The Cleveland Orchestra January 8-10 Concerts

WINTER SEASON

S E A S O N

SEVERANCE HALL

January 8, 9, 10 FRANZ WELSER-MÖST CONDUCTS MOZART AND RAVEL — details begin on page 35

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AUTO GROUP

TA B L E

OF

CONTENTS

THIS WEEK THE

CLEVELAND

PAGE

WEEK 7

ORCHESTRA

9 COVER PHOTOGRAPHY BY ROGER MASTROIANNI

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

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MOZART

Symphony No. 41 . . . . . . . . . . . . . . . . . . . . . . . . . 39 RAVEL

Daphnis and Chloé (complete ballet) . . . . . . . 45 Conductor: Franz Welser-Möst . . . . . . . . . . . . . . . 17 Cleveland Orchestra Chorus . . . . . . . . . . . . . . . . . . 57

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

Endowed Funds . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Heritage Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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

Foundation / Government Annual Support . . .

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

90

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 9 Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Program: January 8, 9, 10 . . . . . . . . . . . . . . . . . 35 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . 37

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Copyright © 2015 by The Cleveland Orchestra and the Musical Arts Association Eric Sellen, Program Book Editor E-MAIL: esellen@clevelandorchestra.com

About the Orchestra About the Orchestra . . . . . . . . . . . . . . . . . . . . . . . . . 8 Musical Arts Association . . . . . . . . . . . . . . . . . . . . . 13 Music Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . 22 Education and Community . . . . . . . . . . . . . . . . . . 61 Guest Information . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

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48 65 68 73 75 76

Future Concerts

NATIONAL ENDOWMENT FOR THE ARTS

The Cleveland Orchestra is grateful to the following organizations for their ongoing generous support of The Cleveland Orchestra: National Endowment for the Arts, the State of Ohio and Ohio Arts Council, and to the residents of Cuyahoga County through Cuyahoga Arts and Culture.

The Cleveland Orchestra is proud of its long-term partnership with Kent State University, made possible in part through generous funding from the State of Ohio.

The Cleveland Orchestra is proud to have its home, Severance Hall, located on the campus of Case Western Reserve University, with whom it has a long history of collaboration and partnership.

50%

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

This program is printed on paper that includes 50% recycled content.

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

These books are printed with EcoSmart certified inks, containing twice the vegetable-based material and one-tenth the petroleum oil content of standard inks, and producing 10% of the volatile organic compounds.

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Table of Contents

The Cleveland Orchestra

Photo credit: Roger Mastroianni

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Perspectivesfrom the Executive Director January 2015 At our Annual Meeting last month, we announced the news that The Cleveland Orchestra achieved a budget surplus for the year ended June 30, 2014, our third consecutive year of positive financial news. These results add to an ongoing record of success that is propelling this institution forward — with ever-greater artistic achievements, growing community service, strong ticket sales, and unprecedented philanthropic support.

For all of these positive trends, we owe much to the leadership and generosity of our Board of Trustees, led by President Dennis W. LaBarre. I invite you to read Dennis’s Annual Report message beginning on page 25 of this book, in which he further details the achievements and changes for an exciting future for the Orchestra here in Northeast Ohio.

Much of what The Cleveland Orchestra does today reflects an overall institutional transformation, including significant changes in the composition of our audience. It’s a fact in our changing world that subscription rates are in decline for most leisure-time pursuits, and The Cleveland Orchestra is not immune to this trend. But in recent years we have succeeded in attracting new and younger audiences to fill the gap.

Back in the mid-1980s, our weekly Severance Hall concert programs were virtually sold out on a subscription basis, with only a handful of the audience attending concerts by purchasing individual tickets. And at that time, subscribers attended very frequently — each of our 7,000 or so subscriber households purchased an average of 20 tickets annually.

Fast forward almost 30 years, and the 2013-14 season tells a very different — but no less vital — story. Last season, just 51% of tickets for our weekly Severance Hall concerts were purchased by subscribers, but nearly as many attended through individual ticket purchases, including thousands of young people. In all, last season’s Severance Hall concerts attracted concertgoers from a total of over 23,000 households! Today, we are playing more music for more people than ever before.

The decline of ticket subscriptions in our society could have spelled an uncertain future for The Cleveland Orchestra. But thanks to the efforts and dedication of everyone in the Orchestra family, we are achieving success in transforming our programming and our audience.

We are developing an audience for the future — of more diverse and younger attendees.

And we are working to give you, our valued patrons, the range of choice that today’s patrons demand. We have made subscriptions more flexible, including “build your own” packages offered this season. And we are planning new options to offer a membership model for concert attendance, beginning with our new group for young professionals, The Circle.

Whether you count yourself among the family of dedicated subscribers or are part of our extended family of individual concertgoers, our goal remains to enable you to experience the magnificent power of great orchestral music, pure and simple.

Thank you and best wishes for a wonderful and music-filled 2015!

Severance Hall 2014-15

Gary Hanson

7

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

Photo of the Week follow the Orchestra on Facebook for more archival photos

The Cleveland Orchestra’s Annual Martin Luther King Jr. Celebration Concert, held this year for the 35th time, fills the stage at Severance Hall with performers — featuring the volunteer Celebration Chorus assembled and prepared especially for this event each January.

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

8

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

9

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.

10

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.

120,000+

120,000 young people have attended Cleveland Orchestra symphonic concerts via programs funded by the Center for Future Audiences since 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 Jan. 1, 2015)

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

81,455

1931

concerts each year.

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

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THE CLEVEL AND ORCHESTRA

BY THE NUMBERS

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The Cleveland Orchestra

T H E M U S I C AL ARTS ASSOCIATION

as of January 2015

operating The Cleveland Orchestra, Severance Hall, and Blossom Music Festival O F F I C E R S A ND E X E C UT IVE C O MMI T T E E Dennis W. LaBarre, President Richard J. Bogomolny, Chairman The Honorable John D. Ong, Vice President Jeanette Grasselli Brown Matthew V. Crawford Alexander M. Cutler David J. Hooker Michael J. Horvitz

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

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

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

R E S I D E NT TR U S T E E S George N. Aronoff Dr. Ronald H. Bell Richard J. Bogomolny Charles P. Bolton Jeanette Grasselli Brown Helen Rankin Butler Scott Chaikin Paul G. Clark Owen M. Colligan Robert D. Conrad Matthew V. Crawford Alexander M. Cutler Hiroyuki Fujita Paul G. Greig Robert K. Gudbranson Iris Harvie Jeffrey A. Healy Stephen H. Hoffman David J. Hooker Michael J. Horvitz Marguerite B. Humphrey David P. Hunt Christopher Hyland James D. Ireland III

Trevor O. Jones Betsy Juliano Jean C. Kalberer Nancy F. Keithley Christopher M. Kelly Douglas A. Kern John D. Koch S. Lee Kohrman Charlotte R. Kramer Dennis W. LaBarre Norma Lerner Virginia M. Lindseth Alex Machaskee 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 Zoya Reyzis Barbara S. Robinson Paul Rose Steven M. Ross Raymond T. Sawyer Luci Schey Hewitt B. Shaw Richard K. Smucker James C. Spira R. Thomas Stanton Joseph F. Toot, Jr. Daniel P. Walsh Thomas A. Waltermire Geraldine B. Warner Jeffery J. Weaver Jeffrey M. Weiss Norman E. Wells Paul E. Westlake Jr. David A. Wolfort

NO N- R E S I D E NT T RUS T E E S Virginia Nord Barbato (NY) Wolfgang C. Berndt (Austria) Laurel Blossom (SC)

Richard C. Gridley (SC) Loren W. Hershey (DC) Herbert Kloiber (Germany)

Ludwig Scharinger (Austria)

TR U S TE E S E X- O FFI C I O 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

H O NO R A RY TR U S T E E S FO R L IFE Robert W. Gillespie Gay Cull Addicott Dorothy Humel Hovorka Oliver F. Emerson Robert P. Madison Allen H. Ford PA S T PR E S I D E NT S D. Z. Norton 1915-21 John L. Severance 1921-36 Dudley S. Blossom 1936-38 Thomas L. Sidlo 1939-53

Percy W. Brown 1953-55 Frank E. Taplin, Jr. 1955-57 Frank E. Joseph 1957-68 Alfred M. Rankin 1968-83

Robert F. Meyerson James S. Reid, Jr.

Ward Smith 1983-95 Richard J. Bogomolny 1995-2002, 2008-09 James D. Ireland III 2002-08

THE CLEVELAND ORCHESTRA Franz Welser-Möst, Music Director

Severance Hall 2014-15

Gary Hanson, Executive Director

Musical Arts Association

13

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THE C L E V E L A N D ORCHESTRA

TRAGIC OPERA IN ONE ACT

Libretto by JOSEPH GREGOR GREGO Music by RICHARD STRAUSS

SEVERANCE HALL

MAY 27 Wednesday MAY 30 Saturday

Franz Welser-Möst leads The Cleveland Orchestra in performances of Richard Strauss’s captivating opera about Daphne, a young woman who must choose between the love of men and her love for nature. Composed during the politically perilous period after the Nazis came to power and first performed in 1938, the opera had deep personal significance to the composer.

Strauss knew that the myth of Daphne was the subject of the very first opera ever composed — and his own version can be viewed as a guarded demand for creative freedom in the face of political and worldly hindrances.

Sung in German with projected English supertitles.

Sponsored by Litigation Management, Inc.

Apollo and Daphne, marble statue by Gian Lorenzo Bernini, 1625.

Regine Hangler (soprano) as Daphne Andreas Schager (tenor) as Apollo Norbert Ernst (tenor) as Leukippos Ain Anger (bass) as Peneios Nancy Maultsby (mezzo-soprano) as Gaea Men of the Cleveland Orchestra Chorus with The Cleveland Orchestra conducted by Franz Welser-Möst

FLĂ‚NEUR FOREVER

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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

17

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.

18

Music Director

The Cleveland Orchestra

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The elegance of Severance Hall provides the perfect location for your event, with rooms to accommodate all sizes of groups. Located in the heart of University Circle, the ambiance of one of Cleveland’s most outstanding architectural landmarks will provide you and your guests with an event to be remembered fondly for years to come.

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T H E

C L E V E L A N D

FRANZ WELSER-MÖST MUSIC

DIRECTOR Kelvin Smith Family Chair

FIRST VIOLINS William Preucil CONCERTMASTER

Blossom-Lee Chair

Yoko Moore

ASSISTANT CONCERTMASTER

Clara G. and George P. Bickford Chair

Peter Otto

FIRST ASSOCIATE CONCERTMASTER

Jung-Min Amy Lee

ASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith Chair

Alexandra Preucil

ASSISTANT CONCERTMASTER

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

Takako Masame Paul and Lucille Jones Chair

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

Kim Gomez Elizabeth and Leslie Kondorossy Chair

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

Miho Hashizume Theodore Rautenberg Chair

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

Alicia Koelz Oswald and Phyllis Lerner Gilroy Chair

Yu Yuan Patty and John Collinson Chair

Isabel Trautwein Trevor and Jennie Jones Chair

Mark Dumm Gladys B. Goetz Chair

Katherine Bormann Analisé Denise Kukelhan

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SECOND VIOLINS Stephen Rose * Alfred M. and Clara T. Rankin Chair

Emilio Llinas 2 James and Donna Reid Chair

Eli Matthews 1 Patricia M. Kozerefski and Richard J. Bogomolny Chair

Elayna Duitman Ioana Missits Carolyn Gadiel Warner Stephen Warner Sae Shiragami Vladimir Deninzon Sonja Braaten Molloy Scott Weber Kathleen Collins Beth Woodside Emma Shook Jeffrey Zehngut Yun-Ting Lee VIOLAS Robert Vernon * Chaillé H. and Richard B. Tullis Chair

Lynne Ramsey 1 Charles M. and Janet G. Kimball Chair

Stanley Konopka 2 Mark Jackobs Jean Wall Bennett Chair

Arthur Klima Richard Waugh Lisa Boyko Lembi Veskimets Eliesha Nelson Joanna Patterson Zakany Patrick Connolly

The Orchestra

CELLOS Mark Kosower* Louis D. Beaumont Chair

Richard Weiss 1 The GAR Foundation Chair

Charles Bernard 2 Helen Weil Ross Chair

Bryan Dumm Muriel and Noah Butkin Chair

Tanya Ell Thomas J. and Judith Fay Gruber Chair

Ralph Curry Brian Thornton William P. Blair III Chair

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

Mark Atherton Thomas Sperl Henry Peyrebrune Charles Barr Memorial Chair

Charles Carleton Scott Dixon Derek Zadinsky HARP Trina Struble * Alice Chalifoux Chair

The Cleveland Orchestra

SEASON

O R C H E S T R A FLUTES Joshua Smith * Elizabeth M. and William C. Treuhaft Chair

Saeran St. Christopher Marisela Sager 2 Austin B. and Ellen W. Chinn Chair

Mary Kay Fink PICCOLO Mary Kay Fink Anne M. and M. Roger Clapp Chair

OBOES Frank Rosenwein * Edith S. Taplin Chair

Jeffrey Rathbun 2 Everett D. and Eugenia S. McCurdy Chair

Robert Walters ENGLISH HORN Robert Walters Samuel C. and Bernette K. Jaffe Chair

CLARINETS Franklin Cohen * Robert Marcellus Chair

Robert Woolfrey Daniel McKelway 2 Robert R. and Vilma L. Kohn Chair

Linnea Nereim E-FLAT CLARINET Daniel McKelway Stanley L. and Eloise M. Morgan Chair

