The Cleveland Orchestra February 12-14 Concerts

WINTER SEASON

S E A S O N

SEVERANCE HALL

February 12, 14 SIBELIUS VIOLIN CONCERTO — page 35 February 13 AT THE MOVIES: ALFRED HITCHCOCK'S VERTIGO — page 63

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AUTO GROUP

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THIS WEEK THE

CLEVELAND

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WEEK 7

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ORCHESTRA

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In the News

COVER PHOTOGRAPHY BY ROGER MASTROIANNI

From the Executive Director . . . . . . . . . . . . . . . . . 7 Message from the President . . . . . . . . . . . . . . . . . 25 Orchestra News . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Copyright Š 2015 by The Cleveland Orchestra and the Musical Arts Association

About the Orchestra

Eric Sellen, Program Book Editor E-MAIL: esellen@clevelandorchestra.com

About the Orchestra . . . . . . . . . . . . . . . . . . . . . . . . . 8 Musical Arts Association . . . . . . . . . . . . . . . . . . . . . 13 The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . 22 Administrative Staff . . . . . . . . . . . . . . . . . . . . . . . . . 58 Young Audiences . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Education and Community . . . . . . . . . . . . . . . . . . 67 Guest Information . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

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Week 13 SIBELIUS VIOLIN CONCERTO Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Program: February 12, 14 . . . . . . . . . . . . . . . . . 35 Introducing the Concert . . . . . . . . . . . . . . . . . . . . 37 SIBELIUS

Symphony No. 7 . . . . . . . . . . . . . . . . . . . . . . . . . . 39 SIBELIUS

Violin Concerto . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 SCHOENBERG

Pelleas and Melisande . . . . . . . . . . . . . . . . . . . . 51 Conductor: Juanjo Mena . . . . . . . . . . . . . . . . . . . . . 56 Soloist: Alina Ibragimova . . . . . . . . . . . . . . . . . . . . 57

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At the Movies ALFRED HITCHCOCK'S VERTIGO Program: February 13 . . . . . . . . . . . . . . . . . . . . . 63 Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 Conductor: Brett Mitchell . . . . . . . . . . . . . . . . . . . . 65

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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

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.

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.

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

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

Foundation/Government Annual Support . . .

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

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SEASON

48 73 75 76

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

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

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Table of Contents

The Cleveland Orchestra

Photo credit: Roger Mastroianni

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

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

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

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

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

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

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

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

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

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

Severance Hall 2014-15

Gary Hanson

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

ON THE RECORD

Since its first recording session in 1924, The Cleveland Orchestra has been among the most acclaimed and recorded orchestras in the world. The Orchestra’s performances have been heard by millions through radio and television broadcasts, on LPs, CDs, DVDs, and via internet downloads.

CLEVELAND ORCHESTRA ARCHIVES

In this photograph, founding music director Nikolai Sokoloff inspects a fresh pressing of the Orchestra’s very first recording, of Tchaikovsky’s “1812” Overture, in 1924.

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

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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

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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.

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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

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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.

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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

23

THE CLEVELAND ORCHESTR A at SEVER ANCE HALL

PRE-ORDER INTERMISSION DRINKS NEW

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

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

CHEERS!

NEW

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

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

No reservations required for post-concert dining.

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

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

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

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

THE CLEVELAND ORCHESTR A at SEVER ANCE HALL

THE CLEVELAND ORCHESTRA THE CLEVELAND ORCHESTRA TRA THE CLEVELAND ORCHESTRA

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

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

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

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

THE CLEVELAND ORCHESTRA

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

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

Severance Hall 2014-15

From the President

25

THE CLEVELAND ORC

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

THE CLEVELAND ORCHES-

News CONTINUED

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

THE CLEVELAND ORCHESTRA

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

A

CLEVELAND ORCHESTRA THE CLEVELAND ORCHESTRA THE CLEVELAND ORCHE

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

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

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

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

Dennis W. LaBarre President

26

From the President

The Cleveland Orchestra

THE CLEVELAND ORCHESTRA THE CLEVELAND ORCHESTRA TRA THE CLEVELAND ORCHESTRA

News

Cleveland Orchestra Youth Orchestra preparing for second international tour, with concerts in China in June 2015

Severance Hall 2014-15

Forbidden City

National Performing Arts Center, Beijing

You can help . . .

For more information about the Youth Orchestra tour or how to make a contribution to the Student Tour Scholarship Fund, please contact Katie Oppenheim by calling 216-456-8410 or via email at koppenheim@clevelandorchestra.com.

Cleveland Orchestra News

27

THE CLEVELAND ORC

CHINA TOUR SEND-OFF CONCERT Sunday, June 14, at 3:00 p.m.

Severance Hall Tickets: Free admission, but tickets are required.

Tickets go on sale May 4 at 9 a.m.

Grand Theater, Tianjin

THE CLEVELAND ORCHESTRA

Plans have been finalized for the Cleveland Orchestra Youth Orchestra to make its second international tour in 2015. The tour to China June 15-24 includes concerts in Beijing, Tianjin, Shanghai, and Hangzhou.

The Youth Orchestra will be conducted by its music director, Brett Mitchell, who is also assistant conductor of The Cleveland Orchestra. The repertoire includes Dmitri Shostakovich’s Festive Overture, Wojciech Kilar’s Orawa, Samuel Barber’s Medea’s Dance of Vengeance, and Tchaikovsky’s Symphony No. 4. In addition to concerts, tour activities for the Youth Orchestra members include guided historic sightseeing tours of each city as well as visits to the Great Wall of China, the Forbidden City, Tiananmen Square, and the Temple of Heaven.

The Cleveland Orchestra Youth Orchestra tour is made possible in part through the generosity of the Vinney family. In 2011, the Jules and Ruth Vinney Cleveland Orchestra Youth Orchestra Touring Fund was established to help cover costs of Youth Orchestra touring and to provide scholarships to eligible Youth Orchestra members. An endowment gift from the Jules and Ruth Vinney Philanthropic Fund, advised by their children Les Vinney, Margo Vinney, and Karen Jacobs, established this generous Touring Fund, which will provide perpetual support toward the Youth Orchestra’s ongoing touring program.

THE CLEVELAND OR-

OrchestraNews W.E.L.C.O.M.E New violinist joins Orchestra in January 2015 The Cleveland Orchestra welcomes the second of three recent hires to its ranks beginning with the concerts of January 29-31. Analisé Denise Kukelhan joins the first violin section. She was previously a member of the first violin section of the North Carolina Symphony for two seasons, and has also been a member of the Akron Symphony Orchestra, Canton Symphony Orchestra, and the West Virginia Symphony.

She has participated in the Spoleto Festival USA, Schleswig-Holstein Music Festival, Pacific Music Festival, National Orchestral Institute (serving as concertmaster in 2008), and the Kent/Blossom Music Festival. Ms. Kukelhan received her bachelor of music degree from Rice University’s Shepherd School of Music, where she studied with Kathleen Winkler, and her master of music degree from the Cleveland Institute of Music, where she was a student of Cleveland Orchestra concertmaster William Preucil.

THE CLEVELAND ORCHESTRA CLEVELAND O30RCHESTRA THE CLEVELAND ORCHESTRA HESTRA THE CLEVELAND ORCHE

News

Women’s Committee benefit celebrates conductor Jahja Ling in performance and talk on March 20 A special benefit event presented by the Women’s Committee of The Cleveland Orchestra is featuring an evening with longtime Cleveland conductor Jahja Ling on Friday, March 20. The event at Canterbury Golf Club includes a cocktail hour beginning at 6 p.m. and dinner at 8 p.m. along with a silent auction. In between, there will be a solo piano performance by Ling, a duo-piano performance with his wife, Jessie Chang, and a conversation about their careers and life together. Jahja Ling served over two decades on the conducting staff of The Cleveland Orchestra, served as Festival Director for Blossom (2000-05), and returns each year to lead concerts with the ensemble. Proceeds from the evening benefit The Cleveland Orchestra. For additional information or to buy tickets, contact Pamela Elliot at 216-904-2051.

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Cleveland Orchestra News

The Cleveland Orchestra

THE CLEVELAND ORCHESTRA THE CLEVELAND ORCHE TRA THE CLEVELAND ORCHESTRA

News

OrchestraNews I.N M.E.M.O.R.I.A.M The entire Cleveland Orchestra family mourns the loss of our dear colleague and friend, Jamie Ireland. His death at age 65 on January 20 is an enormous loss for the Northeast Ohio community. Jamie loved this Orchestra and served and supported the institution with great distinction. He was a member of the Orchestra’s Board of Trustees for two decades and served as its President 2002-08.

He loved The Cleveland Orchestra from a young age, attending his first concert at age seven, and later becoming a devoted subscriber and an Orchestra Trustee. He was a tireless fundraiser and Orchestra advocate. He chaired the search committee that identified and in 1999 chose Franz Welser-Möst as The Cleveland Orchestra’s seventh music director. As President, he was integral to creating a transformative vision for the Orchestra’s future — combining a continuity of musical excellence with a renewed commitment

to serving our region through quality programming and innovative thinking.

Jamie was an effective and energetic community leader. In addition to his work with The Cleveland Orchestra, he advocated tirelessly for the community and held positions to advance that work on the boards of University Circle Inc., Great Lakes Science Center, Greater Cleveland Partnership, Northeast Ohio Regional Nonprofit Technology (NorTech), and the Opportunity Corridor Advisory Committee.

Excellence and service defined him, and underscored all his work, for the orchestra he loved and for the community to which he was devoted. We mourn his loss and we pay tribute to his great legacy. We will miss Jamie very much.

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.

For 24/7 classical music, listen on WKSU HD-3 or at wksu.org.

Kent State University, Kent State and KSU are registered trademarks and may not be used without permission. Kent State University, an equal opportunity, affirmative action employer, is committed to attaining excellence through the recruitment and retention of a diverse workforce. 14-2486

Severance Hall 2014-15

Cleveland Orchestra News

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THE CLEVELAND OR-

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.

