The Cleveland Orchestra October 23-25, 28 Concerts by Live Publishing

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October 23, 24, 25 — BACH IN FOCUS Bach, Brahms, and mendelssohn October 28 The Phantom of the Opera

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TA B L E

CONTENTS

THIS WEEK the

cleveland

SEASON

o r chest r a

PAGE

WEEK 4 7 8

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 Guest Information . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

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

Week 4 Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . Program: October 23, 24, 25 . . . . . . . . . . . . . . . Introducing the Concerts . . . . . . . . . . . . . . . . . . . . Bach in Focus: The Composer’s Legacy . . . . . . . More About Bach . . . . . . . . . . . . . . . . . . . . . . . . . . .

33 35 37 39 43

BACH

Cantata No. 199 . . . . . . . . . . . . . . . . . . . . . . . . . . 45 BRAHMS

Song of Destiny . . . . . . . . . . . . . . . . . . . . . . . . . . 55 MENDELSSOHN

Symphony No. 5 (“Reformation”) . . . . . . . . . . . 59 Conductor: James Gaffigan . . . . . . . . . . . . . . . . . . 63 Guest Artist: Yulia Van Doren . . . . . . . . . . . . . . . . . 65 Cleveland Orchestra Chorus . . . . . . . . . . . . . . . . . . 67

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.

October 28: The Phantom of the Opera . . . . 69 Organist: Todd Wilson . . . . . . . . . . . . . . . . . . . . . . . 70

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

48 73 75 76

50%

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.

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

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 Orchestra is undergoing a new transformation and renaissance. Universallyacknowledged among the best ensembles on the planet, its musicians, 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 it nears the centennial

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

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

BY THE NUMBERS

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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 f f i c er s a nd exec ut ive c o mmi t 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 s i d ent tr u s tees 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

N o n- r es i d ent t ruS t ees 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- o f fic io Faye A. Heston, President, Volunteer Council of The Cleveland Orchestra Shirley B. Dawson, President, Women’s Committee of The Cleveland Orchestra Claire Frattare, President, Blossom Women’s Committee

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 tees e m eri t i Clifford J. Isroff Samuel H. Miller David L. Simon

h o n o rary t rus t ees for life Robert W. Gillespie Gay Cull Addicott Dorothy Humel Hovorka Oliver F. Emerson Robert F. Meyerson Allen H. Ford

pa s t p r es i d ent 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

the 2014 -15 season

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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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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OrchestraNews

News

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

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OrchestraNews

Bach in Focus o c to b e r 1 5 -2 5

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, call 216-292-2648.

Cleveland Orchestra News

The Cleveland Orchestra

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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, Ave. and or E. 21st St. www.csuohi Call (216)Euclid 687.5018 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.

Cleveland Orchestra News

The Cleveland Orchestra

Broadwayâ&#x20AC;&#x2122;s light-hearted side with Christine Pedi, Christiane Noll, Jason Graee, and the Cleveland POPS Chorus

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Sunday, September 21, 2014 15:26 Spot color 1

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The Cleveland Orchestra

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

We are proud to sponsor

The Cleveland Orchestra in helping to build audiences for the future through an annual series of BakerHostetler Guest Artists.

James Gaffigan

bakerlaw.com

ÂŠ 2014

Photo courtesy of Roger Mastroianni

Photo courtesy of Mat Hennek

Extraordinary

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

W E L S E R - M Ö ST M U S I C

D I R E C T O R

Severance Hall

Thursday evening, October 23, 2014, at 7:30 p.m. Friday evening, October 24, 2014, at 8:00 p.m. Saturday evening, October 25, 2014, at 8:00 p.m.

James Gafgan, conductor JOHANN SEBASTIAN BACH (1685-1750)

SEASON

Cantata No. 199, BWV199 1. 2. 3. 4. 5. 6. 7. 8.

Recitative: “Mein Herze schwimmt im Blut” Aria: “Stumme Seufzer, stille Klagen” Recitative: “Doch Gott muss mir genädig sein” Aria: “Tief gebuckt und voller Reue” Recitative: “Auf diese Schmerzensreu” Chorale: “Ich, dein betrübtes Kind” Recitative: “Ich lege mich in diese Wunden” Aria: “Wie freudig ist mein Herz”

YULIA VAN DOREN, soprano JOHANNES BRAHMS (1833-1897)

Song of Destiny [Schicksalslied], Opus 54 CLEVELAND ORCHESTRA CHORUS Robert Porco, director

INTERMISSION FELIX MENDELSSOHN (1809-1847)

Symphony No. 5 (“Reformation”) in D major, Opus 107 1. 2. 3. 4.

Andante — Allegro con fuoco Allegro vivace Andante Chorale: “A Mighty Fortress Is Our God” Andante con moto — Allegro vivace

These concerts are supported through the generosity of the BakerHostetler Guest Artist Series sponsorship. The Thursday evening concert is dedicated to Mr. William P. Blair III in recognition of his extraordinary generosity in support of The Cleveland Orchestra’s 2013-14 Annual Fund. The concert will end on Thursday evening at about 9:05 p.m. and on Friday and Saturday at approximately 9:35 p.m. LIVE RADIO BROADCAST

Saturday evening’s concert is being broadcast live on WCLV (104.9 FM). The concert will be rebroadcast as part of regular weekly programming on WCLV on Sunday afternoon, January 11, 2015, at 4:00 p.m.

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Concert Program — Week 4

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

Traverse the Globe with CWRU Faculty Making your 2015 Travel Plans? Looking for a vacation with a little more depth and exploration? Look no further than Siegal Lifelong Learningâ&#x20AC;&#x2122;s Educational Travel Program. Rare opportunities to travel with CWRU faculty experts and gain access to places and people not available through travel agencies. LIMITED SPACE AVAILABLE! RESERVE TODAY!

