The Cleveland Orchestra October 16, 18 Concerts by Live Publishing

FALL SEASON

S E A S O N

SEVERANCE HALL

BACH IN FOCUS October 16, 18 Bach’s mass in b minor

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TA B L E

CONTENTS

THIS WEEK page

the

cleveland

o r chest r a

week 3 Cover photography by Roger Mastroianni

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

About the Orchestra About the Orchestra . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Musical Arts Association. . . . . . . . . . . . . . . . . . . . . 13 Music Director. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . 22 Distinguished Service Award . . . . . . . . . . . . . . . . 68 Guest Information. . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Week 3 Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . . Program: October 16, 18. . . . . . . . . . . . . . . . . . . . Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . Bach in Focus: The Composer’s Legacy. . . . . . . . bach Mass in B minor. . . . . . . . . . . . . . . . . . . . . . . . . . . . Sung Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Conductor: Franz Welser-Möst . . . . . . . . . . . . . . . . Guest Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cleveland Orchestra Chorus . . . . . . . . . . . . . . . . . . Cleveland Orchestra Youth Chorus . . . . . . . . . . . .

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

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

33 35 37 39 43 55 17 60 63 65

More About Bach . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

SEASON

48 73 75 76

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. 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.

50%

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

This program is printed on paper that includes 50% recycled content. All unused books are recycled as part of the Orchestra’s regular business recycling program. 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.

Table of Contents

The Cleveland Orchestra

Photo credit: Roger Mastroianni

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Perspectivesfrom the Executive Director October 2014 Welcome to the opening weeks of 2014-15, our 97th season. I’m happy to report that since the conclusion of last season at the end of May, many exciting things have happened with The Cleveland Orchestra. On October 2, we released the wonderful news that Franz Welser-Möst’s ongoing commitment as Music Director of The Cleveland Orchestra has been extended through 2021-22. With this extension, Franz’s tenure will reach at least 20 years, extending four years beyond the Orchestra’s Centennial season in 2017-18. In making the announcement, Board President Dennis W. LaBarre said: “There’s no more successful artistic partnership in the world today thanks to Franz’s extraordinary vision and leadership. I am confident that the future will bring even greater success.” The extension of Franz’s tenure allows us to accelerate the pace of institutional change, with new audiences, new repertoire, and new types of concert and opera presentations. No less important is the fact that Franz’s long-term commitment to Cleveland is central to fulfilling our expanding education and community engagement mission. Additional details from this announcement can be read on pages 25-26 of this program book. The announcement of Franz’s contract extension came on the heels of an extraordinarily successful three-week European Tour in September. Franz and the Orchestra performed 13 concerts in 7 cities — including 2 live and 2 delayed radio broadcasts, and 2 live television broadcasts that will later be released on DVD. You can read excerpts from the glowing reviews on page 27 in this program book. And while Franz and the Orchestra routinely garner rave reviews, on this tour the critical commentary crossed a threshold to where the Orchestra was recognized not only for its legendary precision and clarity, but its elegance, sophistication, brilliance, and flair. The Orchestra had a very busy summer in Northeast Ohio with a full schedule of performances at Blossom including a number of record-breaking nights for audience numbers and ticket sales. In fact, the 2014 Blossom Music Festival broke all previous records for average attendance per concert, hitting just over 7,000 for the first time ever. The summer’s key innovation was the introduction of a new series of concerts at Severance Hall on Friday evenings under the banner “Summers@Severance.” Modeled after our Fridays@7 concerts during the regular season, Summers@Severance placed the Orchestra and Severance Hall at the center of University Circle’s lively revitalization as a mixed-use entertainment district, busy and bustling throughout the year. A final point of the ongoing good news from recent months, on June 30 we closed the books on fiscal 2013/14 and wrapped up a very successful fundraising year, thanks to our many generous donors. We expect to announce very good results when the audited financial statements are completed later this autumn and presented at our Annual Meeting in early December. Many thanks to each and every contributor who helped bring last fiscal year to a successful conclusion.

Severance Hall 2014-15

Gary Hanson

CLEVELAND ORCHESTRA ARCHIVES

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

CLEVELAND ORCHESTRA CHORUS AND BACH — Mermbers of the Cleveland Orchestra Chorus on their way to sing Bach’s St. John Passion at the Casals Festival in Puerto Rico in June 1962.

of its founding in 2018, The Cleveland Orch Orchestra estra is undergoing a new transformation and renaissance. Universallyacknow acknowlledged edged among the best ensembles on the planet, its musicians, staff staff,, board of directors, volunteers, and hometown are working together on a set of enhanced goals for the 21st century — to develop the youngest audience of any orchestra, to renew its focus on fully serving the communities where it performs through engagement and education, to continue its legendary command of musical excellence, and to move forward into the Orchestra’s next century with a strong commitment to adventuresome programming and new music. The Cleveland Orchestra divides its time each year across concert seasons at home in Cleveland’s Severance Hall and each summer at Blossom Music Center. Additional portions of the year are devoted to touring and to a series of innovative and intensive performance residencies. These include an annual set of concerts and education programs and partnerships in Florida, a recurring residency at Vienna’s Musikverein, and regular appearances at Switzerland’s Luas A S iI tT n NE eA ar Rs S tT H hE e c CE eN n Tt E eN nnia NIAL l

About the Orchestra

The Cleveland Orchestra

S E A S O N

cerne Festival, at New York’s Lincoln Center Festival, and at Indiana University. Musical Excellence. Under the leadership of Franz Welser-Möst, now in his thirteenth season as the ensemble’s music director, The Cleveland Orchestra is acknowledged among the world’s handful of best orchestras. Its performances of standard repertoire and new works are unrivalled at home in Ohio, in residencies around the globe, on tour across North America and Europe, and through recordings, telecasts, and radio and internet broadcasts. Its longstanding championship of new composers and commissioning of new works helps audiences understand music as a living language that grows and evolves with each new generation. Recent performances with Baroque specialists, recording projects with internationally-renowned soloists, fruitful re-examinations and juxtapositions of the standard repertoire, and acclaimed collaborations in 20th and 21st century masterworks together enable The Cleveland Orchestra the ability to give musical performances second to none in the world. Serving the Community. Programs for students and community engagement activities have long been part of the Orchestra’s commitment to serving Cleveland and surrounding communities, and have more recently been extended to its touring and residencies. All are designed to connect people to music in the concert hall, in classrooms, and in everyday lives. Recent seasons have seen the launch of a unique “At Home” neighborhood residency program, designed to bring the Orchestra and citizens together in new ways. Additionally, a new Make Music! initiative is taking shape, championed by Franz Welser-Möst in advocacy for the benefits of direct participation in making music for people of all ages. Future Audiences. Standing on the shoulders of ninety years of presenting quality music education programs, the Orchestra made national and international headlines through the creation of its Center for Future Audiences in 2010. Established with a significant endowment gift from the Maltz Family Foundation, the Center is designed to provide ongoing funding for the Orchestra’s continuing work to develop interest in classical music among young people. The flagship “Under 18s Free” program has seen unparalleled success in increasing attendance and interest, and was recently extended to the Orchestra’s concerts in Miami. Innovative Programming. The Cleveland Orchestra was among the first American orchestras heard on a regular series of radio broadcasts, and its Severance Hall home was one of the first concert halls in the world built with recording and broadcasting capabilities. Today, Cleveland Orchestra concerts are presented in a variety of formats for a variety of audiences — including a popular Fridays@7 series (mixing onstage symphonic works with post-concert world music performances), film scores performed live by the Orchestra, collaborations with pop and jazz singers, ballet and opera presentations, and standard repertoire juxtaposed in meaningful contexts with new and older works. Franz Welser-Möst’s creative vision has Severance Hall 2014-15

The Orchestra Today

photo by Roger Mastroianni

given the Orchestra an unequaled opportunity to explore music as a universal language of communication and understanding. Origins and Evolution. 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. Seven music directors have guided and shaped the ensemble’s growth and sound: Nikolai Sokoloff, 1918-33; Artur Rodzinski, 193343; Erich Leinsdorf, 1943-46; George Szell, 1946-70; Lorin Maazel, 1972-82; Christoph von Dohnányi, 1984-2002; and Franz Welser-Möst, since 2002. The opening in 1931 of Severance Hall as the Orchestra’s permanent home, with later acoustic refinements and remodeling of the hall under Szell’s guidance, 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. Touring performances throughout the United States and, beginning in 1957, to Europe and across the globe have confirmed Cleveland’s place among the world’s top orchestras. 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. Today, concert performances, community presentations, touring residencies, broadcasts, and recordings provide access to the Orchestra’s acclaimed artistry to an enthusiastic, generous, and broad constituency around the world.

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 has introduced more than 4 million young people to symphonic music over the past nine decades.

About the Orchestra

The Cleveland Orchestra

1918

Seven music directors have led the Orchestra, including George Szell, Christoph von Dohnányi, and Franz Welser-Möst.

13th

1l1l 11l1 1l1

The 2014-15 season marks Franz Welser-Möst’s 13th year as music director.

Severance Hall, “America’s most beautiful concert hall,” opened in 1931 as the Orchestra’s permanent home.

100,000+

100,000 young people have attended Cleveland Orch estra symphonic concerts since the inauguration of the Center for Future Audiences in 2011, through student programs and Under 18s Free ticketing.

52%

Over half of The Cleveland Orchestra’s funding each year comes from thousands of generous donors and sponsors, who together make possible our concert presentations, community programs, and education initiatives.

4million

Likes on Facebook (as of Sept. 24)

The Cleveland Orchestra has introduced over 4 million children in Northeast Ohio to symphonic music through concerts for children since 1918.

The Cleveland Orchestra performs over

72,538

1931

concerts each year.

The Orchestra was founded in 1918 and performed its first concert on December 11.

150

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T H E M u si c al Ar ts Association

as of September 2014

operating The Cleveland Orchestra, Severance Hall, and Blossom Music Festival

O ffic er s an d exe cut ive co mmit t ee Dennis W. LaBarre, President Richard J. Bogomolny, Chairman The Honorable John D. Ong, Vice President

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

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

Douglas A. Kern Virginia M. Lindseth Alex Machaskee Nancy W. McCann John C. Morley

Larry Pollock Alfred M. Rankin, Jr. Audrey Gilbert Ratner Barbara S. Robinson Raymond T. Sawyer

r e si d en t tr u s t ee 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

Non - r esi d en t truS t ee 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 tees ex- officio 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

Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee Beverly J. Warren, President, Kent State University Barbara R. Snyder, President, Case Western Reserve University

tr u S tee s em e r it i Clifford J. Isroff Samuel H. Miller David L. Simon

h ono rary t rus t ees fo r l if e Robert W. Gillespie Gay Cull Addicott Dorothy Humel Hovorka Oliver F. Emerson Robert F. Meyerson Allen H. Ford

pas t p r e si d en t s D. Z. Norton 1915-21 John L. Severance 1921-36 Dudley S. Blossom 1936-38 Thomas L. Sidlo 1939-53

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

T H E CLEVELAND O R C H E S T R A Franz Welser-Möst, Music Director

Severance Hall 2014-15

Gary Hanson, Executive Director

Musical Arts Association

PHOTO: ROGER MASTROIANNI

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S E A S O N

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

marks Franz Welser-Möst’s thirteenth year as music director of The Cleveland Orchestra, with the future of this acclaimed partnership now extending into the next decade. Under his direction, the Orchestra is hailed for its continuing artistic excellence, is broadening and enhancing its community programming at home in Northeast Ohio, is presented in a series of ongoing residencies in the United States and Europe, and has re-established itself as an important operatic ensemble. With a commitment to music education and the Northeast Ohio community, Franz Welser-Möst has taken The Cleveland Orchestra back into public schools with performances in collaboration with the Cleveland Metropolitan School District. He has championed new programs, such as a community-focused Make Music! initiative and a series of “At Home” neighborhood residencies designed to bring the Orchestra and citizens together in new ways. Under Mr. Welser-Möst’s leadership, The Cleveland Orchestra has established a recurring biennial residency in Vienna at the famed Musikverein concert hall and appears regularly at Switzerland’s Lucerne Festival. Together, they have also 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, an annual multi-week Cleveland Orchestra residency in Florida was inaugurated in 2007 and an ongoing relationship with New York’s Lincoln Center Festival began in 2011. To the start of this season, The Cleveland Orchestra has performed fourteen world and fifteen United States premieres under Franz Welser-Möst’s direction. In partnership with the Lucerne Festival, he and the Orchestra have premiered works by Harrison Birtwistle, Chen Yi, Hanspeter Kyburz, George Benjamin, Toshio Hosokawa, and Matthias Pintscher. 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 annual opera performances during his tenure 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 Mozart-Da Ponte operas. He led concert performances of Strauss’s Salome at Severance Hall and at Carnegie Hall in May 2012 and in May 2014 led an innovative madeP H OTO BY S ATO S H I AOYAG I

t h e 2 0 1 4 - 1 5 s e ason

Severance Hall 2014-15

Music Director

for-Cleveland production of Leoš Janáček’s The Cunning Little Vixen at Severance Hall. They present performances of Richard Strauss’s Daphne in May 2015. As a guest conductor, Mr. Welser-Möst enjoys a close and productive relationship with the Vienna Philharmonic. Recent performances with the Philharmonic include a critically-acclaimed production of Strauss’s Der Rosenkavalier at the 2014 Salzburg Festival as well as appearances at New York’s Carnegie Hall, at the Lucerne Festival, and in concert at La Scala Milan. During the 2014-15 season, he returns to Europe for a tour of Scandinavia with the Philharmonic, and will also lead them in a new production of Beethoven’s Fidelio at Salzburg in 2015. He led the Philharmonic’s celebrated annual New Year’s Day concert in 2011 and 2013, viewed by tens of millions as telecast in seventy countries worldwide. From 2010 to 2014, Franz Welser-Möst served as general music director of the Vienna State Opera. His partnership with the company included an acclaimed new production of Wagner’s Ring cycle with stage director Sven-Eric Bechtolf, and critically-praised new productions of Hindemith’s Cardillac, Janáček’s Katya Kabanova and From the House of the Dead, Puccini’s The Girl of the Golden West, and Verdi’s Don Carlo, as well as performances of a wide range of other operas, particularly of works by Wagner and Richard Strauss, including Tristan and Isolde and Parsifal, and Der Rosenkavalier and Ariadne auf Naxos. Prior to his years with the Vienna State Opera, Mr. Welser-Möst led the Zurich Opera across a decade-long tenure, leading more than forty new productions and culminating in three seasons as general music director (2005-08). Franz Welser-Möst’s recordings and videos have won major awards, including a 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, and is in the midst of a new project recording major works by Brahms. With Cleveland, he has also released a recording of Beethoven’s Ninth Symphony and an all-Wagner album. 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 the Vienna Philharmonic’s “Ring of Honor” for his longstanding personal and artistic relationship with the ensemble, as well as recognition from the Western Law Center for Disability Rights, honorary membership in the Vienna Singverein, appointment as an Academician of the European Academy of Yuste, a Gold Medal from the Upper Austrian government for his work as a cultural ambassador, a Decoration of Honor from the Republic of Austria for his artistic achievements, and the Kilenyi Medal from the Bruckner Society of America. He is the co-author of Cadences: Observations and Conversations, published in a German edition in 2007.