BASS CLARINET Linnea Nereim BASSOONS John Clouser * Louise Harkness Ingalls Chair

Gareth Thomas Barrick Stees 2 Sandra L. Haslinger Chair

Jonathan Sherwin CONTRABASSOON Jonathan Sherwin

Severance Hall 2014-15

HORNS Richard King * George Szell Memorial Chair

Michael Mayhew § Knight Foundation Chair

Jesse McCormick Robert B. Benyo Chair

Hans Clebsch Alan DeMattia

PERCUSSION Marc Damoulakis* Margaret Allen Ireland Chair

Donald Miller Tom Freer KEYBOARD INSTRUMENTS Joela Jones * Rudolf Serkin Chair

TRUMPETS Michael Sachs * Robert and Eunice Podis Weiskopf Chair

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

Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair

LIBRARIANS Robert O’Brien Joe and Marlene Toot Chair

Donald Miller

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

ORCHESTRA PERSONNEL Karyn Garvin DIRECTOR

Christine Honolke

Michael Miller

MANAGER

TROMBONES Massimo La Rosa*

ENDOWED CHAIRS CURRENTLY UNOCCUPIED

Gilbert W. and Louise I. Humphrey Chair

Richard Stout Alexander and Marianna C. McAfee Chair

Shachar Israel 2 BASS TROMBONE Thomas Klaber

Sidney and Doris Dworkin Chair Sunshine Chair

* Principal § 1 2

Associate Principal First Assistant Principal Assistant Principal

EUPHONIUM AND BASS TRUMPET Richard Stout

CONDUCTORS Christoph von Dohnányi

TUBA Yasuhito Sugiyama*

Giancarlo Guerrero

Nathalie C. Spence and Nathalie S. Boswell Chair

MUSIC DIRECTOR LAUREATE

PRINCIPAL GUEST CONDUCTOR, CLEVELAND ORCHESTRA MIAMI

Brett Mitchell

ASSISTANT CONDUCTOR

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

Tom Freer 2

The Orchestra

Elizabeth Ring and William Gwinn Mather Chair

Robert Porco

DIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

23

THE CLEVELAND ORCHESTR A at SEVER ANCE HALL

PRE-ORDER INTERMISSION DRINKS NEW

New to Severance Hall this season, you can now pre-order your beverages before the concert to enjoy during intermission.

Our new pre-order option offers you the beneďŹ t of an intermission without waiting in line. Simply visit one of our conveniently located bars to place and pay for your order before the concert starts.

CHEERS!

NEW

POST-CONCERT DINING New for the 2014-15 season, we are offering post-concert dining at Severance Restaurant. Enjoy a convenient dining experience including full-service bar, desserts and coffee, or our special Ă la carte dining choices.

Severance Restaurant is a great place to extend your night out following the concert. Come in and sit down for dinner, or stop by for drinks or dessert.

No reservations required for post-concert dining.

Reservations are suggested but not required for pre-concert dining.

Book online by visiting the link to OpenTable at clevelandorchestra.com.

Post-concert dining is available following evening performances by The Cleveland Orchestra.

Severance Hall and The Cleveland Orchestra are proudly partnered with Marigold Catering to enhance your experience.

THE CLEVELAND ORCHESTR A at SEVER ANCE HALL

THE CLEVELAND ORCHESTRA THE CLEVELAND ORCHESTRA TRA THE CLEVELAND ORCHESTRA

From the President This message from Musical Arts Association president Dennis W. LaBarre is excerpted and condensed from the Association’s recently published Annual Report. Here, Mr. LaBarre discusses the continuing progress that The Cleveland Orchestra is making in implementing changes for a stronger future, as an institution devoted to the citizens of Northeast Ohio who created it and have sustained it. The complete Annual Report can be read online at clevelandorchestra.com by clicking on “Publications” in the “News & Updates” section.

A S I L O O K B A C K O V E R the past season, I am struck by the

enormous transformations this institution has achieved. Some of these changes began almost a decade ago, and continued with new resolve and discipline through economic uncertainty in recent years. Now we are focused on continued progress and innovation as we plan for our Centennial and beyond. With the support and enthusiasm of our community, we are creating an even stronger Cleveland Orchestra — one capable of serving Northeast Ohio to the utmost, innovative in extending our global artistic brand through established residency programs in Miami and Europe, flexible enough to adapt to future twists in the road, and renowned as ever for musical excellence, for music education and participation, for young audiences, for community service, and as an enduring symbol of this community’s spirit and pride.

Our progress toward true financial health is reflected in the financial achievements of the past year. For the third consecutive year, we have achieved a balanced budget — through increased ticket revenues, increased donations and support, and prudent cost control. For 2013-14, in fact, with the dedicated efforts of everyone involved, we recorded a bottom line surplus of $940,000 beyond our balanced budget goal.

THE CLEVELAND ORCHESTRA

In concert with these annual financial achievements — including a record $10.6 million in Annual Fund support — the Sound for the Centennial Campaign’s endowment component has also moved forward. Campaign efforts have to date achieved $62 million in cash and pledges to the endowment, and $50 million in legacy commitments. The endowment now stands at $173 million — up from a low of $97 million following the financial crisis in 2008. Now we must focus on the Campaign’s successful completion by 2018, expanding the endowment to provide a greater contribution to our operating budget and building ever stronger annual support for specific artistic and community initiatives.

The Orchestra’s goal of building the youngest audience of any orchestra is becoming reality. Our new summer concert series, Summers@Severance, was launched in August 2014 to great success, with nearly half of the audience attending a Cleveland Orchestra concert for the first time. The success of this and other audience development CONTINUES

Severance Hall 2014-15

From the President

25

THE CLEVELAND ORC

This financial success is part of a larger, ongoing transformation in spirit. Franz Welser-Möst, whose tenure as Music Director now extends through 2022, has led a comprehensive set of new initiatives for the Orchestra. He is a driver of innovation, both artistic and programmatic. He has spotlighted the Orchestra’s role as a key leader in music education, and led us toward greater community engagement. Above all, he is the standard bearer for the Orchestra’s renowned musical excellence.

THE CLEVELAND ORCHES-

News CONTINUED

programs echoed the achievements of the Orchestra’s Center for Future Audiences and the many programs it supports, which have attracted well over 100,000 young people to Orchestra concerts at Severance Hall and Blossom in just three years. Through the newest Center-funded program, The Circle, launched in January 2014, we are developing support from a new generation of Northeast Ohio’s young-professional leaders.

THE CLEVELAND ORCHESTRA

Today, more than ever, we understand that we must support our schools, embrace our civic leadership role, increase access to orchestral music for all, and partner with other community and cultural organizations to sustain the city whose name we so proudly carry throughout the world. The Orchestra’s education programs reach over 60,000 students of all ages each year as part of its ongoing goal to serve as an indispensible education and community resource. The Orchestra’s second annual “At Home” neighborhood residency was whole-heartedly embraced by the citizens and students of Lakewood, with over thirty-five events culminating in a soldout free community concert led by Franz Welser-Möst, streamed live on the internet, and recorded for broadcast by our partner WVIZ/ideastream.

A

CLEVELAND ORCHESTRA THE CLEVELAND ORCHESTRA THE CLEVELAND ORCHE

Transformation is also taking place behind the scenes, in how we do business, and in upgrading our infrastructure and resources. We have established specialized task forces to explore new methods of serving expanded and current audiences in better ways — from improving the experience of attending Cleveland Orchestra concerts, to investigating improvements in communicating with our patrons and the longterm goal of enabling digital access to our rich store of recordings and history.

Our progress over the past year is the result of focus, enthusiasm, and dedication from the entire Cleveland Orchestra family. I am grateful to all those who have played a role in this integrated, far-reaching effort at transforming what The Cleveland Orchestra means to our region.

In summary, the past season was a year of programmatic innovation, of financial strength, of increasing community service. A time of transition and continuity. And, as always, of extraordinary artistic excellence. It has been a perfect balance of the traditions that have made us strong for nearly a century and the transformation that will ensure our future success.

The Cleveland Orchestra is now poised to make the leap from recent steady growth to longterm financial strength. Doing so will allow us the freedom to innovate and to reach new heights of musical and institutional excellence, all for the benefit of everyone in Northeast Ohio. Now is the time to help propel the Orchestra into a future built on a sound financial foundation, a future of excellence, a future of service to this community. Together, we can ensure that The Cleveland Orchestra remains a pillar of music and art, education and community pride into the decades ahead.

Dennis W. LaBarre President

26

From the President

The Cleveland Orchestra

THE CLEVELAND ORCHESTRA THE CLEVELAND ORCHESTRA TRA THE CLEVELAND ORCHESTRA

News

OrchestraNews Cleveland Orchestra announces third consecutive year with balanced budget

— Increased revenues coupled with effective cost control produce $940,000 operating surplus; concurrently the Orchestra’s endowment grew to a record $172 million — New community programs focus on Northeast Ohio and attendance by young people surges toward the goal of having the youngest audience

Cleveland Orchestra News

27

THE CLEVELAND ORC

Severance Hall 2014-15

numbers for the year — including a record $10.6 million in Annual Fund support. He highlights the Orchestra’s Sound for the Centennial Campaign, with efforts to date having achieved $62 million in cash and pledges to the endowment, and $50 million in legacy commitments. The endowment today stands at $172 million — up from a low of $97 million following the financial crisis in 2008. Building on this success and strong vote of support from Northeast Ohio, the Trustees and staff will now focus on the Campaign’s successful completion by 2018.

“Expanding the endowment to provide a greater contribution to operating budget will provide the Orchestra with the financial strength to remain secure during future difficult economic cycles,” LaBarre said at the Annual Meeting. “Once this is achieved, we can focus our fundraising efforts on an ever stronger Annual Fund and special fundraising for specific artistic and community initiatives.”

“The achievements of the past year were considerable,” said Hanson in his remarks.

“The annual financial results reinforce the success of recent years, while artistically the Orchestra reached new heights. From coffee shops to cathedrals, from Blossom to Severance Hall, over the past year we continued our dedication to community engagement.

Our second annual neighborhood residency, titled ‘At Home in Lakewood, Ohio,’ served to strengthen the bond between The Cleveland Orchestra and the citizens of Northeast Ohio.

Concert attendance by young people under age 25 surged to over 41,000 in the past year, with young people now making up over 20% of the audience for classical concerts at Severance Hall, taking us well on our way toward securing the youngest audience of any orchestra.”

THE CLEVELAND ORCHESTRA

The audited financial results of The Cleveland Orchestra’s 2013-14 fiscal year were reported at the Annual Meeting of the Musical Arts Association on Tuesday evening, December 2.

President of the Board of Trustees, Dennis W. LaBarre, announced a year-end budgetary surplus to the assembled Association members at the meeting in Severance Hall, the Orchestra’s home concert hall since 1931. The Musical Arts Association is the non-profit organization that owns and operates The Cleveland Orchestra, Severance Hall, and Blossom Music Center.

Financial achievements of the past year included the third consecutive balanced annual budget — through increased ticket revenues, increased contributions, and ongoing cost control. At year end, the Orchestra’s 2013-14 revenues of $49.6 million exceeded expenses of $48.7 million. This was achieved with year-over-year revenues increasing 3% from 2012-13, while expense growth was held at just 1.5% over the previous year. This is the third consecutive year of balanced operating results, each made possible by special fundraising secured to support operations during a campaign to increase the endowment and the Orchestra’s long-term financial strength.

Advance copies of the Orchestra’s published Annual Report were distributed at the meeting and will be made available to all Musical Arts Association members in the coming weeks. The report features year-end messages from LaBarre and Executive Director Gary Hanson, as well as a financial summary and an overview of the year’s concert and community activities. The report highlights the thousands of individual, corporate, and foundation donors, plus contributing government agencies, all of whom made the positive outcome possible through their support.

In his message, Mr. LaBarre outlines the

THE CLEVELAND OR-

News

D ORCHESTRA

THE CLEVELAND ORCHESTRA

OrchestraNews W.E.L.C.O.M.E New bassoonist joins Orchestra at start of 2015

Soldout MLK Celebration Concert on January 18 to be broadcast live on radio

The Cleveland Orchestra welcomes the first of three recent hires to its ranks for concerts January 8-10.

Gareth Thomas joins the Orchestra as second bassoon in January 2015. He most recently served as principal bassoon of the Toledo Symphony Orchestra 2010-14. He received a bachelor of music degree with academic honors from the Cleveland Institute of Music in 2009 and a master of music degree from Northwestern University in 2010. His teachers have included John Clouser, principal bassoon of The Cleveland Orchestra, and Christopher Millard, principal bassoon of the National Arts Centre Orchestra in Ottawa. Gareth Thomas received the George F. Goslee Prize in bassoon at CIM and first prize at the 2006 National Arts Centre Orchestra Bursary Competition. He has appeared as soloist with the Toledo Symphony Orchestra and the National Arts Centre Orchestra, and has participated in the Pacific Music Festival and the Sarasota Music Festival.