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

Music, Bach& God

is — along with Mozart and Beethoven — among the best-known brandnames in classical music. This month, The Cleveland Orchestra is exploring Bach’s greatness in ten days of programming titled “Bach in Focus,” encompassing two weekends of concerts at Severance Hall, plus 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 a ab and a 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 and solo keyboard. Humorous and serious, conventional in form b and stretching the imagination. Much of his output was an religious, religio built 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 gratification, as His humble servant. This weekend’s concerts feature a cantata of religious bent alongside works by Brahms and Mendelssohn, who were greatly influenced by Bach’s musical writing and ideas. —Eric Sellen

OCT

OBE

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B A IN FOCH CU

JOHANN SEBASTIAN BACH

With great regret and on the advice of her physician, Hilary Hahn, who was scheduled to perform Bach’s Violin Concertos Nos. 1 and 2 at these concerts, has had to cancel her apperances this weekend at Severance Hall. The Cleveland Orchestra is pleased to welcome soprano Yulia Van Doren, who graciously agreed to join with guest conductor James Gaffigen in performances of Bach’s Cantata No. 199, which is paired with the two works by Brahms and Mendelssohn that were originally scheduled.

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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

Bach

in Focus

A Snapshot of a Great Composer’s Life and Legacy j o h a n n e s b r a h m s o n c e s a i 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 as Kapellmeister 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 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 43 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

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).

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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

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The Cleveland Orchestra Severance.indd 1

9/29/14 2:17 PM

Cantata No. 199, BWV199

composed circa 1714, for the Eleventh Sunday after Trinity

Johann Sebastian

BACH

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

Bach wrote a large number of cantatas, many of which have been lost to posterity. The two-hundred and some that have survived represent a cross-section of sacred and secular works, from deeply religious reflections to profane or humorous texts, set in works created for weddings or other celebratory occasions. Many feature a choir and four soloists, while others are for smaller forces with a solo singer and small instrumental ensemble. During his years as a church musician, Bach created a new cantata almost weekly, matching his texts to the required liturgy of the season. Cantatas were in fact a major (and flexible) form for composers of Bach’s era, and many cantata “librettos” were created by poets and other authors, for the secular ones as well as for sacred reflections suitable for specific Sundays. Cantata No. 199 (the catalog numbering of Bach’s works is a 19th-century designation) was created in 1714 for the Eleventh Sunday after Trinity, matching to readings from Corinthians about Paul’s duty as an Apostle, and the parable of the “Pharisee and the Tax Collector” from the Gospel of Luke. It premiered on August 12th of that year in Weimar at the palace church. Noted American conductor Craig Smith discusses the cantata in the following program note: Georg Christian Lehms (1684-1717) are the most extreme, self-flagellating texts ever set by Bach. And of all of these texts, the one for BWV199 is perhaps the bloodiest. This is one of those texts that, if it weren’t set with such penetration and sincerity, one could not take it seriously. It has, however, generated one of the great Bach cantatas that is almost unique in its intensity and passion. The work was only known in fragments, and was published that way in the old Bach Gesellschaft until it was discovered whole by the Danish scholar Matiennsen early in the 20th century. Since then, four versions of the piece have come to light. The work has many distinctive features. Most immediately striking is a new and flexible recitative style. The three accompagnato recitatives are especially advanced; being genuine accompanied recitatives with flexible speech rhythms in the voice part and rather neutral, non-motivic string parts. The old quasi-arioso kind of recitatives perfected by Dieterich THE TEXTS OF

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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

ClevelandArt.org

#ClevelandMuseumofArt

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.

Buxtehude, which Bach used up to this time, are replaced here by something much more operatic. Certainly the intensity of the text has something to do with this, but also the new discipline and organization of the aria forms demanded something freer and more contrasting in the recitatives. It is interesting that Mozart, several generations later, went through this same process in his operas. The elaborate ariosos of Idomeneo were replaced by much drier and more musically perfunctory recitatives in The Marriage of Figaro. The first few lines of text in the opening recitative are a good example of Bach’s new-found freedom. While the first several phrases have some melodic profile, it is tied to the sense of the words. (The little turn on the word “schwimmt,” the augmented sixth on the word “sünden,” for example.) Each phrase, both in its length, but here almost more importantly in its range, is autonomous. The strings provide a rigorous tonal context for the wide-ranging recitative, but no melodic profile. When the intensity and direction of the ideas become fully formed, the music goes into a rigorous aria form. In both arias here, the form is a da capo [with a return to the beginning section, A-B-A] — one that is not as common in earlier Bach cantatas. The second aria with oboe obbligato is one of the first great “oboe arias,” a type that became a favorite for many opera composers (including Mozart, Bellini, and Donizetti). The wonderful and inspired associative logic of the material in the first ritornello is so natural that one must be reminded that this style was still relatively new to Bach. While all of the musical ideas — the “sighing” in the word “seufzer” and the hollow open fifth on the word “stumme” — generate from the text, there is a structural rigor that is, of course, not present in the recitatives. Thus, Bach has taken from the world of opera the idea that a recitative is perfect for random thoughts and the aria is the perfect form for the time when these thoughts become organized. The aria has an interesting feature that the end of the “B” section degenerates into a secco recitative only to be brought back into control by “A” of the da capo. The second accompagnato [recitative accompanied by the ensemble] has a certain rigor at the cadences, not found in the first, which very much sets up the sense and sound of the following aria. While the first aria has a kind of soaring, almost keening, quality, the second aria is melodically almost a mirror

At a Glance Bach wrote his Cantata “Mein Herze schwimmt im Blut” (“My Heart swims in blood”) in the summer of 1714 while he was concertmaster of the Weimar Court. He created this cantata specifically for the Eleventh Sunday after Trinity, which fell on August 12 that year. The work was premiered at services in the Schlosskirche, or Palace Church. The text is by Georg Christian Lehms, except for movement six, which is a hymn by Johann Heermann. Bach later created a variant version when living in Leipzig. Extant scores of both were discovered, in the 20th century, set in different keys. The original Weimar version features an oboe obbligato in movement 6, while the Leipzig version assigns the obbligato to a small cello. This cantata runs about 25 minutes in performance. It is scored for an ensemble of strings, oboe (sometimes with bassoon), and continuo (usually made up of harpsichord, cello, and string bass), plus to solo soprano vocalist. The Cleveland Orchestra is presenting this cantata for the first time at this weekend’s concerts.