Music Director

The Cleveland Orchestra

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T he

C l e v e l a n d

F r an z W else r - M Ăś st MUsic

D i re c t o R Kelvin Smith Family Chair

FIRST VIOLINS William Preucil concertmaster

Blossom-Lee Chair

Yoko Moore

assistant concertmaster

Clara G. and George P. Bickford Chair

Peter Otto

First associate concertmaster

Jung-Min Amy Lee

Associate concertmaster

Gretchen D. and Ward Smith Chair

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

SECOND VIOLINS Stephen Rose *

Alfred M. and Clara T. Rankin Chair

cellos Mark Kosower*

Louis D. Beaumont Chair

Richard Weiss 1

The GAR Foundation Chair

Emilio Llinas 2

Charles Bernard 2

Eli Matthews 1

Bryan Dumm

James and Donna Reid Chair 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

Helen Weil Ross Chair Muriel and Noah Butkin Chair

Tanya Ell

Thomas J. and Judith Fay Gruber Chair

Ralph Curry Brian Thornton David Alan Harrell Paul Kushious Martha Baldwin BASSES Maximilian Dimoff *

Clarence T. Reinberger Chair

Kevin Switalski 2 Scott Haigh 1

Mary E. and F. Joseph Callahan Chair

VIOLAS Robert Vernon *

Mark Atherton Thomas Sperl Henry Peyrebrune

Lynne Ramsey 1

Charles Carleton Scott Dixon Derek Zadinsky

ChaillĂŠ H. and Richard B. Tullis Chair 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

Charles Barr Memorial Chair

HARP Trina Struble *

Alice Chalifoux Chair

The Cleveland Orchestra

SEASON

Or c he s tra FLUTES Joshua Smith *

Elizabeth M. and William C. Treuhaft Chair

Saeran St. Christopher Marisela Sager 2

Austin B. and Ellen W. Chinn Chair

Mary Kay Fink PICCOLO Mary Kay Fink

Anne M. and M. Roger Clapp Chair

OBOES Frank Rosenwein * Edith S. Taplin Chair

Jeffrey Rathbun 2

Everett D. and Eugenia S. McCurdy Chair

Robert Walters english horn Robert Walters

Samuel C. and Bernette K. Jaffe Chair

horns Richard King *

percussion Marc Damoulakis*

Michael Mayhew §

Donald Miller Tom Freer

George Szell Memorial Chair Knight Foundation Chair

Jesse McCormick

Robert B. Benyo Chair

Hans Clebsch Alan DeMattia

Jack Sutte Lyle Steelman2

librarians Robert O’Brien

James P. and Dolores D. Storer Chair

Michael Miller CORNETs Michael Sachs *

Mary Elizabeth and G. Robert Klein Chair

Michael Miller

Richard Stout

Linnea Nereim

Shachar Israel 2

E-flat clarinet Daniel McKelway

bass trombone Thomas Klaber

bass clarINEt Linnea Nereim bassoons John Clouser *

Louise Harkness Ingalls Chair

Barrick Stees 2

Sandra L. Haslinger Chair

Jonathan Sherwin contrabassoon Jonathan Sherwin

Marjory and Marc L. Swartzbaugh Chair

Robert and Eunice Podis Weiskopf Chair

Robert Woolfrey Daniel McKelway 2

Stanley L. and Eloise M. Morgan Chair

Rudolf Serkin Chair

Carolyn Gadiel Warner

TROMBONES Massimo La Rosa*

Robert R. and Vilma L. Kohn Chair

keyboard instruments Joela Jones *

TRUMPETS Michael Sachs *

clarinets Franklin Cohen *

Robert Marcellus Chair

Margaret Allen Ireland Chair

Gilbert W. and Louise I. Humphrey Chair Alexander and Marianna C. McAfee Chair

euphonium and bass trumpet Richard Stout tuba Yasuhito Sugiyama* Nathalie C. Spence and Nathalie S. Boswell Chair

Joe and Marlene Toot Chair

Donald Miller orchestra Personnel Karyn Garvin director

Christine Honolke Manager

Endowed chairs currently unoccupied Sidney and Doris Dworkin Chair Sunshine Chair

* Principal ° Acting Principal § Associate Principal 1 2

First Assistant Principal Assistant Principal

conductors Christoph von Dohnányi music director laureate

Giancarlo Guerrero

principal guest conductor, cleveland orchestra miami

Brett Mitchell timpani Paul Yancich *

assistant conductor

Tom Freer 2

Robert Porco

Otto G. and Corinne T. Voss Chair

Elizabeth Ring and William Gwinn Mather Chair

director of choruses

Frances P. and Chester C. Bolton Chair

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The Orchestra

WHERE’S

YOUR AD? It could be: here, here, here, here, here, here, here, here, here, & here.

photo: Roger Mastroianni

The Cleveland Orchestra is one of the most acclaimed performing ensembles in the world — an extraordinary engine of promotion and a tremendous source of great civic pride. Every year The Cleveland Orchestra draws Northeast Ohio’s most influential professionals to Severance Hall to hear the best music-making that the world has to offer…pure and simple. 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.

Advertise in The Cleveland Orchestra Severance Hall program books Call 216-721-4300 or email jmoore@livepub.com www.livepub.com

OrchestraNews Cleveland Orchestra announces extension of Franz Welser-Möst contract to 2022

— Extension confirms the continuing artistic success of the Welser-Möst/Cleveland partnership — Ongoing commitment to Cleveland provides continuity into Orchestra’s second century — Welser-Möst will lead Orchestra even further in music education and community engagement

Severance Hall 2014-15

that we will launch the Orchestra’s second century together.” Welser-Möst also spoke about the unique qualities of the Cleveland community, “We have a highly sophisticated audience in Northeast Ohio. I feel a special bond with them, whose enthusiasm for their hometown orchestra is matched by their understanding of the work and support required to maintain such an ensemble. And beyond Ohio, the passionate support of our Miami community motivates even further my long-term commitment to the Orchestra and those we serve.” In recent seasons, Welser-Möst has led a comprehensive set of new initiatives for the Orchestra toward goals of greater community engagement while extending the Orchestra’s international presence and reputation. Looking ahead to the Centennial and beyond, he commented: “To remain relevant in a changing world requires that we constantly change and grow. Leading up to and beyond our Centennial, we will accelerate the pace of change, breaking more new ground with new audiences, new repertoire, and new types of concert and opera presentations.” With his extended commitment through the 2021-22 season, Franz Welser-Möst will become the second longest-tenured music director of The Cleveland Orchestra. He was named the Orchestra’s seventh music director on June 7, 1999, and began his tenure in September 2002. In May 2003, his initial five-year contract was extended to 2012. In 2008, a six-year ex-

Cleveland Orchestra News

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The Cleveland Orchestra announced on Thursday, October 2, the extension of Franz WelserMöst’s contract as music director to 2022. With this extension, Mr. Welser-Möst’s tenure will reach at least 20 years, extending four years beyond the Orchestra’s Centennial Season in 2017-18. The announcement was made to the Orchestra’s musicians and staff at the season’s first rehearsal by the President of the Board of Trustees, Dennis W. LaBarre, and Executive Director, Gary Hanson. “I am delighted that Franz will remain our artistic leader through and beyond our Centennial,” said Mr. LaBarre. “There is no more successful artistic partnership in the world today thanks to Franz’s extraordinary vision and leadership. I am confident the future will bring even greater success. Franz’s extended commitment provides artistic stability that is increasingly rare in our industry, and enables our shared goal for a Centennial that is a forward-looking foundation for the institution’s second century.” “Franz is transforming The Cleveland Orchestra,” said Hanson, “not only artistically with ever-greater elegance and flexibility, but also institutionally through his passion for making us relevant to today’s audiences. For Franz, performing great concerts in local high schools is no less important than our celebrated international appearances. His long-term commitment to Cleveland is central to fulfilling our expanding education and community engagement mission.” Commenting on the announcement of his extension, Welser-Möst said, “I love the spirit of The Cleveland Orchestra and there is no greater joy for me than collaborating with these musicians. Their collective dedication to excellence at every performance is inspiring and humbling. We challenge each other to greater heights with each passing season. I am very excited

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T H E CLEVELAND O R C H E S T R A T H E CLEVELAND O R C H E S CLEVELAND O R C H E S T R A T H E CLEVELAND O R C H E S T R A A T H E CLEVELAND O R C H E

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OrchestraNews tension was announced to 2018. Concurrently with his Cleveland appointment, Franz Welser-Möst has also served as general music director of the Zurich Opera up to 2010, and in the same role at the Vienna State Opera from 2010 to 2014. He is a regular guest conductor of the Vienna Philharmonic at home and on far-reaching international tours, as well as for opera productions at the Salzburg Festival. The Welser-Möst/Cleveland Legacy The 2014-15 season marks Franz WelserMöst’s thirteenth year as music director of The Cleveland Orchestra, with the future of this acclaimed partnership now extending into the next decade. He holds the Kelvin Smith Family Music Director Endowed Chair. Since becoming music director in 2002, Franz Welser-Möst has expanded the Orchestra’s repertoire and its horizons, while honing its strengths and building upon its unrivalled abilities. His leadership has developed new programs for its hometown in Northeast Ohio, as well as for enthusiastic fans and discerning connoisseurs around the world. Under Welser-Möst’s direction, The Cleveland Orchestra is hailed for its continuing artistic excellence, is broadening and enhancing its community programming at home in Northeast Ohio, is presented in a series of ongoing residencies in the United States and Europe, and has re-established itself as an important operatic ensemble. With a commitment to music education and the Northeast Ohio community, Franz Welser-Möst has taken The Cleveland Orchestra back into public schools with performances in collaboration with the Cleveland Metropolitan School District. He has championed new programs, such as a community-focused Make Music! initiative and a series of “At Home” neighborhood residencies designed to bring the Orchestra and

citizens together in new ways. Under Welser-Möst’s leadership, The Cleveland Orchestra has established a recurring biennial residency in Vienna at the famed Musikverein concert hall and appears regularly at Switzerland’s Lucerne Festival. Together, they have also 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, an annual multi-week Cleveland Orchestra residency in Florida was inaugurated in 2007 and an ongoing relationship with New York’s Lincoln Center Festival began in 2011. In all, Mr. Welser-Möst has led the Orchestra on fourteen international concert tours as music director, including their most recent 2014 European Tour, September 7-22. In his first twelve years as music director, Franz Welser-Möst has led an annual series of opera presentations — including fully-staged, semi-staged, and concert performances — exploring and redefining theatrical approaches to opera within an orchestra’s season. Highlights include the three Mozart-Da Ponte operas (200911), Richard Strauss’s Salome at home in Severance Hall and at New York’s Carnegie Hall in 2012, and an innovative production of Janáček’s The Cunning Little Vixen this past spring. A presentation of Richard Strauss’s Daphne follows during the current season, in May 2015. Franz Welser-Möst’s recordings with The Cleveland Orchestra include DVD recordings of live performances of five of Bruckner’s symphonies, a recording of Beethoven’s Ninth Symphony, and an all-Wagner album. Currently he and the Orchestra are in the midst of a new project recording major works by Brahms. Additional information can be found at clevelandorchestra.com.

lec.edu lec.edu 1.855.GO.STORM 1.855.GO.STORM 26

Cleveland Orchestra News

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2014 European Tour draws praise for Welser-Möst /Cleveland partnership The following are excerpted from press commentary about The Cleve land Orchestra’s performances during its European Tour in September: “Welser-Möst exhibited the mellow, silky sound he has cultivated in his twelve years with the Clevelanders. . . . The Brahms had old-school character — the symphony’s middle movements have never sounded so Viennese.” —Guardian (London), September 9, 2014 “Franz Welser-Möst is certainly an excellent technician — and last night all his skills were needed to keep a sprawling, fragmentary recent piece like Jörg Widmann’s Teufel Amor on track. . . . The Cleveland Orchestra can patrol contemporary music’s barricades with terrific expertise, commitment, and flair.” —The Arts Desk, September 9, 2014 “Ohio’s prize orchestra is still gleaming, giving performances as precision-tooled as the cars that once rolled out from Michigan’s factories. . . . The orchestra’s ensemble sense is perfect.” —The Times (London), Sepember 9, 2014

“Franz Welser-Möst has managed something radical with The Cleveland Orchestra — making them play as one seamless unit. . . . Brahms’s Tragic Overture and Symphony No. 2 flickered with a very delicate beauty that makes the Clevelanders sound like no other orchestra.” —The Times (London), September 10, 2014 ““The interpretations of Jörg Widmann works by The Cleveland Orchestra under Franz Welser-Möst’s baton can be considered exemplary and significant. They radiated an inner warmth and have been worked down to the finest detail, and are at the same time supported by large voltage playing.”

—Berliner Zeitung, Sepember 15, 2014

“The First Symphony of Brahms was interpreted by Welser-Möst and The Cleveland Orchestra with enormous precision, great tempo, polished dynamics, and dramatic intelligence. . . . One not only heard the romantic side of Brahms, but also the wild and almost revolutionary one.” —Kurier (Vienna), Sepember 15, 2014

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Cleveland Orchestra News

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“Welser-Möst’s approach was intimate. . . . In the Brahms First Symphony, the playing was . . . extremely refined, the velvet smooth orchestral texture illuminated with expressive solo contributions and a sense of the musicians listening to each other. . . . The playing was visibly committed and responsive.” —Music OMH, September 10, 2014

THE CLEVELAND OR-

OrchestraNews

BACH IN FOCUS

THE CLEVELAND ORCHESTRA

O C TO B E R 1 5 -2 5

CLEVELAND O30RCHESTRA THE CLEVELAND ORCHESTRA HESTRA THE CLEVELAND ORCHE

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Severance Hall hosts free Make Music! Marathon on Saturday afternoon, October 18 As part of The Cleveland Orchestra’s “Bach In Focus” programming this month, a special free Bach Make Music! Marathon is being performed on Saturday afternoon, October 18, from 2:00 to 6:00 p.m. at Severance Hall. The all-Bach afternoon includes performances of his double violin concerto, selections from the Wedding and Coffee cantatas, along with chamber and solo works for violin, cello, harpsichord, and organ. The afternoon is free and open to the public, with performances taking place in both of Severance Hall’s concert venues: Severance Hall Concert Hall 2:00 – 2:45 p.m. Case Western Reserve University and Cleveland Institute of Music baroque orchestra and chamber ensemble 3:00 – 3:45 p.m. Organists from the Oberlin Conservatory of Music Reinberger Chamber Hall at Severance Hall 4:00 – 4:40 p.m. Burning River Baroque 4:45 – 5:15 p.m. Oberlin Conservatory of Music chamber ensembles 5:20 – 6:00 p.m. Cleveland Orchestra Youth Orchestra chamber ensembles

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

Upcoming local performances by members of The Cleveland Orchestra include: The ninth season of Close Encounters Chamber Music by Heights Arts begins on Sunday afternoon, November 2 with a brass program featuring the Factory Seconds Brass Trio in a program titled “Second to None.” The ensemble features three Cleveland Orchestra musicians who sit as second chairs in their sections: Jack Sutte (trumpet), Jesse McCormick (horn), and Richard Stout (trombone). The concert takes place at an elegant Tudor home in Shaker Heights. Reservations are required, seating is limited. Tickets are $50 per person ($40 for Heights Arts members). For further information, call 216-371-3457, or visit www. heightsarts.org. The season’s four Close Encounters concerts, all featuring Cleveland Orchestra musicians, are curated by Orchestra violinist Isabel Trautwein. The other concerts are in February, April, and May.

First “Meet the Artist” luncheon of season to be November 7 in Pepper Pike

The Women’s Committee’s annual series of Meet the Artist luncheons begins for the 2014-15 season on Friday, November 7. The guest artist for the event is Giancarlo Guerrero, principal guest conductor for Cleveland Orchestra Miami. He will discuss his career and the Orchestra’s annual Miami residency with Randy Elliot, assistant artistic administrator. This Meet the Artist luncheon takes place at the Cleveland Racquet Club (29825 Chagrin Blvd, Pepper Pike). A reception begins at 11:30 a.m., with lunch following, and then the program with Giancarlo Guerrero at 1 p.m. The cost is $40 for Women’s Committee members; $45 for non-members. Reservations are suggested. For more information or to make reservations, call 216-292-2648.

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OrchestraNews

Post-Concert Dining options come to Severance Hall with the start of the 2014-15 Season. Enjoy our full-service bar, desserts and coffee, or our special à la carte dining choices. Following most Cleveland Orchestra concerts, the Restaurant will be open for a relaxing time with friends. Stop by and extend your evening out. For KeyBank Fridays@7 performances, live music will be featured in the hour following the concert. Mix and mingle, drop in and start again — between the Restaurant and all of Fridays@7’s post-concert musical offerings! No reservations are required. Stop by after Thursday, Friday, and Saturday evening concerts, or after Friday morning matinees. Severance Restaurant is operated by Cleveland’s own Marigold Catering.

w! Ne

Kulas Series of Keyboard Conversa

Pre-Order Intermission Drinks!

Also new this season — you can pre-order your beverage choices for intermission! Cleveland State University’s C with Jeffrey Siegel Simply visit one of the bars before the concert to place and pay foratyour order.

October 4, 2009 Chopin for Lovers

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For pre-concert dining, reservations are suggested. Book online by visiting the link to OpenTable at clevelandorchestra.com.

Every work on the program is inspired by a different woman in the composer’s love life!

Celebra

The heroic Polonaises, the poignant and bouyant Season 2014-2015 Mazurkas, and the27th vivacious Waltzes.