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

News

Mark Atherton Martha Baldwin Charles Bernard Katherine Bormann Lisa Boyko Charles Carleton John Clouser Hans Clebsch Kathleen Collins Patrick Connolly Ralph Curry Alan DeMattia Scott Dixon Elayna Duitman Bryan Dumm Tanya Ell Scott Haigh David Alan Harrell Miho Hashizume Shachar Israel Joela Jones Richard King Alicia Koelz Stanley Konopka Mark Kosower Paul Kushious Massimo La Rosa Jung-Min Amy Lee Yun-Ting Lee Takako Masame Eli Matthews Jesse McCormick

30

Daniel McKelway Sonja Braaten Molloy Ioana Missits Peter Otto Chul-In Park Joanna Patterson Zakany Alexandra Preucil William Preucil Lynne Ramsey Jeanne Preucil Rose Stephen Rose Frank Rosenwein Marisela Sager Jonathan Sherwin 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 Jeffreyy Zehngut

Upcoming local performances by members of The Cleveland Orchestra include: The Amici String Quartet is playing two upcoming recitals featuring three string quartets by Beethoven. The ensemble is comprised of Cleveland Orchestra musicians Takako Masame and Miho Hashizume (violins), Lynne Ramsey (viola), and Ralph Curry (cello). On Tuesday, February 10, beginning at 7:30 p.m. at Cleveland State University’s Drinko Recital Hall, and again on Sunday afternoon, February 15, beginning at 3 p.m. at Pilgrim Congregational Church (2592 West 14th Street, Cleveland), the group performs Beethoven’s quartets Opus 18 No. 2, Opus 95, and Opus 127.

The concerts are free and open to the public, with a freewill offering at the door.

Members of the Cleveland Orchestra Youth Orchestra are also involved in a variety of other musical activities around town. Two Youth Orchestra musicians, Natsumi Meyer (violin) and Dana Mietus (viola) are participating in a St. Patrick’s Day concert of Irish music, dance, and song on Sunday afternoon, March 15. The performance at 2 p.m. at Solon High School (33600 Inwood Road, Solon) features performers from Beachwood’s Murphy Irish Arts Center preparing to compete in the World Championships of Irish Dance in Montreal in April. Tickets in advance are $15 for adults, $10 for students and seniors. For more information or to purchase tickets, call 440-876-7507.

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.

Cleveland Orchestra News

The Cleveland Orchestra

THE CLEVELAND ORCHESTRA THE CLEVELAND ORCHESTRA TRA THE CLEVELAND ORCHESTRA

News

OrchestraNews

Cleveland Orchestra’s 2015 summer residency with Lincoln Center Festival announced for July 15-18

Details and concerts for 2015 Blossom Music Festival announced; series renewals underway; season on sale

Comings and goings

Severance Hall 2014-15

Cleveland Orchestra News

31

THE CLEVELAND ORC

As a courtesy to the performers onstage and the entire audience, late-arriving patrons cannot be seated until the first break in the musical program.

THE CLEVELAND ORCHESTRA

The Cleveland Orchestra has announced its 2015 Blossom Music Festival season. Details and subscription renewals are being mailed out to last year’s series subscribers.

Lawn Ticket Books are on sale through the Ticket Office and website, along with new subscriptions. Individual tickets for the entire season will go on sale beginning May 12. Subscribers will have the opportunity to order additional tickets in a pre-sale period beginning April 20.

The season features Franz Welser-Möst conducting Beethoven’s Ninth Symphony with soloists and the Blossom Festival Chorus, and concludes Labor Day Weekend with a program devoted to the film music of John Williams. Complete details, information, and series options can be viewed at the Orchestra’s website, clevelandorchestra.com.

Details of the 2015 Lincoln Center Festival this coming summer, including a week of concerts featuring The Cleveland Orchestra in residence, have been announced. Led by music director Franz Welser-Möst, The Cleveland Orchestra returns to Lincoln Center Festival with four concerts (July 15-18) focused on the exploration of the relationship of humanity with nature. The Orchestra offers two performances of Richard Strauss’s rarely-performed ”bucolic tragedy” Daphne, highlighting Franz Welser-Möst’s passion and expertise in the operatic repertory, along with two additional programs featuring works that probe humanity’s understanding of the natural world, by Messiaen, Dvořák, Beethoven, and Strauss. All of these works are being presented in concerts at Severance Hall in May. Richard Strauss’s seldom performed, one-act opera, Daphne, is among the great works of the composer’s later period. With a libretto by Joseph Gregor, the work was premiered in 1938, and retells the story of the beautiful nymph Daphne, with a plot derived from the familiar myth from Ovid’s Metamorphoses. In it, Daphne is an outsider who cherishes the beauty of nature, where she feels most at home. When the god Apollo betrays her trust and kills his rival, Daphne is inconsolable. Apollo is moved

by Daphne’s profound grief and grants her immortality by transforming her into a laurel tree. This operatic gem has been called one of Strauss’s supreme love letters to the soprano voice. It is being presented at Severance Hall on May 27 and 30.

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The Cleveland Orchestra

LEARNING MORE ABOUT THE MUSIC

SEASON

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

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

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

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

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 29, 30, 31 “To Russia with Love” with Rose Breckenridge administrator and lecturer, Cleveland Orchestra Music Study Groups

February 12, 14 “Second Thoughts and First Impressions” with Timothy Cutler, professor of music theory, Cleveland Institute of Music

February 19, 20, 21, 22 “Johannes Brahms and His Piano Concertos” with David J. Rothenberg, associate professor of musicology, Case Western Reserve University

March 12, 14 “Mighty Liszt & Powerful Beethoven” with Marshall Griffith, faculty member, music theory and improvisation, Cleveland Institute of Music

March 19, 21, 22 “A Russian Celebration” with Jerry Wong, associate professor of piano, Kent State University

March 20 “From Trouble to Triumph” with Rose Breckenridge

Severance Hall 2014-15

Concert Previews

33

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

W E L S E R - M Ö ST M U S I C

D I R E C T O R

Severance Hall

Thursday evening, February 12, 2015, at 7:30 p.m.

Saturday evening, February 14, 2015, at 8:00 p.m.

Juanjo Mena, conductor JEAN SIBELIUS (1865-1957)

JEAN SIBELIUS

SEASON

Symphony No. 7 in C major, Opus 105 (in one movement)

Violin Concerto in D minor, Opus 47 1. Allegro moderato 2. Adagio di molto 3. Allegro, ma non tanto ALINA IBRAGIMOVA, violin

I N T E R M IS S I O N ARNOLD SCHOENBERG (1874-1951)

Pelleas and Melisande, Opus 5 (played without pause) 1. Opening: Introduction — Musical Themes — Golaud Marries Melisande — Transition — Pelleas — Awakening of Love in Melisande — Recapitulation — 2. Scherzo: At the Fountain — At the Tower — In the Vaults — 3. Slow Movement: At the Fountain — Love Scene — Coda: Intervention of Golaud, Death of Pelleas — 4. Finale: Recapitulation of . . . Introduction, Principal Theme, and Love Theme — Entrance of Serving Women, Melisande’s Oath — Epilogue

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

The concert will end on Thursday evening at about 9:40 p.m. and on Saturday evening at approximately 10:20 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 13

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CONSERVATORY of MUSIC Baldwin Wallace University Opera presents

La finta giardiniera A classic love story . . . in disguise Directed by Benjamin Wayne Smith Conducted by Clinton Ryan Smith Thursday-Saturday, February 26-28, 7:30 pm Sunday, March 1, 2:00 pm This early Mozart gem tells the fun and fantastical story of a noblewoman who disguises herself as a gardener to go looking for the man she loves.

Romance literally drives the main characters mad, but they come to their senses and it all works out in the end.

Baldwin Wallace University does not discriminate on the basis of race, creed, age, disability, national origin, gender or sexual orientation in the administration of any policies or programs.

John Patrick Theatre, Kleist Center for Art and Drama, 95 East Bagley Road, Berea Tickets: www.bw.edu/tickets or call 440-826-2240 Adults: $15; Seniors & Students: $10

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INTRODUCING THE CONCERTS

Distillation, Dancing Bears & Unrelenting Love THIS WEEK’S CONCERTS

feature three works from the early decades of the 20th century, created by two composers working on the cusp of “modern music.” Jean Sibelius, the ardent Finnish nationalist, distilled his most intense and non-programmatic musical ideas into his symphonies. Schoenberg, after his dramatic symphony being heard here, went on to become a founding father of modern music’s serialist school. This week’s music, for both composers, never leaves melody behind, and still chases harmonic truths easy to discern and understand.

The concerts begin with Sibelius’s Seventh, his final published symphony, completed in 1924. Here, the composer has distilled the symphonic form from its usual several movements into one intense creation, without breaks or pauses. Much of this symphony seems introspective, but also moves through crisis to end with music that is clear and free.

Next comes Sibelius’s Violin Concerto, from 1905. This passionately melodic work also shows the composer’s instincts for distilling small musical ideas into larger forms. The deft and lumbering music at the start of the third movement has famously been likened to a “polonaise” for polar bears to dance to — and like much of this concerto, it is a dance impossible to resist.

The concerts conclude with Schoenberg’s Pelleas and Melisande, a “symphonic poem” written in 1902-03. This is Schoenberg’s music as a young composer in his mid-twenties — still tonal and melodic, and under the spell of Gustav Mahler. He is clearly grappling with what musical language should be, or might be. And some of that intensity of purpose matches well with this story of infinite longing and hidden love. Only later would Schoenberg reveal himself as a complete radical and revolutionary.

Here, the dissonances are preliminary and purposeful, part of the fabric and not yet the fabric itself.

—Eric Sellen

These performances are taking place during worldwide celebrations throughout the year 2015 commemorating the 150th anniversary of Jean Sibelius’s birth.

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Introduction

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The Cleveland Orchestra

Symphony No. 7 in C major, Opus 105 composed 1918-24 FOLLOWING SOME OF

by

Jean

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

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his early successes as a composer, the young Sibelius longed to tackle opera, fully under the thrall — like so many others at the time — of the Wagnerian music drama. Although his plans for an epic opera never worked out, he did eventually write some intriguing incidental music for several theater productions. He also began to channel his inspiration into the series of tone poems and the cycle of seven symphonies that are among his most enduring achievements.