PROGRAM NOTE CONTINUES ON PAGE 51

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About the Music

Sound for the Centennial TH E C A M PAI G N fo r Th e C le v el an d O rc h 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

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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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opposite. The huge opening ritornello of twenty-four bars shows Bach revelling in his new-found structural control. Two or three years earlier, he would not have even attempted such an edifice. The “B” section ends with a striking foray into the subdominant, giving the whole movement a kind of vulnerability and softness that is a perfect setup for the denouement of the introduction of the chorale. The chorale movement is the section that underwent the most changes in the various versions of the cantata. The obbligato is written variously for viola, cello, viola da gamba, and small cello (violoncello piccolo). The first version, for viola, is the one most often heard today. It is the most simple melodically and has none of the ornamental detail of the later cello version. Martienssen’s published version with the cello changes incorporated into the viola part is a good solution. As with the best of Bach’s pieces in this genre, the obbligato is a wonderful catchy tune, here based upon the first few notes of the chorale. Its marvelous open-hearted quality is a relief after the inward looking intensity of the first two arias. The final aria, with oboe and strings, is introduced by another accompagnato. The aria is a da capo, but is so brief that it can be challenging to perform suitably as a closing movement. Particularly odd is the lack of a closing ritornello section. There is something to be said for repeating the opening nine bars at the end of the piece, to provide a fitting conclusion, as some performers choose to do. —Craig Smith © adapted by Ryan Turner

Craig Smith (1947-2007) was a noted American conductor and seminal figure in the Baroque music revival of the 1970s and ’80s. He founded Emmanuel Music, an organization in Boston, Massachusetts, that continues to present the works of Johann Sebastian Bach in historically-informed performance. Program note courtesy of Craig Smith and Emmanuel Music.

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 — six sons and four daughters.

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About the Music

Cantata No. 199 music by Johann Sebastian Bach

text by Georg Christian Lehms / movement no. 6 by Johann Heermann

Recitative Mein Herze schwimmt im Blut, Weil mich der Sünden Brut In Gottes heilgen Augen Zum Ungeheuer macht. Und mein Gewissen fühlet Pein, Weil mir die Sünden nichts Als Höllenhenker sein. Verhasste Lasternacht! Du, du allein Hast mich in solche Not gebracht; Und du, du böser Adamssamen, Raubst meiner Seele alle Ruh Und schließest ihr den Himmel zu! Ach! unerhörter Schmerz! Mein ausgedorrtes Herz Will ferner mehr kein Trost befeuchten, Und ich muss mich vor dem verstecken, Vor dem die Engel selbst ihr Angesicht verdecken.

My heart swims in blood, since the offspring of my sins in the holy eyes of God make me a monster. And now my conscience feels pain: for me my sins can be nothing but the hangmen of hell. O hated night of depravity! You, you alone have brought me into such misery; and you, you evil seed of Adam, you rob my soul of all rest and close off heaven to it! Ah! Unheard-of pain! My dessicated heart no comfort will ever moisten again, and I must hide myself before Him, before whom even the angels cover their faces.

Aria and Recitative Stumme Seufzer, stille Klagen, Ihr mögt meine Schmerzen sagen, Weil der Mund geschlossen ist. Und ihr nassen Tränenquellen Könnt ein sichres Zeugnis stellen, Wie mein sündlich Herz gebüßt.

Mute sighs, silent cries, you may tell my sorrows, for my mouth is shut. And you, moist springs of tears, can bear certain witness to how my sinful heart repents.

Mein Herz ist itzt ein Tränenbrunn, Die Augen heisse Quellen. Ach Gott! wer wird dich doch zufriedenstellen?

My heart is now a well of tears, my eyes hot fountains. Ah God! Who will yet make peace with You?

Recitative Doch Gott muss mir genädig sein, Weil ich das Haupt mit Asche, Das Angesicht mit Tränen wasche, Mein Herz in Reu und Leid zerschlage

But God must be gracious to me, for I cover my head with ashes, and bathe my face with tears; I beat my heart in regret and sorrow

Sung Text Cantata No. 199

The Cleveland Orchestra

Und voller Wehmut sage: Gott sei mir Sünder gnädig! Ach ja! sein Herze bricht, Und meine Seele spricht:

and full of despair say: God be gracious to me, a sinner! Ah yes! His heart is breaking and my soul says:

Aria Tief gebückt und voller Reue Lieg ich, liebster Gott, vor dir. Ich bekenne meine Schuld, Aber habe doch Geduld, Habe doch Geduld mit mir!

Deeply bowed and filled with regret I lie, dearest God, before you. I acknowledge my guilt; but yet have patience, have patience yet with me!

5. Recitative Auf diese Schmerzensreu Fällt mir alsdenn dies Trostwort bei:

Upon this painful repentance descends then this comforting word to me:

Chorale Ich, dein betrübtes Kind, Werf alle meine Sünd, So viel ihr in mir stecken Und mich so heftig schrecken, In deine tiefen Wunden, Da ich stets Heil gefunden.

I, Your troubled child, cast all my sins, as many as hide within me and frighten me so greatly, into Your deep wounds, where I have always found salvation.

Recitative Ich lege mich in diese Wunden Als in den rechten Felsenstein; Die sollen meine Ruhstatt sein. In diese will ich mich im Glauben schwingen Und drauf vergnügt und fröhlich singen:

Aria Wie freudig ist mein Herz, Da Gott versöhnet ist Und mir auf Reu und Leid Nicht mehr die Seligkeit Noch auch sein Herz verschließt.