Presented by Cleveland State University’s Center for Arts and Innovation

March 14, 2010 Masterly Chopin the Storyteller

Sunday, October 19, 2014

Passionate Classicists — Schubert and Brahms Enthralling Epic poems and short stories in tone. Ballades of Sunday, November 16, 2014 Chopin and Brahms, Novelettes of Schumann. Charming Torment and Triumph — Music of Franz Liszt April 25, 2010 Scintillating

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December 6, 2009 Kulas Series of Keyboard Conversations® Chopin the Patriot with Jeffrey Siegel

“An Afternoon Chopin and the Future Three Great “Bs” and exhilarati “An afternoon entertaining talk caress and Bach, Worksofof Chopin that the ear and—point toBeethoven and Bartók exhilarating music.” the future. - The Sunday, May 3, 2015 – The Washington Post Sunday, March 15, 2015

Popular Piano Classics

All Concerts take place at 3:00 pm at Cl All concerts begin at 3:00 pm in Waetjen Auditorium, Euclid Ave. & E. 2 Cleveland State University’s Waetjen Auditorium, Euclid Ave. and E. St. www.csuohi Call (216) 687.5018 or 21st visit For more information call 216.687.5022 for more information. or visit www.csuohio.edu/concertseries/kc Severance Hall 2014-15

Cleveland Orchestra News

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OrchestraNews M.U.S.I.C.i.a.N s.a.l.u.T.E The Musical Arts Association gratefully acknowledges the artistry and dedication of all the musicians of The Cleveland Orch estra. In addition to rehearsals and concerts throughout the year, many musicians donate performance time in support of community engagement, fundraising, education, and audience development activities. We are pleased to recognize these musicians, listed below, who have volunteered for such events and presentations during the 2013-14 and 2014-15 seasons. Mark Atherton Martha Baldwin Charles Bernard Katherine Bormann Lisa Boyko Charles Carleton John Clouser Hans Clebsch Kathleen Collins Patrick Connolly Ralph Curry Alan DeMattia Scott Dixon Elayna Duitman Bryan Dumm Tanya Ell David Alan Harrell Miho Hashizume Shachar Israel Joela Jones Richard King Alicia Koelz Stanley Konopka Paul Kushious Massimo La Rosa Jung-Min Amy Lee Takako Masame Eli Matthews

Jesse McCormick Daniel McKelway Sonja Braaten Molloy Chul-In Park Joanna Patterson Zakany Alexandra Preucil William Preucil Lynne Ramsey Jeanne Preucil Rose Stephen Rose Frank Rosenwein Marisela Sager Sae Shiragami Emma Shook Joshua Smith Saeran St. Christopher Barrick Stees Richard Stout Jack Sutte Kevin Switalski Lembi Veskimets Carolyn Gadiel Warner Stephen Warner Richard Weiss Beth Woodside Robert Woolfrey Paul Yancich Derek Zadinsky

Welser-Möst leads special Vienna Philharmonic concert in Sarajevo to commemorate anniversary of World War I

Franz Welser-Möst led a commemorative concert of the Vienna Philharmonic in the atrium of Sarajevo’s rebuilt City Hall on June 28, 100 years after the assassinations of Archduke Ferdinand of Austria and his wife Sophie in that city began a series of events that resulted in the outbreak of World War I — and the start of a war-torn century for Sarajevo itself. A giant screen was erected to broadcast the concert for a crowd gathered outside on the opposite side of the Miljacka River. Broadcasters for Eurovision relayed the concert to more than 40 countries across Europe. “This is a very symbolic day in a very symbolic location,” said Clemens Hellsberg, the outgoing president of the Philharmonic. “We wanted it to be not a view back into history, but a view into the future, after the catastrophe of war.” In choosing the Beethoven’s ‘Ode to Joy’ as part of the concert, Welser-Möst said, “we wished to express the hope that war should never happen on the soil of Europe again.” Welser-Möst continued, saying that he and the Philharmonic saw themselves performing in this special concert a similar role of reconciliation that conductor Daniel Barenboim has sought with his West-Eastern Divan Orchestra, whose mixture of Israeli and Arab players also work to surmount the hatreds and divisions of the past.

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LEARNING MORE ABOUT THE MUSIC

SEASON

Concert Previews The Cleveland Orchestra offers a variety of options for learning more about the music before each concert begins. For each concert, the program book includes program notes commenting on and providing background about the composer and his or her work being performed that week, along with biographies of the guest artists and other information. You can read these before the concert, at intermission, or afterward. (Program notes are also posted ahead of time online at clevelandorchestra.com, usually by the Monday directly preceding the concert.) The Orchestra’s Music Study Groups also provide a way of exploring the music in more depth. These classes, professionally led by Dr. Rose Breckenridge, meet weekly in locations around Cleveland to explore the music being played each week and the stories behind the composers’ lives. Free Concert Previews are presented one hour before most subscription concerts throughout the season at Severance Hall. The previews (see listing at right) feature a variety of speakers and guest artists speaking or conversing about that weekend’s program, and often include the opportunity for audience members to ask questions.

Severance Hall 2014-15

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. October 16, 18 “Bach’s Mass in B minor”

with guest speaker Ross Duffin, professor of music, Case Western Reserve University, discussing what has been called “the greatest musical artwork of all times and peoples”

October 23, 24, 25 “Mendelssohn and Bach”

with guest speaker David J. Rothenberg, associate professor of musicology, Case Western Reserve University in conversation with conductor James Gaffigan

October 30, November 1 “One Summer Night . . .” with guest speaker Francesca Brittan, assistant professor of music, Case Western Reserve University

October 31 “From Darkness to Light” with Rose Breckenridge, Cleveland Orchestra Music Study Groups administrator and lecturer

November 6, 8, 9 “Love Letters of Farewell” with Rose Breckenridge, Cleveland Orchestra Music Study Groups administrator and lecturer

Concert Previews

BRAVO! We are pleased to support The Cleveland Orchestra: a Cleveland institution with a global reputation for excellence.

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Severance Hall

Thursday evening, October 16, 2014, at 7:30 p.m. Saturday evening, October 18, 2014, at 8:00 p.m.

Franz Welser-Möst, conductor

SEASON

Mass in B minor, bwv 232

by johann sebastian bach (1685-1750)

I. II. III. IV.

Missa (Kyrie and Gloria) Symbolum Nicenum (Credo) Sanctus Osanna, Benedictus, Agnus Dei, and Dona Nobis Pacem

JoÉlle harvey, soprano iestyn davies, countertenor nicholas phan, tenor hanno mÜller-brachmann, bass-baritone cleveland orchestra chorus Robert Porco, director cleveland orchestra youth chorus Lisa Wong, director

Please note that the concert is performed without intermission and will end on Thursday evening at about 9:35 p.m. and on Saturday at approximately 10:05 p.m.

These concerts are supported through the generosity of the Squire Patton Boggs (US) LLP Cleveland's Own Series sponsorship. Thursday's concert is sponsored by Huntington National Bank. live radio broadcast

Saturday evening’s concert is being broadcast live on WCLV (104.9 FM). The concert will be rebroadcast as part of regular weekly programming on WCLV on Saturday evening, April 4, 2015, at 8:00 p.m.

Severance Hall 2014-15

Concert Program — Week 3

â&#x20AC;Ś for the love of learning www.cwru.edu/lifelonglearning

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Volcanoes, Telescopes and Aquatic Life: An Institute for the Science of Origins Trip to Hawaii May 11- 20, 2015 Memory, Museums & Music: Exploring Art and History in Modern Berlin May 21 - 29, 2015 The Heritage of Jewish Life in Germany: A Tour of Frankfurt and Berlin June 4 - 14, 2015 Confronting the Challenges of the 21st Century in Amsterdam June 21 - 30, 2015 Music and Theater Festivals in the UK: A Trip Through England and Scotland August 8 - 17, 2015 Space is limited! Reserve Now. Call 216.368.2090/1 for more information or visit www.cwru.edu/lifelonglearning for more details.

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INTRODUCING THE CONCERTS

Bach, Music& God

is — along with Mozart and Beethoven — among the best-known brandnames in classical music. This month, The Cleveland Orchestra explores Bach’s greatness in ten days of programming titled “Bach in Focus,” encompassing two weekends of concerts at Severance Hall, plus several free community events. Franz Welser-MÖst’s idea for these performances is to focus on Bach’s achievements and genius. It is neither a programming of greatest hits (although some of those are included), nor exhaustive in breadth or depth. It is the start — and the continuation — of a conversation about the power of music, and about Bach’s influence, on other composers, and on us and our understanding of music. Bach created hundreds of works, and many many masterpieces. He wrote in many genres — works for solo instrument, duets, small ensembles, concertos, cantatas, choral pieces, pieces for organ b conc and ssolo keyboard. Humorous and serious, conventional in form and stretching the imaginav ve tion. Much of his output was religious, built t within his own deep belief in God. Much also was work-for-hire, as an employee, often for the Lutheran church. Although he certainly wrote pieces for his own gratification or amusement, in his mind these were almost assuredly also and primarily for God’s gratifia cation, as His humble servant. cat In addition to two weekends of concerts at Severance Hall H (Mass in B minor on October 16 and 18, and Hilary Hahn Plays Bach on October 23, 24, 25), Bach’s Missa Brevis (the first half of the Mass) is being presented in a free community concert on the evening of October 17 at the Cathedral of Saint John the Evangelist in downtown Cleveland, and a free Bach Make Music! Marathon is offered on Saturday afternoon, October 18, featuring students and performers from area educational and performing institutions (see page 28 for details). Keep the focus, think, and enjoy!

OCT

OBE

R 1525

B A IN FOCH CU

JOHANN SEBASTIAN BACH

Severance Hall 2014-15

—Eric Sellen

Introduction

Friday, October 24, 8 p.m.

BACH HAUS

Friday, October 24, 8 p.m. Fynette Kulas Music Hall Boesel Musical Arts Center 49 Seminary Street Berea, OH 44017

Join us in a true coffee house atmosphere as BW faculty and students perform Bluegrass, Broadway, The Beatles and of course Bach in the newest addition to the Baldwin Wallace University Bach Festival, Bach Haus. Celebrate the breadth of Bach’s influence and the diversity of BW talent. Enjoy Red Cedar coffee and vegan desserts by Veg’n Out Bakery. Ticket proceeds benefit the BW Bach Festival. Tickets: $20. Call 440-826-8070 or purchase online: www.bw.edu/tickets SAVE THE DATE for the Baldwin Wallace University Conservatory of Music BACH FESTIVAL: Friday-Sunday, April 17-19, 2015 The nation’s oldest collegiate Bach Festival presents Bach’s MASS IN B MINOR, with newly appointed Bach Festival Director Dr. Dirk Garner.

The Cleveland Orchestra Program 2014-2015 Season

The Cleveland Orchestra

Bach

in Focus

A Snapshot of a Great Composer’s Life and Legacy jo h ann e s b r a h m s onc e sai d , “Study Bach: there you

will find everything.” Johann Sebastian Bach’s impact on the world of classical music, in fact, remains unsurpassed. He was innovative in so many ways, building a foundation for later musical developments and inspiring generations of composers to push the boundaries of convention. In pursuit of this revolutionary, The Cleveland Orchestra presents “Bach in Focus!” October 15-25, performing a selection of Bach’s output, an examination of some works inspired by his music, and a chance to reflect on this great artist’s life, religious faith, and creative outlook. Bach was one of the most prominent composers of the Baroque period. The term “Baroque” comes from the Portuguese word barroco or “misshapen pearl.” This adjective was intended by 18th-century critics as a pejorative term to describe the highly stylized ornamentation that was characteristic of the visual arts, architecture, and music of the time. The term stuck, however, Severance Hall 2014-15

Johann Sebastian Bach: 1685-1750

The music of my father has higher purposes — it is not supposed to fill the ear, but to move your heart. —Carl Philipp Emanuel Bach

Saint Nicholas Church in Leipzig, where Bach led the world premiere of his St. John Passion in 1724, with the St. Thomas Choir.

and became the name for this celebrated period in the arts and music, roughly the years 1600 to 1750. During this time, composers developed new musical genres, such as opera, pushed boundaries of tonality, and expanded the concept of musical form. Bach was born in Eisenach, Germany, in 1685, right in the middle of the Baroque. Descended from a long line of musicians, he was exposed to music from an early age. He went to live with his older brother after the death of their parents, and it was then that he started to develop his exceptional abilities as a keyboardist. He received his first appointment as church organist at Arnstadt when he was still a feisty teenager. Accounts of him participating in a brawl and inviting a woman into the organ loft without permission give us an idea of his sometimes rebellious personality. In 1708, Bach accepted a position working for the Duke of Weimar, where he composed many cantatas (for singers and various instruments) and organ works. He appealed to the Duke for the position of Kapellmeister (chief musician) in 1716. But the Duke hired somebody else instead, and Bach threatened to leave his position in Weimar. The Duke, angered by Bach’s behavior, had him locked up in prison for a month. Bach was then unfavorably dismissed from his musical position and forced to seek other work. After this rough departure from Weimar, Bach went to work for Prince Leopold at Cöthen in 1717, where he created large amounts of instrumental music. This was the only post where he wrote very little for religious purposes, due to the musically sparse services held by the Calvinist churches there. In 1723, Bach moved to Leipzig, accepting a position as Kapellmeister (in charge at last!) of Saint Thomas’s Church (Thomaskirche), where he worked until his death in 1750. In Leipzig, Bach was primarily responsible for writing music for Lutheran church services and training the choirs who performed these works and the regular hymnody. It was during this time that he created the first half of his Mass in B minor, the Missa Brevis, in 1733, and then, in his final years, completed the Mass and worked on his enigmatic Art of Fugue, a masterpiece in Johann Sebastian Bach

The Cleveland Orchestra

counterpoint. It may be surprising to learn that Bach has not always been as famous as he is today. While he was renowned during his lifetime as an organist, as a composer he was much less well-known. If you mentioned the name “Bach” on the streets of late 18th-century Germany, most people would assume you were talking about his son, composer C.P.E. Bach, rather than Johann Sebastian! Even though Bach’s music was not well known by the public at the end of the 18th and beginning of the 19th century, many composers of that time studied and used it as inspiration for their own works. A renaissance of general interest in Bach’s music began at the start of the 19th century. The young Felix Mendelssohn pushed things along with a rare public performance of the St. Matthew Passion in 1829. Robert Schumann also helped bring Bach back in focus, forming the Bach-Gesellschaft (Bach Society) in 1850 with the goal of publishing all of Bach’s works and making them more widely available to music lovers everywhere. Johannes Brahms was one of the Society’s subscribers who eagerly awaited these new editions, and he looked to Bach’s compositions as models for some of his own works, including ideas in fugal counterpoint. This technique for writing two or more intertwining melodic lines sounding simultaneously reached a peak of artistic perfection during the Baroque. And who better to turn to when writing in this style than Bach, the Baroque master of counterpoint himself! Bach’s works continue to inspire and influence composers more than 250 years after his death. His fame as a composer may have had its ups and downs, but his impact on the world of classical music remains unrivaled. —Kate Rogers Kate Rogers is an intern this season with The Cleveland Orchestra’s Archives. She is a PhD student in musicology at Case Western Reserve University.

LOOKING FOR MORE? See page 67 for some suggested books and other resources to read and learn more about Johann Sebastian Bach, his life, his music. Severance Hall 2014-15

Johann Sebastian Bach

And if we look at the works of Johann Sebastian Bach — a benevolent god to which all musicians should offer a prayer to defend themselves against mediocrity — on each page we discover things which we thought were born only yesterday, from delightful arabesques to an overflowing of religious feeling greater than anything we have since discovered. And in his works we will search in vain for anything the least lacking in good taste. —Claude Debussy

Mass in B minor bwv232 composed 1724-49

was a characteristic of Bach’s mature works. Familiar examples are the Forty-Eight Preludes and Fugues of the Well-Tempered Clavier, the complete cycles of church cantatas, the Clavier-Übung, and the Art of Fugue, all of which consist of a large number of smaller pieces fitting into a larger masterplan. Similarly, the long works, such as the St. John Passion and the St. Matthew Passion, are designed as wholes. Yet the Mass in B minor, an incontestably large and important work, came into being piece by piece, bit by bit, over a period of many years. Having been brought up firmly in the tradition of Protestant music-making in north-central Germany, Bach probably never imagined that he would compose a complete setting of the Roman Catholic Mass at all. The Latin Magnificat was sung in Protestant churches, as we know from Bach’s version, and so was the Sanctus hymn, but the Mass was a different matter. Bach’s first steps in this direction were prompted by his festering discontent in Leipzig after nearly ten years of unprecedentedly brilliant contributions to the city’s church music. He was rightly peeved by minor squabbles with the city authorities, and was ready to look elsewhere for a position worthy of his talents. One obvious goal was Dresden, the seat of the Saxon court and therefore rich in prestige and musical resources, even though it was Catholic in its observance. In 1733, Bach’s eldest son, Wilhelm Friedemann Bach, was appointed to a church position there, more or less at the moment when the king, August the Strong, died. During Lent that year, when his church duties were lighter, Bach composed a Missa (or Missa Brevis), a setting of the Kyrie and Gloria of the Mass, and prepared it for presentation to the new king in Dresden in the vague hope of a position at court, or at the very least some official recognition. It is not certain that these two magnificent large movements (made up of 11 or 12 sub-sections) were played then, when Bach and several members of his family spent a period of time in Dresden, but at least the presentation materials of score and parts were carefully prepared with a performance in mind. Certain sections of these two larger movements (together lasting about an hour in performance) were recycled from earp l annin g on a g r an d sca l e

Johann Sebastian

BACH

born March 21, 1685 Eisenach, Saxe-Eisenach, Germany died July 28, 1750 Leipzig

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About the Music

above

A painting portraying Johann Sebastian Bach (seated) with three of his sons. Bach fathered twenty children with his first and second wives. Typical for the era, only ten children lived to adulthood â&#x20AC;&#x201D; six sons and four daughters.

