The Cleveland Orchestra May 12-14, 19-22 Concerts by Live Publishing

2015-16 SE ASON

SPRING SEASON

SEVERANCE HALL

Concert: May 12, 13, 14 FRANK PETER ZIMMERMANN PLAYS BARTÓK — page 31 Concert: May 19, 20, 21. 22 BEETHOVEN’S EMPEROR CONCERTO — page 65 PERSPECTIVES from the Executive Director — page 7 Musical Relationships, Language and Identity — page 8

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TA B L E

CONTENTS

THIS WEEK CLEVELAND

WEEKS

ORCHESTRA

21 AN D 22

Upfront

PAGE

THE

2015-16 SE ASON

COVER PHOTOGRAPHY BY ROGER MASTROIANNI

From the Executive Director . . . . . . . . . . . . . . . . . . . . 7

About the Orchestra Musical Arts Association . . . . . . . . . . . . . . . . . . . . . . . 15 The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . . . 17 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Severance Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 Concert Calendar . . . . . . . . . . . . . . . . . . . . . . . . 108-109 WEEK

Copyright © 2016 by The Cleveland Orchestra and the Musical Arts Association Eric Sellen, Program Book Editor E-MAIL: esellen@clevelandorchestra.com 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

ZIMMERMANN PLAYS BARTÓK Program: May 12, 13, 14 . . . . . . . . . . . . . . . . . . . . . 31 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 33 LISZT

Orpheus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 BARTÓK

Violin Concerto No. 2 . . . . . . . . . . . . . . . . . . . . . . . 39 BARTÓK

Music for Strings, Percussion, and Celesta . . . 47 Conductor: Franz Welser-Möst . . . . . . . . . . . . . . . . . 23 Soloist: Frank Peter Zimmermann . . . . . . . . . . . . . 45 NEWS Cleveland Orchestra News . . . . . . . . . . . . . . . . . 58-63 WEEK

BEETHOVEN’S EMPEROR CONCERTO Program: May 19, 20, 21, 22 . . . . . . . . . . . . . . . . . 65 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 67

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.

DVOŘÁK

The Wood Dove . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 JANÁČEK

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

Suite from From the House of the Dead . . . . . . . 71 BEETHOVEN

Piano Concerto No. 5 (“Emperor”) . . . . . . . . . . . 75

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.

Conductor: Franz Welser-Möst . . . . . . . . . . . . . . . . . 23 Soloist: Rudolf Buchbinder . . . . . . . . . . . . . . . . . . . . 81

Support Mellon Challenge Grant . . . . . . . . . . . . . . . . . . . . 12-13 Sound for the Centennial . . . . . . . . . . . . . . . . . . . 56-57 Annual Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87-98

Table of Contents

The Cleveland Orchestra

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Perspectivesfrom the Executive Director May 2016 Throughout the country, there is a yearly ritual at non-profit organizations large and small, to bring the Annual Fundraising campaign to a successful close. It is no small task, yet it is, in fact, what makes each year possible. The Cleveland Orchestra’s Annual Fund reaches back to its earliest history, to a group of founding guarantors who chose, nearly a century ago, to take on shared responsibility for each year’s budget. These were families with strong links to the Orchestra’s founding and to its subsequent growth and achievements, and to the community’s own success as one of America’s great industrial cities. The Cleveland Orchestra was founded to serve this community through the art of music — through performances second to none, and with education programs that would inspire new generations. It remains a worthy ideal. Across the decades, like most other non-profit arts organizations of the era, The Cleveland Orchestra also became more and more of a true business — running a year-round schedule of concerts and education programs, overseeing the daily operation of a great concert hall and an ambitious summer home. Musical art had become work, requiring not just creativity and enthusiasm, but rigorous implementation, dedicated oversight, and long-term planning. Across these same decades, the responsibility for ensuring The Cleveland Orchestra’s success was willingly and happily taken on by a larger and larger group of individuals, each invested not just in the artistic rewards and achievements but the financial outcomes of each season as well. The list of guarantors became a community-wide Annual Fund, supported by thousands of gifts large and small, every one making a difference. The Cleveland Orchestra’s Annual Fund is, in fact, one of the most amazing things about this institution and community. Indeed, as a symbol of how generous — and involved — you are, this Annual Fund is extraordinary. You are more generous than any other in this country in terms of per capita giving. And I believe this is a direct reflection of what happens onstage. Franz and the musicians of this Orchestra push themselves every day to be better, to do more. You recognize this constant striving, and you push yourselves, too — to give just a little more, to support to the utmost. This spring, my wife, Ginette, and I sat down to make our own first Annual Fund pledge to The Cleveland Orchestra, not simply because I work here, but because we fundamentally believe in the future of this extraordinary ensemble and want to be a part of this community’s support going forward. Closing out this year’s Annual Fund at the end of June presents both opportunities and challenges. A strong finish requires the efforts and support of everyone who cares about this Orchestra and is able to contribute. Even with the surging success of recent years, ticket sales cover less than half of the costs for producing the Orchestra’s concerts and programs. If you have already made your gift or pledge to the Annual Fund, thank you. If you have not, but enjoy and count on what this Orchestra offers you, please . . . give today. Every gift, small or large, makes a difference in carrying this institution forward year by year.

André Gremillet Severance Hall 2015-16

Nationality and Language, Identity and Music . . . Cleveland Orchestra concerts this month feature works by Eastern European composers Bartók, Janáček, and Dvořák — allowing concertgoers to ponder the varied influences of spoken language, musical vocabulary, and a composer’s style. T H I S S P R I N G , Franz Welser-Möst’s con-

certs at Severance Hall are featuring a rare grouping together of musical works by composers from what we today call Eastern Europe — including Dvořák, Janáček, Kurtág, and especially Bartók. These Czech and Hungarian works not only add diversity and breadth to the season, they also can remind us of Franz’s fundamental belief that music — the studying, listening to, learning about, the playing of an instrument — are essential to developing (as a child) and maintaining (as an adult) a well-rounded mind. We might also wonder how the music of the countries (or peoples) of Eastern Europe are connected to one another and to the larger world of classical music — and to the grand Germanic symphonic traditions of Central Europe (with which these countries were long identified)? How does the language of a country affect music and how people listen to it? Relatedly, how do composers of different

countries come to sound “like home” to their compatriots? Does music, in fact, influence how a person thinks? In the 2014 book Whatever Happened to the Metric System?, author John Bemelmans Marciano notes that those of us still using the “British” Standard of measure instead of the Metric system are now valuable for maintaining diversity of thought in the world — we actually think differently about weights and measures than those raised on the Metric system. We think about the world from a different angle. Although many will argue, neither system of weights and measures is inherently better in and of itself. They are merely different and each has its advantages and disadvantages. Up to the point at which too much variation (too much converting one system to another) causes misunderstanding or chaos. In other words, difference and diversity help create a more interesting and stimulating world. So it is with language. The dream of Music and Identity

