The Cleveland Orchestra January 15-17 Concerts

WINTER SEASON

S E A S O N

SEVERANCE HALL

January 15 PIERRE BOULEZ 90TH BIRTHDAY CELEBRATION — page 25 January 16, 17 MAHLER’S SIXTH SYMPHONY — page 57

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AUTO GROUP

TA B L E

OF

CONTENTS

THIS WEEK THE

CLEVELAND

PAGE

WEEK 7

ORCHESTRA

10

In the News

COVER PHOTOGRAPHY BY ROGER MASTROIANNI

From the Executive Director . . . . . . . . . . . . . . . . . 7 Message from the President . . . . . . . . . . . . . . . 72-A Orchestra News . . . . . . . . . . . . . . . . . . . . . . . . . . . 72-C

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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 10a PIERRE BOULEZ 90TH BIRTHDAY SALUTE Program: January 15 . . . . . . . . . . . . . . . . . . . . . . 26 Introducing the Concert . . . . . . . . . . . . . . . . . . . . 29 BOULEZ

Notations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 BERG

Three Excerpts from Wozzeck . . . . . . . . . . . . . 40 DEBUSSY

Jeux [“Games”] . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 Conductor: Franz Welser-Möst . . . . . . . . . . . . . . .

Piano Soloist: Joela Jones . . . . . . . . . . . . . . . . . . . .

Guest Artist: Michelle DeYoung . . . . . . . . . . . . . .

Cleveland Orchestra Children’s Chorus . . . . . . . .

57

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 The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . 22 Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 Guest Information . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

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Week 10b

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.

MAHLER’S SIXTH SYMPHONY Program: January 16, 17 . . . . . . . . . . . . . . . . . . 57 Introducing the Concerts . . . . . . . . . . . . . . . . . . . 59 WIGGLESWORTH

Études-Tableaux [Study-Pictures] . . . . . . . . . . 61

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

50% All unused books are recycled as part of the Orchestra’s regular business recycling program.

MAHLER

Symphony No. 6 . . . . . . . . . . . . . . . . . . . . . . . . . . 65 Conductor: Franz Welser-Möst . . . . . . . . . . . . . . . 17

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

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

Foundation/Government Annual Support . . .

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

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

52 73 75 76

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 72-A 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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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

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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

PIERRE BOULEZ 9Oth BIRTHDAY CELEBRATION CONCERT

15 January 2O15

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 15, 2015, at 7:30 p.m.

Franz Welser-Möst, conductor

PIERRE BOULEZ

9OTH BIRTHDAY CELEBRATION 1 PIERRE BOULEZ (b. 1925)

Twelve Notations (for solo piano) 1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

11.

12.

Fantasque — Modéré Très vif Assez lent Rythmique Doux et improvisé Rapide Hiératique Modéré jusqu’à très vif Lointain — Calme Mécanique et très sec Scintillant: Faire ressortir le chant en sauts disjoints Lent — Puissant et âpre

JOELA JONES, piano

2 ALBAN BERG (1885-1935)

Three Excerpts from Wozzeck 1. Marie’s room, evening: Military March — Cradle Song (March Tempo — Langsam) 2. Marie’s room, night: She Talks to Her Child (Theme and Variations — Fugue) 3. Drowning of Wozzeck — Children in front of Marie’s House (Langsam) Sung in German with projected English supertitles.

MICHELLE DeYOUNG, mezzo-soprano Members of the CLEVELAND ORCHESTRA CHILDREN’S CHORUS Ann Usher, director

INTERMISSION

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Concert Program — Week 10a

The Cleveland Orchestra

SEASON

3 CLAUDE DEBUSSY (1862-1918)

Jeux [Games], poème dansé

4 BOULEZ

Notations (for orchestra) I. VII. IV. III. II.

Modéré: Fantasque Hiératique: Lent Rythmique Très modéré Très vif: Strident

Just prior to each of this evening’s musical works, one of four special video segment about Pierre Boulez’s nearly half-century relationship and collaboration with The Cleveland Orchestra will be shown.

With special thanks to Goldfarb Weber Creative Media for partnering with us in creating and producing these video explorations and tributes.

This concert is sponsored by Forest City Enterprises, Inc., a Cleveland Orchestra Partner in Excellence.

This concert is dedicated to Mrs. Alfred M. Rankin Sr. and to The Honorable and Mrs. John Doyle Ong in recognition of their extraordinary generosity in support of The Cleveland Orchestra’s 2013-14 Annual Fund.

The concert will end at about 9:30 p.m.

CLEVELAND ORCHESTRA RADIO BROADCASTS

Current and past Cleveland Orchestra concerts are broadcast as part of regular weekly programming on WCLV (104.9 FM), on Saturday evenings at 8:00 p.m. and Sunday afternoons at 4:00 p.m.

Severance Hall 2014-15

Concert Program — Week 10a

27

28

PHOTO BY ROGER MASTROIANNI

The Cleveland Orchestra

PI E R R E B O U L E Z —

Composer, Conductor, Teacher, and Friend . . .

PIERRE BOULEZ’S

relationship with The Cleveland Orchestra is unique and extraordinary. Over a period of nearly fift y years — longer than any other conductor has actively worked with this ensemble — he established a rapport and maintained a collaborative understanding of special significance. As Franz Welser-Möst has said, “Pierre Boulez has left his fingerprint” on this Orchestra, in the way these musicians collectively approach music and music-making.

It is not just about “new music” — although Boulez has clearly and purposefully expanded Cleveland’s repertoire, leading the group’s first performances of dozens of works both old (from Handel and Liszt to Debussy and Stravinsky) and very new (from Elliott Carter and Olivier Messiaen to Hanspeter Kyburz and Marc-André Dalbavie). Just as importantly, however, the special character of this ongoing relationship has been about his calm, friendly, and incisive manner as a musical tour guide, his way of re-exploring the well-known as well as discovering the unknown, and his open enthusiasm and understanding for doing so — both for the musicians onstage and for generations of audience members attending concerts at Severance Hall. In regular concerts across the decades (and in a pioneering series of “Informal Evenings” in the early 1970s, filled with talk and music), Boulez has explained music in a way that encourages further exploration and interest.

With this evening’s concert, Franz Welser-Möst and The Cleveland Orchestra salute the vitality of Pierre Boulez the creative artist, and his relationship here as composer, conductor, teacher, and friend.

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Introducing the Concert

29

1

3

1. Pierre Boulez leading a rehearsal of The Cleveland Orchestra on tour in Japan, May 1970.

2. A special onstage 85th birthday salute at Severance Hall in 2010, with (left to right) Pierre Boulez, Gary Hanson, Carol Lee Iott, and Franz Welser-MĂśst, and musicians of The Cleveland Orchestra.

3. Boulez with pianist Pierre-Laurent Aimard during rehearsals for recording both of Ravel’s piano concertos in February 2010.

4. Boulez in rehearsal at Severance Hall, circa 1969.

5. Pierre Boulez, circa 1968.

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5

4

Pierre Boulez

The Cleveland Orchestra

2

PIERRE BOULEZ AND THE CLEVELAND ORCHESTRA Since making his American professional conducting debut with The Cleveland Orchestra at the invitation of George Szell in 1965, Pierre Boulez has led the Orchestra in more than 200 concerts.

He was appointed the Orchestra’s first Principal Guest Conductor in 1969, and served as Musical Advisor for two seasons beginning shortly after Szell’s death in 1970. Across five decades, he has recorded a variety of works with The Cleveland Orchestra. Five of these albums have won Grammy Awards.

Boulez’s complete recorded cycle of Mahler symphonies features Nos. 4 and 7 with Cleveland. He has extended this recorded legacy most recently with albums featuring musical works

by Mahler and Ravel.

Severance Hall 2014-15

Pierre Boulez

31

32

Pierre Boulez

The Cleveland Orchestra

PIERRE BOULEZ AND THE CLEVELAND ORCHESTRA

1

5

2

4

3

1. George Szell and Pierre Boulez in 1969, soon after announcing Boulez’s apointment as The Cleveland Orchestra’s first Principal Guest Conductor.

2. Boulez backstage in Paris in 1990, with then Cleveland Orchestra music director Christoph von Dohnányi and former associate conductor Robert Shaw.

3. Boulez taking a curtain call after a concert in Tokyo during the Orchestra’s 1970 tour to Japan and Korea.

4. Boulez conducting a Blossom Festival concert in 1969.

5. A sketch of Boulez drawn by Orchestra member Laszlo Krausz in 1965.

Photography pages 29 -33, from The Cleveland Orchestra Archives —

by Don Hunstein, Peter Hastings, Jack van Antwerp, Roger Mastroianni, and others.