I lay myself on these wounds as though upon a true rock; they shall be my resting place. Upon them will I soar in faith and therefore contented and happily sing: How joyful is my heart, for God is appeased and for my regret and sorrow no longer from bliss nor from His heart excludes me. English transation © Pamela Dellal Translation courtesy of Pamela Dellal and Emmanuel Music, Boston.

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Cantata No. 199 Sung Text

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Song of Destiny [Schicksalslied], Opus 54 composed 1868-71

choral works came from Brahms’s pen in the wake of his great German Requiem, premiered in 1868 and immediately repeated and admired all over Germany. One of these was the Schicksalslied, or “Song of Destiny,” which, like the Requiem, took a gloomy view of human existence, drawn not from Christian sources but in this case from the world of Greek tragedy. Brahms’s choice of poem was from the work of Friedrich Hölderlin (1770-1843), whose poetry was at that time very little known — even the well-read Robert Schumann did not know his work — although he has since been recognized as a major voice in German Romanticism. An indication of Hölderlin’s radicalism is the fact that the poem Brahms set, Hyperion’s Schicksalslied, taken from the novel Hyperion published in 1799, is not rhymed. As one of the many sons of Heaven and Earth, Hyperion was himself an obscure figure in Greek mythology, who here craves the celestial bliss he is denied. Hölderlin’s sympathy with the Greek idea of tragic destiny must have chimed in with one of Brahms’s morose and fatalistic moods. Staying with Albert Dietrich in the north German city of Oldenburg in the summer of 1868, Brahms and his friend visited the port of Wilhelmshafen on the very day that Brahms had discovered Hölderlin’s poetry in Dietrich’s house. He wandered down to the beach and started sketching some music, and he made considerable progress with the Schicksalslied that year. But for some while, the ending confounded him, and it was not until 1871 that he settled on the beautifully serene ending that the work has now. Without comment or reflection, the poem paints a stark contrast between the celestial bliss enjoyed by the gods and the grim eternal torment suffered by humanity. The music faithfully follows this stark path with an opening part in E-flat major, bathed in calm contemplation of bliss, changing abruptly to a violent depiction of pain and suffering. Both moods are reminiscent of passages in Brahms’s Requiem. Brahms then tames the wildness of his hell-like music and leads the chorus muttering “ins Ungewisse hinab” (“into unfathomable depths”) over a pattering drum figure into a re-

a number of

Johannes

brahms born May 7, 1833 Hamburg died April 3, 1897 Vienna

Severance Hall 2014-15

About the Music

turn of the the Elysian music of the opening, this time without the chorus. It might be assumed that Brahms believed the pessimism of the poem to be an illusion and that peace and light can be attained at the end. An alternative interpretation sees the ending as a return to the heavenly abode of the gods who remain indifferent to humankind and our wretched condition. The listener is free to choose. —Hugh Macdonald © 2014 At a Glance Brahms composed his Schicksalslied (“Song of Destiny”) between 1868 and 1871, setting a poem of the same name by Friedrich Hölderlin. Brahms conducted the first performance on October 18, 1871, in Karlsruhe. The score was published later that same year. This work runs about 15 minutes in performance. Brahms scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani,

and strings. Brahms’s Song of Destiny was performed on several occasions by The Cleveland Orchestra in the 1920s, most often while on tour and utilizing a local choral group (this was a very typical arrangement in the early 20th century, when many towns featured their own amateur choral groups long before a local orchestra was formed). These performances, all under the baton of music director

Nikolai Sokoloff, included presentations in Dayton, Ohio (1925) and Bangor, Maine (1928), as well as in Cleveland in April 1928. The Orchestra’s only subsequent performances of Song of Destiny came much later: just after Thanksgiving 1990, when Vladimir Ashkenazy led a pair of concerts at Severance Hall with the Cleveland Orchestra Chorus, and in March 2009, under the direction of Franz Welser-Möst.

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About the Music

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The Cleveland Orchestra

Song of Destiny (Schicksalslied) original German text by Friedrich Hölderlin music by Johannes Brahms

Ihr wandelt droben im Licht Auf weichem Boden, selige Genien! Glänzende Götterlüfte Rühren Euch leicht, Wie die Finger der Künstlerin Heilige Saiten.

You wander on high in the light on gentle paths, blessed spirits! Blazing, divine breezes caress you as lightly as the fingers of the harpist on her sacred lyre.

Schicksallos, wie der schlafende Säugling, atmen die Himmlischen; Keusch bewahrt in bescheidener Knospe, Blühet ewig Ihnen der Geist, Und die seligen Augen Blicken in stiller Ewiger Klarheit.

Untouched by fate, like sleeping babies, the divine beings breathe, chastely protected in modest buds, blooming forever to their spirits, and their blissful eyes gaze in mute, eternal clarity.

Doch uns ist gegeben, Auf keiner Stätte zu ruhn; Es schwinden, es fallen Die leidenden Menschen Blindlings von einer Stunde zur andern, Wie Wasser von Klippe Zu Klippe geworfen, Jahrlang ins Ungewisse hinab.

Yet we are given no place to rest; we fade, we fail suffering humanity, blind from one hour to the next, like water tossed from cliff to cliff, for years into unfathomable depths. DAS ENDE / The End