The Cleveland Orchestra

A map of ethnic groupings across Europe. 1897, Hungary.

a universal language, whether Latin or Esperanto or English or Chinese is more like a nightmare of impoverishment, of making everything too much the same. What might be gained in certainty of communication would be erased by all that is lost by not having brains raised with different languages as their baseline, their “normal.” Nuances of meaning, of “untranslatable” words between languages, would not just cease to exist, but the differing ways of viewing and thinking about objects and ideas behind those differences would also be . . . gone. As some scholars and philosophers have suggested, the biggest difference between France and Germany across the centuries is not their cultures per se, but their languages, and that the two cultures are more a byproduct of their differing languages (and ways of actually thinking), not the other way around. So it is with music. The differences of spoken language, and mindset, also affect music. Not just in how words are set in differing languages, so as to sound natural, but in the inherent normal rhythms of different languages, of everyday life and hearing. The national music of varying countries, almost without exception, mirrors inflections and rhythms — and ways of thinking — inherent in the languages of its peoples. Music “from home” brings peace of mind and happiness. The music you listen to, the language you speak is as strong a home as any physical structure. Possibly more so. News reports this year have cited studies showing that children raised with dual language skill (bilingual as children) grow up to be more collaborative (less Severance Hall 2015-16

prone to conflict) as adults. They understand more of the possibilities of the world (and the people around them) because their minds were “set” in their formative years with the diverse “views” inherent in two different languages. Conductor Daniel Barenboim’s youth-filled West-Eastern Divan Orchestra — including Palestinians and Israelis — is founded on the related notion that making music together brings understanding and commonality and sharing, to those involved, if not to the countries and peoples at large. EASTERN EUROPEAN RHY THMS

So what, if anything, do these ideas tell us about the musical works we are hearing this spring — about these composers from what we today call Eastern Europe? Eastern now, due to 20th-century politics, when the democratic West squared off with the communist “East” as adversary. For centuries prior, that swath of Europe was, with Germany and Austria, called Central Europe, a civilized, flourishing area of arts and culture and progress. Budapest and Prague and Warsaw were as proudly modern and progressive as Vienna, Berlin, and Paris from the Enlight-

Language and Music

enment forward into the 20th century, before being cordoned off as Russia’s Eastern Block zone. Their music and arts continued to shine, even under postWorld War II authoritarian rulers. As Jan Simon postulates in a collection of essays titled The Late Romantic Century, “the importance of language as a factor and criterion of nationality also influenced the practice of composers in east central Europe. The nature of a spo-

Difference and diversity help create a more interesting and stimulating world. ken language inevitably affects the music that sets it . . . and ultimately, if indirectly, leaves its mark on instrumental music too. . . . For Janáček and Bartók, fidelity to the rhythms and inflections of the spoken language was an article of nationalist, as well as realist, faith.” Bartók together with his friend Zoltán Kodály spent years cataloging the folk music of their Hungarian homeland, and other countrysides, too. The process inevitably enriched and altered each composer’s own music vocabulary and, ultimately, helped create their unique musical voices. Indeed, Bartók made folk music and rhythms wholeheartedly part of his own music — not by direct quotation, but by merging it and synthesizing folk music into the very DNA of his musical ideas. Bartók’s Violin Concerto and Music for Strings, Percussion, and Celesta, or his Concerto for Orchestra, would be very different pieces had he grown up in . . . Scotland or Peru.

Dvořák’s earliest fame came from his Slavonic Dances, perfectly derived from the Czech rhythms and ideals of his upbringing. Yet the mature Dvořák continued to pursue Germanic traditions of symphonic form and character, while almost unconsciously infusing his scores with aspects of Czech-ness. His great interest during his years as a teacher in America was looking for unique and authentic American music, interviewing former Black slaves and Native Americans. Of course, many composers become multi-lingual in their ability to write in the voices of different nations — some more successfully real and authentic (rather than merely imitative) than others. The Stabat Mater that closes the season with its Latin text, is less Czech than many other of Dvořák’s works, but even in this musical mourning we can identify and recognize moments of a different mindset. This music, certainly, is not German. But its universality, at least for believers and those willing to suspend disbelief in the face of great musical expression, brings us back to language and identity. And perhaps to that other idea . . . that music itself is a universal language, or at least one great channel for translating or transferring what it means to be human from one mind to many, to share our emotional insights, to draw strength from our common bond and intellect. In this way, art makes a difference and shares our humanity . . . each and every day. —Eric Sellen Eric Sellen serves as program book editor for The Cleveland Orchestra — and believes in the power of music.

Nationality and Music

The Cleveland Orchestra

Ben and Martha Lavin

Dr. Arthur Lavin Subscriber and Annual Fund donor

SHARING MUSIC WITH FAMILY AND FRIENDS . . .

“My parents loved The Cleveland Orchestra from the earliest days of their marriage — and introduced me to music’s great power, its gripping depths and joyful highs.” Ben and Martha Lavin married shortly after World War II. As a young couple, they became Cleveland Orchestra subscribers, making it a routine part of their week — and sharing Saturday nights and the Orchestra with their best friends. Their son, Arthur, began attending with his parents as a teenager, hearing the Orchestra at both Severance Hall and Blossom Music Center. Those early experiences, listening as a young man to great performances by George Szell, left an indelible impression: “In college, I dove deeply into listening — not studying music, for, although I tried, I was too clumsy to master an instrument. But I found my ears were tuned to music, and I have been plumbing its depths ever since!” “Above all, it is the nearly infinite power of great music to transform the mind and soul that is what I most appreciate, and the gift I so enjoy sharing with others.” Celebrate the power of music, and help build The CleveTHE land Orchestra’s future with your friends and community, by CLEVELAND ORCHESTRA supporting the Annual Fund. Call Elizabeth Arnett, Manager of Leadership and Individual Giving, at 216-231-7522 today.

clevelandorchestra.com/AnnualFund Severance Hall 2015-16

THE

CLEVELAND ORCHESTRA

Ensuring world-class opera and ballet for Northeast Ohio and the future . . . Passion and drama, beauty and spectacle define these artforms. And when opera and ballet are performed by The Cleveland Orchestra . . . every performance is elevated to the very highest level.