Sibelius’s close identification with the mythic roots of his native Finnish culture led to some early attempts to pigeonhole him as simply another late-Romantic composer preoccupied with ethnic pride. But the genius expressed in his symphonies stands apart, a voice in the modern wilderness that finds its own way out of end-stage Romanticism.

In terms of identifiably “Finnish” characteristics, an undeniable and astonishing sense of spaciousness in this music inevitably conjures imagery of Northern landscapes. Sibelius deeply loved the natural beauty of his beloved Scandinavia. If his music is filled with landscapes, however, they are less like picturesque illustrations and more like the immense, interior terrains of a probing musical mind.

Sibelius’s final three symphonies emerged as a sort of mega-project in 1918. Ideas for the Fifth, Sixth, and Seventh appeared side by side in sketches before eventually coalescing into separate works, each a world unto itself.

In the Seventh Symphony, Sibelius pushes on with the experiments in formal design seen in his earlier works. The process of compression found in the Fifth, for example, reaches its ultimate conclusion in the single-movement design of the Seventh. The work plays out as one large span, yet within this framework, different sections can be understood as aspects of a multi-movement symphony. A probing introduction transitions to a long, slow section. This leads to a skittering semi-movement Scherzo of dizzying pace, after which comes a substantial Allegro section, and finally a powerful epilogue.

Sibelius begins with a roll on the timpani that will prove to have great significance. A rising scale ensues, ending on a startling, eccentric harmony. Pastoral fragments from the woodwinds add new material, leading to the thrillingly noble call of About the Music

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The Silence from Järvenpää

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Jean Sibelius (1865-1957) completed his last major musical work, Tapiola, in 1926, only a year after premiering his Seventh Symphony. He lived another thirty years, at his private estate in Järvenpää. Reports said that he was composing an Eighth Symphony, but the work never materialized. The great popularity of Sibelius’s music in the middle of the 20th century caused much speculation on this continuing “silence from Järvenpää.” Why would a composer at the top of his game just stop writing music? Sibelius, in fact, talked with friends about ideas for new works and about his “progress” on the Eighth Symphony. The premiere of the Eighth was even announced in newspapers on three separate occasions, in Boston and then in London. But each date came and went, and the announcements appear to have been little more than hopeful thinking by conductors who thought they’d heard Sibelius tell them what they wanted to hear.

Throughout his life, Sibelius suffered bouts of depression and insecurity (aggravated by alcoholism). Whatever state the Eighth Symphony may have reached — and there are reports by people who say they saw a completed manuscript — it is believed that Sibelius himself burned any drafts of the score he may have had in 1945. Silence, it seems, had become a habit too difficult to break.

MAY 1965 On tour with The Cleveland Orchestra, George Szell and members of the Orchestra visited Sibelius’s home, Ainola, in Finland. Here, Szell is talking with Sibelius’s son-in-law, the conductor Jussi Jalas (far left), and James Mays, Information Officer with the United States Embassy in Helsinki. Orchestra Executive Director Beverly Barksdale is in the background.

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About the Music

The Cleveland Orchestra

a solo trombone. This is the first of three times the trombone motif makes its shining appearance, establishing an axis along which the Symphony spins. Each time, it seems to summon a renewed clarity from amid Sibelius’s varied orchestral textures, tempos, and rhythmic figurations.

The epilogue is grippingly beautiful. It averts the impending sense of crisis, reaffirming the musical home we have never really left — a kind of primal C major — in a way that would seem impossible to so many modernist contemporaries of Sibelius. The last dissonance we hear is literally a step into the blazing affirmation of the final chord. Listening through the symphony to this moment, C major actually seems new and unfamiliar — even frightening. With this chord and the silence following, Sibelius caps his entire symphonic cycle.

What is so extraordinary in this symphony is how Sibelius achieves a convincing sense of unity out of variety. The Classical ideal of musical unity involved a somewhat proscribed architectural structure, while later Romantic ideas suggested organic transformation of motifs. In the Seventh Symphony, however, Sibelian unity blends both of these together into what might be described as a sculptural model. The composer repeatedly reconsiders his thrift y economy of musical material, shifting the perspectives of time and space from which he views it. Indeed, a challenge in realizing the work in performance is how to convey the composer’s almost imperceptible shifts of tempo and pacing so that they seem merely different aspects of the same material considered from subtly altered perspectives.

—Thomas May © 2015 Thomas May writes about music and theater for orchestras and festivals in North America and Europe. His books include Decoding Wagner and The John Adams Reader.

At a Glance Sibelius first mentioned specifically working on this symphony in 1918. Sketches from 1920 or 1921 for a fourmovement symphony include an Adagio movement in C major, from which several of the themes and ideas from the completed Seventh Symphony are recognizable.

The first draft of the work as a single-movement symphony dates from 1923. Sibelius completed a final draft of his Seventh Symphony on March 2, 1924. He conducted the first performance, with the title Fantasia sinfonica, on March 24 in Stockholm.

It was published in 1925 as “Symphony No. 7.”

This symphony runs just over 20 minutes in performance. Sibelius scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, timpani, and strings.

The Cleveland Orchestra first performed Sibelius’s Seventh Symphony in March 1948 under George Szell’s direction. It has been programmed occasionally since that time, most recently for performances in February 2011 led by Thomas Dausgaard.

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About the Music

41

Violin Concerto in D minor, Opus 47 composed 1903, revised 1905 “I’VE GOT SOME

by

Jean

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

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lovely themes for a violin concerto,” Sibelius wrote to his wife, Aino, in September 1902. The Finnish composer, at 37 already a national figure and the recipient of an annual pension from the Finnish government, had been asked by the celebrated German violinist Willy Burmester to write a violin concerto. Despite the “lovely themes” Sibelius had, however, the concerto wasn’t coming along as expected. The difficulties had to do with the composer’s alcoholism, which around this time began to alarm his family seriously. The addiction, in turn, seemed to stem from a deep sense of inner insecurity. It was a year before Sibelius sent the piano score to Burmester, who responded enthusiastically: “I can only say one thing: Wonderful! Masterly! Only once before have I spoken in such terms of a composer, and that was when Tchaikovsky showed me his concerto.”

Exactly what happened next is rather challenging to explain. Burmester was expecting to play the world premiere of the new work in the spring of 1904, but Sibelius, for financial reasons, pushed for an earlier date even though Burmester wasn’t available sooner (and the orchestration of the concerto wasn’t even finished). Sibelius completed the concerto sometime before the end of 1903, and gave it to a local violin teacher, Viktor Nováček. All accounts agree that Nováček was hardly more than a mediocre player. Leading Sibelius biographer Erik Tawaststjerna writes that at the Helsinki premiere, in February 1904, “a red-faced and perspiring Nováček fought a losing battle with a solo part that bristled with even greater difficulties in this first version than it does in the definitive score.”

Sibelius had been trying to pacify Burmester by saying that “Helsinki doesn’t mean a thing,” and still promised him performances in Berlin and elsewhere. But after the Helsinki premiere, Sibelius was dissatisfied with the work and decided to revise it entirely. After the definitive version was completed, he sent it off to his German publisher, who suggested Karl Halíř as the soloist. Sibelius acquiesced, passing Burmester over for the second time. Greatly offended, Burmester never played the work whose composition he had initiated.

Karl Halíř, the concertmaster of the Berlin Court Opera, and a professor at the conservatory there, was a fine violinist About the Music

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but not a virtuoso of the highest caliber. And so it fell to an exceptionally gifted 17-year-old Hungarian named Ferenc Vecsey to become the work’s first international champion — and it is to him that the printed score is dedicated.

Ultimately, as Tawaststjerna noted, Sibelius wrote his concerto for neither Burmester nor anyone else but himself. As a young man, Sibelius had hoped to become a concert violinist, and gave up his dreams of a virtuoso career only with great reluctance. Nevertheless, Sibelius’s primary instrument was the violin, so that unlike Brahms, who consulted Joseph Joachim when he was writing his violin concerto, Sibelius did not need to ask others for advice on technical matters. Tawaststjerna writes, “Naturally in his imagination Sibelius identifies himself with the soloist in the Violin Concerto and this may well explain something of its nostalgia and romantic intensity.”

Nostalgia and romantic intensity — these are indeed key words if one wishes to describe the Sibelius Violin Concerto.

Written in the first years of the 20th century, it looks back to the great Romantic concertos of the 19th. The opening of the first movement, with the D-minor tremolos of the muted first and second violins over which the soloist plays a wistful melody, is unabashedly old-fashioned. The only unconventional features are the repeated augmented fourth leaps (from D to G-sharp or G to C-sharp), which create harsher sonorities, and the irregular phrase structure of the theme, which makes it difficult to predict how the melody is going to evolve.

Simple and song-like at first, the violin part gradually becomes more and more agitated, erupting in a first virtuoso cadenza. As the meter changes from 4/4 to 6/4 time, the orchestra introduces a second idea, which the violin soon takes over. When that happens, however, the tempo suddenly slows and the character of the theme changes from dramatic to lyrical. This is followed by a third, purely orchestral section, in a fast 2/2 time, lively and energetic, which ends in pianissimo with the cellos and basses repeating a single quiet B-flat.

The three sections roughly outline the exposition of a sonata form, although the meter changes and the succession of characters is unusual; also, the key of B-flat minor, which is eventually reached, is a highly unusual tonal direction for a concerto movement in D minor. Its many flats contribute to a certain dark, “Nordic” flavor in the concerto, reinforced by the frequent use of the violin’s low register. The brass parts Severance Hall 2014-15

About the Music

At a Glance Sibelius composed his violin concerto — his only concerto for any instrument — in 1903.

It was first performed on February 8, 1904, in Helsinki, with the composer conducting and with Viktor Nováček as soloist. Following its original publication, in early 1905, Sibelius revised the concerto extensively. The revised score was first heard on October 19, 1905, in Berlin, conducted by Richard Strauss, with Karl Halíř as the soloist. Sibelius made some further changes before its final publication several years later. The published score is dedicated to Ferenc Vecsey, who first played the work at age 17 in 1910, and in many subsequent performances worldwide (including The Cleveland Orchestra’s first performances in 1922).

This concerto runs about 30 minutes in performance.