Although tickets for the Orchestra’s annual Martin Luther King Jr. Celebration Concert were soldout within minutes of going “on sale” on January 2, the concert will be shared by thousands more through live radio broadcast on radio stations WCLV (104.9 FM) and WCPN (90.3 FM).

The concert on Sunday evening, January 18, is The Cleveland Orchestra’s 35th annual concert celebrating the spirit of Dr. King’s life, leadership, and vision in music, song, and community service recognition. The concert once again features the Martin Luther King Jr. Celebration Chorus of volunteer singers from across Northeast Ohio. Fourteen-yearold cellist Sterling Elliott also performs with the Orchestra.

Admission to the concert is free, but tickets are required — and all tickets were soldout within minutes of becoming available on Friday, January 2, at 9 a.m.

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Cleveland Orchestra News

The Cleveland Orchestra

THE CLEVELAND ORCHESTRA THE CLEVELAND ORCHES TRA THE CLEVELAND ORCHESTRA

News

OrchestraNews

Post-Concert Dining options have come Severance Hall with 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

Pre-Order Intermission Drinks!

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.

Never miss a note.

Join the millions of people who enjoy all the sounds of life! ůĞǀĞůĂŶĚ ,ĞĂƌŝŶŐ Θ ^ƉĞĞĐŚ ĞŶƚĞƌ ŝƐ ƚŚĞ ƉƌĞŵŝĞƌ ƉƌŽǀŝĚĞƌ ŽĨ ĂƵĚŝŽůŽŐLJ ƉƌŽĚƵĐƚƐ ĂŶĚ ƐĞƌǀŝĐĞƐ͘ &ƌŽŵ ŚĞĂƌŝŶŐ ƐĐƌĞĞŶŝŶŐƐ͕ ĞǀĂůƵĂƟŽŶƐ͕ ĂŶĚ ĚĞǀŝĐĞ ĮƫŶŐƐ͕ ƚŽ ĨŽůůŽǁ ƵƉ ĂŶĚ ƐƵƉƉŽƌƚ͕ ,^ ǁŝůů ĞŶƐƵƌĞ LJŽƵ ŶĞǀĞƌ ŵŝƐƐ Ă ŶŽƚĞ͊

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north W point portfolio managers c o r p o r a t i o n Ronald J. Lang Diane M. Stack Daniel J. Dreiling Severance Hall 2014-15

CHSC is a provider of Phonak Hearing Aids ŝƐĐƌĞĞƚ͕ ĂƩƌĂĐƟǀĞ͕ ƐŵĂůůĞƐƚͲĞǀĞƌ ĚĞƐŝŐŶƐ z DŽƐƚ ĂĚǀĂŶĐĞĚ ƚĞĐŚŶŽůŽŐLJ z tĂƚĞƌͲƌĞƐŝƐƚĂŶƚ z

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Cleveland Orchestra News

www.chsc.org

29

THE CLEVELAND OR-

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 Orchestra. In addition to rehearsals and concerts throughout the year, many musicians donate performance time in support of community engagement, fundraising, education, and audience development activities.

We are pleased to recognize these musicians, listed below, who have volunteered for such events and presentations during the 2013-14 and 2014-15 seasons.

THE CLEVELAND ORCHESTRA CLEVELAND O30RCHESTRA THE CLEVELAND ORCHESTRA ESTRA THE CLEVELAND ORCHE

News

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 Scott Haigh David Alan Harrell Miho Hashizume Shachar Israel Joela Jones Richard King Alicia Koelz Stanley Konopka Mark Kosower Paul Kushious Massimo La Rosa Jung-Min Amy Lee Yung-Ting Lee Takako Masame Eli Matthews Jesse McCormick

30

Daniel McKelway Sonja Braaten Molloy Ioana Missits Peter Otto 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 Brian Thornton Isabel Trautwein Lembi Veskimets Carolyn Gadiel Warner Stephen Warner Richard Weiss Beth Woodside Robert Woolfrey Paul Yancich Derek Zadinsky Jeffrey Zehngut

Two Endowed Chairs named to honor generous legacy gifts created by Orchestra patrons Two new chairs of The Cleveland Orchestra were named in 2014 in recognition of generous planned estate gifts created by longtime Orchestra patrons. The Robert B. Benyo Endowed Horn Chair has been added to the roster and is currently held by section horn player Jesse McCormick, while the Thomas J. and Judith Fay Gruber Endowed Cello Chair is held by cellist Tanya Ell. The chairs are named in perpetuity, and will help support the Orchestra’s annual costs, including musician salaries.

As a prominent Northeast Ohio physician, Dr. Robert Benyo appreciated The Cleveland Orchestra’s precision and clarity of sound. Having subscribed and supported The Cleveland Orchestra for over thirty years, Dr. Benyo remembered the Orchestra in his estate to support and help perpetuate the ensemble’s highest standards of performing excellence.

Judith and Tom Gruber have long enjoyed experiencing the Orchestra at Severance Hall. Judith, a member of the Blossom Women’s Committee, supports the efforts of the Orchestra through her tireless volunteerism. In creating plans for their legacy gift, Judith and Tom also desired to support and promote the continuing superior artistry of the Orchestra’s musicians and ensemble playing.

Both of these gifts join together with hundreds of other endowment gifts to support The Cleveland Orchestra in perpetuity. Thousands of generous individuals have made a commitment to the Orchestra through outright endowment gifts or legacy plans, through the annual fund and special project support. To learn more about including the Orchestra in your estate plans, please contact Bridget Mundy at 216-231-8006.

Cleveland Orchestra News

The Cleveland Orchestra

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Severance Hall 2014-15

31

SU-DO-KU

by Dolores Louise MacArthur

Just as music is built from the notes of a scale, creating millions of possible patterns, Su-do-ku puzzles are devised from the simple building blocks of the numbers 1- 9. With origins that include a French newspaper puzzle from before World War One, and popularized from Japan, Su-do-ku puzzles require no arithmetic skills — only the logic of inventory and elimination.

Instructions

Fill in the empty squares so that each row, each column, and each outlined 3x3 square inside the larger 9x9 puzzle each contain all the numbers from 1 through 9.

(The numbers shown in black boxes should be treated the same as all other numbers; they are different for visual variety only.)

Level of Difficulty: EASY

5 9

Level of Difficulty: MODERATE

3

6 3 9

4 1 2

7

2

4 1 7 8

6 9

5 7

6

8

8

2 3 4 5

8 4 9 1 7 2 5 7 9 8 4 9 6 2 3 6 4 9 8 3 7 1 5 3

1

8 2

9 4 6 3

7 4

9 1

6 5 5 9

6

8 2 9 1 3

4 8

3 6 9 2

3 3 5 2

7 6 4 6 9

3 2 8 2 5

3

4 5

5 4

7 9 4

6

8

3 7 1 9 5

9 1

3

6 2

8 9 5 4

Level of Difficulty: CHALLENGING

Level: EASY

32

Puzzle Page

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.

January 8, 9, 10 “Mozart and Ravel: Two Centuries, Two Styles” with guest speaker Michael Strasser, professor of musicology, Baldwin Wallace University

January 15 “Boulez and Cleveland: Fifty Years” with Deborah Hefling, archivist of The Cleveland Orchestra

January 16, 17 “Tragic Mahler, New Tableaux” with Roger Klein, Rabbi of The Temple-Tifereth Israel and composer Ryan Wigglesworth

January 23, 24 “Slavic Connections” with Rose Breckenridge, Cleveland Orchestra Music Study Groups administrator and lecturer

January 29, 30, 31 “To Russia with Love” with Rose Breckenridge

February 12, 14 “Second Thoughts and First Impressions”

Concert Previews

with Timothy Cutler, professor of music theory, Cleveland Institute of Music

33

Act one begins

Beck Center for the Arts

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

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, January 8, 2015, at 7:30 p.m.

Friday evening, January 9, 2015, at 8:00 p.m.

Saturday evening, January 10, 2015, at 8:00 p.m.

Franz Welser-Möst, conductor WOLFGANG AMADÈ MOZART (1756-1791)

SEASON

Symphony No. 41 (“Jupiter”) in C major, K551 1.

2.

3.

4.

Allegro vivace Andante cantabile Menuetto: Allegro Molto allegro

INTERMISSION MAURICE RAVEL (1875-1937)

Daphnis and Chloé Choreographic Symphony in Three Parts part one Introduction and Religious Dance — Danse générale — Dorcon’s Grotesque Dance — Daphnis’s Light and Graceful Dance — Lycéion’s Entrance — Slow and Mysterious Dance of the Nymphs (Nocturne) part two Interlude — War Dance — Chloé’s Dance of Supplication part three Daybreak (Introduction) — Pantomime (The Love of Pan and Syrinx) — Danse générale (Bacchanale) CLEVELAND ORCHESTRA CHORUS Robert Porco, director

The Saturday evening concert is dedicated to Mr. and Mrs. Albert B. Ratner in recognition of their extraordinary generosity in support of The Cleveland Orchestra’s 2013-14 Annual Fund.

The concert will end on Thursday evening at about 9:10 p.m. and on Friday and Saturday at approximately 9:40 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 Saturday afternoon, June 27, at 1:00 p.m.

Severance Hall 2014-15

Concert Program — Week 9

35

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36

The Cleveland Orchestra

INTRODUCING THE CONCERT

Godly Symphony & Rustic Ballet THIS WEEK’S CONCERTS

A Romantic portrayal of the innocent love of Daphnis and Chloé, lithograph

by Jean-Nicolas Laugier, 1817

present two works that qualify as “classical” in several different ways. Mozart’s final symphony, from 1788, in C major, has long been nicknamed the “Jupiter” Symphony. Although the name was not from Mozart, it well captures the classical proportions and god-like clarity of this mature work. Its four movements epitomize everything that this great composer stood for and understood of orchestral music-making. And its great finale fugue is . . . truly divine.

After intermission comes the music for Maurice Ravel’s ballet Daphnis and Chloé, premiered in 1912 and depicting a classic Greek legend of tender love, daring adventures, and pastoral scenery. In this, the longest piece that Ravel ever wrote, the composer weaves a rhapsodic tapestry infused with his usual touches of imaginative and “just right” orchestration (including a wordless chorus). Not to be missed is one of the best sunrises ever composed.

These two works are clearly from different soundworlds, eras, and realms — and from a variety of differing musical traditions (German vs. French, intellect vs. emotion, function vs. form, concert hall vs. ballet). Yet together they provide a clear delineation of the joys that great orchestral music can bring to our ears (and minds). Take the pleasures as you can.

—Eric Sellen

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Introduction

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Symphony No. 41 (“Jupiter”) in C major, K551 composed 1788 THERE HAS BEEN A LOT

by

Wolfgang Amadè

MOZART born January 27, 1756 Salzburg died December 5, 1791 Vienna

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of speculation over the years as to precisely what went wrong in Mozart’s life between 1785, the apex of his “golden years,” and the summer of 1788, when the last three symphonies were written. By 1788, the concert series where Mozart had presented his great piano concertos had been discontinued for a variety of reasons. Mozart had lost the audience support he had previously enjoyed. In 1786-87, he had an immense success in Prague with his operas The Marriage of Figaro and Don Giovanni (the latter was written specifically for that city), but back home in Vienna, things were going downhill financially. Mozart’s appointment to the relatively minor position of “Kammer-Kompositeur” at the imperial court did little to improve matters.

Mozart’s family life was also extremely difficult. Four of his children died in infancy, three of them between 1786 and 1788. (This left Mozart and his wife, Constanze, with only one surviving child, Karl Thomas, born in 1784; a second son, Franz Xaver Wolfgang, who would become a composer, was born in 1791, the last year of Mozart’s life.)

Among the further reasons that may have contributed to the deterioration of Mozart’s situation, researchers have cited the composer’s gambling habit, household mismanagement by Constanze, and a general tendency of the Mozarts to live beyond their means.

What is certain is that during the summer of 1788 Mozart started writing heart-rending letters to his friend and fellow Freemason, Michael Puchberg, imploring him for rather large sums of money. In one of these, he was asking Puchberg for “a hundred gulden until next week, when my concerts in the Casino are to begin.” Since the letter was written at the time Mozart was working on what would prove to be his last three symphonies, there is reason to believe that he intended them for concerts “in the Casino.” We don’t know exactly where “the Casino” was, but Mozart had previously played some of his piano concertos there.

The performances of Symphonies Nos. 39-41 may or may not have taken place in the fall of 1788. Because there are no known records of performances, it used to be believed that these symphonies were never heard in concert during the composer’s About the Music

39

At a Glance Mozart finished the score of this work, his last completed symphony, on August 10, 1788. The location and date of its first performance are not known. The nickname “Jupiter” (used largely in English-speaking countries) most likely comes from Johann Peter Salomon (17451815), the German-born violinist and impresario who brought Haydn to London (and wanted to invite Mozart as well).

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

The Cleveland Orchestra first performed Mozart’s “Jupiter” Symphony during the 1922-23 season under founding music director Nikolai Sokoloff. It has been performed quite frequently since then, most recently in 2013 in Miami and in 2012 at Blossom, both times conducted by James Feddeck, and in 2010 at Severance Hall led by Hans Graf.

The Cleveland Orchestra recorded this symphony in 1955 (mono) and again in 1963 (stereo) with George Szell, and in 1990 with Christoph von Dohnányi.