Severance Hall 2014-15

33

Pierre Boulez PIERRE BOULEZ

— conductor, composer, teacher, and author — is among the most distinguished musicians active in the world today. Over the course of nearly fift y years, he has led The Cleveland Orchestra in over 220 performances at home and on tour. He has been invited — and has chosen — to return to Cleveland again and again, for recordings and concerts, and in friendship. In half a century of service to Cleveland, he has created a peerless legacy of great music, new music, and unrivalled music-making.

Pierre Boulez first led The Cleveland Orchestra in 1965 at the invitation of music director George Szell, making his American professional conducting debut at Severance Hall. He was appointed the Orchestra’s first principal guest conductor in 1969, and served as musical advisor during the two seasons following Szell’s death.

He has returned regularly to lead performances with the Orchestra, and in five decades of concerts here has presented works spanning six centuries — by composers as varied as Gabrieli, Rameau, J. S. Bach, and Schubert to Debussy, Janáček, Dalbavie, and Kyburz. Beyond Northeast Ohio, he has conducted The Cleveland Orchestra on tour in Tokyo and Paris, and at New York’s Carnegie Hall.

Mr. Boulez has earned widespread respect as a champion of contemporary music. Beginning with the American premiere of his own Figures, Doubles, Prismes in 1965, Boulez has conducted more than thirty Cleveland premieres with The Cleveland Orchestra, including the world premiere, in 2000, of Marc-André Dalbavie’s Concertate il suono. In 1986, he conducted the Orchestra in a special two-week series of “Great Composers of Our Time” concerts featuring his own music. The presentation of the 2009 Kyoto Prize to Boulez reaffirmed the importance of his compositions and activities as teacher, conductor, and advocate of new music.

Pierre Boulez’s recordings with The Cleveland Orchestra present a brilliant and clearly focused vision of his role as a conductor. These recordings have won five Grammy Awards (with works by Berlioz, Debussy, and Stravinsky). The Cleveland Orchestra can also be heard within Boulez’s recorded cycle of Mahler’s nine symphonies, performing Nos. 4 and 7. And most recently, Boulez recorded the Adagio from Mahler’s Symphony No. 10 and Mahler’s Des Knaben Wunderhorn with Cleveland, as well as performances of both Ravel piano concertos, at Severance Hall.

Born in France in 1925, Pierre Boulez studied mathematics before turning fulltime to music as his life’s vocation. During the ensuing decades of his distinguished career, he has held important positions with performing ensembles and teaching institutions in North America and Europe. In 2010, he was invited to celebrate his eighty-fift h birthday with a series of concerts with the orchestras of Cleveland, Chicago, and New York. In 2012, he was inducted into the Gramophone Hall of Fame.

In 2014, he was presented The Cleveland Orchestra’s Distinguished Service Award, with heartfelt thanks for his long and devoted work with the Orchestra, for his ongoing contributions to contemporary classical music, and for his dedication to the highest standards of artistic excellence.

34

Biography

The Cleveland Orchestra

PI E RRE BOU LE Z

Severance Hall 2014-15

Letter to The Cleveland Orchestra, 2005

35

Joela Jones

Principal Keyboard, Rudolf Serkin Endowed Chair The Cleveland Orchestra

An artist of exceptional versatility, Joela Jones plays piano, harpsichord, organ, celesta, synthesizer, and accordion with The Cleveland Orchestra. She has appeared frequently as soloist with the Orchestra at home and on tour, in a wide repertoire of fift y different works ranging from Bach to Bernstein. Recent appearances as piano soloist with Franz Welser-Möst conducting include Stravinsky’s Movements, Messiaen’s Sept haïkaï, and Bernstein’s The Age of Anxiety.

Since the renovation of Severance Hall’s Norton Memorial Organ in 2001, Ms. Jones has performed works for organ and orchestra by Barber, Poulenc, Saint-Saëns, Janáček, MacMillan, and Ives. She is also principal accompanist for the Cleveland Orchestra Chorus and for visiting vocal soloists.

A native of Miami, Florida, Joela Jones began her musical studies with her parents. As a child, she also studied at Florida State University with Edward Kilenyi and the renowned Hungarian pianist and composer Ernö (Ernst von) Dohnányi. At the age of 12, she was invited to appear as soloist with the Miami Symphony Orchestra. The next year, she received a scholarship to the Eastman School of Music, where she studied with José Echaniz. While at Eastman, she performed frequently with the Rochester Philharmonic and the Eastman Philharmonia. She made her New York debut with Arthur Fiedler and the Metropolitan Opera Orchestra at Lewisohn Stadium.

Ms. Jones earned a master of music degree from the Cleveland Institute of Music, where she studied with Victor Babin and Arthur Loesser. She studied organ with Warren Berryman at the Baldwin-Wallace College Conservatory of Music.

Ms. Jones has appeared as soloist with the orchestras of Boston, Chicago, Detroit, Houston, Philadelphia, and San Francisco, and has performed extensively in solo and chamber music recitals. She teaches classes in advanced orchestral keyboard technique at the Cleveland Institute of Music and chairs the collaborative piano department at Kent/Blossom Music. She is also coordinator of collaborative piano and chamber music at Cleveland State University, and regularly serves as coach for the pianists in the New World Symphony.

Ms. Jones has recorded works by Poulenc and d’Indy with the London Symphony Orchestra. With The Cleveland Orchestra, she has recorded Janáček’s Capriccio for Left Hand with Christoph von Dohnányi and Messiaen’s La Ville d’en Haut and Sept haïkaï with Pierre Boulez. In recent years, Joela Jones released a CD of Claude Bolling’s Suite for Cello and Jazz Piano Trio with Cleveland Orchestra colleagues Richard Weiss, Maximilian Dimoff, and Donald Miller.

Joela Jones is married to Richard Weiss, first assistant principal cello of The Cleveland Orchestra. They are the parents of a son, Justin Jordan.

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Soloist

The Cleveland Orchestra

Notations — Twelve Notations for piano composed 1945

Notations I-IV and VII for orchestra composed 1977-78 for I-IV, 1995-97 for VII THERE CAN BE FEW

by

Pierre

BOULEZ born March 26, 1925 Montbrison, France currently resides Baden-Baden, Germany

Severance Hall 2014-15

truer signs of how times change (or how time changes) than the career of Pierre Boulez. From energetic young composer to revered and beloved musical statesman, from blaring daylight sun to the intense glow of sunset, from revolution to evolution, from accommodation to commendation.

It is impossible today to hear the name Pierre Boulez without considering all that he has accomplished and in differing roles — as conductor and educator, as theoretician and instigator, as educator and founder, as experimenter and strict stylist, as synthesizer (in all the word’s meanings).

In recent decades, as he has led Mahler cycles and exemplary performances across the symphonic repertoire, it has even become occasionally easy to forget that he was once an “angry young man” with compositional ambition (and accomplishment), intensive pent-up energy, and a mind capable of feats of labyrinthine diligence — that what he wrote was partly built on how it was written or performed. And that he is still, inside, a musician and man of incredible range, diverse interests, and great humanity.

To both begin and end this evening’s concert, we hear from a set of pieces which, in a variety of ways, encapsulates the evolving and far-ranging ideas and ideals of Pierre Boulez’s work as a composer. Created as a short work for solo piano in 1945, Notations was a young man’s early take at Serialist music.

Its twelve movements are built in the mode, if not the model, of the pioneers of twelve-tone Serialism: Schoenberg and Berg, and especially Webern. In the following two years, Boulez orchestrated eleven of them and then withdrew all versions from public performances, and went on to other things.

Thirty years later, a more seasoned Boulez took another look, and realized that the youthful piano work provided a substantially wider canvas for orchestrating than his twentysomething self had allowed three decades before.

So what was Boulez up to? And how and why did his new attempts at orchestrating Notations digress from the piano soAbout the Music

37

At a Glance Boulez composed a set of 12 brief piano pieces called Notations in late 1944 and early 1945. They were first performed on February 12, 1945, by pianist Yvette Grimaud in Paris. Boulez orchestrated at least part of eleven of the pieces over the next two years, then chose to withdraw both versions, leaving them unpublished and unavailable for performance.

Thirty years later, Boulez decided to revisit the pieces and created new orchestrations (really adaptations or expanded recompositions) of Notations I-IV. They were premiered on June 18, 1980, by the Orchestre de Paris under the direction of Daniel Barenboim. Boulez completed the orchestral version of Notation VII in 1997 as a commission from the Chicago Symphony Orchestra, who premiered it in January 1999 with Barenboim.

The piano Notations runs about 10 minutes in performance. The five orchestral Notations run just over 15 minutes as a group.