Under the leadership of Franz Welser-Möst, the Orchestra is committed to making opera and ballet a part of every season’s programming. And thus helping to secure a rich, vital future for Northeast Ohio’s cultural community.

Time is running out to double your support! Ensuring the Orchestra continues presenting the best opera and ballet the world has to offer — right here at home — requires additional philanthropic support each season.

Through June 2016, $1.25 million of the Foundation’s grant is matching, on a one-to-one basis, gifts from donors designated to support ambitious opera and ballet programming.

And now, every dollar you contribute counts twice . . .

Support the future of opera and ballet with The Cleveland Orchestra today! Contact Em Ezell in our Philanthropy & Advancement Office by calling 216-231-7523, or make a donation online by visiting clevelandorchestra.com/donate and choosing to give to opera and ballet.

The Andrew W. Mellon Foundation has awarded The Cleveland Orchestra $2.5 million to support opera and ballet.

With Extra Special Thanks . . . The Cleveland Orchestra applauds the generous donors listed here, who are making possible presentaƟons of arƟsƟcally

ambiƟous programming of opera and ballet every year.

The Andrew W. Mellon Foundation George* and Becky Dunn Mrs. Emma S. Lincoln Blossom Friends of The Cleveland Orchestra Jeanette Grasselli Brown and Glenn R. Brown Judith and George W. Diehl T. K. and Faye A. Heston Margaret Fulton-Mueller Donald and Alice Noble Foundation, Inc. Rachel R. Schneider Anonymous Jim and Karen Dakin Mr. and Mrs. Dennis W. LaBarre James and Virginia Meil Ms. Beth E. Mooney Dr. James and Lynne Rambasek

Mr. Larry J. Santon Dr. Gerard and Phyllis Estelle Seltzer Foundation Drs. Daniel and Ximena Sessler Women’s Committee of The Cleveland Orchestra Anonymous

Mr. and Mrs. Charles Abookire, Jr. Ms. Nancy A. Adams Drs. Nathan A. and Sosamma J. Berger Mr. William P. Blair III Mrs. Barbara Ann Davis Mr. and Mrs. Ralph Daugstrup Dr. M. Meredith Dobyns Jack Harley and Judy Ernest Angela and Jeffrey Gotthardt Iris and Tom Harvie Dr. Fred A. Heupler Elisabeth Hugh Robert and Linda Jenkins Mr. and Mrs. Richard W. Klym Tim and Linda Koelz Mr. Clayton R. Koppes Pannonius Foundation Anthony T. and Patricia A. Lauria Mr. and Mrs.* Thomas A. Liederbach

Ms. Grace Lim Elizabeth F. McBride Ms. Nancy W. McCann Mr. and Mrs. Stanley A. Meisel Deborah L. Neale Dr. and Mrs. Paul T. Omelsky Mr. J. William and Dr. Suzanne Palmer Ms. MacGregor W. Peck Patricia J. Sawvel Harry and Ilene Shapiro Ms. Frances L. Sharp Mr. Marc Stadiem Mr. and Mrs. William W. Taft Ms. Ginger Warner Mrs. Darlene K. Woodruff Anonymous

Severance Hall 2015-16

Listing as of March 2016. Add your name to this list of opera and ballet supporters today, and double your gift through the Mellon Foundation grant . . . through June 2016.

BROOKLYN HEIGHTS 1100 Resource Dr. WOODMERE 28000 Chagrin Blvd. 216.741.9000 CaliforniaClosets.com/Cleveland

T H E M U S I C AL ARTS ASSOCIATION

as of January 2016

operating The Cleveland Orchestra, Severance Hall, and Blossom Music Festival O F F I C E R S A ND E XEC UT I VE C O MMIT 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 TE ES George N. Aronoff Dr. Ronald H. Bell Richard J. Bogomolny Charles P. Bolton Jeanette Grasselli Brown Helen Rankin Butler Irad Carmi Paul G. Clark 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 Betsy Juliano Jean C. Kalberer Nancy F. Keithley

Christopher M. Kelly Douglas A. Kern John D. Koch S. Lee Kohrman Charlotte R. Kramer TE Dennis W. LaBarre Norma Lerner Virginia M. Lindseth Alex Machaskee Milton S. Maltz Nancy W. McCann Thomas F. McKee Loretta J. Mester Beth E. Mooney John C. Morley Donald W. Morrison Meg Fulton Mueller Gary A. Oatey TE Katherine T. O’Neill The Honorable John D. Ong Rich Paul 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 Meredith Smith Weil Jeffrey M. Weiss Norman E. Wells Paul E. Westlake Jr. David A. Wolfort

N O N- R E S I D E NT TR US T E E S Virginia Nord Barbato (NY) Wolfgang C. Berndt (Austria)

Richard C. Gridley (SC) Loren W. Hershey (DC)

Herbert Kloiber (Germany)

T R U S TE E S E X- O F F IC I O Faye A. Heston, President, Volunteer Council of The Cleveland Orchestra Dr. Patricia Moore Smith, President, Women’s Committee of The Cleveland Orchestra Elisabeth Hugh, President, Blossom Friends of The Cleveland Orchestra

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

HO NO R A RY TR U S TE E S FO R L I FE 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

TE Trustee Emeritus

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. * deceased 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 2015-16

André Gremillet, Executive Director

Musical Arts Association

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AS IT NEARS THE CENTENNIAL OF

its founding in 2018, The Cleveland Orchestra is undergoing a new transformation and renaissance. Under the leadership of Franz Welser-Möst, with the 2015-16 season marking his fourteenth year as the ensemble’s music director, The Cleveland Orchestra is acknowledged among the world’s handful of best orchestras. With Welser-Möst, the ensemble’s musicians, board of directors, staff, volunteers, and hometown are working together on a set of enhanced goals for the 21st century — to continue the Orchestra’s legendary command of musical excellence, to renew its focus on fully serving the communities where it performs through concerts, engagement, and music education, to develop the youngest audience of any orchestra, to build on its tradition of community support and financial strength, and to move forward into the Orchestra’s next century with an unshakeable commitment to innovation and a fearless pursuit of success. 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 Lucerne Festival, at New York’s Lincoln Center Festival, and at Indiana University. Severance Hall 2015-16

Musical Excellence. The Cleveland Orchestra has long been committed to the pursuit of musical excellence in everything that it does. The Orchestra’s ongoing collaboration with Welser-Möst is widely-acknowledged among the best orchestra-conductor partnerships of today. Performances of standard repertoire and new works are unrivalled at home, 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 experience music as a living language that grows and evolves with each new generation. Recent performances with Baroque specialists, recording projects of varying repertoire and in different locations, 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 being created 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

About the Orchestra

1918

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

14th

1l1l 11l1 1l1I

The 2015-16 season marks Franz Welser-Möst’s 14th year as music director.