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lifetime. Recently, experts have become more careful and we no longer rule out a contemporary performance on the basis of missing evidence. There were in fact several opportunities for Mozart to present these symphonies both in Vienna and in Germany, where he journeyed in 1789 and again in 1790.

We may not know when or where the first performance took place, but one thing is certain: by the early 1800s the C-major symphony, the last of the three, was universally recognized as one of the greatest ever composed. It came to be known as the “Jupiter,” a nickname probably invented by Johann Peter Salomon, the famous London impresario. As musicologist Elaine Sisman writes in a book devoted to this work, most responses ranged “ from admiring to adulatory, a gamut from A to A.” (For Mozart, who died in 1791, the praise unfortunately came too late.)

THE MUSIC

The most widely admired aspect of the work, besides its magnificent proportions and general mood of majestic serenity, was, and still is, the fugal finale — in Germany, the symphony is known under the nickname mit der Schlussfuge (“with the final fugue”). The fact that the finale should be the crown of the entire work is in itself unusual since most earlier symphonies placed the greatest emphasis on the opening movement.

But the symphony is revolutionary in more ways than we often realize — all four movements significantly transcend the traditional movement types from which they originated.

In his seminal book on Mozart’s symphonies, Neal Zaslaw invokes the world of opera for an explanation of the “Jupiter” Symphony’s first movement. In Zaslaw’s interpretation, the relationship between the opening fanfares and the closing theme is like that between a serious operatic character and a figure from comic opera. Throughout the movement, Mozart moves between “high-brow” and popular musical styles with astonishing ease and without the slightest incongruity. Shortly after a great dramatic outburst (with a suspenseful general rest and an unexpected foray into the minor mode), we hear a beguilingly simple folk-like closing theme. Mozart borrowed this theme from an aria for bass that he had written just a few months earlier, in May 1788. The words were possibly by Lorenzo Da Ponte, with whom Mozart collaborated on three of his greatest operas. The aria “Un bacio di mano” (“A Hand-Kiss”), About the Music

The Cleveland Orchestra

K541, was intended as an extra number for a comic opera by Pasquale Anfossi (1727-1797). The text of the aria passage Mozart used in the “Jupiter” Symphony runs as follows: “Voi siete un po’ tondo, mio caro Pompeo, le usanze del mondo andate a studiar” (“You are a bit naïve, my dear Pompeo, go study the ways of the world”). In the development section, this theme becomes the starting point for a whole series of transformations, as if the simple melody were indeed “studying the ways of the world.”

The second-movement Andante cantabile opens with muted strings playing a simple musical question-and-answer phrase. We will hear the first of these phrases (the question part) again, but not the second part, which will become completely submerged under a cascade of thirty-second notes. In fact, after the simple opening, Mozart soon piles up harmonic and rhythmic complexities in what is one of his most personal and profound musical statements. Then the complexities disappear, and the Andante ends as simply and reassuringly as it began.

The third-movement minuet starts with another questionand-answer; however, this time the structure remains simple throughout. Mozart plays a fascinating game in the trio, which begins with a closing gesture, in a move that has been described as “putting the cart before the horse.” Within only a few measures, this closing gesture undergoes an astonishing number of changes as it is inverted, transposed, and harmonized in different ways. For a moment, it is even made to anticipate the four-note motif of the finale to follow. It then returns in its original form, leading into the recapitulation of the minuet.

The celebrated four-note motif of the fourth-movement finale was commonplace in 18th-century contrapuntal studies, probably derived from the Gregorian hymn Lucis creator (“The Creator of Light”). It may be found in several of Mozart’s earlier works, from as early as his Symphony No. 1 written at the age of eight, or the “Credo” movement of his Missa brevis in F major (K192), written ten years later. In the “Jupiter” Symphony, Mozart used this motif to create a movement whose perfection may be part of the reason why Mozart did not write another symphony in the remaining three years of his life.

The four-note motif is first presented in a simple form by the first violins, accompanied only by the seconds. A fugal elaboration soon begins, and the motif is joined by several Severance Hall 2014-15

About the Music

We don’t know what went wrong in Mozart’s life between 1785, the apex of his “golden years,” and the summer of 1788, when the last three symphonies were written. Mozart had lost the audience support he had previously enjoyed — and his personal economic situation was increasingly precarious.

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counter-subjects. At one point, no fewer than five different motifs are heard simultaneously. To make matters even more complicated, Mozart embedded his fugue within a sonata structure. This means that there are several fugal sections, arranged in an order that follows the usual exposition-developmentrecapitulation scheme of sonata form. In other words, two worlds meet in this magnificent finale: the strict contrapuntal technique inherited from the Baroque and the freer, “galant” idiom of the Classical era. The seamless synthesis of those two worlds was an achievement unmatched even by Mozart. Music has never been closer to what 18th-century philosophers called the “sublime,” a term defining an experience at once powerful, uplifting, and transcendent. It is, no doubt, this sublime quality that invited the association with Jupiter, the chief of the gods in Roman mythology.

—Peter Laki Copyright © Musical Arts Association

Peter Laki is a musicologist and frequent lecturer on classical music.

He is a visiting associate professor at Bard College.

“MUSIC is NOT in the NOTES, but in the SILENCE in BETWEEN.” —Wolfgang Amadè Mozart lec.edu 1.855.GO.STORM

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About the Music

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Daphnis and Chloé (complete ballet music) composed 1909-1912 M AU R I C E R AV E L

by

Maurice

RAVEL born March 7, 1875

Ciboure, Basses-Pyrénées died December 28, 1937 Paris

Severance Hall 2014-15

came into contact with Sergei Diaghilev soon after the brilliant Russian impresario, founder of the “Russian Ballet” or Ballets Russes, made his Paris debut in 1908. As early as the next year, 1909, Diaghilev commissioned a ballet score from Ravel for his company. It was decided early on that the ballet would be based on the story of Daphnis and Chloé, a pastoral romance written by the Greek author Longus in the 3rd century A.D. The fable was known in France through a 16thcentury translation by Jacques Amyot. The romance tells about the awakening of love between two orphaned young people, a shepherd and shepherdess who are tending their herds together.

After various adventures, amorous rivalries, abductions by pirates, and other suitably dramatic intrigues, it turns out that both are children of aristocratic families — and so they have a grand wedding and are prepared to live happily ever after.

The composition and orchestration of Daphnis and Chloé took Ravel a full three years, and the music for this ballet remained his most extensive work, both in terms of length and the size of the orchestra. By the time the long-awaited score was completed, the fast-moving Diaghilev had initiated so many new projects that Ravel’s effort seemed to be overshadowed by other productions, including a very controversial adaptation of Debussy’s Prelude to the Afternoon of a Faun, which opened just two weeks before Daphnis and Chloé. Stravinsky’s The Firebird and Pétrouchka had received their premieres in 1910 and 1911, respectively; Debussy’s Jeux [Games] and Stravinsky’s The Rite of Spring were already in the making. Even the Greek topic had been stolen from Ravel with the ballet Narcisse — choreographed, like Daphnis, by Michel Fokine and with Vaslav Nijinsky in the title role, premiered in 1911 with music by Nikolai Tcherepnin. Daphnis and Chloé was premiered on June 8, 1912, two days before the end of the season, and thus presented only twice before the company went on summer break.

The ballet caused Ravel additional grief in 1914, when Diaghilev’s troupe gave performances at London’s Drury Lane Theater. Diaghilev wanted to cut costs and dispense with the wordless chorus that Ravel had included in the score — and it is true that the composer had made a practical version without chorus, but this was intended for minor venues only. Ravel About the Music

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was infuriated that Diaghilev should consider London a minor venue and protested angrily in an open letter. The matter was resolved when Diaghilev signed a written agreement stipulating the use of the chorus, but this did not help to establish Daphnis and Chloé in the ballet repertoire.

Ravel’s music was much more successful in the concert hall, especially in the form of the two suites the composer extracted from the score. The first suite was identical to the second part of the three-part ballet, the second suite to the last part. The latter has become one of Ravel’s most popular works, while the remainder of the ballet is probably less known than it deserves to be — although recordings have perhaps made up for some of the neglect.

THE MUSIC

Ravel knew exactly why the chorus was indispensable in the soundscape of this ballet. The voices provide a special aural coloring that blends with the orchestra while at the same time standing out from the orchestral texture. In addition, few regular instruments capture the dream-like sensuality of this story better than the human voice. The chorus appears right at the beginning, singing soft ly (in staged performances, behind the scene) as the flute and horn solos introduce two of the ballet’s main themes. They sing with mouths open, then with mouths closed, creating two alternating sound characters whose differences become subtle orchestrational devices similar to the presence or absence of mutes on stringed instruments.

The ballet begins with a pastoral idyll that shows the world of Daphnis and Chloé in its pristine, undisturbed state as the shepherds and shepherdesses pay tribute to the nymphs in a religious dance. Like every idyll, this one is soon to be disrupted; very gently and harmlessly at first, with the innocent games of love and jealousy involving Dorcon and, later, Lyceion (see synopsis of the action, beginning on page 53). By the end of the section, a far more serious danger appears with the pirates who seize and carry off Chloé. It is a cycle of tensions and relaxations, delineated with great precision by Ravel’s music. For the dance contest between Dorcon and Daphnis, Ravel wrote some deliciously heavy-footed music, with primitive rhythms and a great deal of percussion to suit the coarse cowherd Dorcon in utter contrast to the light and graceful dance of Daphnis, who moves in a more subtle rhythm and accompanied mostly Severance Hall 2014-15

About the Music

The composition and orchestration of Daphnis and Chloé took Ravel a full three years — and the music for this ballet remained his most extensive work, both in terms of length and in the size of the orchestra involved.

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Sound for the Centennial TH E C A M PAI G N FO R TH E C LE V EL AN D O RC H ESTR A Dennis W. LaBarre, President, Musical Arts Association Richard J. Bogomolny, MAA Chairman and Fundraising Chair Nancy W. McCann, Fundraising Vice Chair Alexander M. Cutler, Special Fundraising John C. Morley, Legacy Giving Hewitt B. Shaw, Annual Fund

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 gifts and THE legacy commitments, while also securing broad-based and increasing annual support CLEVELAND ORCHESTRA 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. 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. Listing as of December 20, 2014.

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The Andrew W. Mellon Foundation Ms. Beth E. Mooney Sally S.* and John C. Morley John P. Murphy Foundation David and Inez Myers Foundation The Eric & Jane Nord Family Fund Ohio Arts Council The Payne Fund PNC Bank Julia and Larry Pollock Mrs. Alfred M. Rankin, Sr. Mr. and Mrs. Alfred M. Rankin, Jr. James and Donna Reid Barbara S. Robinson The Leighton A. Rosenthal Family Foundation The Sage Cleveland Foundation The Ralph and Luci Schey Foundation The Kelvin and Eleanor Smith Foundation The J. M. Smucker Company Joe and Marlene Toot Anonymous (3)

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GIFTS OF $500,000 TO $1 MILLION

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

Virginia M. and Jon A. Lindseth Ms. Nancy W. McCann Nordson Corporation Foundation The Honorable and Mrs. John Doyle Ong Charles and Ilana Horowitz Ratner Sally and Larry Sears Mr. and Mrs. Richard K. Smucker Squire Patton Boggs (US) LLP Thompson Hine LLP Anonymous (2)

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Randall and Virginia Barbato John P. Bergren* and Sarah S. Evans The William Bingham Foundation Mr. and Mrs.* Harvey Buchanan Cliffs Natural Resources The George W. Codrington Charitable Foundation Mr. and Mrs. Matthew V. Crawford William and Anna Jean Cushwa Nancy and Richard Dotson Patricia Esposito Sidney E. Frank Foundation Albert I. and Norma C. Geller The Gerhard Foundation Mary Jane Hartwell David and Nancy Hooker Mrs. Marguerite B. Humphrey James D. Ireland III Trevor and Jennie Jones Myra Tuteur Kahn Memorial Fund of The Cleveland Foundation

Mr. Clarence E. Klaus, Jr. Giuliana C. and John D. Koch Dr. Vilma L. Kohn* Mrs. Emma S. Lincoln Mr. and Mrs. Alex Machaskee Robert M. Maloney and Laura Goyanes Elizabeth Ring Mather and William Gwinn Mather Fund Mr. Donald W. Morrison Margaret Fulton-Mueller National Endowment for the Arts William J. and Katherine T. O’Neill Parker Hannifin Corporation Mr. and Mrs. James A. Saks Hewitt and Paula Shaw The Skirball Foundation R. Thomas and Meg Harris Stanton Mr. and Mrs. Jules Vinney* David A. and Barbara Wolfort

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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 Judith and George W. Diehl 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. Donald M. Jack, Jr. Mr. and Mrs.* S. Lee Kohrman

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by harps and woodwinds. The laughter greeting Dorcon’s performance is made palpable by the energetic staccato playing in the woodwinds and brass. The embrace of Daphnis and Chloé is marked by a repeat of the principal theme on strings playing in a high register. The Lyceion episode mixes gentle eroticism with a touch of irony, after which the sudden irruption of the pirates makes a stunning contrast.

The dance of the three nymphs, who lead Daphnis to the god Pan to enlist his help, is introduced by a cadenza shared by the flute, the horn, and the clarinet. (The flute in particular plays a prominent role throughout the ballet, making it a special showpiece for the first flutist.) At the end of the slow and mysterious dance, there is a moment of complete silence, before Pan appears to his worshippers to the sound of an unaccompanied chorus.