Boulez’s score calls for a large orchestra including 4 of each woodwind instrument, 6 horns, 4 trumpets, 4 trombones, tuba, piano, celesta, 3 harps, timpani, a very large percussion battery (8 players), and strings.

The Cleveland Orchestra has presented orchestral movements from Notations previously, in 1986, 1995, and 2005.

38

los? This evening’s presentation gives us a rare opportunity to experience both in close proximity, separated by performances of works by two other composers who have greatly influenced Boulez’s view of what music is and can be.

In addition to his early interest in music, Boulez as a child showed a strong aptitude in mathematics and began serious studies in this direction — pursuing the meaning of formulas and equations, sequences, sums and divisions. But this formal mindset continued as a major influence even after he’d shifted to music as a career, throughout his formative years as a composer and on into his dynamic and laser-like analysis as a conductor.

Boulez’s coming of age also corresponded with the mid20th century’s explosion of musical exploration — into the possibilities of shaping music through arbitrary, extra-musical, and pre-determined forms, and via improvisation, self-determining outcomes, and computer-driven sounds and formulations.

Serialism was, perhaps, at its height in his youth. Boulez’s early interest and aptitude for mathematics gave him an immediate appreciation for and bond with the formal structuring upon which Serialism is built. And Boulez’s studies after World War II, with both Olivier Messiaen and René Leibowitz, took him directly from Serialism into what was eventually called Total Serialism (with not just the notes but all components of music cut up into actionable and rearrangeable sequences) and beyond. Evenso, Boulez has always had a strong sense for melodic impulse as well as a willingness to bend, if not break, some rules — not for artistic license but for creative effect.

The brevity of the original Twelve Notations makes them relatively easy to digest, at least in large view, though the details may crystalize only from repeated listenings. It is not coincidental that there are twelve pieces, to mirror the twelve notes of the Western musical scale. Furthermore, each piece is exactly twelve measures in length. The formal sequencing for the twelve-tone scale for each provides variety, which is further alterred through tempo, mood, and Boulez’s creativity.

The “orchestrations” of these pieces that Boulez started working on thirty years later are in fact adaptations and expansions — recompositions something like riffs on youthful memories — and nothing like strict or simplistic assigning instruments to notes.

They are longer, more complex, and in some ways more relaxed (not in the music itself but in Boulez’s willingness to resynthesize and build from elements of his youthful work). Boulez himself About the Music

The Cleveland Orchestra

likened the process to an essence passed down through generations: “I read that in some Egyptian tombs they found corn seeds, and they put those seeds in water and in earth, and the seed produced again. I think that’s a little bit of my process here — the seeds were there, far away, and then I began to conceive these seeds for new thinking, for new development.”

Although it was his original plan, in the mid-1970s, to create new versions of all twelve original piano Notations, Boulez’s busy life and other compositions intervened. Nos. I-IV were premiered as a group in 1980, and VII followed in 1999. Each one he wrote seemingly became more complex (in III, for instance, almost every string player onstage has a separate — and slightly different — part to play, creating at times a shimmering sound texture). The composer has said that they can be performed in any sequence, while offering some suggested ordering, one of which Franz Welser-Möst has chosen for this evening’s performance: I-VII-IV-III-II. Music, for Boulez, comes to life in the moment of performance. For him, listening, like performing, requires concentration and effort and commitment. While actively listening tonight, let us celebrate the extraordinary gift of commitment and intellect and friendship, manifest in his own music, which Boulez has bestowed upon The Cleveland Orchestra and this entire community since he first came to town fift y years ago.

—Eric Sellen

WORKING TOGETHER FOR A BETTER TOMORROW. Forest City is proud to support organizations like The Cleveland Orchestra that are making a positive impact in our community. www.forestcity.net

Severance Hall 2014-15

About the Music

39

Kulas Series of Keyboard Conversations® with Jeffrey Siegel 27th Season 2014-2015 Presented by Cleveland State University’s Center for Arts and Innovation

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

– The Washington Post

Sunday, October 19, 2014 Passionate Classicists — Schubert and Brahms

Sunday, November 16, 2014 Torment and Triumph — Music of Franz Liszt

Sunday, March 15, 2015

Three Great “Bs” — Bach, Beethoven and Bartók

Sunday, May 3, 2015

Popular Piano Classics

All concerts begin at 3:00 pm in Cleveland State University’s Waetjen Auditorium, Euclid Ave. and E. 21st St. For more information call 216.687.5022 or visit www.csuohio.edu/concertseries/kc

There’s a new Hospice House on the eastside

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“I’m a long-time listener of WCLV. I love being able to listen to Bhe Cleveland Orchestra broadcasts…I really feel like I’m there every time.”

- Alan Markowitz & Cathy Pollard

Montefiore A Caring Community

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Find out more at ideastream.org/support

The Cleveland Orchestra

Three Excerpts from the opera Wozzeck composed 1914-22 The following commentary and explanation appeared in The Cleveland Orchestra’s program book in 1970, when Pierre Boulez led the Orchestra’s first performances of these Three Excerpts from the opera Wozzeck: ALBAN BERG

by

Alban

BERG born February 9, 1885 Vienna died December 24, 1935 Vienna

Severance Hall 2014-15

was one of three masters who formed the triumvirate of the Viennese twelve-tone school, with his teacher Arnold Schoenberg and his colleague Anton Webern. Virtually all 20th-century music that utilized “serial” methods of organizing music as a language derived from one or more of these composers.

There are five scenes in each of the three acts of Wozzeck, making fifteen in all. These are labelled in the score as “Five Character Studies” for Act I, “Symphony in Five Movements” for Act II, and “Six Inventions” for Act III (where Berg counted an interlude as a separate invention). All the scenes, in fact, are connected by orchestral interludes. Berg extracted the “Three Excerpts” [Bruchstücke in German, or “fragments”] for the concert hall from the score for use before the opera’s first stage performance.

The title character Wozzeck is a pitiable figure, a social underling, a humble soldier, unable to face his family problems, pursued by paranoia, beaten by poverty. He and his mistress, Marie, have a child. He is orderly to the Captain of the regiment, who for amusement teases Wozzeck about his “morals.”

Wozzeck is also bound by necessity to allow the regimental Doctor to experiment upon him.

I. Act 1. The interlude after Scene 2; Scene 3. (Marie’s room, evening. Military march and cradle song.) This first excerpt introduces Marie in their poor tenement, her child beside her. A regiment passes, and she sings of them. The troop is led by a goodlooking drum major, who waves to Marie at her window. The strains of the march are suddenly shut out as she closes the window. She rocks the child to sleep with a lullaby.

(In the intervening scenes, Marie is seduced by the drum major, who gives her a pair of pretty earrings, and the Captain and the Doctor taunt Wozzeck with the fact. Wozzeck is maddened by jealousy and almost strikes Marie. The drum major baits him in a dance hall, and later in the barracks provokes a fight, leaving Wozzeck beaten and bloody.)

II. Act 3. Scene 1; interlude before Scene 2. (Marie’s About the Music

41

At a Glance Georg Büchner (1813-1837) sketched a play, Wozzeck (originally spelled “Woyzeck”) in the year before his death.

Alban Berg witnessed a stage performance in May 1914, and soon therafter began to cast it into a libretto. He completed his text in 1917, and the full score of his opera in 1921.

The entire opera was first heard at the Staatsoper in Berlin on December 24, 1925, under the direction of Erich Kleiber. Performances followed throughout Europe and then in America.

Three Excerpts were prepared by the composer before the performance of the entire work was possible; they were first presented in Frankfurt-am-Main on June 11, 1924, Hermann Scherchen conducting.

The Three Excerpts run about 20 minutes in performance. Berg’s score calls for 4 flutes, 2 piccolos, 4 oboes, english horn, 4 clarinets, E-flat clarinet, bass clarinet, three bassoons, contrabassoon, 4 horns, 4 trumpets, 4 trombones, tuba, timpani (two players), percussion (cymbals, bass drum, snare drum, birch brush, large tam-tam, small tam-tam, triangle, gong, xylophone), celesta, harp, and strings.

The Three Excerpts from Wozzeck were first presented

by The Cleveland Orcherstra in March 1970 under the direction of Pierre Boulez.

room, night. She talks to her child.) In the second excerpt, Marie in her room is reading from the Bible the story of Mary Magdalene and reproaching herself for her own sins. The music takes the form of a theme and variations.

(A night scene by a pond shows Marie and Wozzeck. She points out that the moon is blood-red, and at the word he is possessed by one of his wild hallucinations. He thrusts his knife into her throat. He runs away in terror, but returns to recover the knife, and throws it into the pond. He wades blindly into the water, which in his imagination has turned to blood. He stumbles and is drowned.)

