose Rosskamm Family Trust Patricia J. Sawvel Carol* and Albert Schupp Drs. Daniel and Ximena Sessler 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 Frank and Leslie Buck Mr. and Mrs. William C. Butler Ms. Maria Cashy Drs. Wuu-Shung and Amy Chuang Dr. William and Dottie Clark Mrs. Lester E. Coleman Mr. Owen Colligan Marjorie Dickard Comella 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(Miami) 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 David and Robin Gunning Mr. and Mrs. Michael Hardy Clark Harvey and Holly Selvaggi Henry R. Hatch Robin Hitchcock Hatch Barbara Hawley and David Goodman Janet D. Heil* Anita and William Heller

80

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. Richard and Roberta Katzman 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 Elsie and Byron Lutman Mr. and Mrs. Alex Machaskee Ms. Jennifer R. Malkin Mr. and Mrs. Morton L. Mandel Alan Markowitz M.D. and Cathy Pollard Alexander and Marianna C.* McAfee Claudia Metz and Thomas Woodworth Mr. and Mrs. Abraham C. Miller (Miami) Drs. Terry E. and Sara S. Miller David and Leslee Miraldi 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 Mr. Eric Sellen and Mr. Ron Seidman Lee G. and Jane Seidman Charles Seitz (Miami) Mrs. Frances G. Shoolroy Marjorie B. Shorrock David Kane Smith Dr. Marvin and Mimi Sobel George and Mary Stark Howard Stark M.D. and Rene Rodriguez (Miami) Stroud Family Trust Ms. Lorraine S. Szabo

Individual Annual Support

listings continue

The Cleveland Orchestra

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Call Hanson Services for a free needs assessment.

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We believe in working for the greater good of all and we are proud to support any organization that shares this value.

We thank The Cleveland Orchestra for its commitment to excellence!

WINTER SEASON

Ken Lanci, Chairman & CEO Consolidated Solutions

SEVERANCE HALL

Severance Hall 2013-14

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

Mr. and Mrs. Paul A. Teel, Jr. 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 (4)

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 Mr. and Mrs. Frank H. Carpenter 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 Barbara and Peter Galvin Dr. and Mrs. Ronald L. Gould 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 James and Viriginia Meil 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 Dr. and Mrs. Martin I. Salzman Mr. Paul H. Scarbrough Ginger and Larry Shane Ms. Frances L. Sharp Mr. Richard Shirey Howard and Beth Simon 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

J. C. and Helen Rankin Butler Leigh Carter Mr. and Mrs. James B. Chaney Dr. and Mrs. Ronald Chapnick Ms. Mary E. Chilcote Mr. and Mrs. Homer D. W. Chisholm Daniel D. Clark and Janet A. Long 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 Ms. Karen Feth 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 Mrs. Georgia T. Garner Loren and Michael Garruto Mr. Wilbert C. Geiss, Sr. Anne and Walter Ginn Mr. and Mrs. David A. Goldfinger 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

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

Mr. and Mrs. Charles Abookire, Jr. Nancy L. Adams, PhD Stanley I. and Hope S. Adelstein Mr. and Mrs. Monte Ahuja Mr. and Mrs. Robert J. Amsdell Mr. and Mrs. Jeffrey R. Appelbaum Dr. Mayda Arias Agnes Armstrong Geraldine and Joseph Babin Ms. Delphine Barrett Ellen and Howard Bender Mr. Roger G. Berk Kerrin and Peter Bermont (Miami) Barbara and Sheldon Berns Margo and Tom Bertin Julia and David Bianchi (Cleveland, Miami) Carmen Bishopric (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 Mr. and Mrs. David Briggs Mrs. Ezra Bryan

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Individual Annual Support

listings continue

The Cleveland Orchestra

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

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 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 Jacqueline and Irwin Kott (Miami) 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 Anthony T. and Patricia A. Lauria Mr. Jin-Woo Lee Ivonete Leite (Miami) 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 Ms. Betteann Meyerson Mr. and Mrs. Roger Michelson (Miami) Curt and Sara Moll Susan B. Murphy Joan Katz Napoli and August Napoli Mr. David and Mrs. Judith Newell Marshall I. Nurenberg and Joanne Klein Richard and Jolene Oâ&#x20AC;&#x2122;Callaghan Harvey and Robin Oppmann Mr. and Mrs. Robert D. Paddock Mr. and Mrs. Christopher I. Page