Severance Hall 2014-15

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The Cleveland Orchestra

Symphony No. 5 (“Reformation”) in D major, Opus 107 composed circa 1830

Felix

MENDELSSOHN born February 3, 1809 Hamburg died November 4, 1847 Leipzig

Severance Hall 2014-15

b e t w e e n t h e a g e s of twelve and fourteen, Mendelssohn composed thirteen symphonies for strings (with occasional surprise entries for percussion), a fluency quite at odds with his mature approach to the symphony as a form. Indeed, the five “grown-up” symphonies were composed at wide intervals and regarded with considerable unease by their composer, yet usually admired for their polish and approachability, as was most all his music. The five were numbered according to their order of publication, as was customary for the period. Because he never published the popular “Italian” symphony nor the “Reformation” symphony (being heard at this weekend’s concerts), they ended up misleadingly numbered 4 and 5, and with equally large opus numbers, even though both are much “younger” works. If the “Reformation” Symphony had been performed according to Mendelssohn’s original intentions, it might have escaped the disdain in which the composer saw it until his death. Aware that the year 1830 was to be celebrated as the tercentennial of the Augsburg Confession submitted by Luther and Melanchthon to the Emperor Charles V in 1530, Mendelssohn was already thinking about a suitable composition for this august moment in Protestant Christianity during his adventurous trip to the British Isles in 1829 and at the age of 20. As a devout Protestant himself and a boundless admirer of Bach (whose St. Matthew Passion he had recently revived in Berlin), Mendelssohn felt drawn by the idea of a symphony that symbolized the Protestant Reformation not with a grand choral work on a sacred text, as might be expected, but with a four-movement symphony without words. Two other impulses were at work. Since writing his previous symphony “No. 1” in 1824, Mendelssohn, like all alert German musicians, had become aware of Beethoven’s Ninth Symphony and its overwhelming power. As the bearer of a message of universal brotherhood, it stood as a model of how dramatic a symphony can be, even in its opening three movements, which are not sung. Mendelssohn was always aware that the finale can bear the climactic weight of a symphony, and not be, as one might infer from so many examples by Haydn or About the Music

Mozart, a mere happy ending. The other thread in Mendelssohn’s mind was the pursuit of what later became known as “program music.” He had already composed an overture that depicted the world and action of Shakespeare’s A Midsummer Night’s Dream, and on his visit to the Scottish islands he had begun to sketch out a pictorial overture eventually to be known as The Hebrides. Music as the bearer of a narrative was not new, but it had great attraction to a Romantic generation anxious to illustrate events, places, and feelings with the colorful resources of the modern orchestra. The “Reformation” Symphony was thus conceived as celebrating the triumph of Protestantism, represented in the finale by Luther’s chorale “Ein feste Burg” (“A Mighty Fortress”), over Catholicism, which is heard very briefly at the beginning of the symphony in beautiful, but symbolically old-fashioned polyphony reminiscent of Giovanni Palestrina’s writing from the 16th century. After his visit to Scotland in the summer of 1829, Mendelssohn spent a few weeks in north Wales at the home of John Taylor, a wealthy mine-owner, and it was in the depths of a lead-mine there, five hundred feet beneath the surface, that Mendelssohn found himself thinking about the conclusion of his symphony. Back in Berlin by the end of the year, he started the symphony in earnest and had finished the first three movements by April 13th. But he was held up by illness — and also perhaps by the feeling that the symphony had not actually been commissioned by King Friedrich Wilhelm III for the Berlin celebrations planned for the month of June — so that by the time he completed the symphony, on May 13, it was too late to secure a performance for the “occasion.” Mendelssohn had, in any case, planned to be gone from the city by then on his next series of foreign adventures, this time to Italy. On his way south, he attempted to get a hearing for the symphony in both Leipzig and Munich but was unable in both cities. Early in 1832, he was in Paris where the music was at least tried out under the enterprising baton of François Habeneck. But the orchestra rejected it as “too learned,” and it was not until Mendelssohn returned to Berlin that he was able to include the work in a series of concerts he gave in the fall of 1832. By this time, he had made a number of revisions, mostly shortening the last movement. Berlin’s leading music critic objected to the idea of a symphony carrying some kind of external message, but whether or not this was enough to turn the composer against his own work, Mendelssohn nevertheless later refused to have it performed, describing it as “juvenile.”

About the Music

The Cleveland Orchestra

He even said he thought it should be burned (which has some oddly disconcerting inferences toward censorship and the fate of certain religious heretics). Happily for us, the “Reformation” has survived, and it can give great satisfaction as a four-movement symphony with or without its references to the great events it was intended to celebrate. The two middle movements, after all, have no explicit connection with history but are simply a scherzo and its trio followed by an expressive slow movement. The first movement persuasively carries the notion of conflict, at first in the slow introduction where clarion musical figures seem to call out for reform over the aspiring counterpoint in the lower strings. Mendelssohn also cites the “Dresden Amen,” a simple rising scale heard twice very softly in widely spaced strings, which he may have regarded as a symbol of the Protestant church, even though it was originally intended for the Catholic royal chapel in Dresden and later adopted by both churches. The opening movement’s main Allegro section ensues, in the minor mode and with something close to Beethovenian anger. It is dramatically interrupted at the end of the development section, when the music speeds up almost out of control, only to be stopped in its tracks by the strings quietly singing out the Dresden Amen and seemingly bringing order out of chaos. The scherzo second movement might well have struck its composer as juvenile because it evokes the world of Haydn, or perhaps early Beethoven, although the movement’s Trio section is closer to Mendelssohn’s own style in its elegant melodiousness. The following slow movement resembles a vocal aria, the voice line entrusted to the first violins. Like many arias, it is compact and short. At this point, Mendelssohn originally composed a short linking movement in which a solo flute evokes Luther the musician (who is known to have played the flute) leading directly into the statement of the chorale “A Mighty Fotress Is Our God.” The first strain of the chorale is heard on the flute alone, and the winds then lower strings gradually join in. What follows is a surprise, for the chorale is treated in jaunty fashion as if it were to be a set of variations. But the tune is never completed, and the full orchestra interrupts it with the start of the finale proper, a vigorously positive statement to support the triumph of the Reformation. —Hugh Macdonald © 2014 Severance Hall 2014-15

About the Music

At a Glance Mendelssohn wrote his “Reformation” Symphony in 1829-30, in anticipation of having it performed in June 1830 as part of celebrations of the 300th anniversary of the Augsburg Confession, a singularly important event in the creation of Protestant Christianity. Those plans went unfulfilled, and the symphony’s first performance took place, following some revisions to the score, on November 15, 1832, at the Berlin Singakademie under the composer’s direction. The piece remained unpublished during Mendelssohn’s life, and was designated as Symphony No. 5 at the time of its posthumous publication. This symphony runs about 30 minutes in performance. Mendelssohn scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, harp, and strings. The Cleveland Orchestra first performed this symphony in February 1940, conducted by Artur Rodzinski. It has been infrequently presented since that time, most recently in January 1994 under the direction of Vladimir Ashkenazy.