In the next scene, we are in the camp of the pirates who are performing an animated and rough war dance; the rhythm of its first section recalls Dorcon’s grotesque dance from the previous tableau. The dance gets faster and wilder as it goes on, culminating in a gigantic crescendo enhanced by the fierce war cries of the male singers. Chloé’s entrance and her dance of supplication receive the lyrical, expressive music that has characterized the couple of lovers from the start. The warlike music temporarily returns when Bryaxis, the chief of the pirates, carries Chloé off. Then, suddenly, Pan’s magic begins to work, announced by the mysterious sounds of trembling tremolos and sliding glissandos in the harps and strings. At the fortissimo climax, the menacing shadow of the god appears and defeats all the evil forces.

This is the point where the familiar music of the Second Suite begins with its wonderful representation of sunrise.

Against a texture of lush figurations in flutes, clarinets, harps, and celesta, the basses and cellos begin a majestic tune, gradually taken over by violas and violins. The first shepherd crossing the stage is portrayed by the piccolo, the second by the equally high-pitched E-flat clarinet (both are on the stage in the original ballet version). The embrace of Daphnis and Chloé is marked by an orchestral climax where the violins reach their highest register. The music calms down as the old shepherd Lammon tells his story about Pan and Syrinx (oboe solo), which Daphnis and Chloé proceed to enact in a pantomime. When the god creates his flute, a panpipe created from reed-stalks, we hear Severance Hall 2014-15

About the Music

At a Glance Ravel composed the ballet Daphnis and Chloé between 1909 and 1912. It was premiered by Sergei Diaghilev’s Ballets Russes at the Théâtre du Châtelet in Paris on June 8, 1912. Pierre Monteux conducted; the choreography was

by Michel Fokine. Vaslav Nijinsky and Tamara Karsavina danced the main roles.

The complete score to Daphnis and Chloé runs about 50 minutes in performance, divided into three parts played without pause. Ravel scored it for 3 flutes (second and third doubling piccolos), alto flute, 2 oboes, english horn, small clarinet in E flat, 2 clarinets, bass clarinet, 3 bassoons, contrabassoon, 4 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion (tam-tam, triangle, tambourine, snare drum, military drum, antique cymbals, castanets, cymbals, wind machine, bass drum, celesta, glockenspiel, xylophone), 2 harps, strings, plus a mixed choir singing without words.

Daphnis and Chloé received its United States premiere in 1935 with the Philadelphia Ballet. The Cleveland Orchestra first performed the complete ballet music to Daphnis and Chloé in April 1970, under the direction of Pierre Boulez.

Excerpts and especially Suite No. 2 from the ballet have been presented frequently.

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Léon Bakst’s scenery design for the original production of Ravel’s Daphnis and Chloé, Paris, 1912.

one of the most enchanting flute solos in the entire orchestral literature. (Actually, the melody is divided between the orchestra’s flute players, to give the musicians a chance to breathe!) Ravel’s melody follows no classical models — it hovers around a certain pitch to which it keeps returning, then moves and hovers around another pitch, but there seems to be no predetermined direction in which the melody progresses; nor does it respect any fixed metric structure.

Daphnis and Chloé embrace one more time, and the ecstatic Danse générale gets underway. Rather unusually for a ballet, large stretches of this dance were written in the asymmetrical meter of 5/4, to which dancers and musicians in 1912 were unaccustomed.

(It is said that they had to scan the words Ser-gei Dia-ghi-lev, Sergei Dia-ghi-lev until they got the rhythm right.) This asymmetry and the use of ostinatos throughout this final section remind us that the energy and daring of Stravinsky’s The Rite of Spring is less than a year away. (Ostinatos, consisting of a repeating rhythmic figure or short melodic motif, were among Stravinsky’s favorite musical techniques. Both Daphnis and Chloé and The Rite of Spring end with similar effects — short rhythmic units repeated, varied, and stirred up to a paroxysm. The fact that Stravinsky was to carry this effect even further takes nothing away from the brilliance and excitement of Ravel’s finale.)

—Peter Laki Copyright © Musical Arts Association

52

About the Music

The Cleveland Orchestra

Daphnis & Chloé scenario adapted by Michel Fokine (1880-1942) from Longus ballet music by Maurice Ravel (1875-1937) B A L L E T

S Y N O P S I S

Daphnis, the hero, an orphan shepherd Chloé, the heroine, an orphan shepherdess Dorcon, would-be suitor of Chloé, a rough cowherd Lycéion, a woman who confuses Daphnis with her sensual dancing Bryaxis, leader of the pirates Three Nymphs, statues of female spirits, who come to life Lammon, a wise old shepherd

— PART ONE — A meadow at the edge of a sacred wood. In the background, hills.

To the right, a grotto, at the entrance of which, hewn out of the rock, is an antique sculpture of three Nymphs. Somewhat toward the background, to the left, a large rock vaguely resembling the form of the god Pan. In the background, sheep are grazing. It is a bright spring afternoon.

When the curtain rises, a group of young boys and girls enter, carrying gifts for the Nymphs in baskets. Gradually the stage fills. The group bows before the altar of the Nymphs. The girls drape the pedestals with garlands. Religious dance.

In the far background, Daphnis is seen following his flock. Chloé joins him. They proceed toward the altar and disappear at a bend. Daphnis and Chloé enter at the foreground and bow down before the Nymphs.

The dancing ceases, as tender emotions are evoked on seeing the couple.

The girls entice Daphnis and dance around him. Chloé feels the first twinges of jealousy. At that moment, she is swept into the dance of the youths. The cowherd Dorcon proves to be especially bold. Daphnis in turn seems upset. General dance.

At the end of the dance, Dorcon tries to kiss Chloé. She innocently offers her cheek. With an abrupt motion, Daphnis pushes aside the cowherd and approaches Chloé affectionately. The youths intervene. They position themselves in front of Chloé and gently lead Daphnis away.

The youths propose a dance contest between Daphnis and Dorcon.

A kiss from Chloé will be the victor’s prize. There follows Dorcon’s grotesque dance. The group sarcastically imitates the clumsy movements of the cowherd, who ends his dance in the midst of general laughter.

Next comes Daphnis’s light and graceful dance. Everyone invites Severance Hall 2014-15

Scenario: Daphnis and Chloé

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The Cleveland Orchestra

Daphnis to accept his reward. Dorcon also comes forward, but he is chased off by the group, accompanied by loud laughter. The laughter ceases at the sight of the radiant group formed by the embracing Daphnis and Chloé.

The group withdraws, taking along Chloé. Daphnis remains, immobile, as if in ecstasy. Then he lies facedown in the grass, his face in his hands.

Lycéion enters. She notices the young shepherd, approaches, and raises his head, placing her hands over his eyes. Daphnis thinks this is a game of Chloé’s. But he recognizes Lycéion and tries to pull away. Lycéion dances. As though inadvertently, she drops one of her veils. Daphnis picks it up and places it back on her shoulders. She ironically resumes her dance, which, at first more languorous, becomes more animated until the end. Another veil slips to the ground, and is again retrieved by Daphnis.

Vexed, Lycéion runs off mocking him, leaving the young shepherd very disturbed.

Warlike sounds and war cries are heard, coming nearer. In the middle ground, women run across the stage, pursued by pirates. Daphnis thinks of Chloé, perhaps in danger, and runs off to save her. Chloé hastens on in panic, seeking shelter. She throws herself before the altar of the Nymphs, beseeching their protection.

Daphnis enters looking for Chloé. He discovers on the ground a sandal that she lost in the struggle. Mad with despair, he curses the deities who were unable to protect the girl, and falls swooning at the entrance of the grotto.

An unnatural light suffuses the landscape. A little glow shines suddenly from the head of one of the statues. The Nymph comes to life and descends from her pedestal. Then the second Nymph. And finally, the third Nymph. They consult together and begin a slow and mysterious dance. They notice Daphnis on the ground. They bend down and dry his tears. They revive him and lead him toward the large rock. They invoke the god Pan. Gradually the form of the god is outlined. Daphnis prostrates himself in supplication. The stage goes dark.

— PART TWO — Voices are heard from offstage, at first very distant. Far off, trumpet calls are sounded. The voices come nearer. A dull glimmer. We are in the pirate camp, on a very rugged seacoast. In the background, the sea.

To the right and left, a view of large crags. The pirates’ ship, a trireme, is seen near the shore. Cypresses here and there. Pirates are seen running to and fro carrying plunder. More and more torches are brought, which finally illuminate the scene violently.

Bryaxis commands that the captive be brought forward. Chloé, her

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Scenario: Daphnis and Chloé

55

hands tied, is led in by two pirates. Bryaxis orders her to dance. Thus begins Chloé’s dance of supplication. She tries to flee. She is brought back violently. Despairing, she resumes her dance. Again she tries to escape.

Again she is brought back. She abandons herself to despair, thinking of Daphnis. Bryaxis tries to carry her off. She beseeches. The leader carries her off triumphantly.

Suddenly, the atmosphere seems charged with strange elements.

In various places, lit by invisible hands, little flames flare up. Fantastic beings crawl or leap here and there. Satyrs appear from every side and surround the pirates. The earth opens. The fearsome shadow of Pan is outlined on the hills in the background, making a threatening gesture.

Everyone flees in horror.

— PART THREE — The scene seems to dissolve. It is replaced by the landscape of the first part at the end of the night. There is no sound but the murmur of the rivulets produced by the dew that trickles from the rocks. Daphnis is still stretched out before the grotto of the Nymphs.

Gradually the day breaks. The songs of birds are heard. Far off, a shepherd passes with his flock. Another shepherd crosses in the background.

A group of herdsmen enters looking for Daphnis and Chloé. They discover Daphnis and wake him. Anxiously he looks around for Chloé.

She appears at last, surrounded by shepherdesses. They throw themselves into each other’s arms.

Daphnis notices Chloé’s wreath. His dream was a prophetic vision — the intervention of Pan is manifest. The old shepherd Lammon explains that, if Pan has saved Chloé, it is in memory of the nymph Syrinx, whom the god once loved.

Daphnis and Chloé mime the tale of Pan and Syrinx. Chloé plays the young nymph wandering in the meadow. Daphnis, as Pan, appears and declares his love. The nymph rebuffs him. The god becomes more insistent. Chloé/Syrinx disappears into the reeds. In despair, Daphnis/ Pan picks several stalks to form a flute and plays a melancholy air.

Chloé reappears and interprets in her dance the accents of the flute.

The dance becomes more and more animated and, in a mad whirling, Chloé falls into Daphnis’s arms. Before the altar of the Nymphs, he pledges his love, offering two sheep. A group of girls enters dressed as bacchantes, shaking tambourines. Daphnis and Chloé embrace tenderly. A group of youths rushes onstage. There is a joyful commotion and a general dance of celebration by all.

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Scenario: Daphnis and Chloé

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.

DA PH N IS A N D CHLOÉ SOPRANOS

ALTOS

TENORS

BASSES

Amy Foster Babinski Susan Cucuzza Anna K. Dendy Lisa Rubin Falkenberg Sarah Gaither Samantha Garner Rosie Gellott Rebecca S. Hall Lisa Hrusovsky Shannon R. Jakubczak Hope Klassen-Kay Kate Macy Angela Mitchell Julie Myers-Pruchenski S. Mikhaila Noble-Pace Jennifer Heinert O’Leary Sarah Henley Osburn Melissa B. Patton Lenore M. Pershing Joy M. Powell 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 Amy Zubieta

Alexandria Albainy Emily Austin Julie A. Cajigas Lydia Chamberlin Barbara J. Clugh Marilyn Eppich Amanda Evans Kathy Jo Gutgsell Jenna C. Hall Ann Marie Hardulak Betty Huber Karen Hunt Sarah N. Hutchins Lucia Leszczuk Karla McMullen Alexandra Palma Marta Perez-Stable Alanna M. Shadrake Shari Singer Ina Stanek-Michaelis Rachel Thibo Martha Cochran Truby Sarah B. Turell Gina Ventre Laure Wasserbauer Meredith Sorenson Whitney Flo Worth Debra Yasinow

Gerry C. Burdick Robert Cannon Brent Chamberlin Daniel M. Katz Peter Kvidera Tod Lawrence Steve Lawson Rohan Mandelia Daniel May, Jr. James Newby Tremaine B. Oatman Daniel Reiman Matthew Rizer John Sabol Lee Scantlebury James Storry Charles Tobias William Venable Michael Ward Steven Weems Jordan Wilhelm

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

Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee

Jill Harbaugh, Manager of Choruses

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Cleveland Orchestra Chorus

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

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

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

Lisa Wong

Assistant Director of Choruses

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

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Chorus

The Cleveland Orchestra

The only love affair I have ever had was with music. —Maurice Ravel

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The Cleveland Orchestra

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

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

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

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

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Education & Community

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T H E

C L E V E L A N D

Each season’s Family Concert series at Severance Hall offers world-class music with outstanding singers, actors, mimes, and more to families from across Northeast Ohio. A recent “Under the Sea” concert featured music from Disney’s The Little Mermaid with The Singing Angels.

Through the PNC Musical Rainbows series at Severance Hall, Cleveland Orchestra musicians introduce nearly 10,000 preschoolers each year to the instruments of the orchestra.