III. Act 3. Conclusion of Scene 4; interlude; Scene 5.

(Drowning of Wozzeck. Children in front of Marie’s house on a bright, sunny morning.) The last excerpt begins at this point, and after an orchestral adagio in D minor leads to the final scene. It is the street in front of Marie’s house. Her little boy is playing with other children. They hear about the murder and tell the child that his mother is dead. The children sing a snatch of a play song. The boy does not know what dead means, but continues to play on his hobby-horse, calling ‘Hopp! Hopp!’

The children run off to see the body and the little boy follows, still calling ‘Hopp! Hopp!’

—John N. Burk Copyright © Boston Symphony Orchestra

T H E G R E AT

music journalist and critic Alfred Einstein wrote about Berg’s opera: “From beginning to end it is both impressionistic and expressionistic. It is music drawn from the character Wozzeck’s poor, worried, inarticulate, chaotic soul — it is a vision in sound. The orchestra is like a bundle of nerves; at first sight it seems to consist only of confused strands, but it is actually a living organism. The events seem to be part of a dream; they are distorted as in some fantastic nightmare; even the folksong element is distorted. Even the noise proves to be expression and the naturalism style. In the crucial scene, when Wozzeck becomes aware of Marie’s infidelity, a chamber orchestra is used to represent the subconscious ideas of blood and knife — ideas with which Wozzeck toys for the first time. . . . The work is full of what lies behind and beneath the ordinary waking life. . . . What makes Wozzeck so unique and so convincing is that in this one particular case we have a composer whose technique from first to last is in perfect accord with his purpose of giving expression to the poem.”

SuperƟtles provided by the San Francisco Opera AssociaƟon.

42

About the Music

The Cleveland Orchestra

Three Excerpts from Wozzeck music and text by Alban Berg based on the play by Georg Büchner Excerpt One: Act 1, Interlude — Scene 3 Soldaten, Soldaten Sind schöne Burschen!

Soldiers, soldiers Are handsome fellows!

Lullaby Cradle Song Komm’, mein Bub! Was die Leute wollen!

Bist nur ein arm’ Hurenkind und machst Deiner Mutter doch so viel Freud’ Mit Deinem unehrlichen Gesicht.

Eia popeia.

Come, my boy, what do people expect?!

You are only a whore’s child and yet you give your mother joy with your unhallowed face.

Lull-a-by.

Mädel, was fangst Du jetzt an?

Hast ein klein Kind und kein Mann!

Ei, was frag’ ich darnach?

Sing’ ich die ganze Nacht: Ei popeia, mein süsser Bu’, Gibt mir kein Mensch nichts dazu!

Hansel, spann’ Deine sechs Schimmel an, Gib sie zu fressen auf’s neu . . .

Kein Haber fresse sie, Kein Wasser saufe sie, Lauter kühle Wein muss es sein!

Girl, what now can be done?

You have a young child and no husband.

What’s the good of asking?

If I should sing all night: Hush-a-by, my sweet baby, Not a soul would come to my help.

Hansel, harness your six white horses, Let them eat to refresh themselves . . .

No plain food they’ll eat, No simple water they’ll drink!

Only cool wine must it be!

Excerpt Two: Act 3, Scene 1 — Interlude “Und ist kein Betrug in seinem Munde erfunden worden . . .”

Herr Gott, Herr Gott! Sieh mich nicht an!

“And there is no guile found in his mouth.”

Lord, Lord, look not upon me!

Variation 1 (Marie continues reading) “Aber die Pharisäer brachten ein Weib zu ihm, so im Ehebruch lebte.

Jesus aber sprach:

“But the Pharisees brought unto him a woman who lived in adultery.

But Jesus said:

Variation 2 ‘So verdamme ich Dich auch nicht, geh’ hin, und sündige hinfort nicht mehr!’ ” Herr Gott!

‘I condemn thee not; go now and sin no more!’”

Lord!

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Excerpts from Wozzeck — Sung Texts

43

Variation 3 (Marie looks at her child) Der Bub’ gibt mir einen Stich in’s Herz!

Fort! Das brüst’ sich in der Sonne!

The boy stabs me to the heart!

Go! You’re nothing to brag about!

Variation 4 (Marie cries suddenly) Nein, komm’, komm’ her! Komm zu mir!

No, no! Come here! Come to me!

Variation 5 (Marie begins to tell the child a story) “Es war einmal ein armes Kind “Once there was a poor child und hatt’ keinen Vater und who had neither father nor mother; keine Mutter; war Alles tot und Both were dead and there was war Niemand auf der Welt, und no one else in the world, and es hat gehungert und geweint he was hungry and wept Tag und Nacht . . .” day and night . . .”

Variation 6 (continues the narration ) “Und weil es Niemand mehr hatt’ auf der Welt . . .”

Der Franz ist nit kommen, gestern nit, heut’ nit . . .

“And since he had no one left in the world . . .”

Franz has not come, not yesterday, not today . . .

Variation 7 (turning quickly to the Bible) Wie steht es geschrieben von der Magdalena?

What is written here about Mary Magdalene?

Fugue (Marie reads, then beats her breast) “Und kniete hin zu seinen Füssen und weinte und küsste seine Füsse and netzte sie mit Tränen und salbte sie mit Salben.”

Heiland! lch möchte Dir die Füsse salben; Heiland, Du hast Dich ihrer erbarmt, erbarme Dich auch meiner!

“And she knelt and kissed His feet and wept, moistening them with her tears, and anointed them with ointment.”

Holy one, I would anoint Thy feet also. Lord, Thou hadst pity on her; have pity on me, too!

Excerpt Three: Act 3, end of Scene 4 — Interlude — Scene 5 (Children are playing and singing “Ringel, Ringel” with Marie’s son.

Others burst in asking if they have heard the news about Marie.

One tells her son this his mother is dead, but he does not understand.

The children run off to see Marie’s body. Her son follows, still singing the game of “hopp, hopp” on his hobby-horse.)

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Excerpts from Wozzeck — Sung Texts

The Cleveland Orchestra

Michelle DeYoung American mezzo-soprano Michelle DeYoung has already established herself as one of the most exciting artists of her generation. She made her Cleveland Orchestra debut in July 1999. She has returned on several occasions, including performances under the direction of Pierre Boulez in 2003, 2004, and 2008. Her most recent performances here were in Verdi’s Requiem in June 2012.

Ms. DeYoung performs each season in concert with major orchestras, at the world’s renowned opera houses, and in recital. This season, she is making her role debut as Herodias in Salome with Opera San Antonio and her house debut with Opera Philadelphia as Eboli in Verdi’s Don Carlos. Her concert appearances include engagements with the Dallas Symphony Orchestra, Milwaukee Symphony Orchestra, Israel Philharmonic, and Seoul Philharmonic, Sydney Symphony Orchestra, BBC Symphony Orchestra, and the Hong Kong Philharmonic.

Other leading orchestras with whom Michelle DeYoung has appeared include those of Amsterdam, Berlin, Boston, Chicago, London, Los Angeles, Minnesota, New York, Paris, Pittsburgh, San Francisco, and Vienna. She has also performed at the Aspen, Cincinnati, Edinburgh, Lucerne, Ravinia, Saito Kinen, Salzburg, and Tanglewood festivals, and on recital stages across Europe and North America. She can be heard on international opera stages, from the Houston Grand Opera, Lyric Opera of Chicago, and Metropolitan Opera to the Bayreuth Festival, La Scala, and Tokyo Opera.

Recordings featuring Ms. DeYoung include Grammy-winning albums with the San Francisco Symphony singing Mahler’s Kindertotenlieder and in the London Symphony Orchestra’s live recording of Berlioz’s opera Les Troyens. Her growing discography also includes two recordings of Mahler’s Third Symphony, with the Chicago Symphony Orchestra and with the Pittsburgh Symphony, Bernstein’s “Jeremiah” Symphony, and Mahler’s Song of the Earth with the Minnesota Orchestra. Her first solo disc was released on the EMI label.

Michelle DeYoung won the 1992 Metropolitan Opera National Council Auditions and is a graduate of the Met’s Lindemann Young Artist Development Program. She earned a bachelor’s degree from California State University.

On the advice of her physician, soprano Anne Schwanewilms, who was originally scheduled to sing at this concert, has regretfully cancelled her performance.

We are pleased to welcome mezzo-soprano Michelle DeYoung, who agreed to step in to perform in the Three Excerpts from Wozzeck in her place.