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

40,000

each year

Over 40,000 young people attend Cleveland Orchestra concerts each year via programs funded by the Center for Future Audiences, through student programs and Under 18s Free ticketing — making up 20% of audiences.

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 May 10, 2016)

The Cleveland Orchestra has introduced over 4.1 million children in Northeast Ohio to symphonic music through concerts for children since 1918.

119,484

1931

150

concerts each year.

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

The Cleveland Orchestra performs over

THE CLEVEL AND ORCHESTRA

BY THE NUMBERS

tions 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 given the Orchestra an unequaled opportunity to explore music as a universal language of communication and understanding.

PHOTO BY ROGER MASTROIANNI

bring the Orchestra and citizens together in new ways. Additionally, a new Make Music! initiative is being developed, 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 more than nine decades 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 — with 20% of attendees now comprised of concertgoers age 25 and under. 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 popular Friday night concerts (mixing onstage symphonic works with post-concert entertainment), film scores performed live by the Orchestra, collaboraSeverance Hall 2015-16

An Enduring Tradition of Community Support. The Cleveland Orchestra was born in Cleveland, created by a group of visionary citizens who believed in the power of music and aspired to having the best performances of great orchestral music possible anywhere. Generations of Clevelanders have supported this vision and enjoyed the Orchestra’s concerts. Hundreds of thousands have learned to love music through its education programs and celebrated important events with its music. While strong ticket sales cover just under half of each season’s costs, it is the generos-

About the Orchestra

ity of thousands each year that drives the Orchestra forward and sustains its extraordinary tradition of excellence onstage, in the classroom, and for the community. Evolving Greatness. The Cleveland Orchestra was founded in 1918. Over the ensuing decades, the Orchestra quickly grew from a fine regional organization to being one of the most admired symphony orchestras in the world. Seven music directors have guided and shaped the ensemble’s growth and sound: Nikolai Sokoloff, 1918-33; Artur Rodzinski, 193343; Erich Leinsdorf, 1943-46; George Szell, 1946-70; Lorin Maazel, 1972-82; Christoph von Dohnányi, 1984-2002; and Franz Welser-Möst, since 2002. The opening in 1931 of Severance Hall as the Orchestra’s permanent home, with later acoustic refinements and remodeling

of the hall under Szell’s guidance, brought a special pride to the ensemble and its hometown, as well as providing an enviable and intimate acoustic environment in which to develop and refine the Orchestra’s artistry. Touring performances throughout the United States and, beginning in 1957, to Europe and across the globe have confirmed Cleveland’s place among the world’s top orchestras. Year-round performances became a reality in 1968 with the opening of Blossom Music Center, one of the most beautiful and acoustically admired outdoor concert facilities in the United States. Today, concert performances, community presentations, touring residencies, broadcasts, and recordings provide access to the Orchestra’s acclaimed artistry to an enthusiastic, generous, and broad constituency around the world.

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

About the Orchestra

The Cleveland Orchestra

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

P H OTO BY J E N N I F E R TAY LO R

Franz Welser-Möst is among today’s most distinguished conductors. The 2015-16 season marks his fourteenth year as music director of The Cleveland Orchestra, with the future of this acclaimed partnership now extending into the next decade. In 2015, the New York Times declared Cleveland to be the “best American orchestra“ due to its virtuosity, elegance of sound, variety of color, and chamber-like musical cohesion. The Cleveland Orchestra has been repeatedly praised for its innovative programming, support for new musical works, and for its recent success in semistaged and staged opera productions. In addition to an unprecedented annual residency in Miami, Franz Welser-Möst and The Cleveland Orchestra are frequent guests at many prestigious concert halls and festivals, including the Salzburg Festival and the Lucerne Festival. The Cleveland Orchestra has been hugely successful in building up a new and, notably, a young audience through its groundbreaking programs involving students and by working closely with universities. As a guest conductor, Mr. Welser-Möst enjoys a close and productive relationship with the Vienna Philharmonic. Recent performances with the Philharmonic include critically-acclaimed opera productions at the Salzburg Festival (Strauss’s Der Rosenkavalier in 2014 and Beethoven’s Fidelio in 2015) and a tour of Scandinavia, as well as appearances at New York’s Carnegie Hall, at the Lucerne Festival, and in concert at La Scala Milan. He has conducted the Philharmonic’s celebrated annual New Year’s Day concert twice, viewed by millions worldwide. This season, he leads the Vienna Philharmonic in two weeks of subscription concerts, and will conduct a new production of Strauss’s Die Liebe der Danae with them at the 2016 Salzburg Festival. Mr. Welser-Möst also maintains relationships with a number of other European orchestras, and the 2015-16 season includes return engagements to Munich’s Bavarian Radio Symphony Orchestra and Zurich’s Tonhalle Orchestra. In December, he led the Royal Stockholm Philharmonic in the Nobel Prize concert in Stockholm and conducted the Filarmonica of La Scala Milan in a televised Christmas concert. This season, he also makes his long-anticipated debut with Amsterdam’s Royal Concertgebouw Orchestra for two weeks of concerts. 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 and a series of critically-praised new productions, as well as performances of a wide range of other operas, particularly works by Wagner and Richard Strauss. Prior to his years with the Vienna State Opera, Mr. Welser-Möst led the Severance Hall 2015-16

Music Director

Zurich Opera across a decade-long tenure, conducting 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. The Salzburg Festival production he conducted of Der Rosenkavalier was awarded with the Echo Klassik 2015 for “best opera recording.“ With The Cleveland Orchestra, his recordings include DVD recordings of live performances of five of Bruckner’s symphonies and a recently-released multi-DVD set of major works by Brahms, featuring Yefim Bronfman and Julia Fischer as soloists. 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 Decoration of Honor from the Republic of Austria for his artistic achievements, and the Kilenyi Medal from the Bruckner Society of America. AT LEFT

Franz Welser-Möst was invited to lead the prestigious Nobel Prize Concert with the Stockholm Philharmonic in December 2015. Other recent accolades include being singled out in a year-end review of notable performers and performances in 2015 by Deutschland Radio.