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 Michael Forde Ripich Ms. Linda M. Rocchi Carol Rolf and Steven Adler Robert and Margo Roth Miss Marjorie A. Rott Michael and Roberta Rusek Dr. Lori Rusterholtz Dr. Harry S. and Rita K. Rzepka Ms. Patricia E. Say Mr. James Schutte Ms. Adrian L. Scott Dr. John Sedor and Ms. Geralyn Presti 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. Joseph Stroud Mr. Taras G. Szmagala, Jr. Ken and Martha Taylor Greg and Suzanne Thaxton Dr. and Mrs. Thomas A. Timko Steve and Christa Turnbull Mrs. H. Lansing Vail, Jr. Robert A. Valente Brenton Ver Ploeg (Miami) Mr. and Mrs. Joaquin Vinas (Miami)

member of the Leadership Council (see page 77)

* deceased

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Individual Annual Support

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 Richard and Mary Lynn Wills Michael H. Wolf and Antonia Rivas-Wolf Mr. Robert Wolff and Dr. Paula Silverman Katie and Donald Woodcock Kay and Rod Woolsey Tony and Diane Wynshaw-Boris Rad and Patty Yates Mr. Kal Zucker and Dr. Mary Frances Haerr Anonymous (7) *

THE

CLEVELAND ORCHESTRA

The Cleveland Orchestra is sustained through the support of thousands of generous patrons, including members of the Leadership Patron Program listed on these pages. Listings of all annual donors of $300 and more each year are published in the Orchestraâ&#x20AC;&#x2122;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

A LIFETIME OF CHOICE DOESN’T END HERE. Choose the hospice of choice.

Most people think you call hospice when you’re all out of options.

That’s not true if you call Hospice of the Western Reserve. As Northern Ohio’s most experienced and most referred hospice provider, we offer more options to personalize care. We focus on helping patients and their families live their lives where they choose–at our unique facilities, at home, at a hospital, at a nursing home or at an assisted living residence. Discover why the hospice of choice is Hospice of the Western Reserve.

Visit HospiceOfChoice.org.

855.852.5050 HospiceOfChoice.org

MIXON HALL MASTERS SERIES Jan 23 Gabriela Montero, pianist Feb 22 Meredith Monk, vocalist CIM ORCHESTRA CONCERTS Jan 29 CIM@Home | Kulas Hall Feb 12 CIM@Severance Hall Mar 28 CIM@Severance Hall A Celebration of Community CIM OPERA THEATER | Feb 26-March 1 A Celebration of English Opera Works by Purcell & Vaughan Williams 11021 East Boulevard, University Circle | cim.edu CIM Box Office: 216.795.3211 Severance Hall 2013-14

85

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.

PH OTO G R APH Š BY H E D R I CH B LE SSI N G

Imagine your picture-perfect event at Severance Hall.

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

Premium dates available!

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

11001 Euclid Avenue Cleveland, Ohio 44106

P H OTO BY S T E V E H A L L © H E D R I C H B L E S S I N G

CLEVELANDORCHESTRA.COM

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

HAILED AS ONE OF

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Georgian exterior was constructed to harmonize with the classical architecture of other prominent buildings in the University Circle area. The interior of the building reflects a combination of design styles, including Art Deco, Egyptian Revival, Classicism, and Modernism. An extensive renovation, restoration, and expansion of the facility was completed in January 2000. In addition to serving as the home of The Cleveland Orchestra for concerts and rehearsals, the building is rented by a wide variety of local organizations and private citizens for performances, meetings, and gala events each year.

Severance Hall

The Cleveland Orchestra

The Cleveland Orchestra

Guide to Fine Schools Consistently ranked among â&#x20AC;&#x153;Best Communities for Music Educationâ&#x20AC;? in the Nation!

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

Other ďŹ ne schools advertising in The Cleveland Orchestraâ&#x20AC;&#x2122;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

Part Emotion, Part Memory

All Magic

The Cleveland Carousel Society is bringing back the Grand Carousel from Euclid Beach Parkâ&#x20AC;&#x2122;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

Larchmere Boulevard is Clevelandâ&#x20AC;&#x2122;s premier ar ts and antiques district, featuring over 40 eclectic and independent shops & services.

Located one block north of Historic Shaker Square.