Sibelius scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, strings, and solo violin.

The Cleveland Orchestra first played the Sibelius Violin Concerto in January 1922, with Ferenc Vecsey as soloist.

It has been played frequently since that time, most recently at Blossom in 2014 with violinist Augustin Hadelich led by Hans Graf, and at Severance Hall in February 2011, when Leonidas Kavakos played it with conductor Jun Märkl.

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If I could express the same thing with words as with music, I would, of course, use a verbal expression. Music is something autonomous and much richer. Music begins where the possibilities of language end. That is why I write music. —Jean Sibelius

also abound in “glacial” low notes, harmonized with austeresounding chordal passages.

There is no traditional development section in the first movement. Its place is taken by the solo cadenza, which occurs in the middle of the movement rather than at the more customary position near the end. The cadenza is followed by a free recapitulation in which the first melody returns almost literally. The second theme (especially in its orchestral rendition) is substantially modified. The melody of the third section is now given to the violas while the soloist adds virtuoso passages, turning the ending of the movement into a kind of grandiose Gypsy fantasy.

The second movement, marked Adagio di molto, is based on the combination of two themes, one played by the two clarinets at the beginning, the other by the solo violin a few measures later. The violin melody is, according to the composer’s own written instruction, “sonorous and expressive.” The clarinet theme later grows into an impassioned middle section whose dynamism carries over into the recapitulation of the violin melody (part of it is now given to the woodwinds). Only at the very end does the melody find its initial peace and tranquility again.

Speaking about the third-movement finale, it is impossible to resist quoting Donald Francis Tovey’s characterization of its main theme as a “polonaise for polar bears.” Tovey’s words capture the singular combination of dance rhythms and a certain elegant heavy-footedness felt at the beginning of this movement. Again, there are two themes, one in a polonaise rhythm, and one based on the alternation of 6/8 and 3/4 time (the first is subdivided into 3 + 3 eighth-notes, the second into 2 + 2 + 2). “With this,” Tovey concluded his analysis, “we can safely leave the finale to dance the listener into Finland, or whatever Fairyland Sibelius will have us attain.”

—Peter Laki

Of the thirdmovement finale, the reviewer Donald Tovey characterized its main theme as a “polonaise for polar bears.” Tovey’s words capture the singular combination of dance rhythms and a certain elegant heavyfootedness at the beginning of this movement.

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About the Music

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

In anticipation of The Cleveland Orchestra’s 100th anniversary in 2018, we have embarked on the most ambitious fundraising campaign in our history. The Sound for the Centennial Campaign seeks to build the Orchestra’s Endowment through cash gifts and THE legacy commitments, while also securing broad-based and increasing annual support CLEVELAND ORCHESTRA from across Northeast Ohio. The generous individuals and organizations listed on these pages have made long-term commitments of annual support, endowment funds, and legacy declarations to the Campaign. We gratefully recognize their extraordinary commitment toward the Orchestra’s future success. Your participation can make a crucial difference in helping to ensure that future generations of concertgoers experience, embrace, and enjoy performances, collaborative presentations, and education programs by The Cleveland Orchestra. To join this growing list of visionary contributors, please contact Jon Limbacher, Chief Development Officer, at 216-231-7520. Listing as of January 15, 2015.

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

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

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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 Honorable and Mrs. John Doyle Ong The Payne Fund PNC Bank Julia and Larry Pollock Mrs. Alfred M. Rankin, Sr. Mr. and Mrs. Alfred M. Rankin, Jr. James and Donna Reid Barbara S. Robinson The Leighton A. Rosenthal Family Foundation The Sage Cleveland Foundation The Ralph and Luci Schey Foundation The Kelvin and Eleanor Smith Foundation The J. M. Smucker Company Joe and Marlene Toot Anonymous (3)

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GIFTS OF $500,000 TO $1 MILLION

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

Virginia M. and Jon A. Lindseth Ms. Nancy W. McCann Nordson Corporation Foundation 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

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49

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Symphonic Poem: Pelleas and Melisande, Opus 5 composed 1902-03

by

Arnold

SCHOENBERG born September 13, 1874 Vienna died July 13, 1951 Los Angeles

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T H E E A R LY W O R K S of Arnold Schoenberg usually evoke one of two reactions. Some people feel that this music is not yet the “real” Schoenberg, with much that sounds still firmly rooted in late Romanticism. Others wish Schoenberg had stopped right there, with the early works, and had never developed further — into atonality and serialism.

Both reactions are missing part of the real point. Surely, Pelleas and Melisande must be “real” Schoenberg. It is the work of a composer who knew exactly what he wanted and how to get it — a feat all the more impressive because Schoenberg was almost entirely self-taught in composition. And, as far as his later music is concerned, there is a definite continuity across the various periods. Serialism was nothing but an attempt to impose a new order on musical ideas that had been developing since the beginning of Schoenberg’s career and had, over a period of twenty years, gradually broken loose from tonal control.

When Schoenberg began work on his symphonic poem Pelleas and Melisande in Berlin in 1902, he was apparently unaware that Debussy’s opera of the same name had just been performed in Paris. It was Richard Strauss who had suggested Maurice Maeterlinck’s drama as a musical subject to the young Schoenberg, even though, as principal conductor at the Imperial Court Opera in Berlin, Strauss must have known of the recent operatic sensation that Debussy’s impressionistic work had caused. In any case, Schoenberg quickly gave up his original plans to write an opera on Pelleas and composed a tone poem instead, more or less along Straussian lines.

Thanks to research done by Walter B. Bailey, we know that Schoenberg had very precise ideas about how the music expressed the characters and actions in the drama. These ideas survive in sketches and correspondence, but Schoenberg did not publish them until a year before his death, when (in 1950) he wrote jacket notes for a recording of the work. And even at that point, he only printed part of the information. Of course, the essence of Maeterlinck’s play — which Debussy captured so masterfully in his opera — is its mystery, its tendency of never spelling things out completely. Thus, some mystery from Schoenberg seems appropriate.

Nevertheless, Schoenberg’s approach — and indeed, his About the Music

51

Arnold Schoenberg, 1917, portrait by Egon Schiele

Whether one calls oneself conservative or revolutionary, whether one composes in a conventional or progressive manner, whether one tries to imitate old styles or is destined to express new ideas — one must be convinced of the infallibility of your own fantasy and believe in your own inspiration. —Arnold Schoenberg

AT L E F T

A 19th-century illustration of Melisande and Pelleas at the fountain where they discover their love.

entire musical style — was the total opposite of Debussy’s.

Schoenberg later commented that, had he written his Pelleas opera, “it would have differed from Debussy’s. I might have missed the wonderful perfume of the poem, but I might have made my characters more singing.” Indeed, he made them sing even in the symphonic poem, with their themes reaching the kind of post-Wagnerian Romantic heights of passion that Debussy took great pains to avoid.

The story in a nutshell: Golaud, the grandson of the mythical King Arkel, discovers a young girl in the forest. Her name is Mélisande; her origins are never revealed. Golaud takes her home and marries her; but she falls in love with his younger halfbrother Pelléas. Golaud kills Pelléas. Mélisande dies in childbirth, leaving her husband forever in doubt about the nature of the love between her and Pelléas.

Schoenberg’s 40-minute tone poem is structured as a four-movement symphony, played with no pauses between the movements, with a scherzo in second place and a slow section coming third.

The work opens with a somber introduction, with a bass Severance Hall 2014-15

About the Music

Schoenberg’s forty-minute tone poem is structured much like a four-movement symphony, played with no pauses between movements, with a scherzo in second place and a slow section coming third.

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At a Glance Schoenberg composed his symphonic poem Pelleas and Melisande between July 2, 1902, and February 28, 1903. The composer conducted the first performance on January 26, 1905, at a concert organized by the Verein der schaffenden Tonkünstler (Society of Creative Musicians) in Vienna.

Schoenberg also led the first American performance on March 16, 1934, with the Boston Symphony Orchestra.

This work runs about 40 minutes in performance.

Schoenberg scored it for 3 flutes, 2 piccolos, 3 oboes, 2 english horns, 3 clarinets, piccolo clarinet in E-flat, 2 bass clarinets, 3 bassoons, contrabassoon, 8 horns, 4 trumpets, 5 trombones, tuba, timpani, percussion (large military drum, bass drum, triangle, 2 cymbals, tam-tam, glockenspiel), harp, and strings.

The Cleveland Orchestra first performed Schoenberg’s Pelleas and Melisande in March 1972, under the direction of Pierre Boulez. It has been performed on a few occasions since that time, most recently under the direction of Alan Gilbert at Severance Hall concerts in November 2011.

clarinet theme that Schoenberg called the “Fate” motif. It is the first meeting between Golaud and Melisande in the forest; she is pictured by an expressive oboe melody, he by a theme played by the three horns “softly but with determination.” Pelleas enters later, to music of “youthful and knightly character” (Schoenberg’s words), with the principal voice in the trumpet.

The themes of the three characters are intertwined as their fates are in the drama.

The scherzo section (which is in a dance-like triple meter, at least at first) shows Melisande playing with her wedding ring in the forest, but the fun is over when she drops it into a deep well. The scene then changes, and we hear a magical passage scored for three solo strings, woodwind, and harps, corresponding to the moment where Melisande’s long hair falls down from her window so that Pelleas (who is standing on the ground) can touch it. Golaud’s motif, scored menacingly for the full orchestra, marks the arrival of the jealous husband. The next section (technically still within the scherzo) is a highly dramatic, eerie passage suggesting Golaud and Pelleas in the deep vaults of the castle.

We are now approaching the emotional high point of the piece, the lush love scene reminiscent of Wagner’s Tristan and Isolde, here between Pelleas and Melisande, that occupies most of the slow third movement of the tone poem. The moment when Golaud appears and slays his brother is almost graphic in its violence — the “Fate” motif is played by the entire orchestra, followed by a series of short, repeated chords in the brass.

The final movement begins with a return to the somber introduction. At the moment of her death, everything about Melisande is as mysterious as it was when we first met her.

Aside from occasional outbursts of passion, the tempo remains slow and the mood tragic. A characteristic sliding harp glissando introduces a quiet, procession-like motif representing the grave entrance of the servants “as a premonition of the death of Melisande.” The rest of the piece is a solemn eulogy that works to sum up this great tragedy of human beings utterly incapable of understanding one another.