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Soloist

45

Cleveland Orchestra Children’s Chorus Ann Usher, Director

Suzanne Walters, Assistant Director Dianna White-Gould, Accompanist

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

T H R E E E X C E R P T S F R O M WO Z Z E C K Leah Benko Célina Béthoux Mari Gomez Lexy Jensen Amelia Johnson

Annalise Johnson Arthur Li Nathan Niedzwiecki Charlie Proctor Christina Randazzo

David Ricci, BOY SOLO Emma Rosberil Eva Shepard

Ann Usher

Director, Cleveland Orchestra Children’s Choruses

Ann Usher has served as director of the Cleveland Orchestra Children’s Choruses since 2000. She prepares the Children’s Chorus for their appearances as part of the annual Christmas concerts, community concerts, and in the Orchestra’s performances of operas and symphonic works that call for children’s voices. Ms. Usher is director of the School of Music and a professor of music at the University of Akron, where she teaches graduate and undergraduate choral music education courses. Prior to her appointment as director, she also supervised student teachers and directed the University Singers. She previously taught choral music in the public schools, specializing in the middle school level. She has served on adjudicated committees for the Ohio Music Educations Association (OMEA) and in 2014 served as director of OMEA’s inaugural All-State Children’s Chorus for fourth and fift h graders. Active as a clinician and adjudicator, Ann Usher holds a bachelor of music education degree from the University of Northern Iowa, and a master of music degree in choral conducting and a doctorate in music education from Kent State University.

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Severance Hall 2014-15

Cleveland Orchestra Children’s Chorus

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Jeux [“Games”], poème dansé composed 1912 F O R H I S PA R I S - BA S E D

by

Claude

DEBUSSY born August 22, 1862 St. Germain-en-Laye, France died March 25, 1918 Paris

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ballet company, Ballets Russes, launched in 1909, impresario Sergei Diaghilev wanted to enlist as many of the world’s leading composers as possible. While Igor Stravinsky soon became his favorite collaborator, over the course of a remarkable couple of decades, Diaghilev commissioned works from Maurice Ravel (Daphnis and Chloé), Richard Strauss (Joseph-Legend), Manuel de Falla (The Three-Cornered Hat), and Sergei Prokofiev (The Buffoon, The Step of Steel, and The Prodigal Son). Obviously, he wasn’t about to overlook the composer who had come to be regarded as the greatest of French musicians, Claude Debussy.

Debussy’s contacts with Diaghilev began in 1912 when the company presented his Prelude to the Afternoon of a Faun, with Vaslav Nijinsky in the title role. The music, written 20 years earlier, was by then well established in the concert repertoire. The balletic premiere, however, was widely criticized for Nijinsky’s work as a choreographer — this was the great dancer’s debut in that capacity. As shocking as some of Nijinsky’s gestures were to a large part of the audience, the ballet was still quite successful as theater (some called it a succès de scandale), and Diaghilev was keenly interested in commissioning an original score from Debussy for the company’s next season.

The scenario that Nijinsky created for Debussy to work on was supposed to be “a plastic vindication of humanity in 1913” — meaning that it was to be a bold assertion of modernity. This modernity came from using a modern game, tennis, to inspire the action of the ballet itself. Tennis as a subject matter was, indeed, far removed from the mythology of Ravel’s Daphnis and Chloé, or from the pagan ritual of Diaghilev’s next production, The Rite of Spring. Tennis could easily seem closer to “humanity of 1913” than Greek or Russian antiquity, especially with the electric lighting that Nijinsky included in the story. Yet, as Edward Lockspeiser writes in his book on Debussy, “the story of the three tennis-players who, having lost their ball, turn their search into a flirtation scene, is in itself not more than attractively naïve.”

Nijinsky’s synopsis was: “The scene is a garden at dusk; a tennis ball has been lost; a young man and two girls are searching for it. The artificial light of the large electric lamps shedding About the Music

49

At a Glance Debussy finished the “poème dansé” Jeux on August 23, 1912. The ballet was first performed on May 15, 1913, at the Théâtre des ChampsÉlysées in Paris by Sergei Diaghilev’s Ballets Russes, with Pierre Monteux conducting.

The first concert performance also took place in Paris, on March 1, 1914, with Gabriel Pierné conducting.

This “danced poem” (as Debussy called it) runs about 15 minutes in performance.

Debussy scored it for 2 flutes, 2 piccolos, 3 oboes, english horn, 3 clarinets, bass clarinet, 3 bassoons, contrabass sarrusophone (a brass instrument played with a double reed), 4 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion (tambourine, triangle, cymbals, xylophone), celesta, 2 harps, and strings.

The Cleveland Orchestra first performed Debussy’s Jeux in March 1965, as part of Pierre Boulez’s first set of concerts with the Orchestra.

The most recent performances were in 2004, under the direction of Franz WelserMöst.

The Cleveland Orchestra has recorded Jeux on two occasions — with Lorin Maazel in 1978 and with Pierre Boulez in 1995. The latter was part of an all-Debussy album that received two Grammy Awards, as Best Classical Album and as Best Orchestral Album.

50

fantastic rays about them suggests the idea of childish games — they play hide and seek, they try to catch one another, they quarrel, they sulk without cause. The night is warm, the sky is bathed in a pale light; they embrace. But the spell is broken by another tennis ball thrown in mischievously by an unknown hand. Surprised and alarmed, the young man and the girls disappear into the nocturnal depths of the garden.”

Of course, this synopsis is not very rich in dramatic effects. But the agility of the tennis game and the charming antics of the three young people captured Debussy’s musical imagination. And it seemed to be exactly the kind of story, not too concrete in details yet filled with poetic images, that he could work with best.

Music critic Émile Vuillermoz later described how Debussy’s music is able to express the tennis game: “This supple music is extraordinarily nimble, always ready for sudden movements. It is constantly on the alert like the tennis players it describes. Every few bars its movement and color change. It quickly abandons a design, a timbre, an impulse, and rushes off in another direction. Presently, the melody is returned with a skillful back-hand stroke; the theme, dexterously taken, is sent to and fro in volleys or half-volleys, now stopped short in its course, now taken on the rebound like a cut ball.”

Part of Debussy’s success in this score is what he called music “lit from behind” — which was his way of describing transparence in the melodic writing so that the contrast between “theme” and “accompaniment” almost disappears, with background and foreground playing equally important and balanced roles.

Interestingly, Jeux — Debussy’s last completed orchestral score — remained relatively unknown for decades after it was written. It didn’t start to attract widespread attention until the 1950s, when its innovative musical ideas — those of continuity and discontinuity, among others — came to be better understood. It seems that the portrait of “humanity in 1913” may indeed be found in Jeux, but in Debussy’s music rather than in Nijinsky’s banal story. Jeux survives today almost exclusively as a concert piece, and as such, it is both one of Debussy’s most exciting works and one of the great scores written for Sergei Diaghilev and the Ballets Russes.

—Peter Laki Copyright © Musical Arts Association

About the Music

The Cleveland Orchestra

PI E RRE BOU LE Z

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Letter to The Cleveland Orchestra, 2010

51

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.

GIFTS OF $5 MILLION AND MORE

The Cleveland Foundation Cuyahoga County residents through Cuyahoga Arts and Culture Mr. and Mrs. Alexander M. Cutler

Maltz Family Foundation Mr. and Mrs. Albert B. Ratner Anonymous

GIFTS OF $1 MILLION TO $5 MILLION

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

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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)

Sound for the Centennial Campaign

The Cleveland Orchestra

GIFTS OF $500,000 TO $1 MILLION

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

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

GIFTS OF $250,000 TO $500,000

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

Mr. Clarence E. Klaus, Jr. Giuliana C. and John D. Koch Dr. Vilma L. Kohn* 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

GIFTS OF $100,000 TO $250,000

The Abington Foundation Mr. and Mrs. George N. Aronoff Jack L. Barnhart Fred G. and Mary W. Behm Ben and Ingrid Bowman Dr. Christopher P. Brandt and Dr. Beth Sersig Helen C. Cole Charitable Trust The Mary S. and David C. Corbin Foundation Mary Kay DeGrandis and Edward J. Donnelly 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

Kenneth M. Lapine and Rose E. Mills Dr. David and Janice Leshner Linda and Saul Ludwig Dr. and Mrs. Sanford E. Marovitz Mr. Thomas F. McKee The Margaret Clark Morgan Foundation The Nord Family Foundation Mr. Gary A. Oatey Park-Ohio Holdings Corp.