lier compositions â&#x20AC;&#x201D; a practice to which Bach, like most composers of his time, often resorted. The same applies to an even greater extent to most sections of the remaining three movements of the Mass, which seem to have been completed in the last years of his life, between 1747 and 1749, when he was no longer composing for his own churches in Leipzig. The Sanctus, for instance, was a borrowing and repurpose, as a whole, of a setting he had created in 1724, during his second year in Leipzig, for performance on Christmas Day. The self-borrowings are no blemish on the Mass as a whole, for Bach selected the pieces from a vast store of music, both sacred and secular, that he had been accumulating for forty years. And he selected with care, taking into account the texts and the overall design, which was never out of his sight. Nor, when he knew his days were numbered, should we rebuke his dependence on earlier music because it accelerated the process. Typical of a man absorbed by the grand design, he was no doubt anxious to complete the full work, not for liturgical use but for posterity. What a contrast with all those church cantatas composed twenty years earlier for immediate use in church with no expectation of any posterity at all! The Mass as a whole was almost certainly not performed during Bachâ&#x20AC;&#x2122;s lifetime. He drafted and assembled the score during his final years, as blindness crept up on him. As with About the Music

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many of his scores, the composer marked the manuscripts with “DSG,” meaning Deo soli Gloria, or “for the glory of God alone.” Bach’s son Carl Philipp Emanuel cataloged it among his father’s works as the “grosse Catholic Mass” (the German word grosse meaning large, grand, and important). The disparate origins of this music account for some of the variety of style encountered, but Bach’s inclination was always to vary the interior styles of his large works and was driven purely by matching suitable music to the words, and fitting smaller pieces into the larger whole. Since the late 19th century (the first complete performance was in 1859), the Mass in B minor has become a centerpiece of the choral repertoire everywhere in the world that Western classical music is performed. t h e M u sic In his score,

Bach grouped the five main movements of the Catholic Mass — Kyrie, Gloria, Credo, Sanctus, and Agnus Dei — into four large sections. As was customary at the time, he referred to the Kyrie and Gloria together as a Missa, or Missa Brevis. The Credo he titled “Symbolum Nicenum” after the Byzantine town of Nicaea (now in northwestern Turkey), where the Nicene Creed was formally adopted by the Council of Bishops in the year 325 a.d. Bach used the Sanctus title very strictly, and then titled the remainder of the sections together as a fourth unit. Each of Bach’s four large sections are themselves divided into smaller sections, so the work as a whole can be seen as made up of 25 separate pieces (some scholars group the score into 24 or 27 pieces instead), each contributing to a structure within a structure. Several of these sections are further subdivided by tellingly dramatic changes in text and tempo. (The numbering of sections on these pages and in the sung text beginning on page 55 is for ease of reference; Bach did not number the sections in his score beyond the larger units of I through IV.)

I. Missa The Kyrie is traditionally set in three parts, with the last section sometimes being a repeat of the first.

Having been brought up firmly in the tradition of Protestant music-making in north central Germany, Bach probably never imagined that he would compose a complete setting of the Roman Catholic Mass. The Latin Magnificat was sung in Protestant churches, and so was the Sanctus hymn, but the Mass was a different matter.

No. 1: Kyrie. After a solemn four bars, a grand portal to the whole work, the Kyrie settles into a long fugue on a shapely chromatic theme of great dignity and beauty. The choir rests Severance Hall 2014-15

About the Music

A new season begins.

Maine Sublime: Frederic Church’s “Twilight in the Wilderness” October 4, 2014 to January 25, 2015

Jacob Lawrence: The Toussaint L’Ouverture Series October 11, 2014 to January 4, 2015

Epic Systems: Three Monumental Paintings by Jennifer Bartlett September 7, 2014 to February 22, 2015

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Twilight in the Wilderness, 1860. Frederic Edwin Church (American, 1826–1900). Oil on canvas; 101.6 x 162.6 cm. The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund 1965.233. Mount Katahdin from Upper Togue Lake, (detail), 1877–78. Frederic Edwin Church Frederic Edwin Church. Olana State Historic Site, Hudson, NY, Office of Parks, Recreation and Historic Preservation OL.1981.70. The Life of Toussaint L’Ouverture, No. 20: General Toussaint L’Ouverture, 1938. Jacob Lawrence. Courtesy Amistad Research Center, Tulane University, New Orleans, Aaron Douglas Collection. Song, (detail), 2007. Jennifer Bartlett. The Cleveland Museum of Art, Gift of Agnes Gund 2008.117. © 2014 Jennifer Bartlett.

briefly in the middle before the basses initiate a series of entries leading to the final display of masterly rich counterpoint. No. 2: Christe offers a complete contrast, being a duet for two sopranos, like a love scene from one of the Italian operas that the Dresden court adored. The violins weave a constant thread behind the voices. No. 3: Kyrie returns to severe, almost harsh, counterpoint, now with more urgency in humanity’s appeal for mercy. The Gloria is in nine sections: No. 4: Gloria. This section has to set a scene of splendor, so trumpets and drums are called in and the choir is manifestly thrilled by contemplation of the glory of God. The music moves seamlessly into the call for peace on earth, “in terra pax,” its calmness surprisingly reinforced by the syncopated phrase with which each entry begins, between beats. The word “voluntatis” is always set as a long melisma and given to each voice in turn. No. 5: Aria. Opera is again the reference-point for the soprano solo “Laudamus.” It is in fact a duet with solo violin, and although the violin is content to present the opening tune, at least at the start, in all its simplicity, the soprano plunges immediately into an extravagant parade of virtuoso ornamentation, as any opera diva of the time would. The violin, meanwhile, has its own agility to display. No. 6: Chorus. The “Gratias agimus” drew on a 1731 can tata in honor of the Leipzig municipality. Its firm rising four notes, derived from plainchant, recur throughout, most strikingly when the trumpets and drums enter. No. 7: Duetto. The “Domine Deus” features a solo flute in support of soprano (Son) and tenor (Father) soloists. Muted strings bring a sense of intimacy to this section after the celebrations of the previous one. This is music in a “modern style” for the period and in the form of a da capo aria, except that the middle section, with its clear change of key, is followed not by a return to the beginning but by moving directly into the next movement. No. 8: Chorus. With “Qui tollis peccata mundi” (“You who take away the sins of the world”), the larger Gloria, which began with shouts of joy, now reaches the point where humanity, in abject humility, contemplates its sins. Bach’s music has an unmatched intensity of feeling generated by the slow harmonic pulse (mainly one harmony per bar), bitter suspensions in the Severance Hall 2014-15

About the Music

The selfborrowings are no blemish on the Mass as a whole, for Bach selected the pieces from a vast store of music, both sacred and secular, that he had been accumulating for forty years. And he selected with care, taking into account the texts and the overall design, which was never far from his mind.

Sound for the Centennial TH E C AM PAI G N fo r Th e C le v el a n d O rc h es tr 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 cash THE gifts and legacy commitments, while also securing broad-based and increasing anCLEVELAND ORCHESTRA nual support from across Northeast Ohio. The generous individuals and organizations listed on these pages have made long-term commitments of annual support, endowment funds, and legacy declarations to the Campaign as of October 5, 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 Cuyahoga County residents through Cuyahoga Arts and Culture Mr. and Mrs. Alexander M. Cutler

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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 Mr. and Mrs. Michael J. Horvitz Hyster-Yale Materials Handling NACCO Industries, Inc. Jones Day 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 Ohio Arts Council The Payne Fund PNC Bank Julia and Larry Pollock Mrs. Alfred M. Rankin, Sr. Mr. and Mrs. Alfred M. Rankin, Jr. James and Donna Reid Barbara S. Robinson The Leighton A. Rosenthal Family Foundation 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 (3)

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gifts of $500,000 to $1 million

Gay Cull Addicott Darby and Jack Ashelman Claudia Bjerre Jeanette Grasselli Brown and Glenn R. Brown Robert and Jean* Conrad GAR Foundation Richard and Ann Gridley The Louise H. and David S. Ingalls Foundation Martha Holden Jennings Foundation Mr. and Mrs. Douglas A. Kern James and Gay* Kitson

Virginia M. and Jon A. Lindseth Ms. Nancy W. McCann 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 Squire Patton Boggs (US) LLP Thompson Hine LLP Anonymous (2)

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 The George W. Codrington Charitable Foundation Mr. and Mrs. Matthew V. Crawford William and Anna Jean Cushwa Nancy and Richard Dotson Patricia Esposito Sidney E. Frank Foundation Albert I. and Norma C. Geller The Gerhard Foundation Mary Jane Hartwell David and Nancy Hooker Mrs. Marguerite B. Humphrey James D. Ireland III Trevor and Jennie Jones Myra Tuteur Kahn Memorial Fund of The Cleveland Foundation

Mr. Clarence E. Klaus, Jr. Giuliana C. and John D. Koch Dr. Vilma L. Kohn Mr. and Mrs. Alex Machaskee Robert M. Maloney and Laura Goyanes Elizabeth Ring Mather and William Gwinn Mather Fund Mr. Donald W. Morrison Margaret Fulton-Mueller National Endowment for the Arts William J. and Katherine T. Oâ&#x20AC;&#x2122;Neill Parker Hannifin Corporation Mr. and Mrs. James A. Saks Hewitt and Paula Shaw The Skirball Foundation R. Thomas and Meg Harris Stanton Mr. and Mrs. Jules Vinney* David A. and Barbara Wolfort

gifts of $100,000 to $250,000

The Abington Foundation Mr. and Mrs. George N. Aronoff Jack L. Barnhart Fred G. and Mary W. Behm Ben and Ingrid Bowman Dr. Christopher P. Brandt and Dr. Beth Sersig Helen C. Cole Charitable Trust The Mary S. and David C. Corbin Foundation Mary Kay DeGrandis and Edward J. Donnelly George* and Becky Dunn Mr. Allen H. Ford Dr. and Mrs. Hiroyuki Fujita Dr. Saul Genuth The Giant Eagle Foundation JoAnn and Robert Glick Hahn Loeser & Parks LLP Iris and Tom Harvie Jeff and Julia Healy Mr. Daniel R. High Mr. and Mrs.* S. Lee Kohrman Kenneth M. Lapine and Rose E. Mills

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Dr. David and Janice Leshner Mrs. Emma S. Lincoln Linda and Saul Ludwig Dr. and Mrs. Sanford E. Marovitz Mr. Thomas F. McKee The Margaret Clark Morgan Foundation The Nord Family Foundation Mr. Gary A. Oatey Park-Ohio Holdings Corp. Polsky Fund of Akron Community Foundation Quality Electrodynamics (QED) Helen Rankin Butler and Clara Rankin Williams The Reinberger Foundation Audra and George Rose RPM International Inc. Mrs. David Seidenfeld Andrea E. Senich Naomi G. and Edwin Z. Singer Sandra and Richey Smith Ms. Lorraine S. Szabo Virginia and Bruce Taylor Dorothy Ann Turick

Ms. Ginger Warner The Denise G. and Norman E. Wells, Jr. Family Foundation Mr. Max W. Wendel Paul and Suzanne Westlake Marilyn J. White The Edward and Ruth Wilkof Foundation Katie and Donald Woodcock William Wendling and Lynne Woodman Anonymous

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voice parts, wandering lines in the flutes (seemingly lost), and a questioning, uncertain close. No. 9: Aria. Two arias follow this moment of dejection. The first, “Qui sedes,” has a tripping rhythm beneath an elaborate oboe d’amore solo. An enjoyable feature of this alto-voiced aria (sung in this weekend’s concerts by countertenor) is the occasional two-note phrases softly echoed by the strings. No. 10: Aria. The second Aria pits the bass voice against two bassoons and a solo corno da caccia, a novel instrument at the time, derived from French hunting horns. The combined low-pitched sonority is unique and suggests that Bach was writing for specific musicians whose expertise he knew, and as a challenge to his own ingenuity. No. 11: Chorus. The “Cum sancto spiritu” makes a striking contrast, with the full ensemble of voices and instruments brought together to close the full Gloria. A mood of rejoicing is immediately generated by Bach’s incomparable driving pulse and his effortless interplay of voices. Two lighter passages set the voices in fugal entries, and, at the end, the trumpets return to join in the dance. II. Credo (Symbolum Nicenum) The Credo divides into eight or nine sections. Like the Gloria, it moves from positive sentiment down to a central point of abasement (in this case, the Crucifixus) before returning to a clamor of rejoicing. No. 12: Chorus. Instead of a loud affirmation of belief at the start, the Credo takes the plainchant line (tenors at the opening) and generates a fuller texture by bringing in the other voices one by one over a constant walking bass line. No. 13: Chorus. The “Credo in unum deum” repeats the four words of the previous chorus and advances through the text in recognition of the omnipotent Father, a sturdy, vigorous movement that sustains its tone of affirmation throughout. No. 14: Duetto. The duet “Et in unum Dominum” plays a teasing game for the soprano and alto soloists. The soprano usually starts and the alto dutifully follows, one beat behind, in a close pursuit that might seem an ironic way to mark the unique identity of Christ. Much of the Mass text is covered while the bass line steps continuously forward, almost unbroken, to the end. No. 15: Chorus. The chorus “Et incarnatus” begins the somber telling of the gospel story, at least the crucial start of it (the birth of Christ) not as a joyous event but as a solemn moment. Every vocal entry carries a great burden of sorrow, while the bass line treads inexorably forward. No. 16: Chorus. We are thus prepared for the Crucifixus, the heart of the gospel story and of the Christian message. Bach calls on the time-honored device of the passacaglia, the harmonic framework being repeated every four Severance Hall 2014-15

About the Music

bars behind vocal entries of unbearable expressiveness, laden with chromatic inflections. Only at the very end does the music offer a glimmer of hope. This is a revised version of a piece Bach had written more than forty years earlier. No. 17: Chorus. The text “Et resurrexit” bursts out in full celebration, much of the rejoicing being entrusted to the orchestra alone. The choral basses are singled out for a soloistic moment for the words “et iterum venturus est cum gloria” (“and he shall come again in glory”). No. 18: Aria. Two oboe d’amores accompany the bass soloist, as the music returns to a more lilting, tuneful style for further assertions of faith, rather than a dramatic record of events. No. 19: Chorus. The final section of the Credo, beginning with the words “Confitero unum baptisma,” requires a strict style, with the choral voices entering in close imitation, unaccompanied save by the small group of continuo musicians. Bach’s mastery of such polyphony is manifest. He introduces a section of plainchant in the tenors in anticipation of the moment when, with the expectation of the resurrection of the dead, the music seems to fall apart, losing pace and coherence as if Bach’s own faith had deserted him. In a brilliant closing section (No. 19a), the shadows are suddenly driven away with a quite different affirmation of hope and faith, in Bach’s most celebratory manner. III. Sanctus Bach’s score delineates the Sanctus as its own unit, with the ensuing Osanna text moved to his fourth large unit (probably in keeping with Lutheran performances of a Sanctus without Osannas): No. 20: Chorus. For the Sanctus opening, Bach revived a six-part setting first heard on Christmas Day, 1724. Its suitability here in the Mass is not in question, with its image of angels in glory. A giant striding line for the basses reinforces the magnificence of this vivid image, like a great Renaissance fresco of angels in majesty. The second half of this section is a vigorous fugue led off by the tenors, with some breathtaking polyphony that never allows complexity to distract from the music’s essential momentum and power. IV. Osanna, Benedictus, Agnus Dei, and Dona Nobis Pacem The closing section of the Mass comprises five numbers: No. 21: Chorus. The Osanna is also a recycled movement, another expression of unbridled joy for the full ensemble. No. 22: Aria. (Benedictus). The elegance of the solo tenor’s line takes little notice of the wandering tracery of the solo flute. The Osanna is then

About the Music

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heard again. No. 23: Chorus. As is customary, the Osanna is repeated. No. 24: Aria. For the Agnus Dei, Bach introduces a new key, G minor, that feels distant from the predominant keys we have heard until now. The music comes from the Ascension Oratorio of 1735. The alto-voice soloist is supported by unison violins whose line is full of sighing phrases and angular intervals, a perfect counterpart to the pathos always associated with the Lamb of God. No. 25: Chorus. With the text “Dona nobis pacem,” Bach returns to the music of the sixth movement, the Gratias agimus, repeated exactly musically but with new words. A prayer for peace and a hymn of thanks are equally appropriate for the ending of any part of the liturgy, and especially for the traditional Mass setting. This is not the exuberant, youthful Bach, but the music of a man in the fullness of his 64 years rounding off both a lifetime of exceptional creativity and a majestic choral work of exceptional universality and depth. —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. His latest book, on Bizet, has just been published this year.

At a Glance Bach’s labors on what we know today as the Mass in B minor span virtually his entire career as a composer. (The title “Messe in hmoll” or “Mass in B minor” was first appended to the work in the 19th century. Bach’s original manuscript bears no title at all; his son Carl Philipp Emanuel referred to it as “Die grosse catholische Messe” [“The Grand Catholic Mass”]). The earliest music is the “Crucifixus,” a reworking of a chorus from Cantata No.12 (“Weinen, Klagen, Sorgen, Zagen”), written in 1714. The “Sanctus” was written and performed in 1724. The Kyrie and Gloria movements, together known as the “Missa Brevis” (or “Short Mass”), were most likely written in 1732 or 1733. In July 1733, Bach sent them off to Friedrich August II, Elector of Saxony.