—Peter Laki Copyright © Musical Arts Association Peter Laki is a musicologist and frequent lecturer on classical music, and a visiting associate professor at Bard College.

54

About the Music

The Cleveland Orchestra

Kulas Series of Keyboard ConversationsŽ 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 “Bsâ€? — Bach, Beethoven and BartĂłk

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

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Severance Hall 2014-15

55

Juanjo Mena Spanish conductor Juanjo Mena is chief conductor of the BBC Philharmonic. He is making his Cleveland Orchestra debut with this weekend’s concerts.

Juanjo Mena studied music at the Vitoria-Gasteiz Conservatory and Madrid Royal Conservatory, where his teachers included Carmelo Bernaola and Enrique García Asensio. He also studied conducting with Sergiu Celibidache in Munich.

In 1997, the Basque government selected Mr. Mena to form the Youth Orchestra of Euskal Herria. He subsequently became associate conductor of the Euskadi Symphony Orchestra, and later served as artistic director of the Bilbao Symphony Orchestra, chief guest conductor of the Orchestra del Teatro Carlo Felice in Genoa, and principal guest conductor of the Bergen Philharmonic Orchestra.

In addition to all of Spain’s major orchestras, Mr. Mena has led performances with the Danish Radio Symphony, Dresden Philharmonic Orchestra, Gothenberg Symphony Orchestra, Munich Radio Orchestra, Netherlands Radio Philharmonic Orchestra, Orchestre National de France, Orchestre Philharmonique de Radio France, Oslo Philharmonic Orchestra, Orchestra Filarmonica della Scala, Orchestra Sinfonica Nazionale della RAI, and the Royal Stockholm Philharmonic Orchestra. Recent and upcoming engagements include performances with the orchestras of Baltimore, Boston, Chicago, Cincinnati, Houston, Los Angeles, Philadelphia, Pittsburgh, St. Louis, and Toronto, along with his debuts with the London Philharmonic Orchestra, New York Philharmonic, and Montreal Symphony Orchestra.

Juanjo Mena has appeared at La Folle Journée in Nantes, Grant Park Music Festival, Hollywood Bowl, Stars of White Nights Festival in St. Petersburg, and the Tanglewood Music Festival. He recently led the BBC Philharmonic on tours of Europe and Spain, and annually performs with them at the BBC Proms in London.

In opera, Mr. Mena’s repertoire ranges across works by Bartók, Britten, Mozart, Schoenberg, Richard Strauss, Tchaikovsky, and Wagner.

Juanjo Mena has made several recordings with the BBC Philharmonic, including an album of works by Manuel de Falla, which was a BBC Music Magazine Recording of the Month. His Gabriel Pierné album was a Gramophone Editor’s Choice. Recent releases include music by Montsalvatge, Turina, and Weber. Mr. Mena has also recorded a collection of Basque symphonic music with the Bilbao Symphony Orchestra for Naxos, and Messiaen’s Turangalîla Symphony with the Bergen Philharmonic Orchestra for Hyperion.

For additional information, visit www.juanjomena.com.

56

Guest Conductor

The Cleveland Orchestra

Alina Ibragimova Russian violinist Alina Ibragimova performs music ranging from the Baroque to new commissions, on period and modern instruments. She makes her Cleveland Orchestra debut with this weekend’s concerts.

Born in Russia in 1985, Alina Ibragimova studied at the Moscow Gnesin School before moving with her family to the United Kingdom in 1995 to attend the Yehudi Menuhin School and Royal College of Music. She was also a member of the Kronberg Academy Masters program. Her teachers have included Natasha Boyarsky, Gordan Nikolitch, and Christian Tetzlaff. Among her honors are the Royal Philharmonic Society Young Artist Award (2010), Classical BRIT Young Performer of the Year Award (2009), and the Borletti-Buitoni Trust Award (2008).

She was a member of the BBC New Generation Artists Scheme (2005-07).

As a soloist, Alina Ibragimova has appeared with all the orchestras of the BBC, and also performed with the Deutsche Kammerphilharmonie Bremen, Hallé Orchestra, Konzerthausorchester Berlin, London Symphony Orchestra, Mariinsky Theatre Orchestra, Orchestra of the Age of Enlightenment, Orchestre Philharmonique de Radio-France, Philharmonia Orchestra, and the Stuttgart Radio Symphony Orchestra, and in this country with the Indianapolis Symphony Orchestra, Seattle Symphony, Philadelphia Orchestra, and Utah Symphony. Recent and future engagements include appearances with the Bergen Philharmonic Orchestra, Montreal Symphony Orchestra, Royal Liverpool Philharmonic, and the Scottish Chamber Orchestra, as well as an Australian tour performing the Sibelius Violin Concerto.

As soloist/director, Ms. Ibragimova has toured with the Academy of Ancient Music, Australian Chamber Orchestra, Britten Sinfonia, and Kremerata Baltica.

With her regular recital partner Cédric Tiberghien and in solo and chamber music, she has appeared at Carnegie Hall, Amsterdam’s Concertgebouw, Vienna’s Musikverein, Paris’s Théâtre des Champs-Élysées, and London’s Wigmore Hall.

Her international festival engagements have included Aldeburgh, Lockenhaus, Manchester International, MDR Musiksommer, Salzburg, and Verbier. In coming seasons, Alina Ibragimova’s recital schedule features a complete Mozart sonata cycle at Tokyo’s Oji Hall and London’s Wigmore Hall, along with her Lucerne Festival debut and solo Bach recitals in Barcelona, Lisbon, New York, and Tokyo.

Alina Ibragimova records for Hyperion Records and performs on a c.1775 Anselmo Bellosio violin, kindly provided by Georg von Opel.

For more information, visit www.alinaibragimova.com.

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Soloist

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T HE

C LE V E L A N D

Administrative Staff EXECUTIVE OFFICE Gary Hanson EXECUTIVE DIRECTOR

Rosemary Klena EXECUTIVE ASSISTANT

ORCHES T R A

as of February 1, 2015

ORCHESTRA OPERATIONS Jennifer Barlament GENERAL MANAGER

Cherilyn Byers ADMINISTRATIVE ASSISTANT

FINANCE & ADMINISTRATION James E. Menger CHIEF FINANCIAL OFFICER

Julie Kim DIRECTOR OF OPERATIONS

Faith Noble

ORCHESTRA OPERATIONS MANAGER

ACCOUNTING MANAGER

Carolann Oravec PAYROLL MANAGER

Heather Walters SENIOR ACCOUNTANT

Mary Stewart-McGovern ACCOUNTING ANALYST

Christina Dutkovic

DIRECTOR, STRATEGY AND SPECIAL INITIATIVES

Artistic Administration Mark Williams DIRECTOR, ARTISTIC PLANNING

DIRECTOR

Randy Conn DATABASE ANALYST

Theresa Henderson

ASSISTANT ARTISTIC ADMINISTRATOR

Norbrian Ronase ARTISTIC COORDINATOR

Barb Bodemer DRIVER

TECHNICAL SUPPORT ANALYST

Orchestra Personnel Karyn Garvin DIRECTOR

SUPERVISOR

Lomack Gray MAILROOM CLERK

Human Resources Michelle Vectirelis DIRECTOR

Ruth Mercer HUMAN RESOURCES MANAGER

Emily Davis HUMAN RESOURCES ASSOCIATE

CLEVELAND ORCHESTRA MIAMI Montserrat Balseiro INTERIM MANAGER

Pratima Raju ASSOCIATE DEVELOPMENT OFFICER

Bernice Mena ADMINISTRATIVE ASSISTANT

MANAGER

Marla Bentley ORCHESTRA PERSONNEL ASSISTANT

Stage Joe Short

Steve Skunta LEAD BUILDING ENGINEER

Scott Miller Robert Nock Christopher Downey Michael Evert Shelia Baugh George Felder Michelle Williams DOOR PERSONS

HALL STAFF & CLEANING SUPERVISOR

Steven Washington Pauletta Hughes Antonio Adamson Kervin Hinton Dwayne Johnson Jerome Kelley Darrell Simmons Dwayne Taylor HALL STAFF

Gil Gerity Thomas Holden John Riley Don Verba STAGEHANDS

Glynis Smith Renee Pettway CLEANING PERSONS

Rolland Allen GROUNDSKEEPER

Facility Sales Bob Bellamy

Chorus Jill Harbaugh

FACILITY SALES MANAGER

MANAGER

Michelle Holy COORDINATOR, YOUTH AND CHILDREN’S CHORUSES

Education & Community Programs Joan Katz Napoli DIRECTOR

Concerts & Special Events Sean Lewis MANAGER, CONCERTS & SPECIAL EVENTS

Christine Radigan ASSOCIATE MANAGER

Emily Szy

Sandra Jones MANAGER, EDUCATION & FAMILY CONCERTS

Rachel Novak MANAGER, LEARNING PROGRAMS & COMMUNITY ENGAGEMENT

Erika Richter EDUCATION & COMMUNITY PROGRAMS COORDINATOR

Lauren Generette MANAGER, CLEVELAND ORCHESTRA YOUTH ORCHESTRA

Katherine Oppenheim LIBRARIAN/ASSISTANT, CLEVELAND ORCHESTRA YOUTH ORCHESTRA

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Nina Hose

HALL STAFF LEAD

Christine Honolke

STAGE MANAGER

Mailroom Jim Hilton

ADMINISTRATIVE ASSISTANT

Building Operations Charles László

Quinn Chambers

NETWORK ADMINISTRATOR

Janet Montagino

Laura Clelland

BUILDING ENGINEERS

Randy Elliot

ACCOUNTING ASSOCIATE

Information Technology David Vivino

DIRECTOR, FACILITIES MANAGEMENT & OPERATIONS

ASSISTANT MANAGER

Carol Lee Iott

CONTROLLER

Barbara S. Snyder

Mary Ann Makee

BUILDING OPERATIONS MANAGER

Amy Gill

Shirley Rundo ADMINISTRATIVE ASSISTANT

SEVERANCE HALL

Administrative Staff

MANAGER, CONCERTS & PHILANTHROPIC EVENTS

House Management Adam Clemens HOUSE MANAGER

Jessica Thomas ASSOCIATE HOUSE MANAGER

Retail Larry Fox STORE MANAGER

Patricia Fernberg Jennifer Orbash SALES ASSOCIATES

The Cleveland Orchestra

clevelandorchestra.com SALES & COMMUNICATIONS Ross Binnie CHIEF MARKETING OFFICER