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Cleveland Orchestra bassist Mark Atherton with classroom students at Cleveland’s Mayfair Elementary School, part of the Learning Through Music program, which fosters the use of music and the arts to support general classroom learning.

Education & Community

The Cleveland Orchestra

O R C H E S T R A THANK YOU The Cleveland Orchestra’s Education & Community programs are made possible by many generous individuals and organizations, including:

PROGRAM FUNDERS The Abington Foundation The Eva L. and Joseph M. Bruening Foundation Charter One The Cleveland Foundation Conn-Selmer, Inc. Cuyahoga Arts & Culture Dominion Foundation FirstMerit Bank The Harry K. Fox and Emma R. Fox Charitable Foundation The Giant Eagle Foundation Muna & Basem Hishmeh Foundation Martha Holden Jennings Foundation KeyBank The Laub Foundation The Lubrizol Corporation Macy’s The Music and Drama Club National Endowment for the Arts The Nord Family Foundation Ohio Arts Council Ohio Savings Bank, A Division of New York Community Bank PNC The Reinberger Foundation Albert G. & Olive H. Schlink Foundation Harold C. Schott Foundation The Sherwin-Williams Foundation Surdna Foundation Target Thomas H. White Foundation, a KeyBank Trust The Edward & Ruth Wilkof Foundation Women’s Committee of The Cleveland Orchestra

Cleveland Orchestra flutist Marisela Sager working with pre-school students as part of PNC Grow Up Great, a program utilizing music to support pre-literacy and school readiness skills.

ENDOWMENT FUNDS AND FUNDERS Hope and Stanley I. Adelstein Kathleen L. Barber Mr. Roger G. Berk In memory of Anna B. Body Isabelle and Ronald Brown Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Roberta R. Calderwood Alice H. Cull Memorial Fund Mr. and Mrs. Charles R. Emrick, Jr. Charles and Marguerite C. Galanie Mr. David J. Golden The George Gund Foundation The Hershey Foundation Dorothy Humel Hovorka Mr. James J. Hummer Frank and Margaret Hyncik Walter and Jean Kalberer Foundation Alfred Lerner In-School Performance Fund Linda and Saul Ludwig Machaskee Fund for Community Programming Mr. and Mrs. Stanley A. Meisel Christine Gitlin Miles Mr. and Mrs. David T. Morganthaler Morley Fund for Pre-School Education The Eric & Jane Nord Family Fund Pysht Fund The Ratner, Miller, and Shafran Families and Forest City Enterprises, Inc. Anonymous, in memory of Georg Solti The William N. Skirball Endowment Jules and Ruth Vinney Youth Orchestra Touring Fund

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More than 1,250 talented youth musicians have performed as members of the Cleveland Orchestra Youth Orchestra in the quarter century since the ensemble’s founding in 1986. Many have gone on to careers in professional orchestras around the world, including four current members of The Cleveland Orchestra.

Education & Community

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The Cleveland Orchestra Center for Future Audiences T H E C L E V E L A N D O R C H E S T R A â&#x20AC;&#x2122;s Center for Future Audiences was estab-

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

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

E N DOWE D FU N DS

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

For information about contributing to this major endowment initiative, please contact the Orchestraâ&#x20AC;&#x2122;s Philanthropy & Advancement Department by calling Jon Limbacher, Chief Development Officer, at 216-231-7520.

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Center for Future Audiences

The Cleveland Orchestra

THE

CLEVELAND ORCHESTRA

Endowed Funds

funds established as of September 2014

The generous donors listed here have made endowment gifts to support specific artistic initiatives, education and community programming and performances, facilities maintenance costs, touring and residencies, and more. (Additional endowment funds are recognized through the naming of Orchestra chairs, listed on pages 22-23.) Named funds can be established with new gifts of $250,000 or more. For information about making your own endowment gift to The Clevelamd Orchestra, please call 216-231-7558.

ARTISTIC endowed funds support a variety of programmatic initiatives ranging from guest artists and radio broadcasts to the all-volunteer Cleveland Orchestra Chorus.

Artistic Excellence

Guest Artists Fund

George Gund III Fund

Artistic Collaboration Joseph P. and Nancy F. Keithley

Artist-in-Residence Malcolm E. Kenney

Young Composers Jan R. and Daniel R. Lewis

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

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

Cleveland Orchestra Chorus Jerome and Shirley Grover Meacham Hitchcock and Family

American Conductors Fund Douglas Peace Handyside Holsey Gates Handyside

Severance Hall Guest Conductors Roger and Anne Clapp James and Donna Reid

Cleveland Orchestra Soloists Julia and Larry Pollock Family

Eleanore T. and Joseph E. Adams Mrs. Warren H. Corning The Gerhard Foundation, Inc. Margaret R. Griffiths Trust Virginia M. and Newman T. Halvorson The Hershey Foundation The Humel Hovorka Fund Kulas Foundation The Payne Fund Elizabeth Dorothy Robson Dr. and Mrs. Sam I. Sato The Julia Severance Millikin Fund The Sherwick Fund Mr. and Mrs. Michael Sherwin Sterling A. and Verdabelle Spaulding Mr. and Mrs. James P. Storer Mrs. Paul D. Wurzburger

Concert Previews Dorothy Humel Hovorka

International Touring Frances Elizabeth Wilkinson

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

CENTER FOR FUTURE AUDIENCES â&#x20AC;&#x201D; The Cleveland Orchestraâ&#x20AC;&#x2122;s Center for Future Audiences, created with a lead gift from the Maltz Family Foundation, is working to develop new generations of audiences for The Cleveland Orchestra.

Center for Future Audiences Maltz Family Foundation

Student Audiences Alexander and Sarah Cutler

Endowed Funds listing continues

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Endowed Funds

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THE

CLEVELAND ORCHESTRA

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

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

Education Concerts Week

In-School Performances Alfred M. Lerner Fund

Classroom Resources Charles and Marguerite C. Galanie

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

Musical Rainbows Pysht Fund

Community Programming Alex and Carol Machaskee

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

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

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

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

Severance Hall Preservation Severance family and friends

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

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

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

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

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Endowed Funds

The Cleveland Orchestra

Building Audiences for the Future . . . Today!

The Cleveland Orchestra is committed to developing interest in classical music among young people. To demonstrate our success, we are working to have the youngest audience of any orchestra. With the help of generous contributors, the Orchestra has expanded its discounted ticket offerings through several new programs. In recent years, student attendance has doubled, now representing 20% of those at Cleveland Orchestra concerts. Since inaugurating these programs in 2011, over 120,000 young people have participated.

U N D E R 1 8 s F R E E F O R FA M I L I E S

Introduced for Blossom Music Festival concerts in 2011, our Under 18s Free program for families now includes select Cleveland Orchestra concerts at Severance Hall each season. This program offers free tickets (one per regular-priced adult paid admission) to young people ages 7-17 on the Lawn at Blossom and to the Orchestra’s Fridays@7, Friday Morning at 11, and Sunday Afternoon at 3 concerts at Severance.

STUDENT TICKET PROGRAMS

In the past two seasons, The Cleveland Orchestra’s Student Advantage Members, Frequent Fan Card holders, Student Ambassadors, and special offers for student groups attending together have been responsible for bringing more high school and college age students to Severance Hall and Blossom than ever before.

The Orchestra’s ongoing Student Advantage Program provides opportunities for students to attend concerts at Severance Hall and Blossom through discounted ticket offers. Membership is free to join and rewards members with discounted ticket purchases. A record 6,000 students joined in the past year. A new Student Frequent Fan Card is available in conjunction with Student Advantage membership, offering unlimited single tickets (one per Fan Card holder) all season long.

All of these programs are supported by The Cleveland Orchestra’s Center for Future Audiences and the Alexander and Sarah Cutler Fund for Student Audiences.

The Center for Future Audiences was created with a $20 million lead endowment gift from the Maltz Family Foundation to develop new generations of audiences for Cleveland Orchestra concerts in Northeast Ohio.

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Student Ticket Programs

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Legacy Giving THE CLEVELAND ORCHESTRA

H E R I TAGE S O C I ET Y The Heritage Society honors those individuals who are helping to ensure the future of The Cleveland Orchestra with a Legacy gift. Legacy gifts come in many forms, including bequests, charitable gift annuities, and insurance policies. The following listing of members is current as of October 2014.

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

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

68

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

Legacy Giving

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

The Cleveland Orchestra

Legacy Giving THE CLEVELAND ORCHESTRA

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

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

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

Severance Hall 2014-15

Legacy Giving

69

Legacy Giving THE CLEVELAND ORCHESTRA

H E R I TAGE S O C I ET Y L I S T I N G C O N T I N U ED

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

70

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

Legacy Giving

Elliot Veinerman* Nicholas J. Velloney* Steven Vivarronda Hon. William F.B. Vodrey Pat and Walt* Wahlen Mrs. Clare R. Walker John and Deborah Warner Mr. and Mrs. Russell Warren Joseph F. and Dorothy L. Wasserbauer Charles D. Waters* Reverend Thomas L. Weber Etta Ruth Weigl Lucile Weingartner Eunice Podis Weiskopf* Max W. Wendel William Wendling and Lynne Woodman Marilyn J. White Robert and Marjorie Widmer* Yoash and Sharon Wiener Alan H. and Marilyn M. Wilde Elizabeth L. Wilkinson* Helen Sue* and Meredith Williams Carter and Genevieve* Wilmot Miriam L. and Tyrus W.* Wilson Mr. Milton Wolfson* and Mrs. Miriam Shuler-Wolfson Nancy L. Wolpe Mrs. Alfred C. Woodcock Katie and Donald Woodcock Dr.* and Mrs. Henry F. Woodruff Marilyn L. Wozniak Nancy R. Wurzel Michael and Diane Wyatt Mary Yee Emma Jane Yoho, M.D. Libby M. Yunger Dr. Norman Zaworski* William L. and Joan H. Ziegler* Carmela Catalano Zoltoski* Roy J. Zook* Anonymous (103)

*deceased

The lotus blossom is the symbol of the Heritage Society.

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

The Cleveland Orchestra

Severance Hall 2014-15

71

Ticket sales cover less than half the cost of presen ng The Cleveland Orchestraâ&#x20AC;&#x2122;s season each year. Your financial support can help ensure future performances at Severance Hall and at each summerâ&#x20AC;&#x2122;s Blossom Music Fes val. To make a dona on, visit us online, or call 216-231-7562.

clevelandorchestra.com

THE CLEVELAN D ORCHESTRA

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

Cumulative Giving

Annual Support

JOHN L. SEVERANCE SOCIETY

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

$5 MILLION AND MORE

KeyBank PNC Bank $1 MILLION TO $5 MILLION

BakerHostetler Bank of America Eaton FirstEnergy Foundation Forest City Enterprises, Inc. The Goodyear Tire & Rubber Company Hyster-Yale Materials Handling NACCO Industries, Inc. 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 UBS The John L. Severance Society recognizes the generosity of those giving $1 million or more in cumulative giving.

Listing as of December 2014.

gifts of $2,500 or more during the past year, as of December 20, 2014

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)

73

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THE CLEVELAN D ORCHESTRA

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

Cumulative Giving

Annual Support

JOHN L. SEVERANCE SOCIETY

$1 MILLION AND MORE

$10 MILLION AND MORE

The Cleveland Foundation Cuyahoga County residents through Cuyahoga Arts & Culture Kulas Foundation Maltz Family Foundation State of Ohio Ohio Arts Council The Kelvin and Eleanor Smith Foundation $5 MILLION TO $10 MILLION

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

gifts of $2,000 or more during the past year, as of December 20, 2014

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

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

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

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 December 2014.

Severance Hall 2014-15

$50,000 TO $99,999

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 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 The Veale 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 Margaret Clark Morgan 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 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

75

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

JOHN L. SEVERANCE SOCIETY

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

$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 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.

Jan and Daniel 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 Peter B. Lewis* and Janet Rosel Lewis (Miami) Sue 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 December 2014.

76

Individual Annual Support

The Cleveland Orchestra

Adella Prentiss Hughes Society

Leadership Council

gifts of $100,000 and more INDIVIDUAL GIFTS OF $500,000 AND MORE

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 Jan and Daniel Lewis (Miami) Mrs. Norma Lerner and The Lerner Foundation Peter B. Lewis* and Janet Rosel Lewis (Miami) Sue 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. William P. Blair III 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 Milton and Tamar Maltz 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) Blossom Womenâ&#x20AC;&#x2122;s Committee Jeanette Grasselli Brown and Glenn R. Brown Hector D. Fortun (Miami) Mrs. John A. Hadden, Jr.