“Right now The Cleveland Orchestra may be, as some have argued, the finest in America. . . . The ovations for Mr. Welser-Möst and this remarkable orchestra were ecstatic.” —New York Times “Franz Welser-Möst has managed something radical with The Cleveland Orchestra — making them play as one seamless unit. . . . The music flickered with a very delicate beauty that makes the Clevelanders sound like no other orchestra.” —London Times “There were times when the sheer splendor of the orchestra’s playing made you sit upright in awestruck appreciation. . . . The music was a miracle of expressive grandeur, which Welser-Möst paced with weight and fluidity.” —San Francisco Chronicle

Music Director

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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

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

Alexandra Preucil Katherine Bormann Analisé Denise Kukelhan

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

Sonja Braaten Molloy Carolyn Gadiel Warner Elayna Duitman Ioana Missits Jeffrey Zehngut Vladimir Deninzon Sae Shiragami Scott Weber Kathleen Collins Beth Woodside Emma Shook 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

Orchestra Roster

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 Martha Baldwin Dane Johansen Paul Kushious 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 This roster lists the fulltime members of The Cleveland Orchestra. The number and seating of musicians onstage varies depending on the piece being performed.

The Cleveland Orchestra

2015-16 SE ASON

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

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

HORNS Michael Mayhew § Knight Foundation Chair

Jesse McCormick Robert B. Benyo Chair

Hans Clebsch Richard King Alan DeMattia TRUMPETS Michael Sachs * Robert and Eunice Podis Weiskopf Chair

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

Michael Miller

Robert Walters

CORNETS Michael Sachs *

ENGLISH HORN Robert Walters

Michael Miller

Samuel C. and Bernette K. Jaffe Chair

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

Mary Elizabeth and G. Robert Klein Chair

TROMBONES Massimo La Rosa* Gilbert W. and Louise I. Humphrey Chair

PERCUSSION Marc Damoulakis* Margaret Allen Ireland Chair

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

Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair

LIBRARIANS Robert O’Brien Joe and Marlene Toot Chair

Donald Miller ENDOWED CHAIRS CURRENTLY UNOCCUPIED Sidney and Doris Dworkin Chair Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Chair Sunshine Chair Robert Marcellus Chair George Szell Memorial Chair

Richard Stout Alexander and Marianna C. McAfee Chair

* Principal §

Linnea Nereim

Shachar Israel 2

E-FLAT CLARINET Daniel McKelway

BASS TROMBONE Thomas Klaber

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 2015-16

EUPHONIUM AND BASS TRUMPET Richard Stout TUBA Yasuhito Sugiyama* Nathalie C. Spence and Nathalie S. Boswell Chair

Associate Principal First Assistant Principal Assistant Principal on sabbatical leave

CONDUCTORS Christoph von Dohnányi MUSIC DIRECTOR LAUREATE

Giancarlo Guerrero PRINCIPAL GUEST CONDUCTOR, CLEVELAND ORCHESTRA MIAMI

Brett Mitchell ASSOCIATE CONDUCTOR

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

Tom Freer 2 Mr. and Mrs. Richard K. Smucker Chair

Orchestra Roster

Elizabeth Ring and William Gwinn Mather Chair

Robert Porco DIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

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2015-16 SE ASON

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Concert Program: March 24 and 26

WELSER-MÖST CONDUCTS BRUCKNER’S SIXTH

— page 29

Concert Program: March 31, April 1 and 2 WAGNER’S GÖTTERDÄMMERUNG — page 69

PERSPECTIVES from the Executive Director

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The Cleveland Orchestra

LEARNING MORE ABOUT THE MUSIC

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.

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 in part by a generous endowment gift from Dorothy Humel Hovorka. May 12, 13, 14 “Of Musical Tales and Strings” (Musical works by Liszt and Bartók) with guest speaker Michael Strasser, professor of musicology, Baldwin Wallace University Conservatory of Music

May 19, 21, 22 “Death and Glory” (Musical works by Dvořák Janáček, Beethoven) with guest speaker Cicilia Yudha, associate professor of piano, Youngstown State University

May 26, 28 “Music for the Sorrowful Mother” (Dvořák’s Stabat Mater) with guest speaker David J. Rothenberg, chair, department of music, Case Western Reserve University

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Concert Previews

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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, May 12, 2016, at 7:30 p.m. Friday evening, May 13, 2016, at 8:00 p.m. Saturday evening, May 14, 2016, at 8:00 p.m.

Franz Welser-Möst, conductor FRANZ LISZT (1811-1886)

BÉLA BARTÓK (1881-1945)

2015-16 SEASON

Orpheus (Symphonic Poem No. 4) Violin Concerto No. 2 1. Allegro non troppo 2. Theme and Variations: Andante tranquillo 3. Rondo: Allegro molto FRANK PETER ZIMMERMANN, violin

INTER MISSION BÉLA BARTÓK

Music for Strings, Percussion, and Celesta 1. 2. 3. 4.

Andante tranquillo Allegro Adagio Allegro molto

Saturday’s concert is sponsored by Tucker Ellis. Frank Peter Zimmermann’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from the Margaret R. Griffiths Trust. The Thursday performance is dedicated to Mrs. Marguerite B. Humphrey in recognition of her extraordinary generosity in support of The Cleveland Orchestra’s Annual Fund. The concert will end on Thursday evening at about 9:05 p.m. and on Friday and Saturday nights at approximately 9:35 p.m. LIVE RADIO BROADCAST

— SATURDAY EVENING

Saturday evening’s concert is being broadcast live on WCLV (104.9 FM). The concert will be rebroadcast as part of regular weekly programming on WCLV on Saturday evening, July 30, at 8:00 p.m. and again on Sunday afternoon, September 4, at 4:00 p.m.

Severance Hall 2015-16

Concert Program — Week 21

Jewish Federation OF CLEVELAND

Caring for those in need never goes out of style. Whether we are feeding the hungry, comforting the sick, or caring for the elderly, our Jewish values have always inspired us to act. Those same values teach us to care for the next generation. By making a legacy gift, you leave your children and grandchildren a precious inheritance and a lasting testimony to your values. Find out how you can become a member of the Jewish Federation of Cleveland’s Legacy Society by contacting Carol F. Wolf for a conﬁdential conversation at 216-593-2805 or cwolf@jcfcleve.org.