Elegant Extras

www.Larchmere.com

WOLFS

Fine & Decorative Arts

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Appraisals for all purposes Old paintings wanted

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Severance Hall 2013-14

89

THE CLEVELAND C O N C E R T

C A L E N D A R

WINTER SEASON Mitsuko Uchida’s Mozart

Rachmaninoff’s Rhapsody

Thursday April 3 at 7:30 p.m.

Friday April 4 at 8:00 p.m. <18s Saturday April 5 at 8:00 p.m.

THE CLEVELAND ORCHESTRA Mitsuko Uchida, piano and conductor William Preucil, concertmaster and leader

Thursday March 6 at 7:30 p.m.

Friday March 7 at 7:00 p.m. <18s * Saturday March 8 at 8:00 p.m.

THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Rudolf Buchbinder, piano Kate Royal, soprano* Jamie Barton, mezzo-soprano* John Tessier, tenor* Cleveland Orchestra Chorus* Cleveland Orchestra Children’s Chorus*

MOZART Piano Concerto No. 18 MOZART Symphony No. 23 MOZART Piano Concerto No. 19 Sponsor: Quality Electrodynamics (QED)

SIBELIUS Lemminkäinen RACHMANINOFF Paganini Rhapsody WIGGLESWORTH Locke’s Theatre * BRITTEN Spring Symphony* * not part of KeyBank Fridays@7 concert

Family Concert — Mozart Experience Sunday April 6 at 3:00 p.m. <18s THE CLEVELAND ORCHESTRA Kelly Corcoran, conductor with Magic Circle Mime Co.

Sponsor: KeyBank

A mischievous street musician is caught playing the orchestra’s grand piano. Much to her surprise, the conductor offers her the chance to “be Mozart” for a day. The street musician and her prankster companion lead the audience on a musical adventure that reveals the story of Mozart’s life and his musical genius. The program includes excerpts from some of the genius’s most famous works, including “A Little Night Music (“Eine kleine Nachtmusik”), The Magic Flute, Overture to Don Giovanni, the “Jupiter” Symphony (No. 41), and more.

Cleveland Orchestra Youth Orchestra and Youth Chorus Sunday March 9 at 7:00 p.m. <18s CLEVELAND ORCHESTRA YOUTH ORCHESTRA Brett Mitchell, conductor CLEVELAND ORCHESTRA YOUTH CHORUS Lisa Wong, director Amanda Russo, mezzo-soprano

Sponsor: The Giant Eagle Foundation

BEETHOVEN Overture to Fidelio HINDEMITH Symphony: Mathis der Maler CORIGLIANO Fern Hill MENDELSSOHN Three Spiritual Songs, Op. 96

Dohnányi Conducts Schumann Thursday March 27 at 7:30 p.m.

Saturday March 29 at 8:00 p.m.

Sunday March 30 at 3:00 p.m. <18s THE CLEVELAND ORCHESTRA Christoph von Dohnányi, conductor

SCHUMANN Symphony No. 4 SCHUMANN Symphony No. 2

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

Yuja Wang Plays Rachmaninoff Thursday April 10 at 8:00 p.m.

Friday April 11 at 11:00 a.m. <18s * Friday April 11 at 7:00 p.m. <18s * Saturday April 12 at 8:00 p.m.

THE CLEVELAND ORCHESTRA Giancarlo Guerrero, conductor Yuja Wang, piano

PROKOFIEV Classical Symphony RACHMANINOFF Piano Concerto No. 3 RIMSKY-KORSAKOV Scheherazade* * not part of Friday morning or KeyBank Fridays@7 concert

Dvořák and Tchaikovsky Thursday April 17 at 7:30 p.m.

Saturday April 19 at 8:00 p.m.

THE CLEVELAND ORCHESTRA Herbert Blomstedt, conductor Mark Kosower, cello

DVOŘÁK Cello Concerto TCHAIKOVSKY Symphony No. 6 (“Pathétique”)

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Concert Calendar

The Cleveland Orchestra

ORCHESTRA I N

T H E

S P O T L I G H T

Side-by-Side: The Cleveland Orchestra and Cleveland Orchestra Youth Orchestra Friday April 18 at 7:30 p.m.

THE CLEVELAND ORCHESTRA CLEVELAND ORCHESTRA YOUTH ORCHESTRA Brett Mitchell, conductor James Thompson, violin The Cleveland Orchestra is committed to promoting musicmaking and nurturing aspiring musicians across Northeast Ohio. In this unique annual concert, featuring Cleveland Orchestra musicians sitting side-by-side with Youth Orchestra members, Cleveland Orchestra musicians mentor their younger counterparts and serve as role models. The concert features works by Beethoven and Shostakovich, plus Youth Orchestra alumnus James Thompson performing as soloist in Saint-Saëns’s Introduction & Rondo Capriccioso.