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:

Mr. and Mrs. Michael J. Horvitz 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 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

Daniel and Trish 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 Milton A. and Charlotte R. Kramer Charitable Foundation Virginia M. and Jon A. Lindseth Sally S.* and John C. Morley 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 listings continue

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Individual Annual Support

77

THE CLEVELAN D ORCHESTRA

listings continued

Jonathan and Tina Kislak (Miami) Marc and Rennie Saltzberg Mr. and Mrs. Donald Stelling (Europe) Gary L. Wasserman and Charles A. Kashner (Miami) The Denise G. and Norman E. Wells, Jr. Family Foundation Anonymous gift from Switzerland (Europe)

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)

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

George* and Becky Dunn JoAnn and Robert Glick Mr. and Mrs. Donald M. Jack, Jr. 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 Mrs. Jane B. Nord 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 Trevor and Jennie Jones Mr. and Mrs. Christopher Kelly

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

Art of Beauty Company, Inc. Marsha and Brian Bilzin (Miami) Mr. and Mrs. Richard L. Bowen Dr. Christopher P. Brandt and Dr. Beth Sersig Dr. Ben H. and Julia Brouhard Mr. and Mrs. David J. Carpenter Mrs. Barbara Cook Scott Chaikin and Mary Beth Cooper Jill and Paul Clark Mr. and Mrs. William E. Conway Mr. Peter and Mrs. Julie Cummings (Miami) Dr. and Mrs. Robert Ehrlich (Europe) Mike S. and Margaret Eidson (Miami) Colleen and Richard Fain (Miami) Mr. Allen H. Ford Richard and Ann Gridley Jack Harley and Judy Ernest Ms. Dawn M. Full Mary and Jon Heider (Cleveland, Miami) David and Nancy Hooker Richard and Erica Horvitz (Cleveland, Miami) Allan V. Johnson Andrew and Katherine Kartalis Tati and Ezra Katz (Miami) Mr. Jeff Litwiller 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) 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 Tom and Shirley Waltermire Mr. and Mrs. Jeffrey M. Weiss Anonymous

Frank H. Ginn Society gifts of $10,000 and more INDIVIDUAL GIFTS OF $12,500 TO $14,999

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.

Mrs. Barbara Ann Davis Robert K. Gudbranson and Joon-Li Kim Sondra and Steve Hardis Mr.* and Mrs. Richard A. Manuel Mr. Larry J. Santon Mr. and Mrs. Oliver E. Seikel Kim Sherwin Mr. and Mrs. Alfred Umdasch (Europe) Sandy and Ted Wiese listings continue

78

Individual Annual Support

The Cleveland Orchestra

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

Mr. and Mrs. George N. Aronoff Mr. and Mrs. Dean Barry Jayusia and Alan Bernstein (Miami) Laurel Blossom Mr. D. McGregor Brandt, Jr. Paul and Marilyn* Brentlinger Mr. and Mrs. Marshall Brown J. C. and Helen Rankin Butler Augustine* and Grace Caliguire Richard J. and Joanne Clark Nancy and Richard Dotson Mr. and Mrs. Robert P. Duvin Mary Jo Eaton (Miami) Dr. and Mrs. Lloyd H. Ellis Jr. Mr. Brian L. Ewart and Mr. William McHenry Nelly and Mike Farra (Miami) Kira and Neil Flanzraich (Miami) Sheree and 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 Andrew and Judy Green 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 Ruth and Pedro Jimenez (Miami) Cherie and Michael Joblove (Miami) Janet and Gerald Kelfer (Miami) Mrs. Elizabeth R. Koch Tim and Linda Koelz Mr. and Mrs. Stewart A. Kohl Thomas E. Lauria (Miami) Mr. and Mrs.* Robert P. Madison Mr. and Mrs. Thomas B. McGowan Edith and Ted* Miller Mr. Donald W. Morrison Joy P. and Thomas G. Murdough, Jr. (Miami)

Brian and Cindy Murphy Mr. Raymond M. Murphy Mr. and Mrs. William M. Osborne, Jr. Audra and George Rose Dr. and Mrs. Ronald J. Ross Dr. Isobel Rutherford 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 Joseph F. Tetlak Joe and Marlene Toot Dr. Russell A. Trusso Mr. and Mrs. Fred A. Watkins Anonymous (4)*

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

Robert and Alyssa Lenhoff-Briggs Dr.* and Mrs. Jerald S. Brodkey 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 Ms. Elizabeth James

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 Nan and Bob Pfeifer Douglas and Noreen Powers Paul A. and Anastacia L. Rose Steven and Ellen Ross

Rosskamm Family Trust Patricia J. Sawvel Drs. Daniel and Ximena Sessler Bill* and Marjorie B. Shorrock Mrs. Gretchen D. Smith Dr. and Mrs. Frank J. Staub Mr. and Mrs. Donald W. Strang, Jr. Dr. Gregory Videtic Anonymous

Mr. and Mrs. Ralph Daugstrup 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 John and Hollis Hudak (Miami) Bob and Edith Hudson (Miami)

Ms. Carole Hughes Mr. David and Mrs. Dianne Hunt Mr. and Mrs. Brinton L. Hyde Mr. and Mrs. Christopher Hyland Donna L. and Robert H. Jackson 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 Dylan Hale Lewis (Miami) Marley Blue Lewis (Miami) Dr. Alan and Mrs. Joni Lichtin

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

80

Individual Annual Support

listings continue

The Cleveland Orchestra

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81

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

Mr. Jon E. Limbacher and Patricia J. Limbacher Mr. Rudolf and Mrs. Eva Linnebach Anne R. and Kenneth E. Love Elsie and Byron Lutman Ms. Jennifer R. Malkin Mr. and Mrs. Morton L. Mandel Alan Markowitz M.D. and Cathy Pollard Mr. and Mrs. E. Timothy McDonel Ms. Maureen M. McLaughlin (Miami) James and Virginia Meil David and Leslee Miraldi Mr. and Mrs. William A. Mitchell Curt and Sara Moll Ann Jones Morgan Richard and Kathleen Nord Mr. Thury Oâ&#x20AC;&#x2122;Connor Mr. Henry Ott-Hansen Ms. MacGregor W. Peck Mr. and Mrs. John S. Piety 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* Ms. Rosella Puskas Mr. and Mrs. Thomas A. Quintrell Drs. Raymond R. Rackley and Carmen M. Fonseca Mr. and Mrs. Roger F. Rankin Brian and Patricia Ratner Ms. Deborah Read Mr. and Mrs. Robert J. Reid 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 Seven Five Fund Ms. Marlene Sharak

Mrs. Frances G. Shoolroy Naomi G. and Edwin Z. Singer Family Fund David Kane Smith Dr. Marvin and Mimi Sobel Mr. and Mrs. William E. Spatz George and Mary Stark Stroud Family Trust Dr. Elizabeth Swenson 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. Ronald E. Weinberg 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 Dr. Keith A. and Mrs. Kathleen M. Hoover Dr. and Mrs. Scott R. Inkley Mr. and Mrs. Richard A. Janus Robert and Linda Jenkins 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 Irvin and Elin Leonard Robert and LaVerne* Lugibihl Joel and Mary Ann Makee Herbert L. and Rhonda Marcus Martin and Lois Marcus Ms. Nancy L. Meacham Dr. Susan M. Merzweiler Bert and Marjorie Moyar Susan B. Murphy Richard B. and Jane E. Nash Mr. and Mrs. Peter R. Osenar Dr. Lewis and Janice B. Patterson

Mr. Robert S. Perry Dr. Robert W. Reynolds Michael Forde Ripich Mrs. Charles Ritchie Carol Rolf and Steven Adler Dr. Lori Rusterholtz Fred Rzepka and Anne Rzepka Family Foundation 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 Ms. Lorraine S. Szabo Mr. Taras G. Szmagala, Jr. Mr. Karl and Mrs. Carol Theil Drs. Anna* and Gilbert True Miss Kathleen Turner Margaret and Eric* Wayne Mr. and Mrs. Mark Allen Weigand Richard Wiedemer, Jr. Tony and Diane Wynshaw-Boris Marcia and Fred* Zakrajsek

Kerrin and Peter Bermont (Miami) Barbara and Sheldon Berns Margo and Tom Bertin Carmen Bishopric (Miami) Bill* and Zeda Blau Doug and Barbara Bletcher Mr. and Mrs. Richard H. Bole John and Anne Bourassa Laurie Burman Mr. Adam Carlin (Miami) Irad and Rebecca Carmi 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) Dr. Eleanor Davidson listings continue

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 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 Mrs. Robert A. Clark Drs. Mark Cohen and Miriam Vishny Thomas and Dianne Coscarelli Peter and Kathryn Eloff Mr. and Mrs. John R. Fraylick Peggy and David* Fullmer Loren and Michael Garruto Dr. and Mrs. Ronald L. Gould Nancy and James Grunzweig Mr. Robert D. Hart Mary S. Hastings Hazel Helgesen* and Gary D. Helgesen Mr. and Mrs. Jerry Herschman 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 Agnes Armstrong Mr. and Mrs. James B. Aronoff Geraldine and Joseph Babin Ms. Jennifer Barlament Ms. Delphine Barrett Rich Bedell and Elizabeth Grove Dr. Ronald and Diane Bell Mr. Roger G. Berk

82

Individual Annual Support

The Cleveland Orchestra

Live Publishing provides comprehensive communications and marketing services to a who’s who roster of clients, including the world-renowned Cleveland Orchestra. Our unsurpassed client satisfaction is built on decades of hard-earned experience, in all the various aspects of magazine publishing and custom marketing communications. We know how to deliver the most TLHUPUNM\S TLZZHNLZ PU [OL TVZ[ LɈLJ[P]L TLKPH HSS PU [OL TVZ[ JVZ[ LɈLJ[P]L THUULY >L»YL easy to do business with, and our experienced crew has handled every kind of project – from large to small, print to web.

S E A S O N

PRESENTING THE FINEST

SEVERANCE HALL

January 8, 9, 10 FRANZ WELSER-MÖST CONDUCTS MOZART AND RAVEL — details begin on page 35

CIM@SEVERANCE

2014-15 CONCERT SERIES

WINTER SEASON

2014-15 Concert Season

AUGUST 2014

2O14

BLOSSOM MUSIC FESTIVAL S U M M E R

H O M E

O F

THE CLEVELAND ORCHESTRA 2014-2015

Spirit of Philanthropy The Legacy of Giving in Greater Akron

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

Mr. and Mrs. Edward B. Davis Jeffrey and Eileen Davis Mrs. Lois Joan Davis Mr. and Mrs. David G. de Roulet Dr. and Mrs. Richard C. Distad Ms. Maureen A. Doerner and Mr. Geoffrey T. White William Dorsky and Cornelia Hodgson Esther L. and Alfred M. Eich, Jr. Harry and Ann Farmer Ms. Karen Feth Mr. Isaac Fisher (Miami) Joan Alice Ford Mr. Paul C. Forsgren Richard J. Frey Marvin Ross Friedman and Adrienne bon Haes (Miami) Arthur L. Fullmer Mr. Bennett Gaines Mrs. Georgia T. Garner 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 Dr. and Mrs. Robert L. Hinnes Dr. Randal N. Huff and Ms. Paulette Beech Elisabeth Hugh Ruth F. Ihde Mrs. Carol Lee and Mr. James Iott Richard and Michelle Jeschelnig Dr. Michael and Mrs. Deborah Joyce Mr. Peter and Mrs. Mary Joyce Mr. Stephen Judson Barbara and Michael J. Kaplan Rev. William C. Keene Angela Kelsey and Michael Zealy (Miami) The Kendis Family Trust: Hilary and Robert Kendis and Susan and James Kendis 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 Mr. and Mrs. John J. Lane, Jr. Mr. Gary Leidich Ivonete Leite (Miami) Michael and Lois A. Lemr Dr. Edith Lerner Dr. Stephen B. and Mrs. Lillian S. Levine Robert G. Levy Ms. Mary Beth Loud Michael J. and Kathryn T. Lucak Mrs. Idarose S. Luntz Mr. and Mrs. Raul Marmol (Miami) Dr. and Mrs. Sanford E. Marovitz

84

Dr. Ernest and Mrs. Marian Marsolais Ms. Amanda Martinsek Mr. Julien L. McCall William and Eleanor* McCoy Mr. James E. Menger Stephen and Barbara Messner Ms. Betteann Meyerson Mr. and Mrs. Roger Michelson (Miami) Drs. Terry E. and Sara S. Miller Ms. Carla Miraldi Jim and Laura Moll 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 Oâ&#x20AC;&#x2122;Callaghan 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 Kathleen Pudelski 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) Norine W. Sharp Dr. and Mrs. William C. Sheldon Mr. and Mrs. Reginald Shiverick Laura and Alvin A. Siegal Robert and Barbara Slanina Bruce Smith 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 Mr. and Mrs. Joseph D. Sullivan Mr. Robert Taller Ken and Martha Taylor Dr. and Mrs. Thomas A. Timko Mr. and Mrs. Robert J. Tomsich Erik Trimble Steve and Christa Turnbull

Individual Annual Support

Mrs. H. Lansing Vail, Jr. 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 Alice & Leslie T. Webster, Jr. Mr. and Mrs. Jerome A. Weinberger Mr. Peter and Mrs. Laurie 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 (4)

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 Orchestraâ&#x20AC;&#x2122;s Annual Report, which can be viewed online at CLEVELANDORCHESTRA . COM For information about how you can play a supporting role with The Cleveland Orchestra, please contact our Philanthropy & Advancement Office by calling 216-231-7558.

The Cleveland Orchestra

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

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

clevelandorchestra.com

THE CLEVELAN D ORCHESTRA 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 Sy Symphony recorded live in the Abbey of St. FFlorian in Linz, Austria in 2012. “A great orchestra, a Bruckner expert. . . . Five out of five e 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 accountt off D 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 ORCHESTR A at SEVER ANCE HALL

PRE-ORDER INTERMISSION DRINKS NEW

New to Severance Hall this season, you can now pre-order your beverages before the concert to enjoy during intermission.