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The Cleveland Orchestra

James Gaffigan American conductor James Gaffigan is chief conductor of the Lucerne Symphony Orchestra and principal guest conductor of Cologne’s Gürzenich Orchestra and the Netherlands Radio Philharmonic Orchestra. He also served as associate conductor of the San Francisco Symphony for three years, 2006-09, and was assistant conductor of The Cleveland Orchestra 2003-06. In 2008, he received the League of American Orchestras’ Helen M. Thompson Award for founding and directing CityMusic Cleveland. His most recent guest appearance with The Cleveland Orch estra was in August 2012. James Gaffigan’s international career was launched in 2004, when he was named a first prize winner at that year’s Sir Georg Solti International Conducting Competition in Germany. Since then, in addition to his conducting positions, he has guest conducted major orchestras across Europe, the United States, and Asia. In recent seasons, he has led the BBC Symphony, Berlin Radio Symphony Orchestra, Bournemouth Symphony, Camerata Salzburg, City of Birmingham Symphony Orchestra, Czech Philharmonic, Deutsches SymphonieOrchester, Dresden Staatskapelle, Leipzig Radio Orchestra, London Philharmonic, London Symphony Orchestra, Munich Philharmonic, Qatar Philharmonic, Rotterdam Philharmonic, São Paolo Symphony, Stuttgart Radio Orchestra, Sydney Symphony, Tokyo Metropolitan Symphony, Tonhalle Orchestra, and the Vienna Symphony Orchestra. In North America, he has led performances with the orchestras of Baltimore, Chicago, Cincinnati, Dallas, Detroit, Houston, Indianapolis, Los Angeles, Minnesota, Philadelphia, St. Louis, and San Francisco. At the Vienna State Opera, James Gaffigan has conducted Puccini’s La Bohème and Mozart’s Don Giovanni. He also has an ongoing relationship with England’s Glyndebourne Festival, and has appeared at the Aspen Music Festival, Hamburg Opera, Houston Opera, Norwegian Opera, and Zurich Opera. Born in New York City in 1979, James Gaffigan studied at the LaGuardia High School of Music and Art and the Juilliard School Preparatory Division. A graduate of the New England Conservatory of Music, he earned his master’s degree in conducting at the Shepherd School of Music at Rice University, where he worked with Larry Rachleff. Mr. Gaffigan participated in the first three summers of the American Academy of Conducting in Aspen, 2000-03, where he received the Academy’s first Robert Harth Conducting Award. He also studied at the Tanglewood Music Center. James Gaffigan lives in Lucerne with his wife, writer Lee Taylor Gaffigan, and their children, Sophia and Liam.

Severance Hall 2014-15

Guest Artists

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Yulia Van Doren Recognized by Opera Magazine as “a star-to-be” following her Lincoln Center debut, Russian-American soprano Yulia Van Doren is making her Cleveland Orchestra debut with this weekend’s concerts. A dedicated interpreter of unusual repertoire, Ms. Van Doren’s career highlights include the lead female role in the world premiere of Shostakovich’s Orango with the Los Angeles Philharmonic (recorded for Deutsche Grammophon), two Grammy-nominated opera recordings with the Boston Early Music Festival, a leading role in Scarlatti’s Tigrane at Opera de Nice, and the modern revival of Monsigny’s Le roi et le fermier that was presented at Opera de Versailles, Lincoln Center, and the Kennedy Center (and recorded for Naxos). She has also appeared in Handel’s Orlando with the Philharmonia Baroque Orchestra at the Mostly Mozart, Ravinia, and Tanglewood festivals, and in nationally-televised performances at the Cartagena International Music Festival. Yulia Van Doren created a leading role in the world premiere of Lera Auerbach’s a cappella opera, The Blind, at the Lincoln Center Festival. Especially recognized for her work in Baroque repertoire, Yulia Van Doren has in just a few season appeared with a majority of North American Baroque festivals and orchestras, and is the only singer to be awarded a top prize in all four Bach vocal competitions in the United States. Yulia Van Doren’s recent and upcoming schedule includes performances with the orchestras of Albany, Baltimore, Columbus, Indianapolis, Milwaukee, Nashville, San Francisco, and Toronto, as well as with Boston Baroque, the Folger Consort, Los Angeles Master Chorale, Music of the Baroque, and the Netherlands Radio Chamber Philharmonic. Her artistic collaborations with Mark Morris continue with Handel’s Acis and Galatea at New York’s Mostly Mozart Festival. Born in Moscow, Yulia Van Doren was raised in the United States in a music-filled household in which she and her seven siblings were taught by their Russian mezzo-soprano mother and American jazz pianist father. She was a fellow at the Britten-Pears Young Artist Programme, Tanglewood Music Festival, and Villecroze Académie. Ms. Van Doren’s honors also include being a Paul and Daisy Soros Fellow, receiving a Beebe Grant, and being invited by Dawn Upshaw to her graduate program at Bard College, where she earned a master’s degree.

Severance Hall 2014-15

Guest Artist

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 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 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

tenors

Robin Blake Gerry C. Burdick Robert Cannon Brent Chamberlin Daniel M. Katz Peter Kvidera Tod Lawrence Steve Lawson Rohan Mandelia 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 Adam E. Shimko Steven Skaggs Jayme Stayer

Carolyn Dessin, Chair,

Cleveland Orchestra Chorus Operating Committee

Jill Harbaugh, Manager of Choruses

Severance Hall 2014-15

Cleveland Orchestra Chorus

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

The Cleveland Orchestra

Severance Hall

Tuesday evening, October 28, 2014, at 7:30 p.m.