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INTRODUCING THE CONCERTS

Poetry, Concerto, & Creative Invention T H I S W E E K E N D ’ S C O N C E R T S feature three works by two influential

Hungarian composers, one a towering giant of the 19th century, the other a master of the first half of the 20th century. In differing eras, both pushed hard in new and intriguing directions, prodding the mainstream of Central European classical music toward new channels of invention and creativity. The concerts begin with one of Franz Liszt’s symphonic poems, Orpheus from 1853-54. Written in the decade after Liszt gave up his career as a mesmerizing piano virtuoso, this is one of a widely varied set of twelve symphonic poems that Liszt created across his life, exploring an orchestra’s abilities at storytelling — “program music” (with a program or story behind or within it) rather than the “absolute music” (a symphony or concerto without specific meaning) of earlier generations. Here he portrays the Greek Orpheus, whose lyrical music-making could call together and tame beasts of all kinds and persuasions. Two works by Béla Bartók follow, bringing us further into the soundworld of this composer, whose doublebill of opera and ballet was so intriguingly and forcefully presented under Franz Welser-Möst’s baton at the beginning of April. Now we hear the great Second Violin Concerto, with violinist Frank Peter Zimmermann taking up the solo role. This lyrical work from 1937-38 was the result of the composer’s long friendship with the violinist Zoltán Székely, and sparkles with life and verve. (This concerto’s U.S. premiere was given right here at Severance Hall, in 1943.) The concerts ends with Bartók’s Music for Strings, Percussion, and Celesta. Franz believes that this work is Bartók’s greatest masterpiece. Written in 1936, this uniquely titled composition calls for a specific group of instruments (divided and seated onstage into specific groupings). Here, the composer followed careful patterns and relationships of musical keys and chords — casting movements in traditional forms of fugue, rondo (variations), etc. — to derive a piece of perfected proportions. It offers intriguing soundscapes and interplays, and an unusual but very satisfying experience for players and audience alike. —Eric Sellen

Severance Hall 2015-16

Introducing the Concert

Orpheus (Symphonic Poem No. 4) composed 1853-54

At a Glance Liszt composed his Orpheus in 185354 in the midst of preparing for a staged presentation of Gluck’s opera Orfeo ed Euridice. He conducted the first performance of it, placing it as the overture to the new production, on February 16, 1854, in Weimar. Later that same year, he conducted it as a concert work, and subsequently designated it as “Symphonic Poem No. 4” in a series of twelve of his orchestral

works given that title or subtitle. This piece runs about 10 minutes in performance. Liszt scored it for an orchestra of 2 flutes plus piccolo, 2 oboes plus english horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, 2 harps, and strings. The Cleveland Orchestra previously played Liszt’s Orpheus at concerts in 1928.

Franz

LISZT

About the Music

born October 22, 1811 Doborján, Hungary (now Raiding, Austria)

F R A N Z L I S Z T was a man of exceptional energy. He was active throughout his life as pianist, composer, conductor, and teacher, with constant commitments in France, Germany, Italy, and Hungary. He was also a lifelong reviser of his own music, so that it is not clear to us a century and more past his death which piece he was working on at any given moment. Liszt sketched, drafted, completed, revised and revised again many of his works, before they were published or performed — and even then were often subject to more revision. His output of original compositions and transcriptions of various kinds (of his own and others’ works) being so vast, it is likely that his mind, if not his desk, was a traffic-jam of complete and incomplete pieces at all times. The symphonic poem Orpheus is an exception to this, however, and enjoyed a relatively simple birth, for it was never revised. While Liszt was known for his brilliance on the piano and for the great virtuosity of many of his compositions, this work presents a total contrast in tone and sensibility. In this work is the contemplative Liszt, absorbed not by his religious devotions (a major element throughout his life), but by the legacy of Greek culture. In the printed score, this beautiful work is prefaced by a short essay in which Liszt explains how, as conductor of Weimar’s opera house in the 1850s, he was preparing a performance of Gluck’s opera Orfeo ed Euridice. The “sublime simplicity” of Gluck’s music led him to think of the symbolism of Orpheus as representing the essence of art. Calling to mind an Etruscan vase

died July 31, 1886 Bayreuth, Germany

Severance Hall 2015-16

About the Music

Nothing is as contagious as enthusiasm. It is the real allegory of the myth of Orpheus; it moves stones, and charms brutes. It is the genius of sincerity, and truth accomplishes no victories without it. —Samuel Taylor Coleridge Orpheus, with his lute, made trees And mountain tops that freeze Bow themselves, when he did sing. —William Shakespeare, in Henry VIII

The myth of Orpheus is powered through his ability to charm all living things with his music, played on a lyre. (Roman era mosaic, in the collection of Istanbul’s Archaeology Museums.)

he had seen at the Louvre in Paris, Liszt pictured “the first poet-musician, draped in a star-studded robe, his brow crowned with a mystically royal bandeau, his lips open to utter divine words and music, and his long, slender fingers energetically plucking the strings of his lyre.” Around the figure of Orpheus on the vase lie the wild beasts whose ferocity he has tamed with the beauty of his singing; all nature is subdued by the power of art. The essay pursues this image by insisting that the modern world has much to learn from this ideal vision of the supreme efficacy of art. And Liszt would continue to insist on this, if he were around today. In his symphonic poem, he made his point by composing music not in an imagined style from ancient Greece, but in modern — for the 19th century — orchestral language. Liszt’s craft in orchestral music has sometimes been derided as being derived from Hector Berlioz or ghosted by his disciple Raff, but in works such as Orpheus his mastery of orchestration and orchestral sound is surely both personal and obvious; it is a short step from here to the new sound world of Richard Wagner’s music dramas. For this work, the two harps are important throughout in representing Orpheus’s lyre. The opening sections are scored with the character of chamber music, giving expressive solo entries to the woodwinds. Solo violin and solo cello also contribute, and the mood remains serene and abstracted until a About the Music

The Cleveland Orchestra

certain quickening of the pace generates a modest climax for the full orchestra. The calm returns, and the final page has a visionary quality with string and wind chords alternating in unmistakably celestial harmony. The work was first performed as the overture to a performance of Gluck’s opera in the theater. Orfeo actually has its own overture, but by common consent that somewhat bland piece, marked Allegro, has little in common with the marvelously moving music of the opera itself. Liszt would have had no compunction in substituting his own much more appropriate piece; such shifting and substitution was quite normal in the 19th century. Later in the same year, Liszt’s Orpheus was performed in Weimar as a concert work, and in due course it took its place as “No. 4” in the series of twelve published symphonic poems — composed by Liszt throughout the 1850s as part of his enduring legacy from the years he lived in Weimar after giving up concertizing as one of the century’s greatest virtuoso pianists. —Hugh Macdonald © 2016 Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis. He has written books on Beethoven, Berlioz, Bizet, and Scriabin.

Severance Hall 2015-16

About the Music

Experience Royal Life Through June 12 A Centennial Exhibition

WORLD PREMIERE IN CLEVELAND

Don’t miss amazing masterworks on loan from museums around the world in celebration of our Centennial.