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The rest of the Mass is thought to have been written between August 1748 and October 1749, incorporating or reworking earlier compositions; the Credo, Osanna, Benedictus, and Agnus Dei thus appear to be the last music Bach ever wrote. Aside from the performance of the “Sanctus” in 1724, we don’t know whether any part or parts of the Mass was heard during Bach’s lifetime. His son Carl Philipp Emanuel led a performance of Section II, the “Symbolum Nicenum,” in Hamburg in 1786. Although there were several incomplete performances, the work was not presented in its entirety until 1859 (more than 100 years after Bach’s death), when Carl Riedel directed his instrumental and vocal forces in Leipzig.

About the Music

The Mass in B minor runs about 2 hours in performance when an intermission is not included. The mixed chorus is divided into 4, 5, 6, or 8 voices in the various movements. Bach scored the solo arias and duets for 2 soprano voices, plus one alto, one tenor, and one bass — although fewer (or more) soloists are often utilized. The instrumental forces consist of 2 flutes, 3 oboes, 2 oboes d’amore (an alto oboe pitched a third below the regular oboe), 2 bassoons, horn, 3 trumpets, timpani, strings, and continuo. The Cleveland Orchestra and Chorus first performed the B-minor Mass in December 1957 under Robert Shaw’s direction. The most recent complete performances were in January 1998, with Christoph von Dohnányi conducting.

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MASS in B minor I. missa brevis Kyrie No. 1 — chorus Kyrie eleison.

Lord, have mercy on us.

No. 2 — duet [sopranos] Christe eleison.

Christ, have mercy on us.

No. 3 — chorus Kyrie eleison.

Lord, have mercy on us.

Gloria No. 4 — chorus Gloria in excelsis Deo.

Glory to God in the highest.

No. 4a Et in terra pax hominibus bonae voluntatis.

And on earth peace to people of good will.

No. 5 — aria [soprano] Laudamus te, benedicimus te, adoramus te, glorificamus te.

We praise you, we bless you, we worship you, we glorify you.

No. 6 — chorus Gratias agimus tibi propter magnam gloriam tuam.

We give you thanks for your great glory.

No. 7 — duet [soprano and tenor] Domine Deus, Rex coelestis, Deus pater omnipotens. Domine Fili unigenite, Jesu Christe altissime. Domine Deus, agnus Dei, Filius Patris.

Lord God, heavenly King, God, Father omnipotent. Lord, the only-begotten Son, Jesus Christ most high. Lord God, Lamb of God, Son of the Father. please t u rn page q u ietly

Severance Hall 2014-15

Mass in B minor — Sung Text

No. 8 — chorus Qui tollis peccata mundi, miserere nobis. Qui tollis peccata mundi, suscipe deprecationem nostram.

You who take away the world’s sins, have mercy upon us. You who take away the world’s sins, receive our prayer.

No. 9 — aria [countertenor] Qui sedes ad dextram Patris, miserere nobis!

You who sit at the Father’s right hand, have mercy upon us.

No. 10 — aria [bass] Quoniam tu solus sanctus, tu solus Dominus, tu solus altissimus, Jesu Christe.

For you alone are holy, you alone are the Lord, you alone most high, Jesus Christ.

No. 11 — chorus Cum Sancto Spiritu in gloria Dei Patris, amen.

With the Holy Spirit, in the glory of God the Father. Amen.

II. symbolum nicenum [Credo] No. 12 — chorus Credo in unum Deum.

I believe in one God.

No. 13 — chorus Credo in unum Deum, patrem omnipotentem, factorem coeli et terrae, visibilium omnium et invisibilium.

I believe in one God, Father Almighty, Maker of heaven and earth, of all things visible and invisible.

No. 14 — duet [soprano and countertenor] And in one Lord Jesus Christ, Et in unum Dominum Jesum Christum, the only-begotten Son of God, Filium Dei unigenitum, born of the Father before all ages, et ex Patre natum ante omnia saecula, God of God, light of light, Deum de Deo, lumen de lumine, true God of true God, Deum verum de Deo vero, begotten, not made, genitum, non factum, being of one substance with the Father, consubstantialem Patri, by whom all things were made. per quem omnia facta sunt, Who for all humanity, qui propter nos homines and for our salvation, et propter nostram salutem came down from heaven. descendit de coelis.

Sung Text — Mass in B minor

The Cleveland Orchestra

No. 15 — chorus Et incarnatus est de Spiritu Sancto ex Maria Virgine, et homo factus est.

And became incarnate by the Holy Spirit of the Virgin Mary, and was made man.

No. 16 — chorus Crucifixus etiam pro nobis sub Pontio Pilato, passus et sepultus est.

He was also crucified for us under Pontius Pilate, suffered and was buried.

No. 17 — chorus Et resurrexit tertia die secundum scripturas, et ascendit in coelum, sedet ad dexteram Patris, et iterum venturus est cum gloria judicare vivos et mortuos, cujus regni non erit finis.

And on the third day he rose again, according to the scriptures, and ascended into heaven, and sits at the right hand of the Father, and he shall come again with glory to judge the living and the dead, whose kingdom shall have no end.

No. 18 — aria [bass] Et in Spiritum Sanctum, Dominum et vivificantem, qui ex Patre Filioque procedit, qui cum Patre et Filio simul adoratur et conglorificatur, qui locutus est per prophetas, et unam sanctam catholicam et apostolicam ecclesiam.

I believe in the Holy Spirit, the Lord and life-giver, who proceeds from the Father and the Son, who with the Father and the Son together are worshipped and glorified, who spoke through the prophets, and I believe in one holy catholic and apostolic Church.

No. 19 — chorus Confiteor unum baptisma in remissionem peccatorum, et expecto resurrectionem mortuorum.

I acknowledge one baptism for the remission of sins, and I look for the Resurrection of the Dead.

No. 19a Et expecto resurrectionem mortuorum et vitam venturi saeculi, amen.

And I look for the Resurrection of the Dead and the life of the world to come. Amen. please t u rn page q u ietly

Severance Hall 2014-15

Mass in B minor — Sung Text

III. sanctus No. 20 — chorus Sanctus, sanctus, sanctus, Dominus Deus Sabaoth! Pleni sunt coeli et terra gloria tua.

Holy, holy, holy, Lord God of hosts! Heaven and earth are full of your glory.

IV. osanna, benedictus, and agnus dei No. 21 — chorus Osanna in excelsis!

Hosanna in the highest!

No. 22 — aria [tenor] Benedictus qui venit in nomine Domini.

Blessed is He who comes in the name of the Lord.

No. 23 — chorus, no. 21 repeated “da capo” Hosanna in the highest! Osanna in excelsis! No. 24 — aria [countertenor] Agnus Dei, qui tollis peccata mundi, miserere nobis.

Lamb of God, you who take away the sins of the world, have mercy upon us.

No. 25 — chorus Dona nobis pacem.

Grant us peace.

Broadway’s light-hearted side with Christine Pedi, Christiane Noll, Jason Graee, and the Cleveland POPS Chorus

3-4-5_r 581415-wks page 1

Sung Text — Mass in B minor

Sunday, September 21, 2014 15:26 The Cleveland Orchestra Spot color 1

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Joélle Harvey A native of Bolivar, New York, soprano Joélle Harvey is among a new generation of singers on today’s music scene. Her honors include a 2011 first prize award from the Gerda Lissner Foundation, a 2009 Sara Tucker Study Grant from the Richard Tucker Foundation, and a 2010 Encouragement Award from the George London Foundation. Ms. Harvey has appeared at the Festival d’Aix-en-Provence, Glyndebourne Festival Opera, Houston Grand Opera, New York City Opera, London’s Royal Opera House, and Teatro La Fenice, as well as at the Arizona, Atlanta, Dallas, Eugene, Santa Fe, and Utah operas. In concert, she has sung with the English Concert, Handel & Haydn Society, Kansas City Symphony, Los Angeles Philharmonic, Milwaukee Symphony, New York Philharmonic, and the San Francisco Symphony in works by Bach, Elgar, Handel, Mendelssohn, Mozart, and Purcell. She is making her Cleveland Orchestra debut with this weekend’s concerts. Joélle Harvey earned her bachelor’s and master’s degrees in vocal performance at the University of Cincinnati College Conservatory of Music and was a member of Glimmerglass Opera’s Young American Artists Program and San Francisco Opera’s Merola Program.

Iestyn Davies Iestyn Davies is making his Cleveland Orchestra debut with this weekend’s concerts. The British countertenor earned degrees in archaeology and anthropology at Cambridge before graduating from the Royal Academy of Music. Raised in a musical family, he joined the St. Johns College Choir at Cambridge at age eight. Mr. Davies is the recipient of the 2010 Royal Philharmonic Young Artist of the Year Award, 2012 Gramophone Recital Award, 2013 Critics’ Circle Awards for Exceptional Young Talent, and the 2014 Gramophone Recital Award for his disc Arise, My Muse on the Wigmore Live label. He has performed at the English National Opera, Glyndebourne Festival Opera, Lyric Opera of Chicago, Metropolitan Opera, Milan’s La Scala, New York City Opera, Opéra Comique, Royal Opera House Covent Garden, and the Welsh National Opera in repertoire by Thomas Adès, George Benjamin, Britten, Handel, Monteverdi, and Steffani, among other composers. Mr. Davies has also performed at the BBC Proms, Concertgebouw, Lincoln Center, Munich and Vienna festivals, Théâtre des Champs-Élysées, and Zurich Tonhalle. His discography includes works by Dowland, Handel, and Porpora for the Hyperion and Naxos labels.

Guest Artists

The Cleveland Orchestra

Nicholas Phan American tenor Nicholas Phan made his Cleveland Orchestra debut in April 2013. He has appeared with other major orchestras across North America, as well as in Europe with the BBC Symphony, English Chamber Orchestra, Lucerne Symphony, and Les Violons du Roy. He has performed with the Atlanta Opera, Deutsche Oper am Rhein, Frankfurt Opera, Glyndebourne Opera, Houston Grand Opera, Opéra de Lille, and Seattle Opera. He has sung recitals in Chicago, New York, Philadelphia, and Oberlin, and has collaborated with such artists as Jeremy Denk, Cecile Licad, and Mitsuko Uchida. Mr. Phan is artistic director of the Collaborative Arts Institute of Chicago, which promotes vocal chamber music. His discography includes two solo albums, as well as Stravinsky’s Pulcinella and Vivaldi’s L’Olimpiade. A University of Michigan graduate, Nicholas Phan also studied at the Aspen Music Festival and School, Glimmerglass Opera Young American Artists Program, Houston Grand Opera Studio, and the Manhattan School of Music. His awards include a 2004 Richard F. Gold Career Grant from the Shoshana Foundation and a 2006 Sullivan Foundation Award.

Hanno Müller-Brachmann German bass-baritone Hanno Müller-Brachmann began his musical studies in Basel and Freiburg, attended Dietrich Fischer-Dieskau’s Lied classes, and worked with Rudolf Piernay. Mr. Müller-Brachmann joined the ensemble of the Deutsche Staatsoper Berlin in 1998, and since that time has performed with the Bavarian State Opera, San Francisco Opera, and the Vienna State Opera in roles by Mozart, Richard Strauss, Telemann, and Wagner. An acclaimed interpreter of the Bach Passions, he has appeared with the orchestras of Berlin, Leipzig, London, San Francisco, and Vienna. As a Lied singer, Hanno Müller-Brachmann works with pianists Daniel Barenboim, Burkhard Kehring, Philippe Jordan, Malcolm Martineau, and András Schiff. He has presented recitals in Berlin, London, and Vienna and at the Edinburgh International Festival and Schubertiade Festival in Schwarzenberg. Mr. Müller-Brachmann has also performed at the Berlin, Mostly Mozart in London, Lucerne, Salzburg, and Tanglewood festivals, as well as the BBC Proms. His discography includes recital albums for Harmonia Mundi, Hyperion, and Naxos Records, Mozart’s The Magic Flute for Deutsche Grammophone, and Bach’s St. Matthew Passion for Decca. This weekend’s concerts mark his Cleveland Orchestra debut. Severance Hall 2014-15

Guest Artists

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The Cleveland Orchestra

Cleveland Orchestra Chorus Robert Porco, Director Lisa Wong, Assistant Director

Joela Jones, Principal Accompanist Alicia Basinska, 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 Orchestra’s music-making each year. sopranos

Amy Foster Babinski Cathleen R. Bohn Susan Cucuzza* Anna K. Dendy Emily Engle* Lisa Rubin Falkenberg Sarah Gaither Samantha Garner Rosie Gellott Danielle Greenway Rebecca S. Hall Lisa Hrusovsky Shannon R. Jakubczak* Hope Klassen-Kay* Kate Macy* Julie Myers-Pruchenski* S. Mikhaila Noble-Pace Jennifer Heinert O’Leary* Sarah Henley Osburn* Melissa B. Patton* Lenore M. Pershing* Joy M. Powell Roberta Privette Cassandra E. Rondinella Jennifer R. Sauer Monica Schie* Laura Schupbach* Jane Timmons-Mitchell Melissa Vandergriff Sharilee Walker* Kiko Weinroth* Alethea Wilhelm Mary Wilson Constance D. Wolfe

altos

Alexandria Albainy Emily Austin Marie Bucoy-Calavan Julie A. Cajigas Lydia Chamberlin Barbara J. Clugh Carolyn Dessin* Marilyn Eppich Amanda Evans Kathy Jo Gutgsell Jenna C. Hall* Ann Marie Hardulak Betty Huber Karen Hunt Sarah N. Hutchins* Lucia Leszczuk Diana Martin Danielle S. McDonald Karla McMullen* Mary-Francis Miller* Peggy A. Norman Alexandra Palma Marta Perez-Stable Alanna M. Shadrake Shari Singer Rachel Thibo Martha Cochran Truby* Sarah B. Turell Gina Ventre Laure Wasserbauer Meredith Sorenson Whitney* Flo Worth Debra Yasinow

* Concertists or Chamber Chorus

Severance Hall 2014-15

tenors

Robin Blake Gerry C. Burdick Brent Chamberlin* Will Hamilton* Daniel M. Katz Peter Kvidera* Tod Lawrence Steve Lawson Ryan P. Masterson James Newby Tremaine B. Oatman Daniel Reiman Matthew Rizer* John Sabol Lee Scantlebury Jarod Shamp James Storry Charles Tobias William Venable* Michael Ward* Steven Weems* Jordan Wilhelm

basses

Christopher D. Aldrich Tyler Allen Jack Blazey Nikola Budimir* Kevin Calavan* Charles Carr* Neal Chiprean Peter B. Clausen Nick Connavino* Christopher Dewald Jeffrey Duber Matthew Englehart Richard S. Falkenberg Kurtis B. Hoffman Paul Hubbard Thomas Hull Joshua Jones Jason Levy Scott Markov* Tyler Mason Roger Mennell Robert Mitchell Stephen Mitchell Tom Moormann Keith Norman Glenn Obergefell John Riehl Steven Ross Adam E. Shimko Daniel J. Singer* Steven Skaggs Jayme Stayer*

Carolyn Dessin, Chair,

Cleveland Orchestra Chorus Operating Committee

Jill Harbaugh, Manager of Choruses

Cleveland Orchestra Chorus

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.

Chorus

The Cleveland Orchestra

Cleveland Orchestra Youth Chorus Lisa Wong, Director Daniel Singer, Assistant Director John Simmons, Accompanist

Founded in 1991, the Cleveland Orchestra Youth Chorus gives vocally talented singers of high-school age the opportunity to experience music-making at a professional artistic level. Comprised of students in grades 9-12, the members of the Youth Chorus represent some 40 different communities across Northeast Ohio. The Youth Chorus performs with the Cleveland Orchestra Youth Orchestra each year, with local colleges and community organizations, and on special occasions with The Cleveland Orchestra. Membership is by annual audition. sopranos

Melissa Biltz Claire Chaikin Abigail Chung Hannah Cogar Jasmine Feng Dylan Gastelum Hannah Goldberg Julia Halamek Laura Krupp Divya Madhavan Kasey Madsen C. Elizabeth Martin Reilly McGovern Kristina Mullen Lena Nazelli Ashley Oakley Isabella O’Brien-Scheffer Camryn Ovsek Sarah Rose Parker Molly Pavilonis Suzie Peyrebrune Sara Phillips Sully Segreto Kaya Sittinger Crystal Song Brooke Stiles Meghan Sweeney Marissa Vitalone Kathryn Zorman Rachel Zurilla

Severance Hall 2014-15

altos

Nina Deng Megan Janine Dorogi Jennifer Lutz Maddy Massey Frances McAfee Eunice Min Madison Noren Jillian Pavlik Lydia Pfeifle Rosalie Phillips Rose Price Melissa Rowan Brooke Seitz Alice Shen Lydia Stephens Chloe Stryker Haley Surckla Natalie Thomas Hannah Wargo Dana Way Teagan Webb Katy Weber Alex Wuertz Jenny Yang



tenors

Luke Benko Joe Foti Grant Heineman David Malkin Isaiah Pressman Justin Prindle Martin Rong Drew O. Russell Steven Schein Joey Thornton

basses

Ben Anderson Graham Ball Alex Bolton Orion Brock Jack Byerley Max Clifford Chris Foley Henry Grasso Hudson Hamilton Benjamin Heacox Sam Heater Charlie Newell Arjun Ramachandran Robert Shaw

Michelle Holy, Coordinator of Youth and Children’s Choruses

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â&#x20AC;&#x192; Music is an agreeable harmony for the honor of God and the permissible delights of the soul. â&#x20AC;&#x201D;Johann Sebastian Bach

The Cleveland Orchestra

Bach in Focus Reading and Exploring In addition to the four books suggested on this page, hundreds of books and website pages are devoted to a myriad of details about Johann Sebastian Bach’s life and music.