Sales & Marketing Julie Stapf DIRECTOR

Jim Sector ASSISTANT DIRECTOR

Ryan Buckley DIGITAL MARKETING & WEBSITE MANAGER

Jerry Golski SALES MANAGER

David Szekeres PUBLICATIONS MANAGER

Brett Della Santina GRAPHIC DESIGN & MARKETING COORDINATOR

Ticket Services Timothy Gaines TICKET SERVICES MANAGER

Joan Eppich ASSOCIATE MANAGER

Mary Ellen Campbell ASSISTANT MANAGER

Monica Berens SUBSCRIPTION REPRESENTATIVE

Joclyn Madey Cindy Adams Traci Shillace Mary Ellen Snyder CUSTOMER SERVICE REPRESENTATIVES

Public Relations Justin Holden DIRECTOR

Kathy Pahr MEDIA RELATIONS MANAGER

Timothy Parkinson COMMUNICATIONS ASSOCIATE

Archives Deborah Hefling ARCHIVIST

Andria Hoy ARCHIVES ASSISTANT

PHILANTHROPY & ADVANCEMENT Jon Limbacher CHIEF DEVELOPMENT OFFICER

Margaret Gautier

EDITOR

11001 Euclid Avenue Cleveland, OH 44106

SENIOR DEVELOPMENT ASSOCIATE

Individual Giving Laurie Burman DEVELOPMENT OFFICER, LEADERSHIP

Henry Peyrebrune DEVELOPMENT OFFICER, LEADERSHIP

Bryan de Boer DEVELOPMENT OFFICER, COMMUNICATIONS

Suzanne Richardson de Roulet MANAGER, DEVELOPMENT COMMUNICATIONS

Lori Cohen COMMUNITY LEADERSHIP LIAISON

Grace Sipusic

Administrative Offices

216-231-7300 Ticket Office

216-231-1111 or 800-686-1141 Group Sales

216-231-7493

DIRECTOR, INDIVIDUAL GIVING & MIAMI FUNDRAISING

Elizabeth Arnett MANAGER, LEADERSHIP & INDIVIDUAL GIVING

Sarah Jessie DEVELOPMENT ASSOCIATE, INDIVIDUAL AND LEGACY GIVING

Brian Deeds ANNUAL GIVING COORDINATOR

Bridget Mundy LEGACY GIVING OFFICER

Institutional Giving — Corporate, Foundation, and Government Support Erin Gay DIRECTOR, INSTITUTIONAL GIVING

Corinne Finefrock MANAGER, CORPORATE GIVING

Dan Coleman GRANTS MANAGER

Corinne Lint STEWARDSHIP COORDINATIOR

Christine Yeh DEVELOPMENT ASSOCIATE

Program Book Eric Sellen

Severance Hall

Research Lisa Brown MANAGER, PROSPECT RESEARCH

Education & Community Programs

216-231-7355 Media & Public Relations

216-231-7476 Archives

216-231-7356

Individual Giving

216-231-7562 Institutional Giving

216-231-7523 Legacy Giving

216-231-8006 Volunteers

216-231-7557

Eric Fenske DEVELOPMENT DATABASE COORDINATOR

Adriane Emig MANAGER, AUDIENCE INSIGHTS AND REVENUE ANALYSIS

Severance Hall Rental Office

216-231-7421 Cleveland Orchestra Store

216-231-7478

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Administrative Staff

59

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.

Building Audiences for the Future . . . Today!

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

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

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

STUDENT TICKET PROGRAMS

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

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

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

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

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Student Ticket Programs

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for expressing your imagination.

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

Š2014 The PNC Financial Services Group, Inc. All rights reserved. PNC Bank, National Association. Member FDIC

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

S E V E R A N C E

D I R E C T O R

H A L L

CELEBRITY SERIES AT T H E M O V I E S

Friday evening, February 13, 2015, at 8:00 p.m.

SEASON

A S Y M P H O N I C N I G H T AT T H E M O V I E S

with the score performed live

by THE CLEVELAND ORCHESTRA conducted by BRETT MITCHELL Produced and Directed by Alfred Hitchcock Herbert Coleman, Associate Producer Screenplay by Alec Coppel and Samuel A. Taylor Music by Bernard Herrmann Film Courtesy of Paramount Pictures

THE CAST James Stewart . . . . . . . . . . . . . . . . . John "Scottie" Ferguson Kim Novak . . . . . . . . . . . . . Madeleine Elster / Judy Barton Barbara Bel Geddes . . . . . . . . . . . . . . . . . . . . . . Midge Wood Tom Helmore . . . . . . . . . . . . . . . . . . . . . . . . . . . Gavin Elster The film is presented with one intermission and will end at approximately 10:30 p.m.

Producer: John Goberman Live orchestra adaptation by Patrick Russ Technical Supervisor: Pat McGillen Music Preparation: Larry Spivack

A Symphonic Night at the Movies is a production of PGM Productions Inc. of New York and is presented by arrangement with IMG Artists.

The producer wishes to acknowledge the contributions and extraordinary support of John Waxman (Themes & Variations).

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

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Celebrity Series Vertigo

63

THE STORY The movie Vertigo was premiered in San Francisco on May 9, 1958.

Police detective John “Scottie” Ferguson (Jimmy Stewart) is asked by an old college friend, Gavin Elster (Tom Helmore), if he would take a look into his wife Madeleine’s (Kim Novak) increasingly odd behavior. Of late, she seems to believe that she is the reincarnation of a woman who died many years ago. Elster is concerned about her sanity.

Scottie follows Madeleine and finds himself rescuing her from an apparent suicide attempt when she jumps into San Francisco Bay. Scottie gets to know Madeleine — and falls in love with her. They go to an old mission church, where he is unable (owing to his own vertigo) to stop her from climbing to the top of the steeple, where she jumps to her death. A subsequent inquiry finds that Madeleine committed suicide, but faults Scottie for not stopping her.

A number of months later, he meets Judy Barton, a woman who is the spitting image of Madeleine. He can’t explain it, but she is identical to the woman who died. He tries to re-make her into Madeleine’s image by getting her to dye her hair and wear similar clothing. Then, he begins to realize that he has been duped and was a pawn in a complex piece of theater that was meant to end in tragedy.

64

Celebrity Series Vertigo

The Cleveland Orchestra

Brett Mitchell Assistant Conductor Elizabeth Ring and William Gwinn Mather Endowed Chair The Cleveland Orchestra

Brett Mitchell is in his second season as assistant conductor of The Cleveland Orchestra and music director of the Cleveland Orchestra Youth Orchestra. As assistant conductor, Mr. Mitchell serves as cover conductor for Severance Hall and Blossom Music Festival subscription concerts, and provides assistance to music director Franz Welser-Möst — in his first year, he was called upon on short notice to conduct several concerts of The Cleveland Orchestra for ailing colleagues. In addition to his responsibilities with The Cleveland Orchestra, Brett Mitchell is currently in his fifth and final season as music director of Michigan’s Saginaw Bay Symphony Orchestra.

In recent seasons, Mr. Mitchell has led the London Philharmonic Orchestra and the Leipzig Gewandhaus Orchestra, as well as the orchestras of Baltimore, Detroit, Memphis, Oregon, Philadelphia, Pittsburgh, and Rochester, Frankfurt Radio Symphony, Washington D.C.’s National Symphony Orchestra, Saint Paul Chamber Orchestra, and the Northwest Mahler Festival Orchestra. He has also acted as musical assistant and cover conductor with the New York Philharmonic and Philadelphia Orchestra. Recent return engagements include appearances with the National Symphony Orchestra, Saint Paul Chamber Orchestra, Houston Symphony, and the Rochester Philharmonic Orchestra.

Mr. Mitchell served as assistant conductor of the Houston Symphony (2007-11), where he concurrently held a League of American Orchestras American Conducting Fellowship. Since that time, he has returned to lead the Houston Symphony regularly as a guest conductor. He was also an assistant conductor to Kurt Masur at the Orchestre National de France (2006-09) and served as director of orchestras at Northern Illinois University (2005-07). He was associate conductor of the Pittsburgh New Music Ensemble (2002-06), where he led many subscription programs, six world premieres, and several recording projects. Mr. Mitchell has also served as music director of nearly a dozen opera productions, principally as music director at the Moores Opera Center in Houston (2010-13), where he led eight productions.

A native of Seattle, Brett Mitchell holds a doctor of musical arts degree from the University of Texas at Austin, where he was also music director of the University Orchestra. He earned a bachelor of music degree in composition from Western Washington University. Mr. Mitchell also participated in the National Conducting Institute in Washington D.C., and also studied with Lorin Maazel and Kurt Masur.

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Celebrity Series Vertigo

65

Previously known as Golden Age Centers of Cleveland 216.231.6500 • www.rosecenters.org

The Cleveland Orchestra guide to

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Exacting craftsmanship and meticulous attention to every detail, every job.

216-952-9801 www.rbschwarzinc.com

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

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

www.drhauser.com

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

66

The Cleveland Orchestra

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

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

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

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

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Education & Community

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T H E

C L E V E L A N D

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

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

68

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

Education & Community

The Cleveland Orchestra

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

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

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

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

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

Education & Community

69

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

clevelandorchestra.com

“The trouble with music appreciation in general is that people are taught to have too much respect for music.

They should be taught to love it instead.”

—Igor Stravinsky

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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)

73

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THE CLEVELAN D ORCHESTRA

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

Cumulative Giving

Annual Support

JOHN L. SEVERANCE SOCIETY

$1 MILLION AND MORE

$10 MILLION AND MORE

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

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

75

THE CLEVELAN D ORCHESTRA

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

Lifetime Giving

Giving Societies

JOHN L. SEVERANCE SOCIETY

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

$10 MILLION AND MORE

In celebration of the critical role individuals play in supporting The Cleveland Orchestra each year, donors of $2,500 and more are recognized as members of special Leadership Giving Societies.