Titian Through Apr 3

Kifwebe Mask Mar 25 – Jun 12

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Karl Schmidt-Rottluff Aug 25 – Dec 18

Marcel Duchamp Apr 5 – Jul 3

Presenting Centennial Sponsor

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John Singer Sargent Sep 1 – Nov 1

ClevelandArt.org

The presentation of Pharaoh: King of Ancient Egypt is a collaboration between the British Museum and the Cleveland Museum of Art. The exhibition in Cleveland is made possible by Baker Hostetler, with additional support from the Selz Foundation. Image credits: Head of Pharaoh Tuthmosis III (detail), about 1479–1425 BC. New Kingdom, Dynasty 18, reign of Tuthmosis III. Karnak, Thebes, Egypt. Green siltstone; 46 x 19 x 32 cm. British Museum, EA 986. © Trustees of the British Museum, London. Portrait of Alfonso d’Avalos, Marchese del Vasto, in Armor with a Page, 1533. Titian (Tiziano Vecellio) (Italian, about 1487–1576). Oil on canvas; 110 x 80 cm. The J. Paul Getty Museum, Los Angeles, 2003.486. Mask (Kifwebe). Congolese, Luba. Wood, raffia, bark, pigment, and twine; 92.1 x 60.9 x 30.5 cm. Seattle Art Museum, Gift of Katherine White and the Boeing Company, 81.17.869. Nude Descending a Staircase (No. 2), 1912. Marcel Duchamp (American, born France, 1887–1968). Oil on canvas; 147 x 89.2 cm. Philadelphia Museum of Art, The Louise and Walter Arensberg Collection, 1950-134-59. © Succession Marcel Duchamp / ADAGP, Paris / Artists Rights Society (ARS), New York, 2015. Photograph and digital image © Philadelphia Museum of Art. Portrait of Emy, 1919. Karl Schmidt-Rottluff (German, 1884–1976). Oil on canvas; 71.9 x 65.4 cm. North Carolina Museum of Art, Bequest of W. R. Valentiner. © 2016 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn. Helen Sears, 1895. John Singer Sargent (American, 1856–1925). Oil on canvas; 167.3 x 91.4 cm. Museum of Fine Arts, Boston, Gift of Mrs. J. D. Cameron Bradley, 55.1116. Photograph © 2016 Museum of Fine Arts, Boston.

Violin Concerto No. 2 composed 1937-38

At a Glance

Béla

BARTÓK born March 25, 1881 Nagyszentmiklós, Hungary died September 26, 1945 New York

Severance Hall 2015-16

Bartók wrote his Second Violin Concerto between August 1937 and December 1938. It was written as a commission for violinist Zoltán Székely, who was for many years the first violinist of the Hungarian String Quartet. Székely was soloist in the first performance, given by the Concertgebouw Orchestra of Amsterdam under the direction of Willem Mengelberg on March 23, 1939. The first performances in the United States were given by The Cleveland Orchestra under the baton of Artur Rodzinski, in January 1943, with concertmaster Tossy Spivakovsky as soloist. This concerto runs about 35

minutes in performance. Bartók scored it for an orchestra of 2 flutes (second doubling piccolo), 2 oboes (second doubling english horn), 2 clarinets (second doubling bass clarinet), 2 bassoons (second doubling contrabassoon), 4 horns, 2 trumpets, 3 trombones, timpani, percussion (2 side drums, bass drum, 2 cymbals, triangle, tam-tam), harp, celesta, and strings, plus solo violin. Since giving the United States premiere, The Cleveland Orchestra has performed this concerto with some frequency, most recently in May and June 2002, under Christoph von Dohnányi’s direction, with Gil Shaham as soloist.

About the Music J U S T O V E R A D E C A D E A F T E R his death in 1945, it came to

light that Bartók had composed a violin concerto in 1907-08 for a young violinist, Stefi Geyer, with whom, it is said, he had been in love. He had given her the manuscript, but she did not play it — and it remained unknown until her death in 1956. Although Bartók had implicitly repudiated that early concerto by adapting many of its musical ideas for other pieces, it has been played and recorded many times since its discovery and is now accepted as a fine product of his early years. Until that revelation, the Bartók violin concerto for which he was known was a mature masterpiece written for the great Hungarian violinist Zoltán Székely in 1937-38, and now designated as No. 2. The friendship of these two musicians is one of the most fascinating partnerships of 20th-century music. It lasted from 1921, when Bartók’s colleague Zoltán Kodály arranged a meeting between the 39-year-old composer and the 17-year-old violinist, until Bartók’s death in 1945. Even thereafter, Székely continued to interpret and promote Bartók’s music until the violinist died in 2001 at the age of 97. In 1937, Székely was long established as a leading European virtuoso. In that year, he became the leader of the HungarAbout the Music

ian Quartet, which then moved to Holland, where Székely and his Dutch wife lived, because the political situation in Hungary was daily getting more difficult. After the Quartet disbanded in 1970, Székely settled in Canada, where he became the leading teacher at the Banff Centre’s School of Fine Arts. He continued to teach and coach chamber ensembles in his new home for a further quarter century. C R E AT I N G T H E C O N C E R T O

Violinist and composer — Zoltán Székely and Béla Bartók, circa 1935.

Székely’s collaboration with Bartók produced some remarkable music, including the Violin Concerto (No. 2). He studied all of Bartók’s violin works and string quartets with the composer, so it was no surprise that he should ask for a concerto of his own. Bartók was at first reluctant to write such a thing, but he eventually agreed to do so, taking a rather hard-headed view of what Székely intended to be a friendly arrangement, fixing the exclusive right to play the work for a certain length of time in return for an honorarium. Having finished the Music for Strings, Percussion, and Celesta in 1936, Bartók turned his attention to creating the Violin Concerto. At first, he had in mind merely a set of variations. But eventually he agreed to compose a piece that would last between 21 and 25 minutes. In the end, Bartók exceeded the planned duration and wrote a work in a conventional three-movement design, but infused with some new ideas he had for orchestration and with his own unique reaction to the violin’s lyrical voice. Living in his villa in Budapest, he was thoroughly disturbed throughout this time by the deterioration of the political situation, wondering when and how he should emigrate, and where. He was also negotiating to replace his Austrian publisher (Universal Edition) with a London one (Boosey & Hawkes). “Neither while I am alive nor after my death,” he wrote, “do I want any German publisher to have any of my work, even if it means that no work of mine will ever be published again. This is fixed and final.” The concerto was finished at the end of 1938 and quickly scheduled into the Concertgebouw Orchestra’s Amsterdam About the Music