Listening The web hosts a plethora of listening options for hearing performances of Bach’s many many works. If you still like the physicality of CDs, or simply want to own rather than rent, Teldec compiled a Complete Edition in 1999, which can be found through many online outlets (172 discs for around $210 or so).

Severance Hall 2014-15

Four Books

For the Performer’s Perspective: Bach, Music in the Castle of Heaven, by John Eliot Gardiner. 672 pages. (Knopf, 2013). In this recent biography, renowned conductor and performer John Eliot Gardiner aims to give his audience “a sense of inhabiting the same experiences and sensations that Bach might have had in the act of music-making.” Having studied and performed Bach’s music most of his life, Gardiner also weaves his own experiences into the story, offering a unique and accessible perspective that any lover of music can thoroughly enjoy.

For the Biography Lover: Johann Sebastian Bach: The Learned Musician, by Christoph Wolff. 640 pages. (W.W. Norton and Company, 2000). This riveting biography by leading Bach scholar Christoph Wolff was a finalist for the Pulitzer Prize in Biography in 2001. Wolff traces Bach’s life and development as a musician, and gives an in-depth look at the man behind the music. For the History Buff: Evening in the Palace of Reason: Bach Meets Frederick the Great in the Age of Enlightenment, by James R. Gaines. 273 pages. (Harper Perennial, 2005). This award-winning dual-biography uses a brief meeting between two great men to illuminate the Enlightenment’s changing ideas about humanity’s place in and understanding of the world. For the Lover of All-Things-Bach: The New Bach Reader: A Life of Johann Sebastian Bach in Letters and Documents, ed. Hans T. David and Arthur Mendel, Revised and Expanded by Christoph Wolff. 551 pages. (W.W. Norton and Company, 1998). If you are a Bach fanatic, this collection is for you. As Yo-Yo Ma states, “just reading these documents brings this composer to life in a most exciting and vivid way. They help us to see who he was, what he thought, what he did and why.” This collection paints a picture of Bach’s daily life, and even includes the first-ever Bach biography, from 1802. Looking for More? Reading & Listening

The Cleveland Orchestra

Distinguished Service Award The Musical Arts Association is proud to honor James D. Ireland III as the 2014-15 recipient of the Distinguished Service Award, recognizing extraordinary service to The Cleveland Orchestra.

previous recipients

Pierre Boulez 2013-14 Distinguished Service Award Committee Marguerite B. Humphrey, Chair Ambassador John D. Ong, Vice Chair Richard J. Bogomolny Dr. Jeanette Grasselli Brown Robert Conrad Gary Hanson Carol Lee Iott Dennis W. LaBarre Robert P. Madison Clara Taplin Rankin

Milton and Tamar Maltz 2012-13 Richard Weiner 2011-12 Robert Conrad 2010 -11 Clara Taplin Rankin 2009-10 Louis Lane 2008- 09 Gerald Hughes 2007- 08 John D. Ong 2006-07 Klaus G. Roy 2005 - 06 Alex Machaskee 2004 - 05 Thomas W. Morris 2003 -04 Richard J. Bogomolny 2002- 03 John Mack 2001-02 Gary Hanson 2000-01 Christoph von Dohnรกnyi 1999-2000 Ward Smith 1998-99 David Zauder 1997-98 Dorothy Humel Hovorka 1996-97

Distinguished Service Award

The Cleveland Orchestra

Presented to James

D. Ireland III

Presented by Dennis W. LaBarre at the concert of October 9, 2014

Excellence and service define Ja m e s D. I r e l anD I I I . These values underscore all his work, for the orchestra he loves and for the community to which he is devoted. Jamie first attended The Cleveland Orchestra at age seven. As a devoted subscriber, each season’s concerts confirm and renew his dedication to the Orchestra’s mission to serve the Northeast Ohio community with a level of musical excellence unrivalled in the world today — and to inspire future generations of music lovers through education and engagement. His connection with the ensemble has intensified across the past twenty years as a member of the Board of Trustees, with leadership roles that rose from Annual Fund Chairman (1994-97) to Vice President (1995-2002) and President (2002-08). His work continues today as a passionate and tireless fundraiser and counselor. Jamie was an effective and energetic leader from the moment he was elected to the Board of Trustees. After just one year, he became Vice Chair and then Chair of the Orchestra’s Annual Fund, which grew by over 30% in three years under his leadership. As Vice President, Jamie co-chaired the Orchestra’s Twenty-First Century Campaign (1996-2000), a landmark Campaign to support the renovation of Severance Hall and build the Endowment. The Campaign exceeded its $100 million goal by $16 million. Jamie chaired the search committee that identified and in 1999 chose Franz Welser-Möst as The Cleveland Orchestra’s seventh music director. As President, he was instrumental in extending Franz’s contract to provide a creative period of artistic stability — which continues to blossom as a new golden age of achievement. Jamie helped steer the Orchestra during a new era of leadership and success, through the unexpected economic tumult of a new century and changing times across Northeast Ohio. He early on became a driving force in recruiting a new generation of Board members, and he was integral to creating a transformative vision for the Orchestra’s future — combining a continuity of artistic excellence with a renewed commitment to serve all citizens through quality programming and innovative thinking. Throughout his tenure, Jamie has made generous personal commitments to the Orchestra, and has been instrumental in securing funding from multiple corporations, foundations, and individuals. Although his strongest devotion has long been focused on The Cleveland Orchestra, Jamie Ireland has unstintingly given his time and counsel to other causes and concerns across Northeast Ohio, including serving as trustee or chair of half a dozen civic or cultural organizations. During his presidency of the Orchestra, he was a leading advocate and proponent for the passage of Issue 18, which in 2007 created Cuyahoga Arts & Culture to inspire and strengthen this community through substantial, ongoing public funding for the region’s vibrantly diverse and wide-ranging arts scene. In recognition of his many accomplishments for The Cleveland Orchestra and his extraordinary ongoing leadership and service, the Musical Arts Association is de lighted to present James D. Ireland III with its highest award for distinguished service. Severance Hall 2014-15

Distinguished Service Award

4600_OAC_B&W_5x8 7/17/08 2:45 PM Page 1

The Cleveland Orchestra

Act one begins

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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

JOHN L. SEVERANCE SOCIETY $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. Jones Day The Lubrizol Corporation / The Lubrizol Foundation Medical Mutual of Ohio Merrill Lynch Parker Hannifin Corporation The Plain Dealer PolyOne Corporation Raiffeisenlandesbank Oberösterreich (Europe) The J. M. Smucker Company The John L. Severance Society recognizes the generosity of those giving $1 million or more in cumulative giving. Listing as of September 2014.

Annual Support

gifts of $2,500 or more during the past year, as of September 20, 2014 The Partners in Excellence program salutes companies with annual contributions of $100,000 and more, exemplifying leadership and commitment to musical excellence at the highest level. 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. Jones Day PNC Bank Thompson Hine LLP PARTNERS IN EXCELLENCE $100,000 TO $199,999

The Cliffs Foundation Google, Inc. The Lincoln Electric Foundation Medical Mutual of Ohio Nordson Corporation and Foundation Squire Patton Boggs (US) LLP $50,000 TO $99,999

Dollar Bank Parker Hannifin Corporation Quality Electrodynamics (QED) voestalpine AG (Europe) Anonymous $25,000 TO $49,999 Charter One Greenberg Traurig (Miami) Huntington National Bank Litigation Management, Inc. Morrison, Brown, Argiz & Farra, LLC (Miami) Northern Trust Bank of Florida (Miami) Olympic Steel, Inc. Park-Ohio Holdings Corp. The Plain Dealer RPM International Inc.

Severance Hall 2014-15

Corporate Annual Support

$2,500 TO $24,999 Akron Tool & Die Company American Fireworks, Inc. American Greetings Corporation Bank of America BDI 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 Consolidated Solutions Dominion Foundation Ernst & Young LLP Evarts Tremaine The Ewart-Ohlson Machine Company Feldman Gale, P.A. (Miami) Ferro Corporation FirstMerit Bank Frantz Ward LLP Gallagher Benefit Services The Giant Eagle Foundation Great Lakes Brewing Company Gross Builders Hahn Loeser & Parks LLP Jones Day (Miami) Littler Mendelson, P.C. Live Publishing Company Macy’s Marsh/AIG (Miami) 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 Oswald Companies PolyOne Corporation The Prince & Izant Company The Sherwin-Williams Company Stern Advertising Agency Struktol Company of America Swagelok Company Sylvester Comprehensive Cancer Center (Miami) Tucker Ellis UBS University Hospitals Ver Ploeg & Lumpkin, P.A. (Miami) WCLV Foundation Westlake Reed Leskosky Margaret W. Wong & Assoc. Co., LPA Anonymous (2)

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THE CLEVELAN D ORCHESTRA

Foundation & Government Support The Cleveland Orchestra gratefully acknowledges and salutes these Foundations and Government agencies for their generous support toward the Orchestra’s Annual Fund, benefit events, tours and residencies, and special projects.

Cumulative Giving

JOHN L. SEVERANCE SOCIETY $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

Annual Support

gifts of $2,000 or more during the past year, as of September 20, 2014 $1 MILLION AND MORE

The Cleveland Foundation Cuyahoga County residents through Cuyahoga Arts & Culture The Andrew W. Mellon Foundation The Kelvin and Eleanor Smith Foundation $500,000 TO $999,999

The George Gund Foundation $250,000 TO $499,999

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

The George Gund Foundation Knight Foundation (Cleveland, Miami) The Andrew W. Mellon Foundation John P. Murphy Foundation

The George W. Codrington Charitable Foundation GAR Foundation Elizabeth Ring Mather and William Gwinn Mather Fund David and Inez Myers Foundation

$1 MILLION TO $5 MILLION

$50,000 TO $99,999

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 The John L. Severance Society recognizes the generosity of those giving $1 million or more in cumulative giving. Listing as of September 2014.

Severance Hall 2014-15

Ann and Gordon Getty Foundation The William Randolph Hearst Foundation Martha Holden Jennings Foundation Myra Tuteur Kahn Memorial Fund of The Cleveland Foundation Marlboro 2465 Foundation Miami-Dade County Department of Cultural Affairs (Miami) The Nord Family Foundation The Payne Fund The Sage Cleveland Foundation Surdna Foundation $20,000 TO $49,999 Paul M. Angell Family Foundation The Batchelor Foundation, Inc. (Miami) The Helen C. Cole Charitable Trust The Mary S. and David C. Corbin Foundation Mary and Dr. George L. Demetros Charitable Trust 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

$2,000 TO $19,999 The Abington Foundation Ayco Charitable Foundation The Ruth and Elmer Babin Foundation Dr. NE & JZ Berman Foundation The Bernheimer Family Fund of the Cleveland Foundation Eva L. and Joseph M. Bruening Foundation The Conway Family Foundation The Fogelson Foundation The Harry K. Fox and Emma R. Fox Charitable Foundation Funding Arts Network (Miami) The Hankins Foundation The Muna & Basem Hishmeh Foundation Richard H. Holzer Memorial Foundation The Laub Foundation Victor C. Laughlin, M.D. Memorial Foundation Trust The G. R. Lincoln Family Foundation The Mandel Foundation The McGregor Foundation Bessie Benner Metzenbaum Foundation The M. G. O’Neil 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 Jean C. Schroeder Foundation Kenneth W. Scott Foundation The Sherwick Fund Lloyd L. and Louise K. Smith Memorial Foundation The South Waite Foundation The Veale 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)

Foundation and Government Annual Support

THE CLEVELAN D ORCHESTRA

Individual Annual Support The Cleveland Orchestra gratefully recognizes 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

Giving Societies

$10 MILLION AND MORE

In celebration of the critical role individuals play in supporting The Cleveland Orchestra each year, donors of $2,500 and more are recognized as members of a group of special Leadership Giving Societies. These societies are named to honor important and inspirational leaders in the Orchestra’s history. ��The Adella Prentiss Hughes Society honors the Orchestra’s founder and first manager, who from 1918 envisioned an ensemble dedicated to community service, music education, and performing excellence. The George Szell Society is named after the Orchestra’s fourth music director, who served for twenty-four seasons (1946-70) while refining the ensemble’s international reputation for clarity of sound and unsurpassed musical excellence. The Elisabeth DeWitt Severance Society honors not only the woman in whose memory Severance Hall was built, but her selfless sharing, including her insistence on nurturing an orchestra not just for the wealthy but for everyone. The Dudley S. Blossom Society honors one of the Orchestra’s early and most generous benefactors, whose dedication and charm rallied thousands to support and nurture a hometown orchestra toward greatness. The Frank H. Ginn Society honors the man whose judicious management of Severance Hall’s finances and construction created a beautiful and welcoming home for Cleveland’s Orchestra. The 1929 Society honors the vibrant community spirit that propelled 3,000 volunteers and donors to raise over $2 million in a nine-day campaign in April 1929 to meet and match John and Elisabeth Severance’s challenge gift toward the building of the Orchestra’s new concert hall.

JOHN L. SEVERANCE SOCIETY 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 Mr.* and Mrs. Ward Smith Anonymous (2)

The John L. Severance Society is named to honor the philanthropist and business leader who dedicated his life and fortune to creating The Cleveland Orchestra’s home concert hall, which stands today as an emblem of unrivalled quality and community pride. Lifetime giving listing as of September 2014.

gifts during the past year, as of September 20, 2014

Individual Annual Support

The Cleveland Orchestra

Adella Prentiss Hughes Society gifts of $100,000 and more INDIVIDUAL GIFTS OF $500,000 AND MORE

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

Irma and Norman Braman (Miami) The Walter and Jean Kalberer Foundation Mrs. Norma Lerner and The Lerner Foundation Peter B. Lewis* and Janet Rosel Lewis (Miami) Susan Miller (Miami) INDIVIDUAL GIFTS OF $100,000 TO $199,999

David and Francie Horvitz Family Foundation (Miami) James D. Ireland III Mr. and Mrs. Joseph P. Keithley Dr. and Mrs. Herbert Kloiber (Europe) Mrs. Emma S. Lincoln Elizabeth F. McBride Ms. Ginger Warner (Cleveland, Miami) Janet* and Richard Yulman (Miami)

George Szell Society gifts of $50,000 and more INDIVIDUAL GIFTS OF $75,000 TO $99,999

Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. and Mrs. Alexander M. Cutler Dr. Wolfgang Eder Dr. and Mrs. Hiroyuki Fujita Elizabeth B. Juliano (Cleveland, Miami) Mr. and Mrs. Douglas A. Kern Mr. and Mrs. Dennis W. LaBarre Ms. Beth E. Mooney The Honorable and Mrs. John Doyle Ong Mr. Patrick Park (Miami) Mr. and Mrs. Alfred M. Rankin, Jr. Mary M. Spencer (Miami) Mr. and Mrs. Franz Welser-MĂśst INDIVIDUAL GIFTS OF $50,000 TO $74,999

Sheldon and Florence Anderson (Miami) Mr. William P. Blair III Blossom Womenâ&#x20AC;&#x2122;s Committee Jeanette Grasselli Brown and Glenn R. Brown Hector D. Fortun (Miami) Mrs. John A. Hadden, Jr. Mr. and Mrs. Michael J. Horvitz

Severance Hall 2014-15

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:

R. Kirk Landon and Pamela Garrison (Miami) Giuliana C. and John D. Koch Toby Devan Lewis Mr. and Mrs. Edward A. Lozick Robert M. Maloney and Laura Goyanes Milton and Tamar Maltz Ms. Nancy W. McCann Margaret Fulton-Mueller Mrs. Alfred M. Rankin, Sr. Charles and Ilana Horowitz Ratner James and Donna Reid Barbara S. Robinson Sally and Larry Sears Hewitt and Paula Shaw Mr. and Mrs. Richard K. Smucker Barbara and David Wolfort Anonymous