Polsky Fund of Akron Community Foundation Quality Electrodynamics (QED) Helen Rankin Butler and Clara Rankin Williams The Reinberger Foundation Audra and George Rose RPM International Inc. Raymond T. and Katherine S. Sawyer Mrs. David Seidenfeld Andrea E. Senich David Shank Naomi G. and Edwin Z. Singer Sandra and Richey Smith

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

* deceased

Severance Hall 2014-15

Sound for the Centennial Campaign

53

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LEARNING MORE ABOUT THE MUSIC

SEASON

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

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

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

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

Severance Hall 2014-15

Cleveland Orchestra Concert Previews are presented before every regular subscription concert, and are free to all ticketholders to that day’s performance. Previews are designed to enrich the concert-going experience for audience members of all levels of musical knowledge through a variety of interviews and through talks by local and national experts.

Concert Previews are made possible by a generous endowment gift from Dorothy Humel Hovorka.

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

55

Act one begins

Beck Center for the Arts

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

W E L S E R - M Ö ST M U S I C

D I R E C T O R

Severance Hall

Friday evening, January 16, 2015, at 8:00 p.m.

Saturday evening, January 17, 2015, at 8:00 p.m.

Franz Welser-Möst, conductor RYAN WIGGLESWORTH (b. 1979)

SEASON

Études-Tableaux [Study-Pictures] WORLD PREMIERE PERFORMANCES

Commissioned by The Cleveland Orchestra with support from the Young Composers Endowment Fund, generously established by Jan R. and Daniel R. Lewis.

INTERMISSION GUSTAV MAHLER (1860-1911)

Symphony No. 6 in A minor 1.

2.

3.

4.

Allegro energico, ma non troppo Andante moderato Scherzo: Wuchtig [Powerful] Finale: Allegro moderato

The presentation of this week’s world premiere performances of Ryan Wigglesworth’s Études-Tableaux is supported in part by the National Endowment for the Arts.

The concert will end at about 10:05 p.m.

CLEVELAND ORCHESTRA RADIO BROADCASTS

Current and past Cleveland Orchestra concerts are broadcast as part of regular weekly programming on WCLV (104.9 FM), on Saturday evenings at 8:00 p.m. and Sunday afternoons at 4:00 p.m.

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Concert Program — Week 10b

57

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The music continues after the concert on 89.7 FM Now with more news and information programming during the day and more of your classical music favorites in the evening.

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58

The Cleveland Orchestra

INTRODUCING THE CONCERT

Mahler — Tragedy& Fate T H E S E F R I D AY A N D S A T U R D AY C O N C E R T S

present a famously enigmatic symphony by Gustav Mahler, paired with a brandnew work commissioned

by The Cleveland Orchestra.

Mahler himself gave his Sixth Symphony the nickname “Tragic,” then later decided it should not carry the weight of that label. There are many varying stories, from Mahler and his contemporaries, and from his wife Alma after his death, concerning the composer’s feelings about this music.

In some stories, tragic events came to Mahler, but after the symphony had been written. In others, his sense of fate was actively associated with this music. Evenso, there are moments of both tragic and happier music within the confines of this dramatically moving 75-minutes work.

In the symphony’s fourth movement, Mahler wrote a part for large hammer, which falls against a resonant block of wood — echoing the sound, GUSTAV MAHLER Silhouette by Hans Schliessmann perhaps, of an axe chopping at or splitting a tree.

Mahler changed his mind as to how many of these should sound, removing one of three from the score — and then reconsidering his decision. Alma his widow described these as “the blows of fate and destiny.” This weekend, Franz Welser-Möst is choosing for two, leaving the third moment powerful in its incomplete emptiness.

Regardless the inclusion (or absence) of any intended message overall, this is an impactful symphony, filled with searingly beautiful and heartfelt action.

This concert also features the world premiere of a new work

by Ryan Wigglesworth, The Cleveland Orchestra’s current Daniel R. Lewis Young Composer Fellow. Études-Tableaux, or “Study-Pictures,” was created specifically for this Orchestra during the course of his fellowship with us. New works always offer the excitement of new sounds and the possibility of finding a new favorite.

—Eric Sellen

Severance Hall 2014-15

Introduction

59

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Jonathan Biss

piano

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60

The Cleveland Orchestra

Études-Tableaux [Study-Pictures] composed 2009-14 The composer has written the following commentary about this new work, being given its world premiere performances this week: ASPECTS

by

Ryan

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

At a Glance Wigglesworth wrote Études-Tableaux in 2013-14, based in part on material from an abandoned piece started in 2009, on a commission from The Cleveland Orchestra, supported through the Young Composers Endowment Fund. Wigglesworth is serving as the Daniel R. Lewis Young Composer Fellow during the 2013-14 and 2014-15 seasons.

This work runs about 15 minutes in performance.

Wigglesworth scored it for 3 flutes (third doubling piccolo), 2 oboes, english horn, 3 clarinets, 2 bassoons and contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, a large percussion battery (4 players), harp, celesta, and strings.

Severance Hall 2014-15

of Études-Tableaux are based upon material first conceived in 2009 for an orchestral piece that I decided ultimately to withdraw. Ever since, I’ve been awaiting the right opportunity to rescue some of this original material, and to develop it along very different lines.

As its title (“Study-Pictures”) implies, the work falls into several sections, each with a distinct character. At the same time, my intention was to forge from these discrete panels a single arch-like shape, each section flowing into the next (sometimes with bridging material, sometimes not) without any hiatus.

Many of the work’s melodic and harmonic ideas migrate freely between sections, though often subjected to various types of transformation.

The opening music pits two of the work’s principal ideas against each other — in the woodwind, quick, darting figures sound above slow-moving harmonies in the brass and strings.

Out of this emerges a passage for solo english horn (accompanied by muted horns and tremolo strings), which in turn leads to the work’s first main climax. Next, a unison string line settles eventually into a chorale, only to be broken off by a brief clarinet solo whose melody heralds the work’s central section.

This section is itself made up of several smaller episodes, all fast in tempo, and crosscutting with ever greater frequency.

The section’s closing music is dominated by the brass, first utilizing fanfare-like material before subsiding into a varied recapitulation of the earlier string chorale. A final climax leads to a return of the opening slow-moving harmonies, now underpinning an extended version of the clarinet solo (which has also appeared in various guises throughout the central section), played here by violins and woodwind. The work’s coda finally establishes a sense of calm stasis, with flutes, harp, celesta, and percussion providing a sustained pedal over further fragments of chorale.

—Ryan Wigglesworth december 2014

About the Music

61

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

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

—Ryan Wigglesworth

Ryan Wigglesworth, photo by Benjamin Ealovega

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

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

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

Ryan Wigglesworth is the current Daniel R. Lewis Young Composer Fellow with The Cleveland Orchestra; his work Locke’s Theatre was presented during the 2013-14 Severance Hall season. He is also serving as composer-in-residence with English National Opera (ENO), for whom he is writing an opera to be premiered in 2017, and with whom he conducts a new production every season.

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

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

Wigglesworth’s recent recording of orchestral works by Harrison Birtwistle, on an album with Hallé for NMC, won awards from Gramophone and BBC Music magazines. An album of his own works will be released in 2015.

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

This week’s world premiere performances are also supported in part by funding from the National Endowment for the Arts.

Severance Hall 2014-15

About the Composer

63

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The Cleveland Orchestra

Symphony No. 6 in A minor composed 1903-04 MAHLER’S

by

Gustav

MAHLER born July 7, 1860 Kalischt, Bohemia (now Kalištì in the Czech Republic) died May 18, 1911 Vienna

regular routine, during the years when he was music director of the Vienna State Opera (then the Vienna Court Opera), was to devote the winter months to the opera house and the summer months to composition. To both activities, he devoted a heroic work ethic and a fanatical concentration, and it helped him for his “summer job” to get away from the city to work in total tranquility. To this end, he built himself a villa at Maiernigg on the shores of the Wörthersee in southern Austria, with a further refuge from the villa being a hut to work in set away in the woods.

The Fift h, Sixth, and Seventh Symphonies, often viewed as a group, being three very large works composed for orchestra alone without voices, were the astonishing fruit of this regime.

The Fifth was completed in the summer of 1902 and the Sixth written in 1903 and 1904, the Seventh in 1904 and 1905.

These were happy years for Mahler. He married the beautiful Alma Schindler in 1902, and she gave birth to their first child the same year, and a second daughter was born in 1904. Gustav’s works were played with increasing frequency in Germany and Holland, and with his post at the Vienna Opera — to which he was appointed in 1897 after a series of increasingly prestigious posts in different cities — he had reached the pinnacle of the musical profession. He was 43, rich, and in the prime of life.

The Sixth Symphony is bursting with creative vitality. It is a long work with a profusion of motifs and themes, a kaleidoscopic variety of moods, and an unstoppable flow of contrapuntal invention — the bringing together of various musical ideas in infinite combinations. Long movements, such as the halfhour finale, pose tough structural problems if listeners are not to lose their way. Yet any concerns about formal coherence are dwarfed by the unending resourcefulness of Mahler’s mind. He is entitled to extend these movements beyond the point others would think excessive by the sheer pressure of musical invention. Like Bach seeking out every possible permutation in his larger fugues, Mahler similarly felt that the music is not over until he has exhausted his own wells of creativity.