Free, with general admission seating. Tickets required.

Free tickets can be obtained by contacting the Severance Hall Ticket OfÀce or visiting clevelandorchestra.com.

DOHNÁNYI CONDUCTS SCHUMANN

Celebrity Concert — Psycho Tuesday April 22 at 7:30 p.m.

THE CLEVELAND ORCHESTRA Brett Mitchell, conductor

One night only! The collaboration between director Alfred Hitchcock and composer Bernard Herrmann resulted in a series of unforgettable Àlms — and the pinnacle of their efforts together is perhaps the most terrifying and powerful movie score of all time. Don’t miss this once-in-a-lifetime opportunity to experience this 1960 cinematic classic as you’ve never seen (or heard) it before! The Cleveland Orchestra performs the score live, with the Àlm projected on a large screen above the Severance Hall stage.

Beethoven’s First Piano Concerto Thursday April 24 at 7:30 p.m.

Saturday April 26 at 8:00 p.m.

THE CLEVELAND ORCHESTRA Jane Glover, conductor Imogen Cooper, piano

C.P.E. BACH Sinfonia No. 2 BEETHOVEN Piano Concerto No. 1 VANHAL Sinfonia in G minor HAYDN Symphony No. 103 (“Drum Roll”)

Under 18s Free FOR FAMILIES

THE CLEVELAND ORCHESTRA Christoph von Dohnányi, conductor

Robert Schumann’s symphonies are intensely personal ideals of what classical music can represent — life’s joys and travails, momentary sorrow and uplifting joy.

Their glowing lyricism, drama, and evocative atmosphere defined the style of what a Romantic symphony can be. Renowned for his interpretations of this tremendously imaginative composer, Christoph von Dohnányi returns for these all-Schumann concerts.

<18s

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).

Severance Hall 2013-14

Thursday March 27 at 7:30 p.m.

Saturday March 29 at 8:00 p.m Sunday March 30 at 3:00 p.m.

Concert Calendar

CLEVELAND ORCHESTRA TICKETS PHONE

216 - 231-1111 800-686-1141

clevelandorchestra.com 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.

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THE CLEVELAND ORCHESTRA U P C O M I N G

C O N C E R T S

AT SEVERANCE HALL . . .

Franz Welser-Möst

Yuja Wang

Mitsuko Uchida

YUJA WANG PLAYS RACHMANINOFF

MITSUKO UCHIDA PLAYS MOZART Thursday April 3 at 7:30 p.m.

Friday April 4 at 8:00 p.m. <18s Saturday April 5 at 8:00 p.m.

Thursday April 10 at 7:30 p.m.

Friday April 11 at 11:00 a.m. <18s Friday April 11 at 7:00 p.m. <18s Saturday April 12 at 8:00 p.m.

THE CLEVELAND ORCHESTRA Mitsuko Uchida, piano and conductor William Preucil, concertmaster

Mitsuko Uchida’s interpretations of Mozart are renowned for their intelligence, elegance, and sensitivity. She continues her acclaimed collaboration with The Cleveland Orchestra, which was recognized with a 2010 Grammy Award, with performances of two more of Mozart’s piano concertos (Nos. 18 and 19).

“Mitsuko Uchida’s Mozart playing is stunningly sensitive, crystalline, and true.”

—Boston Globe Sponsor: Quality Electrodynamics (QED)New!

THE CLEVELAND ORCHESTRA Giancarlo Guerrero, conductor Yuja Wang, piano

Rachmaninoff’s Piano Concerto No. 3 — “Rach 3,” as fans call it — is one of the most famously difficult pieces of music there is. The sheet music goes on and on, with notes so dense the pages start to look like a Rorschach test. Audience and critics’ favorite Yuja Wang, who has recorded this concerto for her newest album, joins The Cleveland Orchestra for these blockbuster performances. Pop culture note: Rachmaninoff’s Third Piano Concerto was central to the plot of the movie “Shine.”

Friday evening sponsor: KeyBankNew!

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

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216-231-1111

clevelandorchestra.com

Upcoming Concerts

The Cleveland Orchestra