Elisabeth DeWitt Severance Society gifts of $25,000 and more INDIVIDUAL GIFTS OF $30,000 TO $49,999

Mr. and Mrs. Daniel M. Bell (Miami) Dr. and Mrs. Wolfgang Berndt (Europe) Mr. and Mrs. Charles P. Bolton The Brown and Kunze Foundation Judith and George W. Diehl Mr. and Mrs. Geoffrey Gund T. K. and Faye A. Heston Trevor and Jennie Jones Milton A. and Charlotte R. Kramer Charitable Foundation Virginia M. and Jon A. Lindseth Sally S.* and John C. Morley Mrs. Jane B. Nord The Claudia and Steven Perles Family Foundation (Miami) Luci and Ralph* Schey Rachel R. Schneider Richard and Nancy Sneed (Cleveland, Miami) R. Thomas and Meg Harris Stanton

Individual Annual Support

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THE CLEVELAN D ORCHESTRA listings continued INDIVIDUAL GIFTS OF $25,000 TO $29,999

In dedication to Donald Carlin (Miami) Martha and Bruce Clinton (Miami) Robert and Jean* Conrad Mr. and Mrs. Gerald A. Conway Do Unto Others Trust (Miami) George* and Becky Dunn JoAnn and Robert Glick 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 William J. and Katherine T. O’Neill Julia and Larry Pollock Mr. and Mrs. James A. Ratner Mr. and Mrs. James A. Saks Paul and Suzanne Westlake Women’s Committee of The Cleveland Orchestra

Dudley S. Blossom Society gifts of $15,000 and more 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 Jeffrey and Susan Feldman (Miami) Dr. Edward S. Godleski Andrew and Judy Green

Leadership

PATRON PROGRAM

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 Faye A. Heston Brinton L. Hyde Randall N. Huff David C. Lamb Raymond T. Saw yer

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

Art of Beauty Company, Inc. Marsha and Brian Bilzin (Miami) Mr. and Mrs. Richard L. Bowen Dr. Christopher P. Brandt and Dr. Beth Sersig Mr. and Mrs. David J. Carpenter Scott Chaikin and Mary Beth Cooper Jill and Paul Clark Mr. and Mrs. William E. Conway Mr. Peter and Mrs. Julie Cummings (Miami) Colleen and Richard Fain (Miami) Mr. Allen H. Ford Richard and Ann Gridley Jack Harley and Judy Ernest Mary and Jon Heider (Cleveland, Miami) David and Nancy Hooker Mr. and Mrs. Donald M. Jack, Jr. Andrew and Katherine Kartalis Tati and Ezra Katz (Miami) 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) Steven and Ellen Ross Mr. and Mrs. David A. Ruckman Mrs. David Seidenfeld David and Harriet Simon Rick, Margarita and Steven Tonkinson (Miami) Mr. and Mrs. Daniel P. Walsh Mr. and Mrs. Jeffrey M. Weiss Anonymous

Frank H. Ginn Society gifts of $10,000 and more

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.

Richard and Erica Horvitz (Cleveland, Miami) Mr. and Mrs. Christopher Kelly Jonathan and Tina Kislak (Miami) Joy P. and Thomas G. Murdough, Jr. (Miami) Marc and Rennie Saltzberg 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 Anonymous gift from Switzerland (Europe)

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

Mrs. Barbara Ann Davis Ms. Dawn M. Full Robert K. Gudbranson and Joon-Li Kim Sondra and Steve Hardis Tim and Linda Koelz Mr.* and Mrs. Richard A. Manuel Mr. and Mrs. Oliver E. Seikel Kim Sherwin Mr. and Mrs. Alfred Umdasch (Europe)

Individual Annual Support

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The Cleveland Orchestra

Is she happy? Is he healthy? 10 fingers and 10 toes? Does she cry too much? Or not enough? Is something in his nose? Is he too big? Too small? Just right? Need more protein at meals? Peanut butter? Maybe later? Should she eat apples with peels? Lose the binky? Lose the diaper? Time to potty train? Is he babbling enough? What are the best books for his brain? Should I help him be more social? Does she need more playmates? Do we give him too many toys? Is it bad he only plays with crates? When’s a good bedtime? How many hours? Should we limit his naps? Does she fall too much? Have too many scabs? What can I put on this rash? Should he be reading? Should he be writing? Doing long division? Am I a bad parent that when I’m tired I plop him in front of the television? Is she too pale? Too tan? Too red? What SPF sunscreen? How can I firmly tell her no without her telling me I’m mean? Is she gifted? Is she stunted? Do kids ever get depressed? Why does he take half hour showers? Is this how a kid should dress? What happened to my little girl, who used to be so nice? Is this mono? Is he just tired? Is this dandruff? Is this lice? Just how long does puberty last? Can’t we speed this up? Or make it stop? Or make it easy? Should she be wearing all this makeup?

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THE CLEVELAN D ORCHESTRA listings continued INDIVIDUAL GIFTS OF $10,000 TO $12,499

Mr. and Mrs. George N. Aronoff Jayusia and Alan Bernstein (Miami) Laurel Blossom Mr. D. McGregor Brandt, Jr. Paul and Marilyn* Brentlinger J. C. and Helen Rankin Butler Richard J. and Joanne Clark Mrs. Barbara Cook Nancy and Richard Dotson Mr. and Mrs. Robert P. Duvin Ms. Mary Jo Eaton (Miami) Mike S. and Margaret Eidson (Miami) Dr. and Mrs. Lloyd H. Ellis Jr. Mr. Brian L. Ewart and Mr. William McHenry Mr. and Mrs. Miguel G. Farra (Miami) Mr. Neil Flanzraich (Miami) Mr. Monte Friedkin (Miami) 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 Kathleen E. Hancock Michael L. Hardy Mary Jane Hartwell Iris and Tom Harvie Mr. and Mrs. James A. Haslam II Mr. and Mrs. James A. Haslam III Joan and Leonard Horvitz Mark and Ruth Houck (Miami) Pamela and Scott Isquick Allan V. Johnson Janet and Gerald Kelfer (Miami) Mrs. Elizabeth R. Koch Mr. and Mrs. Stewart A. Kohl Mr. Thomas Lauria (Miami) Mr. Jeff Litwiller Mr. and Mrs.* Robert P. Madison Mr. and Mrs. Thomas B. McGowan Edith and Ted* Miller Mr. Donald W. Morrison Brian and Cindy Murphy Mr. Raymond M. Murphy

Mr. and Mrs. William M. Osborne, Jr. Brian and Patricia Ratner Audra and George Rose Dr. and Mrs. Ronald J. Ross Dr. Isobel Rutherford Mr. Larry J. Santon Raymond T. and Katherine S. Sawyer Carol* and Albert Schupp Dr. Gerard and Phyllis Seltzer and the Dr. Gerard and Phyllis Estelle Seltzer Foundation Jim and Myrna Spira Howard Stark M.D. and Rene Rodriguez (Miami) Lois and Tom Stauffer Charles B. and Rosalyn Stuzin (Miami) Mrs. Jean H. Taber Bruce and Virginia Taylor Joe and Marlene Toot Dr. Russell A. Trusso Sandy and Ted Wiese Anonymous (4)*

The 1929 Society gifts of $2,500 to $9,999 INDIVIDUAL GIFTS OF $7,500 TO $9,999

Mr. and Mrs. Dean Barry Robert and Alyssa Lenhoff-Briggs Dr.* and Mrs. Jerald S. Brodkey Dr. Ben H. and Julia Brouhard Ellen E. & Victor J. Cohn Supporting Foundation Henry and Mary Doll Harry and Joyce Graham Mr. Paul Greig Mrs. Sandra L. Haslinger Henry R. Hatch Robin Hitchcock Hatch

Amy and Stephen Hoffman Joela Jones and Richard Weiss Mr. and Mrs.* S. Lee Kohrman Kenneth M. Lapine and Rose E. Mills Judith and Morton Q. Levin Mr. and Mrs. Alex Machaskee Claudia Metz and Thomas Woodworth Mr. J. William and Dr. Suzanne Palmer Pannonius Foundation Douglas and Noreen Powers Paul A. and Anastacia L. Rose Rosskamm Family Trust

Patricia J. Sawvel Drs. Daniel and Ximena Sessler Bill* and Marjorie B. Shorrock Naomi G. and Edwin Z. Singer Family Fund Mrs. Gretchen D. Smith Dr. and Mrs. Frank J. Staub Mr. and Mrs. Donald W. Strang, Jr. Dr. Gregory Videtic Anonymous

Mr. and Mrs. Thomas S. Davis Pete and Margaret Dobbins Mr. and Mrs. Paul Doman Dr. and Mrs. Robert Elston Mary and Oliver Emerson Barbara and Peter Galvin Joy E. Garapic Brenda and David Goldberg Mr. and Mrs. Henry J. Goodman Patti Gordon (Miami) Mr. and Mrs. Randall J. Gordon Robert N. and Nicki N. Gudbranson David and Robin Gunning Clark Harvey and Holly Selvaggi Barbara Hawley and David Goodman Janet D. Heil* Anita and William Heller Dr. Fred A. Heupler Thomas and Mary Holmes Mr. and Mrs. John Hudak (Miami) Bob and Edith Hudson (Miami) Ms. Carole Hughes Mr. and Mrs. Brinton L. Hyde

Mr. and Mrs. Christopher Hyland Donna L. and Robert H. Jackson Ms. Elizabeth James 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 Cynthia Knight (Miami) Mrs. Justin Krent Mr. and Mrs. Peter A. Kuhn Mr. and Mrs. Arthur J. Lafave, Jr. Mr. Brian J. Lamb David C. Lamb Anthony T. and Patricia A. Lauria Mr. Lawrence B. and Christine H. Levey Mr. Dylan Hale Lewis (Miami) Ms. Marley Blue Lewis (Miami) Dr. Alan and Mrs. Joni Lichtin Mr. Jon E. Limbacher and Patricia J. Limbacher Elsie and Byron Lutman

INDIVIDUAL GIFTS OF $5,000 TO $7,499

Mr.* and Mrs. Albert A. Augustus Mr. and Mrs. Robert H. Baker Stephen Barrow and Janis Manley (Miami) Fred G. and Mary W. Behm Drs. Nathan A. and Sosamma J. Berger Mr. William Berger Dr. and Mrs. Eugene H. Blackstone Mr. and Mrs. David Briggs Mr. and Mrs. Robert R. Broadbent Frank and Leslie Buck Mr. and Mrs. William C. Butler Ms. Maria Cashy Drs. Wuu-Shung and Amy Chuang Dr. William and Dottie Clark Kathleen A. Coleman Diane Lynn Collier and Robert J Gura 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

Individual Annual Support

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

Ms. Jennifer R. Malkin Mr. and Mrs. Morton L. Mandel Alan Markowitz M.D. and Cathy Pollard Ms. Maureen M. McLaughlin (Miami) James and Virginia Meil Drs. Terry E. and Sara S. Miller David and Leslee Miraldi Mr. and Mrs. William A. Mitchell Curt and Sara Moll Ann Jones Morgan Richard and Kathleen Nord Mr. Henry Ott-Hansen Ms. MacGregor W. Peck Nan and Bob Pfeifer Mr. and Mrs. Richard W. Pogue In memory of Henry Pollak 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 Amy and Ken Rogat Mr. and Mrs. Robert C. Ruhl Mrs. Florence Brewster Rutter Drs. Michael and Judith Samuels (Miami) Bob and Ellie Scheuer David M. and Betty Schneider Linda B. Schneider Dr. and Mrs. James L. Sechler Lee and Jane Seidman Charles Seitz (Miami) Mr. Eric Sellen and Mr. Ron Seidman Mrs. Frances G. Shoolroy David Kane Smith Dr. Marvin and Mimi Sobel George and Mary Stark Stroud Family Trust

Dr. Elizabeth Swenson Ms. Lorraine S. Szabo 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 Bill Appert and Chris Wallace (Miami) Mr. and Mrs. Fred A. Watkins Robert C. Weppler Tom and Betsy Wheeler Nancy V. and Robert L. Wilcox Sandy Wile and Susan Namen Dr. and Mr. Ann Williams Anonymous (6)

Mr. Robert T. Hexter Dr.* and Mrs. George H. Hoke Mr. David and Mrs. Dianne Hunt Dr. and Mrs. Scott R. Inkley Robert and Linda Jenkins Barbara and Michael J. Kaplan Dr. and Mrs. Richard S. Kaufman James and Gay* Kitson Mrs. Natalie D. Kittredge Dr. Gilles and Mrs. Malvina Klopman Mr. and Ms. James Koenig Mr. James Krohngold Ronald and Barbara Leirvik Mr. and Mrs. Irvin A. Leonard Anne R. and Kenneth E. Love Robert and LaVerne* Lugibihl Joel and Mary Ann Makee Herbert L. and Rhonda Marcus Martin and Lois Marcus William and Eleanor* McCoy Dr. Susan M. Merzweiler Bert and Marjorie Moyar Richard B. and Jane E. Nash Mr. and Mrs. Peter R. Osenar Dr. Lewis and Janice B. Patterson

Mr. Robert S. Perry Mr. and Mrs. John S. Piety Dr. Robert W. Reynolds Michael Forde Ripich Mrs. Charles Ritchie Carol Rolf and Steven Adler Dr. Lori Rusterholtz Dr. and Mrs. Martin I. Saltzman Mr. Paul H. Scarbrough Ginger and Larry Shane Harry and Ilene Shapiro Mr. Richard Shirey Howard and Beth Simon Mr. and Mrs. William E. Spatz Mr. Taras G. Szmagala, Jr. Mr. Karl and Mrs. Carol Theil Drs. Anna* and Gilbert True Miss Kathleen Turner Mr. and Mrs. Mark Allen Weigand Richard Wiedemer, Jr. Tony and Diane Wynshaw-Boris Marcia and Fred* Zakrajsek

Bill* and Zeda Blau Doug and Barbara Bletcher Mr. and Mrs. Richard H. Bole John and Anne Bourassa Mr. and Mrs. Marshall Brown Laurie Burman Mr. Adam Carlin (Miami) Leigh Carter Mr. and Mrs. James B. Chaney Dr. and Mrs. Ronald Chapnick Dr. Christopher and Mrs. Maryanne Chengelis Ms. Mary E. Chilcote Mr. and Mrs. Homer D. W. Chisholm Daniel D. Clark and Janet A. Long Kenneth S. and Deborah G. Cohen

Mr. and Mrs. Stanley Cohen (Miami) Dr. and Mrs. Delos M. Cosgrove III 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 Mr. and Mrs. David G. de Roulet Dr. and Mrs. Richard C. Distad William Dorsky and Cornelia Hodgson Esther L. and Alfred M. Eich, Jr. Harry and Ann Farmer Ms. Karen Feth Mr. Isaac Fisher Joan Alice Ford

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

Dr. Jacqueline Acho and Mr. John LeMay Ms. Nancy A. Adams Dr. and Mrs. D. P. Agamanolis Susan S. Angell Mr. and Mrs. Jules Belkin Dr. Ronald and Diane Bell Howard R. and Barbara Kaye Besser Suzanne and Jim Blaser Lisa and Ron Boyko Mr. and Mrs. Henry G. Brownell Ms. Mary R. Bynum and Mr. J. Philip Calabrese Dr. and Mrs. William E. Cappaert Mr. and Mrs. Frank H. Carpenter Mr.* and Mrs. Robert A. Clark Thomas and Dianne Coscarelli Ms. Maureen A. Doerner and Mr. Geoffrey T. White Peter and Kathryn Eloff Mr. and Mrs. John R. Fraylick Peggy and David* Fullmer Dr. and Mrs. Ronald L. Gould Nancy and James Grunzweig Mr. Robert D. Hart Hazel Helgesen* and Gary D. Helgesen INDIVIDUAL GIFTS OF $2,500 TO $3,499

Mr. and Mrs. Charles Abookire, Jr. Stanley I. and Hope S. Adelstein Mr. and Mrs. Norman Adler Mr. and Mrs. Monte Ahuja Mr. and Mrs. Robert J. Amsdell Dr. Mayda Arias Mr. and Mrs. James B. Aronoff Geraldine and Joseph Babin Ms. Jennifer Barlament Ms. Delphine Barrett Rich Bedell and Elizabeth Grove Mr. Roger G. Berk Kerrin and Peter Bermont (Miami) Barbara and Sheldon Berns Margo and Tom Bertin Carmen Bishopric (Miami)

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Individual Annual Support

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THE CLEVELAND ORCHESTRA

Natalie Cole December 11

Cleveland Orchestra Christmas Concerts

AUGUST 2014

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2026 Murray Hill Road, Suite 103, Cleveland, Ohio 44106 216.721.1800 email: info@livepub.com web: livepub.com