A TRAGIC SYMPHONY?

How then can we explain how the Sixth Symphony acSeverance Hall 2014-15

About the Music

65

Mahler’s writing cottage in the woods at Maiernigg on the shores of the Wörthersee in southern Austria, where he composed the Fifth, Sixth, and Seventh symphonies across the summers of 1902 to 1905.

66

quired the nickname, the “Tragic”? Like Schubert’s Fourth Symphony, on which Schubert himself wrote the German word Tragische even though the music is far from tragic in character, Mahler himself allowed the term to be applied to his Sixth, then later repressed it. It is not at all clear that he himself viewed the symphony in that light when he wrote it, whereas a tragic, prophetic character was firmly bestowed on it by Alma as his widow many years later. Hindsight has played more part in the interpretation of this work than of any other, and there is evidence that Mahler too saw his music in a different light when his life was indeed darkened by tragedy.

The final bars conclude in the minor key, it is true, but these two pages cannot overturn the impression of the rest.

Music that has been positive and ebullient for over an hour does not become tragic in thirty seconds.

Then there are the famous blows of the hammer in the last movement, and the often-debated question of whether Mahler’s manuscripts and later instructions call for three or only two (with the third moment left purposely emptier without it). In a huge orchestra with extensive percussion, it is merely a reinforcement of the noise to add a hammer to the already heavy thud of the bass drum. A hammer is not tragedy until it is described as a “hammer-blow of fate,” which tradition says Mahler came to interpret those moments in the finale when the hammer descends.

The fateful three blows in the composer’s own life fell in quick succession in 1907, three years after the completion of the Sixth Symphony. He was diagnosed with a heart lesion, which About the Music

The Cleveland Orchestra

eventually proved fatal; he resigned under heavy pressure from the Vienna Opera; and his adored elder daughter Maria died aged four. He is said to have removed the third hammer-blow from the score as a portent of his own death.

Then there is the curious fact that during the composition of the Fift h Symphony (but before he had children of his own) Mahler had begun to set five poems by Rückert, Kindertotenlieder or “Songs on the Death of Children,” about the death of youngsters. Surely, it is argued by those wanting to find it, his life was prophetically encoded in his own music.

To that point, and no further, can the case for the Sixth Symphony as “Tragic” be made. The evidence of our ears, meanwhile, places the arguments almost entirely on the other side. Any large work will encompass moods of every kind, including passages that might be dark and foreboding — but here, for much of the work, we have music that lifts the heart and seems to sing with the birds of summer.

THE MUSIC’S STRUCTURE

The two middle movements in particular, the slow movement and the scherzo, following the convention of four-movement symphonies, are respectively serene and light. Mahler originally placed the scherzo in second place and the Andante third. At the first performance in Essen in February 1906 Mahler decided to reverse this and place the scherzo third, after the slow movement, and later always performed it in that order (the order in which Franz Welser-Möst has chosen to play the movements in this weekend’s Cleveland performances). By that time the publishers had already printed the score with the scherzo second. Arguments for the suitability of either sequence can be easily made, and it is normally the conductor’s choice in today’s performances.

Mahler was by nature unable to refrain from tinkering with his own music. Every time he conducted a work he found improvements that needed to be made, usually in the orchestration, to improve the balance, or to adjust to the needs of a particular hall. His symphonies thus survive in a variety of different texts, so that editors and conductors are normally required to make choices at every level. The question of the third hammer-blow and the order of the two middle movements fall into this area of Mahler’s heritage.

In other respects, Mahler left his interpreters little choice.

Severance Hall 2014-15

About the Music

Certain types of musical character are important in this work. March tempos, always a favorite for Mahler, appear in the first and last movements, and are especially striking at the beginning, as if to convey the stamping tread of marching feet. Much of the last movement also strides forward at a healthy march pace.

67

At a Glance Mahler began work on his Sixth Symphony in 1903 and completed it in 1904. He conducted the symphony’s premiere on May 27, 1906, in Essen, Germany. The first performance in the United States took place in December 1947 at New York’s Carnegie Hall, with Dimitri Mitropoulos leading the New York Philharmonic.

This symphony runs about 75 minutes in performance. Mahler scored it for 4 flutes, 4 oboes, 3 clarinets, E-flat clarinet, bass clarinet, 3 bassoons, contrabassoon, 8 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, snare drum, cymbals, triangle, rattle, tam-tam, glockenspiel, xylophone, cowbells, deep bells, twig brush, hammer), celesta, and strings.

The Cleveland Orchestra first performed Mahler’s Sixth Symphony in October 1967 under George Szell’s direction. (These performances, taped as part of the Orchestra’s nationallysyndicated radio broadcasts, were later edited and released commercially by Columbia Records.) The Sixth has been performed on several occasions since then, most recently in March 2001 at Severance Hall, conducted

by Michael Tilson Thomas.

68

He is explicit to the point of fussiness in marking dynamics and interpretative details in his scores. The complexity of his scores, especially those with as large an orchestra as that of the Sixth Symphony, calls for great precision in allowing instrumental detail to be heard, which it is the conductor’s duty to ensure.

An interesting case is the moment early in the first movement marking the transition between first and second sections:

The blend of oboes and trumpets shifts in the course of the first bar since the trumpet sound decreases while the oboe sound increases. The major chords is thus colored differently from the minor chord that follows. This kind of detail shows the master of orchestration at work.

Certain types of musical character are important in this work. March tempos, always a favorite for Mahler, appear in the first and last movements, and are especially striking at the beginning, as if to convey the stamping tread of marching feet; these pulses are often reinforced by dotted rhythms. Much of the last movement also strides forward at a healthy march pace.

Then there are hymn-like passages or chorales, sometimes reminiscent of Anton Bruckner’s style. The second section of the first movement is such a passage, played by the winds over occasional plucked-string pizzicatos. Another is heard early in the last movement, this one scored for the deepest instruments, giving prominence to the tuba, contrabassoon, bass clarinet and low horns, all playing soft ly — an inspired, magical effect.

The strings come into their own in the slow movement, a kind of rondo (a form of alternating sections) with two contrasting episodes, while the essentially staccato character of the scherzo movement gives prominence to the winds. This too is a rondo with an episodic Trio appearing twice. In these two movements, the standard classical forms are respected, and in the first movement too, with the repeat of its opening material and the other features of classical sonata form in place, the traditional outline is not hard to follow. Only in the finale, when Mahler’s prodigious inventiveness takes over, is the skeleton of About the Music

The Cleveland Orchestra

its basic form hidden by many layers under the musical surface.

The protagonist of this long adventure is not so much Mahler the composer as the giant modern orchestra of 1905.

Following the vast expansion effected by Richard Wagner in scoring for his four-opera Ring of the Nibelung, turn-of-thecentury composers — and not just Richard Strauss and Mahler — adopted orchestral ensembles as big as the stage or concert platform could accommodate. The benefits are not just increased volume; if you have four oboes and an english horn, a five-note chord can be heard entirely in the oboe’s double-reed tone quality — whereas with earlier, smaller orchestras this was not possible. Eight horns can dominate the central texture; six trumpets or four trombones can penetrate whenever they choose. Yet, because Mahler’s scoring is always transparent, without needless doubling, a single instrument such as the celesta or bass clarinet can stand out in the crowd. And Mahler’s use of percussion would make a study in itself, noting where the xylophone is used, and where the triangle, such details often contributing a tiny but discernable condiment to the taste of the whole dish.

With his Third and Sixth Symphonies Mahler wrote two immensely long symphonies and stretched the basic form to its limits. In the Third, he had voices to vary the texture and proclaim the message, and that work is divided into six movements.

Here in the Sixth, he preserved the traditional four-movement design and called upon no program, no text, no voices, and no grand message to focus the interpretation.

Mahler’s achievement in the purely orchestral work of such a size as the Sixth is remarkable, especially since the listener is free to determine its character. The “tragic” label may be right for some, but others will surely find in this music a broad landscape of great beauty, full of life and color, neither threatening nor doomed, a landscape wherein we may all enjoy the deepest satisfactions and always find something to smile at.

Only so much can be made of the nickname “Tragic” for this symphony.

Any large work encompasses moods of every kind, including passages that might be dark and foreboding.

Here, for much of the work, we have music that lifts the heart and seems to sing with the birds of summer.