SEASON

c e l e b r i t y s e r i e s — at t h e m o v i e s

with musical accompaniment performed live on Severance Hall’s Norton memorial organ as improvised by organist Todd wilson Based on The Phantom of the Opera by Gaston Leroux Produced by Carl Laemmle Directed by Rupert Julian Cinematography by Milton Bridenbecker, Virgil Miller, and Charles Van Enger Originally distributed by Universal Pictures

The Cast

Lon Chaney . . . . . . . . . . Erik, The Phantom of the Opera Mary Philbin . . . . . . . . . . . . . . . . . . . . . . . Christine Daae Norman Kerry . . . . . . . . . . . . Vicomte Raoul de Chagny Arthur Edmund Carewe . . . . . . . . . . . . . . . . . . . . Ledoux Gibson Gowland . . . . . . . . . . . . . . . . . . . . . Simon Buquet John St. Polis . . . . . . . . . . . . . Comte Philippe de Chagny Snitz Edwards . . . . . . . . . . . . . . . . . . . . . Florine Papillon The film is presented without intermission and will end at approximately 9:05 p.m.

This evening’s At The Movies presentation is supported through the generosity of the PNC Bank Celebrity Series sponsorship.

Severance Hall 2014-15

Celebrity Series — The Phantom of the Opera

Todd Wilson Todd Wilson is the organ curator of the Norton Memorial Organ at Severance Hall. Regarded across the world as one of today’s finest concert organists, he serves as head of the organ department at the Cleveland Institute of Music. He also serves as director of music at Cleveland’s Trinity Episcopal Cathedral and house organist for the restored Aeolian organ at Stan Hywet Hall & Gardens in Akron. Mr. Wilson received his bachelor and master of music degrees from the College-Conservatory of Music at the University of Cincinnati, where he studied organ with Wayne Fisher. Further coaching in organ repertoire was with Russell Saunders at the Eastman School of Music. Mr. Wilson made his Severance Hall recital debut in April 2001, and his Cleveland Orchestra debut at concerts in May 2001. In April 2005, he performed in a trumpet-and-organ recital at Severance Hall with the Orchestra’s principal trumpet, Michael Sachs; the event was recorded and is now available as a compact disc titled Live from Severance Hall. Todd Wilson has won numerous competitions, including the Grand Prix de Chartres and the Fort Wayne Competition, and has performed extensively throughout North America and Europe, as well as in Asia. In 2003, he dedicated the organ in the Mormon Conference Center in Salt Lake City. In 2004, he performed in the first orchestral subscription concerts with the new organ at Disney Concert Hall in Los Angeles. Performances have also included the 2008 National Convention of the American Guild of Organists in Minneapolis-St. Paul and at the Guild’s 2012 Convention in Nashville. A sought-after adjudicator, he has been a jury member for numerous national and international playing competitions. His interest in improvisation has led to a series of popular improvised accompaniments to classic silent films.

Norton Memorial Organ The Norton Memorial Organ in Severance Hall is considered among the finest concert hall organs ever built. Designed specifically for symphonic use and specifically for Severance Hall, the Norton Memorial Organ was created by the renowned organ builder Ernest M. Skinner in Boston in 1930, and then installed just before the hall’s opening in February 1931. The organ is named in memory of Mr. and Mrs. David Z. Norton, recognizing a contribution from their children — Miriam Norton White, Robert Castle Norton, and Laurence Harper Norton — to build the organ. David Norton and his wife had served on the board of trustees of The Cleveland Orchestra and Mr. Norton was the first president of the Orchestra’s non-profit governing corporation. Originally located high above the stage, the organ was removed and restored by the Schantz Organ Company of Ohio during the renovation and restoration of Severance Hall (1998-2000), and was reinstalled in its current location surrounding the stage and then rededicated in January 2001.

The Phantom of the Opera — Organist

The Cleveland Orchestra

SpeciﬁMemorial cation of theOrgan E. M. Skinner Pipe Organ Norton Norton Memorial Organ at Severance Hall, Opus 816

Specification of the E.M. Skinner Pipe Organ, Opus 816, at Severance Hall Great Organ

Organ Layout

6” Wind Pressure

16’ 8’ 8’ 8’ 8’ 8’ 8’ 8’ 5-1/3’ 4’ 4’ 2-2/3’ 2’

16’ 8’ 4’

Double Diapason First Diapason Second Diapason Third Diapason [enclosed in Choir] Harmonic Flute Gedeckt [enclosed in Choir] Viola [enclosed in Choir] Erzähler Quinte Octave Flute [enclosed in Choir] Twelfth Fifteenth Chorus Mixture VII (15-19-22-26-29-33-36) Harmonics IV (17-19-flat21-22) Trumpet 10” Wind Tromba 10”Wind Clarion 10”Wind Chimes Solo High Pressure Reeds

61 pipes 61 pipes 61 pipes 61 pipes 61 pipes 61 pipes 61 pipes 61 pipes 61 pipes 61 pipes 61 pipes 61 pipes 61 pipes 427 pipes

1-1/3’ Larigot Carillon III (12-17-22) 16’ Fagotto

244 pipes 61 pipes 61 pipes 61 pipes (Solo)

8’ 8’ 8’

(Solo)

Swell Organ

Orchestral Trumpet Orchestral Oboe Clarinet Tremolo Harp 10” Wind Celesta

16’ 8’ 8’ 8’ 4’ 8’

Melodia Diapason Rohrflöte Flauto Dolce Flute Celeste [TC] Salicional Voix Celeste Echo Gamba Echo Gamba Celeste Octave Flute Triangulaire Flautino Mixture V (15-19-22-26-29) Cornet V (12-15-17-19-22) Waldhorn 10” Wind Trumpet 10”Wind French Trumpet Oboe d’Amore Clarion 10”Wind Vox Humana Tremolo Harp Celesta

73 pipes 73 pipes 73 pipes 73 pipes 61 pipes 73 pipes 73 pipes 73 pipes 73 pipes 73 pipes 73 pipes 61 pipes 305 pipes 305 pipes 73 pipes 73 pipes 73 pipes 73 pipes 73 pipes 73 pipes

Flauto Mirabilis Gamba Gamba Celeste Orchestral Flute Corno di Bassetto Tuba Mirabilis 20” Wind French Horn 20”Wind Corno di Bassetto English Horn Tuba Clarion 20”Wind Tremolo Chimes

73 pipes 73 pipes 73 pipes 73 pipes 85 pipes 73 pipes 73 pipes (ext.) 73 pipes 73 pipes 25 bells

Pedal Organ 6” Wind Pressure

32’ 16’ 16’ 16’ 16’ 16’ 16’ 16’ 8’ 8’ 8’ 8’ 4’

(Choir) (Choir)

6” Wind Pressure

Gamba Geigen Concert Flute Dulciana Gamba Dulcet II Octave Flute Gambette Nazard Piccolo Tierce

61 bars (ext.)