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

Mr. Paul C. Forsgren Marvin Ross Friedman and Adrienne bon Haes (Miami) Arthur L. Fullmer Mr. Bennett Gaines Mrs. Georgia T. Garner Loren and Michael Garruto Mr. Wilbert C. Geiss, Sr. Dr. and Mrs. Edward C. Gelber (Miami) Anne and Walter Ginn Mr. and Mrs. David A. Goldfinger The Thomas J. and Judith Fay Gruber Charitable Foundation Dr. Phillip M. and Mrs. Mary Hall Mr. and Mrs. David P. Handke, Jr. Norman C. and Donna L. Harbert Mr. and Mrs. Donald F. Hastings Dr. Robert T. Heath and Dr. Elizabeth L. Buchanan Sally and Oliver Henkel Mr. and Mrs. Jerry Herschman Dr. and Mrs. Robert L. Hinnes Dr. Keith A. and Mrs. Kathleen M. Hoover Dr. Randal N. Huff and Ms. Paulette Beech Ruth F. Ihde Mrs. Carol Lee and Mr. James Iott Richard and Michelle Jeschelnig Dr. Michael and Mrs. Deborah Joyce Rev. William C. Keene Angela Kelsey and Michael Zealy (Miami) Bruce and Eleanor Kendrick Fred and Judith Klotzman Jacqueline and Irwin Kott (Miami) Dr. Ronald H. Krasney and Vicki Kennedy Marcia Kraus Mr. Donald N. Krosin Eeva and Harri Kulovaara (Miami) Mr. and Mrs. S. Ernest Kulp Mrs. Carolyn Lampl 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 Ms. Mary Beth Loud Michael J. and Kathryn T. Lucak Mr. and Mrs. Raul Marmol (Miami) Dr. and Mrs. Sanford E. Marovitz Dr. Ernest and Mrs. Marian Marsolais Ms. Amanda Martinsek 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)

Ms. Carla Miraldi Susan B. Murphy Dieter and Bonnie Myers Joan Katz Napoli and August Napoli David and Judith Newell Mr. Carlos Noble (Miami) Marshall I. Nurenberg and Joanne Klein Richard and Jolene O’Callaghan Mr. Thury O’Connor Harvey and Robin Oppmann Nedra and Mark Oren (Miami) Mr. and Mrs. Robert D. Paddock Mr. and Mrs. Christopher I. Page Mr. Dale Papajcik Deborah and Zachary Paris Mr. Thomas and Mrs. Tommie Patton Dr. Roland S. Philip and Dr. Linda M. Sandhaus Ms. Maribel Piza (Miami) Dr. Marc and Mrs. Carol Pohl Ms. Carolyn Priemer Mr. Lute and Mrs. Lynn Quintrell Dr. James and Lynne Rambasek Ms. C. A. Reagan Alfonso Conrado Rey (Miami) David and Gloria Richards Mr. Timothy D. Robson Robert and Margo Roth Dr. Harry S. and Rita K. Rzepka Bunnie Sachs Family Foundation Dr. Vernon E. Sackman and Ms. Marguerite Patton Father Robert J. Sanson Ms. Patricia E. Say Mr. James Schutte Ms. Adrian L. Scott Dr. John Sedor and Ms. Geralyn Presti Ms. Kathryn Seider Mr. and Mrs. Thomas W. Seitz Donna E. Shalala (Miami) Ms. Marlene Sharak Norine W. Sharp Dr. and Mrs. William C. Sheldon Mr. and Mrs. Reginald Shiverick Laura and Alvin A. Siegal Robert and Barbara Slanina Ms. Donna-Rae Smith Sandra and Richey Smith Mr. and Mrs.* Jeffrey H. Smythe Mrs. Virginia Snapp Ms. Barbara Snyder Lucy and Dan Sondles Michalis and Alejandra Stavrinides (Miami) Mr. Joseph Stroud Ken and Martha Taylor Dr. and Mrs. Thomas A. Timko Steve and Christa Turnbull Mrs. H. Lansing Vail, Jr.

Individual Annual Support

Mr. and Mrs. Roger Vail Robert A. Valente George and Barbara Von Mehren Brenton Ver Ploeg (Miami) Mr. and Mrs. Joaquin Vinas (Miami) Mr. and Mrs. Les C. Vinney Dr. Michael Vogelbaum and Mrs. Judith Rosman Philip and Peggy Wasserstrom Eric* and Margaret Wayne Alice & Leslie T. Webster, Jr. Mr. and Mrs. Jerome A. Weinberger Florence and Robert Werner (Miami) Richard and Mary Lynn Wills Michael H. Wolf and Antonia Rivas-Wolf Katie and Donald Woodcock Elizabeth B. Wright Rad and Patty Yates Mrs. Jayne M. Zborowsky Dr. William Zelei Mr. Kal Zucker and Dr. Mary Frances Haerr Anonymous (3) *

member of the Leadership Council (see page 77)

* deceased

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 Orchestra’s Annual Report, which can be viewed online at CLEVELANDORCHESTRA . COM For information about how you can play a supporting role with The Cleveland Orchestra, please contact our Philanthropy & Advancement Office by calling 216-231-7558.

The Cleveland Orchestra

Your Role . . . in The Cleveland Orchestra’s Future Generations of Clevelanders have supported the Orchestra and enjoyed its concerts. Tens of thousands have learned to love music through its education 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 presenting The Cleveland Orchestra’s season each year. To sustain its activities here in Northeast Ohio, the Orchestra has undertaken the most ambitious fundraising campaign in our history: the Sound for the Centennial Campaign. By making a donation, you can make a crucial difference in helping to ensure that future generations will continue to enjoy the Orchestra’s performances, education programs, and community activities and partnerships. To make a gift to The Cleveland Orchestra, please visit us online, or call 216-231-7562.

clevelandorchestra.com

T H E C leveland O r chest r a R E C O R D I N G S great gift ideas

Critics from around the world have acclaimed the partnership of Franz Welser-Möst and The Cleveland Orchestra, and their recorded legacy continues to grow. Their newest DVD features Bruckner’s Fourth Symphony recorded live in the Abbey of St. Florian in Linz, Austria in 2012. “A great orch estra, a Bruckner expert. . . . Five out of five stars,” declared Austria’s Kurier newspaper. 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 theatre or on record. . . . I doubt this music can be better played than by the Clevelanders, the most ‘European’ of the American orchestras, with wind and brass soloists to die for and a string sound of superlative warmth and sensitivity.” Other recordings released in recent years include four acclaimed albums of Mozart piano concertos with Mitsuko Uchida and two under the baton of renowned conductor Pierre Boulez. Visit the Cleveland Orchestra Store for the latest and best Cleveland Orchestra recordings and DVDs.

THE CLEVELAND ORCHESTRA Franz Welser-Möst M usic D i r ecto r

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

—The Guardian (London)

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

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

11001 Euclid Avenue Cleveland, Ohio 44106

c l e v e l a n d o r c h e s t r a . c om

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

h ai l e d as on e of

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

Severance Hall

The Cleveland Orchestra

DONATE YOUR RIDE

CAR DONATION PROGRAM

WE BELIEVE IN

11300 Brookpark Road • Brooklyn, Ohio 44130 216-265-7884 • 800-368-6262 thewayside.org

“…It’s easy and rewarding to support one of the premier institutions in Northeast Ohio.” - Gail & Bill Calfee

Find out more at ideastream.org/support

All proceeds from our Car Donation Program provide opportunities to more than 500 children and adults with developmental disabilities like Scott and Chris, who just moved into their new home!

Working on your 2015 advertising budget? Don’t forget Northeast Ohio’s most influential audience of professionals. Join the “who’s who” of Northeast Ohio advertisers. Pay as little as $1,500 for 8 months of advertising in our 2014/2015 season program books.

Call 216-721-1800. www.livepub.com

Severance Hall 2014-15

THE CLEVELAND c o n c e r t

c a l e n d a r

F ALL SEAS O N family concert

bach in focus

Halloween Spooktacular: The Haunted Orchestra

Bach’s Mass in B minor

Thursday October 16 at 7:30 p.m. Saturday October 18 at 8:00 p.m. THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Joélle Harvey, soprano Iestyn Davies, countertenor Nicholas Phan, tenor Hanno Müller-Brachmann, bass-baritone Cleveland Orchestra Chorus Cleveland Orchestra Youth Chorus

A Comedy Concerto Written and Directed by Dan Kamin Sunday October 26 at 3:00 p.m. THE CLEVELAND ORCHESTRA Perry So, conductor with special guest Dan Kamin

Bach Mass in B minor Sponsor: Squire Patton Boggs (US) LLP

free community concert

at the movies Celebrity series

Bach’s Missa Brevis

The Phantom of the Opera

Friday October 17 at 8:00 p.m.

Cathedral of Saint John the Evangelist 1007 Superior Avenue, Cleveland Franz Welser-Möst and The Cleveland Orchestra present the first half of Bach’s Mass in B minor (the Kyrie and Gloria sections, created as a self-contained unit by Bach in 1733, fifteen years before he completed the rest of the Mass) in a free community concert downtown in partnership with the Cathedral’s Helen D. Schubert Concert Series. With soloists and the Cleveland Orchestra Chorus. Free and open to the public. Part of “Bach in Focus”

free Bach Make Music! Marathon Saturday October 18 2:00 p.m. to 6:00 p.m.

Under the Orchestra’s wide-ranging Make Music! initiative, a free afternoon of musicmaking takes place at Severance Hall from 2:00 p.m. to 6:00 p.m. Musicians and students from Cleveland-area performing arts groups and educational institutions will perform on the stages of Severance Hall for a Saturday afternoon of some of Bach’s great hits. Free and open to the public. Part of “Bach in Focus”

bach in focus

Hilary Hahn Plays Bach

Thursday October 23 at 7:30 p.m. Friday October 24 at 8:00 p.m. <18s Saturday October 25 at 8:00 p.m. THE CLEVELAND ORCHESTRA James Gaffigan, conductor Hilary Hahn, violin Cleveland Orchestra Chorus

Bach Violin Concerto No. 2 BRAHMS Song of Destiny Bach Violin Concerto No. 1 MENDELSSOHN Symphony No. 5

Sponsor: BakerHostetler

<18s

Tuesday October 28 at 7:30 p.m. Todd Wilson, organ playing the Norton Memorial Organ

Experience the terror and fun of Halloween with one of the greatest horror films ever made — with the accompaniment improvised live by acclaimed organist Todd Wilson in this classic 1925 movie about romance and murder. The fully improvised accompaniment features Severance Hall’s mighty Norton Memorial Organ. With the film projected on a large screen above the Severance Hall stage. Sponsor: PNC Bank

Schumann’s Rhenish Symphony Thursday October 30 at 7:30 p.m. Friday October 31 at 11:00 a.m. <18s * Saturday November 1 at 8:00 p.m. THE CLEVELAND ORCHESTRA Robin Ticciati, conductor Karen Cargill, mezzo-soprano

Hosokawa Meditation * Berlioz Les Nuits d’été [Summer Nights] SCHUMANN Symphony No. 3 (“Rhenish”) * not part of Friday Morning concert

Alisa Weilerstein Plays Elgar

Thursday November 6 at 7:30 p.m. Saturday November 8 at 8:00 p.m. Sunday November 9 at 3:00 p.m. <18s THE CLEVELAND ORCHESTRA Giancarlo Guerrero, conductor Alisa Weilerstein, cello

PÄRT Cantus in Memory of Benjamin Britten ELGAR Cello Concerto john ADAMS Harmonielehre

Concert Calendar

The Cleveland Orchestra

ORCHESTRA

S E A S O N

PNC Musical Rainbow

t h e

spo t l i g h t

The Terrific Tuba

Friday November 14 at 10:00 a.m. <18s Saturday November 15 at 10:00 a.m. <18s Saturday November 15 at 11:00 a.m. <18s with Kenneth Heinlein, tuba For children ages 3 to 6. Energetic host Maryann Nagel gets attendees singing, clapping, and moving to the music in this series introducing instruments of the orchestra. With short solo selections, kid-friendly tunes, and singalong participation. Sponsor: PNC Bank

San Francisco Symphony

Saturday November 15 at 8:00 p.m. SAN FRANCISCO SYMPHONY Michael Tilson Thomas, conductor Gil Shaham, violin

LISZT Mephisto Waltz No. 1 MOZART Violin Concerto No. 5 (“Turkish”) SAMUEL ADAMS Drift and Providence RAVEL Suite No. 2, Daphnis and Chloé

Sponsor: PNC Bank

Youth Orchestra

Sunday November 23 at 8:00 p.m. <18s CLEVELAND ORCHESTRA Youth Orchestra Brett Mitchell, conductor

JOHN ADAMS The Chairman Dances HARRIS Symphony No. 3 TCHAIKOVSKY Symphony No. 4

special presentation

Post-Concert at SEVERANCE RESTAURANT

Enjoy the company of family and friends after the concert, with our new post-concert dining options at Severance Restaurant. Select from our full-service bar, desserts, and coffee, or choose from the special à la carte post-concert menu. Available most evenings, no reservations are required. Stop by and extend your evening out.

Pre-Order Intermission Drinks!

The Nutcracker

Thanksgiving Weekend November 26-30 at PlayhouseSquare in downtown Cleveland

THE JOFFREY BALLET THE CLEVELAND ORCHESTRA Experience this magical holiday show in a spectacular production created by The Joffrey Ballet, featuring brilliant costumes, larger-than-life scenery, breathtaking dancing, and, for seven perfomances only, the incomparable musicianship of The Cleveland Orchestra. Sponsor: Dollar Bank

Under 18s Free for Families

Also new this season — you can pre-order your beverage choices for intermission! Simply visit one of the bars before the concert to place and pay for your order. For pre-concert dining, reservations are suggested. Book online by visiting the link to OpenTable at clevelandorchestra.com.

<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. Our "Under 18s Free" program offers free tickets for young people attending with families (one per full-price paid adult for concerts marked with the symbol above).

Severance Hall 2014-15

w! Ne

Concert Calendar

CLEVELAND ORCHESTRA TICKETS phone

216 - 231-1111 800-686-1141

clevelandorchestra.com 91

11001 Euclid Avenue, Cleveland, Ohio 44106 cle v elan d o r chest r a . com

AT severance h all restaurant and Concession Service

Pre-Concert Dining: Severance Restaurant at Severance Hall is open for pre-concert dining for evening and Sunday afternoon performances, and for lunch following Friday Morning Concerts. For reservations, call 216-231-7373, or make your plans on-line by visiting clevelandorchestra . com . Intermission & Pre-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 BogomolnyKozerefski Grand Foyer, and in the Dress Circle Lobby. Post-Concert Dining: New this season, the Severance Restaurant will be open after evening concerts with à la carte dining, desserts, full bar service, and coffee. Friday Morning Concert postconcert luncheon service continues.

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

ATM — Automated Teller Machine

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.

questions

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

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 fore t h e Concert 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

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.

Concert Previews

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 concert 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 2014-15

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.

tic k et services 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.

S E A S O N

THE CLEVELAND ORCHESTRA u p c om i n g

c o n c e r t s

AT SEVERANCE HALL . . .

HALLOWEEN SPOOKTACULAR

Sunday October 26 at 3:00 p.m. THE CLEVELAND ORCHESTRA Perry So, conductor with special guest Dan Kamin

Nerdy Mr. Kirby, head of the National Institute for Children’s Entertainment (N.I.C.E.), doesn’t believe music has any magical powers. But when the conductor waves his magic baton, strange things begin to happen, and a concert morphs into a horror show with a haunted orchestra! With music by Handel, Grieg, Wagner, Bach, and more! Don’t miss this fun-filled Comedy Concerto Written and Directed by Dan Kamin. Free Pre-Concert Activities begin at 2:00 p.m., including a costume contest for the entire audience. Sponsor: The Giant Eagle Foundation

weilerstein PLAYS ELGAR

Thursday November 6 at 7:30 p.m. Saturday November 8 at 8:00 p.m. Sunday November 9 at 3:00 p.m. THE CLEVELAND ORCHESTRA Giancarlo Guerrero, conductor Alisa Weilerstein, cello

Composed in the wake of World War I, Elgar’s Cello Concerto is a poignant, meditative work of great beauty, filled with melodic yearning. A Cleveland favorite, cellist Alisa Weilerstein joins the Orchestra for this program of works spanning the 20th century, concluding with John Adams’s mesmerizing and philosophical Harmonielehre. The concert begins with Arvo Pärt’s musical eulogy to the great British composer Benjamin Britten. “Alisa Weilerstein gave the most technically complete and emotionally devasting performance of Elgar’s Cello Concerto that I have ever heard live.” —The Guardian (London)

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

216-231-1111

clevelandorchestra.com

Upcoming Concerts

The Cleveland Orchestra

Orchestrating your every need

Proud to support The Cleveland Orchestra.

100

Conducting the longest-running performance in community philanthropy. Take a bow, Cleveland. We truly couldn’t have done it without you. For 100 years, you have helped us grant more than $1.7 billion to improve the lives of Greater Clevelanders. And to that, we say, “Bravo!”

Turning Passion Into Purpose www.ClevelandFoundation.org/Purpose 877-554-5054