—Hugh Macdonald © 2015

lec.edu 1.855.GO.STORM Severance Hall 2014-15

About the Music

69

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

The Cleveland Orchestra

THE CLEVELAND ORCHESTRA The Cleveland Orchestra applauds the generous donors listed here, who are making possible presentaƟons of arƟsƟcally

ambiƟous programming every year in Northeast Ohio.

The Andrew W. Mellon Foundation Mrs. Emma S. Lincoln George* and Becky Dunn Rachel R. Schneider Donald and Alice Noble Foundation, Inc. Judith and George W. Diehl Drs. Daniel and Ximena Sessler Blossom Women’s Committee T. K. and Faye A. Heston Ms. Beth E. Mooney Margaret Fulton-Mueller Jeanette Grasselli Brown and Glenn R. Brown James and Virginia Meil Mr. and Mrs. Stanley A. Meisel Mr. Larry J. Santon Dr. Gerard and Phyllis Seltzer Mr. and Mrs. Charles Abookire, Jr. Mr. J. William and Dr. Suzanne Palmer Dr. James and Lynne Rambasek Mr. and Mrs. Ralph Daugstrup Anonymous

Robert and Linda Jenkins Anthony T. and Patricia A. Lauria Mrs. Barbara Ann Davis Richard and Gina Klym Henry F.* and Darlene K. Woodruff Mr. Marc Stadiem Iris and Tom Harvie Ms. Nancy A. Adams Dr. M. Meredith Dobyns Jack Harley and Judy Ernest Tim and Linda Koelz Elizabeth F. McBride Patricia J. Sawvel Harry and Ilene Shapiro Ms. Frances L. Sharp Mr. and Mrs. William W. Taft

The Andrew W. Mellon Foundation has awarded The Cleveland Orchestra a grant of $2.5 million to support artistically ambitious programming such as performances of opera and ballet each season.

Of the Mellon Foundation’s commitment, $1.25 million will be awarded as part of a one-to-one challenge lasting through June 2016. This means that any gift to The Cleveland Orchestra designated to support special artistic initiatives will be doubled by the Mellon Foundation.

If you want to help ensure that ambitious performances of opera and ballet remain a meaningful feature of The Cleveland Orchestra’s season each year, or if you’d like more information on how to participate in the challenge grant, please contact the Orchestra’s Philanthropy & Advancement Office by calling 216-231-7558.

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72

The Cleveland Orchestra

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 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

72-A

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 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 CLEVELAND ORCHESTRA THE CLEVELAND ORCHESTRA TRA THE CLEVELAND ORCHESTRA

From the President

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

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From the President

The Cleveland Orchestra

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 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 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.

216.231.6500 • www.rosecenters.org Severance Hall 2014-15

Cleveland Orchestra News

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THE CLEVELAND ORC

Previously known as Golden Age Centers of Cleveland

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.

THE CLEVELAND ORCHESTRA THE CLEVELAND ORCHESTRA TRA THE CLEVELAND ORCHESTRA

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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

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.

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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.

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The Flight from Conversation

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Severance Hall 2014-15

Cleveland Orchestra News

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THE CLEVELAND ORC

Tinkham Veale University Center | 11038 Bellflower Road

THE CLEVELAND ORCHESTRA

Town Hall of Cleveland at Case Western Reserve University

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

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.

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

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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

Upcoming local performances by members of The Cleveland Orchestra include: The cello section of The Cleveland Orchestra appears in a special “cello ensemble extravaganza” on Friday evening, January 30. The event, presented by the Cleveland Cello Society (CCS) is titled “i Cellisti!” and begins at 7:30 p.m. at Harkness Chapel on the campus of Case Western Reserve University. Billed as a “rare treat because this group seldom appears together outside Severance Hall,” the Cleveland Orchestra celllists will present a program exploring cellists who were also composers.

For the evening’s grand finale, the cellists of the Cleveland Orchestra Youth Orchestra will join their mentor-colleagues onstage for a massed performance of Julius Klengel’s rarely-heard 12-part composition, Hymnus. Tickets are $15 for general seating, or $50 for a limited number of reserved front-row seats. All proceeds provide funding toward CCS’s annual scholarship competiion.

For more information, visit www.clevelandcello.com.

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

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

Cleveland Orchestra News

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The Cleveland Orchestra

THE CLEVELAN D ORCHESTRA

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

Cumulative Giving

Annual Support

JOHN L. SEVERANCE SOCIETY

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

$5 MILLION AND MORE

KeyBank PNC Bank $1 MILLION TO $5 MILLION

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

PARTNERS IN EXCELLENCE $300,000 AND MORE

BakerHostetler Bank of America Eaton FirstEnergy Foundation Forest City Enterprises, Inc. The Goodyear Tire & Rubber Company Hyster-Yale Materials Handling NACCO Industries, Inc. 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

Hyster-Yale Materials Handling NACCO Industries, Inc. KeyBank The Lubrizol Corporation Raiffeisenlandesbank Oberösterreich (Europe) The J. M. Smucker Company

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

Listing as of December 2014.

$50,000 TO $99,999

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

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

The Plain Dealer RPM International Inc.

Severance Hall 2014-15

Corporate Annual Support

$2,500 TO $24,999 Akron Tool & Die Company American Fireworks, Inc. American Greetings Corporation Bank of America BDI Brothers Printing Co., Inc. Brouse McDowell Eileen M. Burkhart & Co LLC Buyers Products Company Calfee, Halter & Griswold LLP Cleveland Clinic The Cleveland Wire Cloth & Mfg. Co. Cohen & Company, CPAs Consolidated Solutions Dominion Foundation Ernst & Young LLP Evarts Tremaine The Ewart-Ohlson Machine Company Feldman Gale, P.A. (Miami) Ferro Corporation FirstMerit Bank Frantz Ward LLP Gallagher Benefit Services The Giant Eagle Foundation Great Lakes Brewing Company Gross Builders Hahn Loeser & Parks LLP Jones Day (Miami) Littler Mendelson, P.C. Live Publishing Company Macy’s Marsh/AIG (Miami) Materion Corporation Miba AG (Europe) MTD Products, Inc. North Coast Container Corp.

Northern Haserot Oatey Co. Ohio CAT Ohio Savings Bank, A Division of New York Community Bank Oswald Companies PolyOne Corporation The Prince & Izant Company The Sherwin-Williams Company Stern Advertising Agency Struktol Company of America Swagelok Company Sylvester Comprehensive Cancer Center (Miami) Tucker Ellis UBS University Hospitals Ver Ploeg & Lumpkin, P.A. (Miami) WCLV Foundation Westlake Reed Leskosky Margaret W. Wong & Assoc. Co., LPA Anonymous (2)

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THE CLEVELAN D ORCHESTRA

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

Cumulative Giving

Annual Support

JOHN L. SEVERANCE SOCIETY

$1 MILLION AND MORE

$10 MILLION AND MORE

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

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

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

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 $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

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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.

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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

Severance Hall 2014-15

Individual Annual Support

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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

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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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Experience the exhilarating music of iconic American composers, including Aaron Copland, Samuel Barber, John Philip Sousa and Glenn Miller, when CIM presents Celebrating American Classics. Details at: FLP HGX ZFEHQHÀW

Severance Hall 2014-15

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

Akron: Built on Firm Foundations

Philanthropy 2.0: Posts, Likes and Shares Volunteer Vibe: From Red Kettles to Kids Who Pedal

Your Guide to: the the the 2O14 the

FESTIVAL BOOK

orchestra facilities concerts people

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

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

Mr. 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 Symphony recorded live in the Abbey of St. Sy 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 Jerusalem Quartet 24 February 2015 Steven Isserlis, cello, and Robert Levin, fortepiano 10 March 2015 Plymouth Church, UCC, 2860 Coventry Rd., Shaker Heights, OH 44120

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

Michael Hauser DMD MD Exacting craftsmanship and meticulous attention to every detail, every job.

216-952-9801 www.rbschwarzinc.com

Let Linn of Scotland bring concert hall quality music to \RXU OLYLQJ RU RI¿FH VSDFH (',7$%/( $5($ 21/<

LINNCRAFT Ulizzi Retailer textJohn can go Fine Audio in Cleveland since 1995 www.nameofretaile 216-486-9371 / linncraft.com

Severance Hall 2014-15

Implants and Oral Surgery For Music Lovers Beachwood 216-464-1200

www.drhauser.com Learn Music in Cleveland Music Instruction & Ensembles Early Childhood Education Group & Private Music Therapy

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

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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

90

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 Hrůša, conductor William Preucil, violin

JANÁČEK Jealousy DVOŘÁK 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 film was created by the great collaboration between director Alfred Hitchcock and composer Bernard Herrmann. Enjoy this great film 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 Yefim 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