These societies are named to honor important and inspirational leaders in the Orchestra’s history.

The Adella Prentiss Hughes Society honors the Orchestra’s founder and first manager, who from 1918 envisioned an ensemble dedicated to community service, music education, and performing excellence.

The George Szell Society is named after the Orchestra’s fourth music director, who served for twenty-four seasons (1946-70) while refining the ensemble’s international reputation for clarity of sound and unsurpassed musical excellence.

The Elisabeth DeWitt Severance Society honors not only the woman in whose memory Severance Hall was built, but her selfless sharing, including her insistence on nurturing an orchestra not just for the wealthy but for everyone.

The Dudley S. Blossom Society honors one of the Orchestra’s early and most generous benefactors, whose dedication and charm rallied thousands to support and nurture a hometown orchestra toward greatness.

The Frank H. Ginn Society honors the man whose judicious management of Severance Hall’s finances and construction created a beautiful and welcoming home for Cleveland’s Orchestra.

The 1929 Society honors the vibrant community spirit that propelled 3,000 volunteers and donors to raise over $2 million in a nine-day campaign in April 1929 to meet and match John and Elisabeth Severance’s challenge gift toward the building of the Orchestra’s new concert hall.

Jan and Daniel Lewis (Miami, Cleveland) $5 MILLION TO $10 MILLION

Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. and Mrs. Alexander M. Cutler Mrs. Norma Lerner and The Lerner Foundation Mrs. Alfred M. Rankin, Sr. Mr. and Mrs. Albert B. Ratner $1 MILLION TO $5 MILLION

Irma and Norman Braman (Miami) Mr. Francis J. Callahan* Mrs. M. Roger Clapp Mr. George Gund III* Francie and David Horvitz (Miami) Mr. and Mrs. Michael J. Horvitz Mr. James D. Ireland III The Walter and Jean Kalberer Foundation Mr. and Mrs. Joseph P. Keithley Mr. and Mrs. Dennis W. LaBarre Peter B. Lewis* and Janet Rosel Lewis (Miami) Sue Miller (Miami) Sally S.* and John C. Morley The Family of D. Z. Norton The Honorable and Mrs. John Doyle Ong Mr. and Mrs. Alfred M. Rankin, Jr. Charles and Ilana Horowitz Ratner James and Donna Reid Barbara S. Robinson The Ralph and Luci Schey Foundation Mr.* and Mrs. Ward Smith Anonymous (2)

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

Lifetime giving listing as of December 2014.

76

Individual Annual Support

The Cleveland Orchestra

Adella Prentiss Hughes Society

Leadership Council

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

Mr. and Mrs. Albert B. Ratner INDIVIDUAL GIFTS OF $200,000 TO $499,999

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

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

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

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

Sheldon and Florence Anderson (Miami) Blossom Womenâ&#x20AC;&#x2122;s Committee Jeanette Grasselli Brown and Glenn R. Brown Hector D. Fortun (Miami) Mrs. John A. Hadden, Jr.

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

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

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

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

Severance Hall 2014-15

Individual Annual Support

77

THE CLEVELAN D ORCHESTRA

listings continued

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

INDIVIDUAL GIFTS OF $25,000 TO $29,999

In dedication to Donald Carlin (Miami) Martha and Bruce Clinton (Miami) Robert and Jean* Conrad Mr. and Mrs. Gerald A. Conway Do Unto Others Trust (Miami)

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

George* and Becky Dunn JoAnn and Robert Glick Mr. and Mrs. Donald M. Jack, Jr. Gary Hanson and Barbara Klante Mr. and Mrs. Jeffrey Healy Mrs. Marguerite B. Humphrey Junior Committee of The Cleveland Orchestra Dr. David and Janice Leshner Mrs. Jane B. Nord William J. and Katherine T. O’Neill Julia and Larry Pollock Mr. and Mrs. James A. Ratner Mr. and Mrs. James A. Saks Paul and Suzanne Westlake Women’s Committee of The Cleveland Orchestra

Dudley S. Blossom Society gifts of $15,000 and more INDIVIDUAL GIFTS OF $20,000 TO $24,999

Gay Cull Addicott Mr. and Mrs. William W. Baker Randall and Virginia Barbato Mr. and Mrs. Matthew V. Crawford Jeffrey and Susan Feldman (Miami) Dr. Edward S. Godleski Trevor and Jennie Jones Mr. and Mrs. Christopher Kelly

Leadership

PATRON PROGRAM

Barbara Robinson, chair Robert Gudbranson, vice chair Gay Cull Addicott William W. Baker Ronald H. Bell Henry C. Doll Judy Ernest Nicki Gudbranson Jack Harley

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

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

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

The Leadership Patron Program recognizes generous donors of $2,500 or more to the Orchestra’s Annual Campaign. For more information on the benefits of playing a supporting role each year, please contact Elizabeth Arnett, Manager, Leadership Giving, by calling 216-231-7522.

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

78

Individual Annual Support

The Cleveland Orchestra

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

Mr. and Mrs. George N. Aronoff Mr. and Mrs. Dean Barry Jayusia and Alan Bernstein (Miami) Laurel Blossom Mr. D. McGregor Brandt, Jr. Paul and Marilyn* Brentlinger Mr. and Mrs. Marshall Brown J. C. and Helen Rankin Butler Augustine* and Grace Caliguire Richard J. and Joanne Clark Nancy and Richard Dotson Mr. and Mrs. Robert P. Duvin Mary Jo Eaton (Miami) Dr. and Mrs. Lloyd H. Ellis Jr. Mr. Brian L. Ewart and Mr. William McHenry Nelly and Mike Farra (Miami) Kira and Neil Flanzraich (Miami) Sheree and Monte Friedkin (Miami) Francisco A. Garcia and Elizabeth Pearson (Miami) Mr. and Mrs. Richard T. Garrett Albert I. and Norma C. Geller Mr. and Mrs. Robert W. Gillespie

Mr. David J. Golden Andrew and Judy Green Kathleen E. Hancock Michael L. Hardy Mary Jane Hartwell Iris and Tom Harvie Mr. and Mrs. James A. Haslam II Mr. and Mrs. James A. Haslam III Joan and Leonard Horvitz Mark and Ruth Houck (Miami) Pamela and Scott Isquick Ruth and Pedro Jimenez (Miami) Cherie and Michael Joblove (Miami) Janet and Gerald Kelfer (Miami) Mrs. Elizabeth R. Koch Tim and Linda Koelz Mr. and Mrs. Stewart A. Kohl Thomas E. Lauria (Miami) Mr. and Mrs.* Robert P. Madison Mr. and Mrs. Thomas B. McGowan Edith and Ted* Miller Mr. Donald W. Morrison Joy P. and Thomas G. Murdough, Jr. (Miami)

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

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

Robert and Alyssa Lenhoff-Briggs Dr.* and Mrs. Jerald S. Brodkey Ellen E. & Victor J. Cohn Supporting Foundation Henry and Mary Doll Harry and Joyce Graham Mr. Paul Greig Mrs. Sandra L. Haslinger Henry R. Hatch Robin Hitchcock Hatch Amy and Stephen Hoffman Ms. Elizabeth James

Joela Jones and Richard Weiss Mr. and Mrs.* S. Lee Kohrman Kenneth M. Lapine and Rose E. Mills Judith and Morton Q. Levin Mr. and Mrs. Alex Machaskee Claudia Metz and Thomas Woodworth Mr. J. William and Dr. Suzanne Palmer Pannonius Foundation Nan and Bob Pfeifer Douglas and Noreen Powers Paul A. and Anastacia L. Rose Steven and Ellen Ross

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

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

Ms. Carole Hughes Mr. David and Mrs. Dianne Hunt Mr. and Mrs. Brinton L. Hyde Mr. and Mrs. Christopher Hyland Donna L. and Robert H. Jackson Rudolf D. and Joan T. Kamper Milton and Donna* Katz Dr. Richard and Roberta Katzman Dr. and Mrs. William S. Kiser Cynthia Knight (Miami) Mrs. Justin Krent Mr. and Mrs. Peter A. Kuhn Mr. and Mrs. Arthur J. Lafave, Jr. Mr. Brian J. Lamb David C. Lamb Anthony T. and Patricia A. Lauria Mr. Lawrence B. and Christine H. Levey Dylan Hale Lewis (Miami) Marley Blue Lewis (Miami) Dr. Alan and Mrs. Joni Lichtin

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

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

80

Individual Annual Support

listings continue

The Cleveland Orchestra

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81

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

Mr. Jon E. Limbacher and Patricia J. Limbacher Mr. Rudolf and Mrs. Eva Linnebach Anne R. and Kenneth E. Love Elsie and Byron Lutman Ms. Jennifer R. Malkin Mr. and Mrs. Morton L. Mandel Alan Markowitz M.D. and Cathy Pollard Mr. and Mrs. E. Timothy McDonel Ms. Maureen M. McLaughlin (Miami) James and Virginia Meil David and Leslee Miraldi Mr. and Mrs. William A. Mitchell Curt and Sara Moll Ann Jones Morgan Richard and Kathleen Nord Mr. Thury Oâ&#x20AC;&#x2122;Connor Mr. Henry Ott-Hansen Ms. MacGregor W. Peck Mr. and Mrs. John S. Piety Mr. and Mrs. Richard W. Pogue In memory of Henry Pollak Dr. and Mrs. John N. Posch

William and Gwen Preucil Lois S. and Stanley M. Proctor* Ms. Rosella Puskas Mr. and Mrs. Thomas A. Quintrell Drs. Raymond R. Rackley and Carmen M. Fonseca Mr. and Mrs. Roger F. Rankin Brian and Patricia Ratner Ms. Deborah Read Mr. and Mrs. Robert J. Reid Amy and Ken Rogat Mr. and Mrs. Robert C. Ruhl Mrs. Florence Brewster Rutter Drs. Michael and Judith Samuels (Miami) Bob and Ellie Scheuer David M. and Betty Schneider Linda B. Schneider Dr. and Mrs. James L. Sechler Lee and Jane Seidman Charles Seitz (Miami) Mr. Eric Sellen and Mr. Ron Seidman Seven Five Fund Ms. Marlene Sharak