10” Wind Pressure

8’ 8’ 8’ 4’ 16’ 8’ 8’ 8’ 8’ 4’

Choir Organ 16’ 8’ 8’ 8’ 8’ 8’ 4’ 4’ 4’ 2-2/3’ 2’ 1-3/5’

73 pipes 61 pipes 73 pipes

Solo Organ

6” Wind Pressure

16’ 8’ 8’ 8’ 8’ 8’ 8’ 8’ 8’ 4’ 4’ 2’

61 pipes 183 pipes 73 pipes

73 pipes 73 pipes 73 pipes 73 pipes 73 pipes 146 pipes 73 pipes 73 pipes 73 pipes 61 pipes 61 pipes 61 pipes

32’ 32’ 16’ 16’ 16’ 8’

Major Bass 56 pipes Diapason 32 pipes Contra Bass 56 pipes Diapason (Great) Bourdon (ext. Major Bass) Melodia (Swell) Dulciana 32 pipes Gamba (Choir) Octave (ext. Contra Bass) Gedeckt (ext. Major Bass) Cello (Choir 16’ Gamba) Still Gedeckt (Swell 16’ Melodia) Super Octave (ext. Contra Bass) 128 pipes Mixture IV (10-12-flat14-15) 5” Wind 56 pipes Bombarde 20”Wind 12 pipes Fagotto 1-12 on 10”Wind (ext. Bombarde) Trombone 15”Wind Waldhorn (Swell) Fagotto (Choir) Tromba (ext. Bombarde) Chimes



Severance Hall 2014-15

Norton Memorial Organ

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Town Hall of Cleveland at Case Western Reserve University 2014–2015 Speaker Series

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SEP 9, 2014

NOV 3, 2014

FEB 9, 2015

APR 13, 2015

The Longest Revolution

Simpler: The Future of Business

The Rise: Creativity, the Gift of Failure, and the Search for Mastery

F. Joseph Callahan Distinguished Lecture

GLORIA STEINEM

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Presented in partnership with the Flora Stone Mather Center for Women

SARAH LEWIS

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Power of Diversity Lecture Presented in partnership with the Office of Inclusion, Diversity & Equal Opportunity

Tinkham Veale University Center | 11038 Bellflower Road Tickets are $30.00 each | tickets: case.edu/events/townhall

MEDIA PARTNER

The Cleveland Orchestra

THE CLEVELAN D ORCHESTRA

Corporate Support

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

Cumulative Giving

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

listings continue

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

listings continue

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

listings continue

The Cleveland Orchestra

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Severance Hall 2014-15

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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

The Cleveland Orchestra

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S E A S O N

PRESENTING THE FINEST

FALL SEASON

2014-15 Concert Season

cim@Severance

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

HOLIDAY FESTIVAL

2013

SEVERANCE HALL

2014-15 concert SerieS

cim.edu visit our website for up to date concert information, as well as to learn about our academic programs.

THE CLEVELAND ORCHESTRA

Natalie Cole December 11

Cleveland Orchestra Christmas Concerts

AUGUST 2014

socialize

December 13-22

Home Alone December 18

Like, friend and follow us on your social media platforms of choice. SUMatSEV_2014_TOPRINT.indd 1

7/29/14 11:27 AM

216.791.5000 | cim.edu 11021 east Boulevard | cleveland, oH 44106

2O14

BLOSSOM MUSIC FESTIVAL S U M M E R

H O M E

O F

THE CLEVELAND ORCHESTRA

Your Guide to: the the the 2O14 the

Festival Book BF14-Festival-Book-v11.indd 1

orchestra facilities concerts people

cl eve l a n d o r c h e s t r a .c o m

6/23/2014 7:57:39 PM

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 irector

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

—The Guardian (London)

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

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

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

hailed as one of

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

Severance Hall

The Cleveland Orchestra

DONATE YOUR RIDE

CAR DONATION PROGRAM

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

north � point portfolio managers c o r p o r a t i o n Ronald J. Lang Diane M. Stack Daniel J. Dreiling

440.720.1102 440.720.1105 440.720.1104

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!

Ruddigore Gilbert & Sullivan’s

or Conservatory of Music Boesel Musical Arts Center Fynette Kulas Music Hall 49 Seminary St., Berea Friday-Saturday, November 7-8, 8 p.m. Saturday-Sunday, November 8-9, 2 p.m.

The Witch’s Curse

With curses, ghostly ancestors and more than a touch of madness, this year’s operetta promises favorite tunes and topsy-turvy moments in full costumes, streamlined sets and piano accompaniment delivered in just over an hour. Tickets available online at www.bw.edu/tickets or call 440-826-8070 Baldwin Wallace University does not discriminate on the basis of race, creed, age, disability, national origin, gender or sexual orientation in the administration of any policies or programs.

Severance Hall 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

Bach, Brahms, and Mendelssohn

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 Yulia Van Doren, soprano Cleveland Orchestra Chorus

Bach Cantata No. 199 BRAHMS Song of Destiny 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

i n

PNC Musical Rainbow

t h e

s p o 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.

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Cleveland Foundation < PAID POSITION > color full page ad / back cover

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