Our new pre-order option offers you the beneďŹ t of an intermission without waiting in line. Simply visit one of our conveniently located bars to place and pay for your order before the concert starts.

CHEERS!

NEW

POST-CONCERT DINING New for the 2014-15 season, we are offering post-concert dining at Severance Restaurant. Enjoy a convenient dining experience including full-service bar, desserts and coffee, or our special Ă la carte dining choices.

Severance Restaurant is a great place to extend your night out following the concert. Come in and sit down for dinner, or stop by for drinks or dessert.

No reservations required for post-concert dining.

Reservations are suggested but not required for pre-concert dining.

Book online by visiting the link to OpenTable at clevelandorchestra.com.

Post-concert dining is available following evening performances by The Cleveland Orchestra.

Severance Hall and The Cleveland Orchestra are proudly partnered with Marigold Catering to enhance your experience.

THE CLEVELAND ORCHESTR A at SEVER ANCE HALL

11001 Euclid Avenue Cleveland, Ohio 44106

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

CLEVELANDORCHESTRA.COM

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

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Georgian exterior was constructed to harmonize with the classical architecture of other prominent buildings in the University Circle area. The interior of the building reflects a combination of design styles, including Art Deco, Egyptian Revival, Classicism, and Modernism.

An extensive renovation, restoration, and expansion of the facility was completed in January 2000. In addition to serving as the home of The Cleveland Orchestra for concerts and rehearsals, the building is rented by a wide variety of local organizations and private citizens for performances, meetings, and special events each year.

Severance Hall

The Cleveland Orchestra

The Cleveland Orchestra guide to

Fine Shops & Services The World’s Finest Chamber Music Chamber Music Society of Lincoln Center 13 January 2015 Jerusalem Quartet 24 February 2015 Exacting craftsmanship and meticulous attention to every detail, every job.

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THE CLEVELAND CHAMBER MUSIC SOCIETY www.ClevelandChamberMusic.org • 216.291.2777 Gabrielle A. Goodman ISA USPAP Appraiser of Fine Art and Antiques Certified Appraisals for: Insurance Charitable Donation Equitable Family Division info@clevelandappraisalconsultants.com

(216) 501-0666 Member, International Society of Appraisers

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www.TheMusicSettlement.org or 216-421-5806 xt. 100

Severance Hall 2014-15

Michael Hauser DMD MD Implants and Oral Surgery For Music Lovers Beachwood 216-464-1200

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THE CLEVELAND C O N C E R T

C A L E N D A R

WINTER SEASON Mozart and Ravel January 8 — Thursday at 7:30 p.m.

January 9 — Friday at 8:00 p.m. <18s January 10 — Saturday at 8:00 p.m.

THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Cleveland Orchestra Chorus

MOZART Symphony No. 41 (“Jupiter”) RAVEL Daphnis and Chloé [complete ballet music]

Boulez Celebration Concerts

Pierre Boulez 90th Birthday Celebration

January 15 — Thursday at 7:30 p.m.

THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Joela Jones, piano Anne Schwanewilms, soprano Members of Cleveland Orchestra Children’s Chorus

BOULEZ Twelve Notations (for solo piano) BERG Three Excerpts from Wozzeck DEBUSSY Jeux [Games], poème dansé BOULEZ Notations I-VII-IV-III-II

Mahler’s Sixth Symphony January 16 — Friday at 8:00 p.m. <18s January 17 — Saturday at 8:00 p.m.

THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor

WIGGLESWORTH Études-Tableaux — WORLD PREMIERE MAHLER Symphony No. 6 (“Tragic”)

Martin Luther King Jr. Celebration Concert January 18 — Sunday at 7:00 p.m.

THE CLEVELAND ORCHESTRA Robert Porco, conductor Sterling Elliott, cello Martin Luther King Jr. Celebration Chorus William Henry Caldwell, director This annual musical performance celebrates the spirit of King’s life, leadership, and vision — with a program of music, song, and community service recognition.

Admission is free, but tickets are required.

Tickets were soldout as of January 2.

Listen to the concert live on Cleveland radio stations WCLV (104.9 FM) or WCPN (90.3 FM).

Sponsor: KeyBank

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Martin Luther King Jr. Day Community Open House January 19 — Monday from noon to 5:00 p.m.

Severance Hall joins in the city-wide celebration of Martin Luther King’s life and achievements with a free public open house featuring musical performances by groups from across Northeast Ohio. Details at clevelandorchestra.com.

Free event, no tickets are required.

Pictures at an Exhibition January 23 — Friday at 8:00 p.m. <18s January 24 — Saturday at 8:00 p.m.

THE CLEVELAND ORCHESTRA Jakub HrŢša, conductor William Preucil, violin

JANÁþEK Jealousy DVOŏÁK Violin Concerto MUSSORGSKY Pictures at an Exhibition (orchestrated by Maurice Ravel) Sponsor: Squire Patton Boggs (US) LLP

Tchaikovsky’s Fifth Symphony January 29 — Thursday at 7:30 p.m.

January 30 — Friday at 11:00 a.m. <18s * January 31 — Saturday at 8:00 p.m.

THE CLEVELAND ORCHESTRA Tugan Sokhiev, conductor Vadim Gluzman, violin *

SHOSTAKOVICH Festive Overture PROKOFIEV Violin Concerto No. 2 * TCHAIKOVSKY Symphony No. 5 *not performed on Friday Morning Matinee

Sponsor: Jones Day

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

Under 18s Free FOR FAMILIES

<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).

Concert Calendar

The Cleveland Orchestra

ORCHESTRA I N

Cleveland Orchestra Youth Orchestra and Youth Chorus February 8 — Sunday at 7:00 p.m.

S E A S O N

T H E

S P O T L I G H T

<18s

CLEVELAND ORCHESTRA YOUTH ORCHESTRA Brett Mitchell, conductor CLEVELAND ORCHESTRA YOUTH CHORUS Lisa Wong, director

RAVEL Une Barque sur l’océan DEBUSSY La Mer [The Sea] FAURÉ Requiem

Sibelius Violin Concerto February 12 — Thursday at 7:30 p.m.

February 14 — Saturday at 8:00 p.m.

THE CLEVELAND ORCHESTRA Juanjo Mena, conductor Alina Ibragimova, violin

SIBELIUS Symphony No. 7 SIBELIUS Violin Concerto SCHOENBERG Pelléas and Mélisande

AT THE MOVIES CELEBRITY SERIES

Vertigo

MARTIN LUTHER KING JR. CELEBRATION CONCERT Sunday January 18 at 7:00 p.m.

February 13 — Friday at 8:00 p.m.

THE CLEVELAND ORCHESTRA Brett Mitchell, conductor This classic Àlm was created by the great collaboration between director Alfred Hitchcock and composer Bernard Herrmann. Enjoy this great Àlm as it is projected on a large screen above stage, with live accompaniment by The Cleveland Orchestra.

Sponsor: PNC Bank

Bronfman Plays Brahms February 19 — Thursday at 7:30 p.m.

February 20 — Friday at 8:00 p.m. <18s February 21 — Saturday at 8:00 p.m.

February 22 — Sunday at 3:00 p.m. <18s THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor YeÀm Bronfman, piano

THE CLEVELAND ORCHESTRA Robert Porco, conductor Sterling Elliott, cello Martin Luther King Jr. Celebration Chorus William Henry Caldwell, director/conductor

The Cleveland Orchestra’s 35th annual concert celebrating the spirit of Dr. King’s life, leadership, and vision. Presented in collaboration with the City of Cleveland.

TICKETS: SOLDOUT

Admission is free, but tickets are required.

Listen to the concert broadcast live on WCLV (104.9 FM) and WCPN (90.3 FM) radio.

Concert Sponsor: KeyBank

PROGRAM INCLUDES:

BRAHMS Piano Concerto No.2 (Thr/Fri) BRAHMS Piano Concerto No.1 (Sat/Sun)

Sponsor: BakerHostetler

CLEVELAND ORCHESTRA TICKETS PHONE

216-231-1111 800-686-1141

clevelandorchestra.com Severance Hall 2014-15

Concert Calendar

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11001 Euclid Avenue, Cleveland, Ohio 44106 CLEVELANDORCHESTRA.COM

AT SE V E R A N C E H A LL 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

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RENTAL OPPORTUNITIES Severance Hall, a Cleveland landmark and home of the world-renowned Cleveland Orchestra, is the perfect location for business meetings and conferences, pre- or post-concert dinners and receptions, weddings, and social events. Catering provided by Marigold Catering. Premium dates are available.

Call the Facility Sales Office at 216-231-7420 or email to hallrental@clevelandorchestra.com

BE FO R E T H E CO NC E R T GARAGE PARKING AND PATRON ACCESS Pre-paid parking for the Campus Center Garage can be purchased in advance through the Ticket Office for $15 per concert. This pre-paid parking ensures you a parking space, but availability of pre-paid parking passes is limited. To order prepaid parking, call the Severance Hall Ticket Office at 216-231-1111.

Parking can be purchased for the at-door price of $11 per vehicle when space in the Campus Center Garage permits. However, the garage often fills up well before concert time; only ticket holders who purchase pre-paid parking passes are ensured a parking space. Overflow parking is available in CWRU Lot 1 off Euclid Avenue, across from Severance Hall; University Circle Lot 13A on Adelbert Road; and the Cleveland Botanical Garden.

FRIDAY MATINEE PARKING 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 CO NC E R T COAT CHECK Complimentary coat check is available for concertgoers. The main coat check is located on the street level midway along each gallery on the ground floor.

PHOTOGRAPHY, VIDEO, AND AUDIO RECORDING Audio recording, photography, and videography are strictly prohibited during performances at Severance Hall. As courtesy to others, please turn off any phone or device that makes noise or emits light.

REMINDERS Please disarm electronic watch alarms and turn off all pagers, cell phones, and mechanical devices before entering the concert hall. Patrons with hearing aids are asked to be attentive to the sound level of their hearing devices and adjust them accordingly. To ensure the listening pleasure of all patrons, please note that anyone creating a disturbance of any kind may be asked to leave the concert hall.

LATE SEATING Performances at Severance Hall start at the time designated on the ticket. In deference to the comfort and listening pleasure of the audience, late-arriving patrons will not be seated while music is being performed. Latecomers are asked to wait quietly until the first break in the program, when ushers will assist them to their seats. Please note that performances without intermission may not have a seating break. These arrangements are at the discretion of the House Manager in consultation with the conductor and performing artists.

SERVICES FOR PERSONS WITH DISABILITIES Severance Hall provides special seating options for mobility-impaired persons and their companions and families. There are wheelchair- and scooter-accessible locations where patrons can remain in their wheelchairs or transfer to a concert seat. Aisle seats with removable armrests are also available for persons who wish to transfer. Tickets for wheelchair accessible and companion seating can be purchased by phone, in person, or online.

As a courtesy, Severance Hall provides wheelchairs to assist patrons in going to and from their seats. Patrons can arrange a loan by calling the House Manager at 216-231-7425 TTY line access is available at the public pay phone located in the Security Office. Infrared Assistive Listening Devices are available from a Head Usher or the House Manager for most performanc-

Severance Hall 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.

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

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

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

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

Patrons who turn back tickets receive a cumulative donation acknowledgement at the end of each calendar year.

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S E A S O N

THE CLEVELAND ORCHESTRA U P C O M I N G

C O N C E R T S

AT SEVERANCE HALL . . .

TCHAIKOVSKY’S FIFTH SYMPHONY

AT THE MOVIES:

VERTIGO

Thursday January 29 at 7:30 p.m.

Friday January 30 at 11:00 a.m. * <18s Saturday January 31 at 8:00 p.m.

Friday February 13 at 8:00 p.m.

THE CLEVELAND ORCHESTRA Tugan Sokhiev, conductor Vadim Gluzman, violin *

The collaboration between director Alfred Hitchcock and composer Bernard Herrmann created a series of unforgetable films. And Vertigo — with its rich, seductive, and complex musical score — is perhaps the greatest achievement of this legendary partnership.

In the film’s opening scene, police detective John “Scottie” Ferguson (James Stewart) is afflicted with vertigo during a rooftop chase that results in the death of a fellow officer.

An old college chum hires Scottie as a private investigator to follow his wife, Madeleine (Kim Novak). Scottie becomes increasingly enamored of the woman he is following — and observations turn to obsession.

THE CLEVELAND ORCHESTRA Brett Mitchell, conductor

Tchaikovsky’s music is often considered the most Romantic of any composer. His Fifth Symphony has been an audience favorite since its premiere in 1888 — acclaimed for its soaring melodies, and memorably passionate music.

For this concert, it is paired with two additional Russian works, from the 20th century, a firey overture by Shostakovich and the technically exhilarating Second Violin Concerto by Prokofiev. * not appearing on Friday morning concert Sponsor: Jones Day

Sponsor: PNC Bank

See also the concert calendar listing on pages 90-91, or visit The Cleveland Orchestra online for a complete schedule of future events and performances, or to purchase tickets online 24 / 7 for Cleveland Orchestra concerts.

TICKETS

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216-231-1111

clevelandorchestra.com

Upcoming Concerts

The Cleveland Orchestra