Mrs. Frances G. Shoolroy Naomi G. and Edwin Z. Singer Family Fund David Kane Smith Dr. Marvin and Mimi Sobel Mr. and Mrs. William E. Spatz George and Mary Stark Stroud Family Trust Dr. Elizabeth Swenson Mr. and Mrs. Paul A. Teel, Jr. Mr. and Mrs. Bill Thornton Mr.* and Mrs. Robert N. Trombly Robert and Marti Vagi Don and Mary Louise Van Dyke Bill Appert and Chris Wallace (Miami) Mr. and Mrs. Ronald E. Weinberg Robert C. Weppler Tom and Betsy Wheeler Nancy V. and Robert L. Wilcox Sandy Wile and Susan Namen Dr. and Mr. Ann Williams Anonymous (6)

Mr. Robert T. Hexter Dr.* and Mrs. George H. Hoke Dr. Keith A. and Mrs. Kathleen M. Hoover Dr. and Mrs. Scott R. Inkley Mr. and Mrs. Richard A. Janus Robert and Linda Jenkins Dr. and Mrs. Richard S. Kaufman James and Gay* Kitson Mrs. Natalie D. Kittredge Dr. Gilles and Mrs. Malvina Klopman Mr. and Ms. James Koenig Mr. James Krohngold Ronald and Barbara Leirvik Irvin and Elin Leonard Robert and LaVerne* Lugibihl Joel and Mary Ann Makee Herbert L. and Rhonda Marcus Martin and Lois Marcus Ms. Nancy L. Meacham Dr. Susan M. Merzweiler Bert and Marjorie Moyar Susan B. Murphy Richard B. and Jane E. Nash Mr. and Mrs. Peter R. Osenar Dr. Lewis and Janice B. Patterson

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

Kerrin and Peter Bermont (Miami) Barbara and Sheldon Berns Margo and Tom Bertin Carmen Bishopric (Miami) Bill* and Zeda Blau Doug and Barbara Bletcher Mr. and Mrs. Richard H. Bole John and Anne Bourassa Laurie Burman Mr. Adam Carlin (Miami) Irad and Rebecca Carmi Leigh Carter Mr. and Mrs. James B. Chaney Dr. and Mrs. Ronald Chapnick

Dr. Christopher and Mrs. Maryanne Chengelis Ms. Mary E. Chilcote Mr. and Mrs. Homer D. W. Chisholm Daniel D. Clark and Janet A. Long Kenneth S. and Deborah G. Cohen Mr. and Mrs. Stanley Cohen (Miami) Dr. and Mrs. Delos M. Cosgrove III Dr. Dale and Susan Cowan Mr. and Mrs. Manohar Daga Mrs. Frederick F. Dannemiller Charles* and Fanny Dascal (Miami) Dr. Eleanor Davidson listings continue

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

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

Mr. and Mrs. Charles Abookire, Jr. Stanley I.* and Hope S. Adelstein Mr. and Mrs. Norman Adler Mr. and Mrs. Monte Ahuja Mr. and Mrs. Robert J. Amsdell Dr. Mayda Arias Agnes Armstrong Mr. and Mrs. James B. Aronoff Geraldine and Joseph Babin Ms. Jennifer Barlament Ms. Delphine Barrett Rich Bedell and Elizabeth Grove Dr. Ronald and Diane Bell Mr. Roger G. Berk

82

Individual Annual Support

The Cleveland Orchestra

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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

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

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

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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

Join the millions of people who enjoy all the sounds of life!

Cleveland Hearing & Speech Center is the premier provider of audiology products and services. From hearing screenings, ĞǀĂůƵĂƟŽŶƐ͕ ĂŶĚ ĚĞǀŝĐĞ ĮƫŶŐƐ͕ ƚŽ ĨŽůůŽǁ ƵƉ ĂŶĚ ƐƵƉƉŽƌƚ͕ ,^ ǁŝůů ĞŶƐƵƌĞ LJŽƵ ŶĞǀĞƌ ŵŝƐƐ Ă ŶŽƚĞ͊

Ăůů ƚŽĚĂLJ ĨŽƌ ŵŽƌĞ ŝŶĨŽƌŵĂƟŽŶ͘ 216-231-8787

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THE CLEVELAND C O N C E R T

C A L E N D A R

WINTER SEASON Tchaikovsky’s Fifth Symphony

Bronfman Plays Brahms

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.

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 Hannu Lintu, conductor Vadim Gluzman, violin *

SIBELIUS Pohjola’s Daughter PROKOFIEV Violin Concerto No. 2 * TCHAIKOVSKY Symphony No. 5 *not part of Friday Morning Matinee

Sponsor: Jones Day

THURSDAY AND FRIDAY:

BRAHMS Variations on a Theme by Haydn BRAHMS Tragic Overture BRAHMS Piano Concerto No. 2

SATURDAY AND SUNDAY:

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

THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Yefim Bronfman, piano Paul Jacobs, organ

<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 Pelleas and Melisande

BRAHMS Prelude and Fugue in G minor BRAHMS Two Chorale Preludes BACH Prelude and Fugue in A minor BRAHMS Tragic Overture BRAHMS Piano Concerto No. 1

Sponsor: BakerHostetler

Beethoven’s Seventh March 12 — Thursday at 7:30 p.m.

March 13 — Friday at 7:00 p.m. <18s * March 14 — Saturday at 8:00 p.m.

THE CLEVELAND ORCHESTRA Fabio Luisi, conductor Jean-Yves Thibaudet, piano *

FRANCESCONI Cobalt, Scarlet: Two Colors of Dawn LISZT Piano Concerto No. 2* BEETHOVEN Symphony No. 7 * not part of Fridays@7 concert

Sponsors: BakerHostetler and KeyBank (Fridays@7)

AT THE MOVIES CELEBRITY SERIES

Vertigo

February 13 — Friday at 8:00 p.m.

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

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

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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

S E A S O N

I N

PNC MUSICAL RAINBOW

T H E

S P O T L I G H T

The Velvet Violin

March 13 — Friday at 10:00 a.m. <18s March 14 — Saturday at 10:00 and 11:00 a.m.

<18s

with Beth Woodside, violin

For ages 3 to 6. Host Maryann Nagel gets attendees singing, clapping, and moving to the music in this series introducing instruments of the orchestra. With solo selections, kid-friendly tunes, and sing-along participation.

Sponsor: PNC Bank

FAMILY CONCERT

The Listener

March 15 — Sunday at 3:00 p.m. <18s THE CLEVELAND ORCHESTRA Brett Mitchell, conductor with Magic Circle Mime Co. The conductor is set to lead the Orchestra for a very serious concert . . . but who suddenly appears? A bugleplaying mime who wants to sing opera? A tap dancing ballerina? What will happen to the concert?! Learn about music, the orchestra, and the oh-so-important art of listening in this fun-filled family concert.

Sponsor: The Giant Eagle Foundation

Rachmaninoff’s Romantic Symphony March 19 — Thursday at 7:30 p.m.

March 20 — Friday at 11:00 a.m. <18s * March 21 — Saturday at 8:00 p.m.

March 22 — Sunday at 3:00 p.m. <18s THE CLEVELAND ORCHESTRA Jahja Ling, conductor Daniil Trifonov, piano * Michael Sachs, trumpet *

SHOSTAKOVICH Piano Concerto No. 1* RACHMANINOFF Symphony No. 2 * not part of Friday Morning Matinee

Sponsor: Squire Patton Boggs (US) LLP

Mitsuko Uchida’s Mozart Aprll 9 — Thursday at 7:30 p.m.

April 10 — Friday at 8:00 p.m. <18s April 11 — Saturday at 8:00 p.m.

Thursday February 19 at 7:30 p.m.

Friday February 20 at 8:00 p.m.

Saturday February 21 at 8:00 p.m.

Sunday February 22 at 3:00 p.m.

THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Yefim Bronfman, piano

Many today think of Brahms as a buttoned-up academic, but his music is filled with emotion . . . from bittersweet joy to exuberant happiness, from lighthearted humor to serious introspection. His two piano concertos stand as pillars of the piano repertoire. Hear them both in the same weekend (No. 2 on Thurs/Fri and No. 1 on Sat/Sun), as Franz Welser-Möst and the Orchestra are joined by Yefim Bronfman.

Concert Sponsor: BakerHostetler

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

MOZART Piano Concerto No. 6 MOZART Symphony No. 34 MOZART Piano Concerto No. 26

CLEVELAND ORCHESTRA TICKETS PHONE

216-231-1111 800-686-1141

clevelandorchestra.com

Sponsor: Quality Electrodynamics (QED)

Severance Hall 2014-15

BRONFMAN PLAYS BRAHMS

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 . . .

RACHMANINOFF’S MITSUKO UCHIDA SECOND SYMPHONY PLAYS MOZART Thursday March 19 at 7:30 p.m.

Friday March 20 at 11:00 a.m. * <18s Saturday March 21 at 8:00 p.m.

Sunday March 22 at 3:00 p.m. <18s

Thursday April 9 at 7:30 p.m.

Friday April 10 at 8:00 p.m. <18s Saturday April 11 at 8:00 p.m.

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

THE CLEVELAND ORCHESTRA Jahja Ling, conductor Daniil Trifonov, piano * Michael Sachs, trumpet*

Following the disastrous reviews of his First Symphony, Rachmaninoff considered giving up composing entirely. But new inspiration and encouragement from friends allowed him to create one of the most Romantic and admired of all his works. Experience the Second Symphony in all its glory, filled with haunting beauty, soaring musical melodies, and the reality of redemption.

The program also features Shostakovich’s quirky and fun-filled First Piano Concerto.*

Mitsuko Uchida’s interpretations of Mozart are renowned for their intelligence, elegance, and sensitivity. She continues her acclaimed collaboration with The Cleveland Orchestra — recognized with a 2010 Grammy Award — with performances of two more of Mozart’s piano concertos (Nos. 6 and 26).

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

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

* not part of Friday morning concert Sponsor: Squire Patton Boggs (US) LLP

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