The Cleveland Orchestra

season. Composer and soloist met in Paris to work through it together, then parted, not knowing that they would never meet again. Bartók and his wife had an engagement in Budapest on the day of the concert, March 23, and although the concerto was repeated that year in a number of Dutch cities, he never heard Székely play it. Bartók eventually left for America in 1940, and the complicated arrangements the two musicians had made for the exclusive rights to the concerto had to be abandoned so that other violinists could play it. Thus it was that Tossy Spivakovsky, the concertmaster of The Cleveland Orchestra, was the first to play it in the United States, giving the concerto its U.S. debut at Severance Hall under Artur Rodzinki’s In completing the concerbaton in 1943. When Spivakovsky played it at Carnto, Bartók exceeded egie Hall later that year with the New York Philharits planned duration of monic, Bartók was there to hear it for the first and 20-25 minutes and wrote only time. “The performance was really marvelous,” he wrote (in English), “all the 3 factors (soloist, conductor, in a conventional threeorchestra) were the best a composer could wish for his movement design, but work.” Meanwhile Székely, listening to the BBC on infused with some new his clandestine radio in occupied Holland, heard it performed by Yehudi Menuhin. ideas he had for orches-

tration and with his own unique reaction to the violin’s lyrical voice.

THE MUSIC

The most striking feature of this concerto’s music is the kaleidoscopic range of moods and language. The pure, throbbing chords laid down by the harp at the opening of the first movement prepare us perhaps for the lovely, wide-ranging theme with which the soloist opens, but not for the squealing and snorting that occasionally intrude. Yet the tone is predominantly lyrical, as all violin concertos almost have to be, alternating with a vigorous brilliance that marks all of Bartók’s music. There are some remarkable sounds, including glissandos, quarter-tones, and wild chromaticism. But the harp’s quiet chords keep returning to remind us of a gentler mood. The violinist’s solo cadenza precedes a forceful ending, as in the great concertos of Beethoven and Brahms. The central second movement is a set of six variations on a beautiful short theme, each variation clearly distinguishable from the next. (Bartók supplies precise timings for each variation in the score.) The orchestra’s closing echo at the end of the first statement of the theme is vintage Bartók, a preview of Severance Hall 2015-16

About the Music

COME HEAR THE NEXT GENERATION OF CLASSICAL MUSICIANS The Cleveland Institute of Music is dedicated to the education of the complete musician of the 21st century. Fill your spring with concerts and performances from our exceptional conservatory student musicians. For a complete schedule of events, visit cim.edu/events

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the kind of haunting phrases that will recur in all his last works. The theme is restated at the end in the violin’s upper register, and this time the closing echo is quiet and enclosed, with a little help from the soloist and two soft strokes from the timpani. The finale third movement has a theme that is a sprightly version of the theme from the very beginning of the concerto. Bartók was pleased with this relationship. The brisk pace is broken by a central slow section in which the soloist alternates with some remarkable mirror-writing on the strings, the upper octaves being an exact reflection of the lower voices. As in the Concerto for Orchestra, Bartók’s last major work, the printed score includes two versions of the closing measures. Székely described the ending, as he first saw it, as a “big fortissimo orchestral apotheosis, more like the conclusion of a symphony.” So he wrote to Bartók about this and was astonished to get a reply to say that he had rewritten the end of the concerto, incorporating some orchestral effects he didn’t want to lose, but aiming at a more favorable role for the soloist. “Now everyone plays it in the version he corrected,” said Székely, with some satisfaction.

About the Music

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of music that expresses absolutely nothing. —Béla Bartók

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About the Music

Portrait of Bartók by Geoffrey Landesmann, Cleveland, December 1940 — Cleveland Orchestra Archives

I cannot conceive

Frank Peter Zimmermann German violinist Frank Peter Zimmermann is widely regarded as one of the foremost violinists of his generation. He regularly performs in the major concert venues and international music festivals of Australia, Europe, Japan, South America, and the United States. His Cleveland Orchestra debut was in January 1987, and most recent appearance here was in April 2013. Highlights of Mr. Zimmermann’s recent and upcoming schedule include concerts with Amsterdam’s Royal Concertgebouw Orchestra, Bavarian State Orchestra, Berlin Philharmonic, Czech Philharmonic, Gustav Mahler Youth Orchestra, London Philharmonic Orchestra, New York Philharmonic, Orchestre Philharmonique de Radio France, and the Swedish Radio Symphony Orchestra. Among the world premieres Frank Peter Zimmermann has performed are Magnus Lindberg’s Violin Concerto No. 2 (2015), Augusta Read Thomas’s concerto Juggler in Paradise (2009), and Brett Dean’s The Lost Art of Letter Writing (2007). He also premiered en sourdine by Matthias Pintscher (2003), and then presented its U.S. premiere with The Cleveland Orchestra and Franz Welser-Möst. In recital, Mr. Zimmermann performs widely with pianists Piotr Anderszewski, Emanuel Ax, Enrico Pace, and Christian Zacharias. Trio Zimmermann, created in 2007 with violist Antoine Tamestit and cellist Christian Poltéra, appears throughout Europe and at the Edinburgh and Salzburg festivals. For BIS Records they have recorded three award-winning albums, of works by Beethoven, Mozart, and

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Guest Artist

Schubert. Mr. Zimmermann and Heinrich Schiff can be heard in duos for violin and cello on ECM Records. Frank Peter Zimmermann’s recent album releases include concertos by Dvořák, Hindemith, and Mozart, on Decca, BIS, and Hänssler Classic. For Sony Classical, he has recorded concertos by Britten, Bruch, Busoni, Szymanowski, and Tchaikovsky, as well as Bach’s and Busoni’s sonatas. His discography includes nearly all the major violin concertos and many recital works for EMI Classics, as well as albums on Ondine and Teldec Classics. Among Mr. Zimmermann’s honors are the Premio del Accademia Musicale Chigiana, Siena (1990), Rheinischer Kulturpreis (1994), Musikpreis of the city of Duisburg (2002), and the Bundesverdienstkreuz 1. Klasse der Bundesrepublik Deutschland (2008). He plays a Général Dupont, Grumiaux Stradivari (1727), on loan to him by Heng Yu. Born in 1965, Frank Peter Zimmermann started playing violin when he was five and made his orchestral debut at age 10. He completed his studies with Saschko Gawriloff, Valery Gradov, and Herman Krebbers in 1983.

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Music for Strings, Percussion, and Celesta composed 1936

At a Glance Bartók wrote his Music for Stringed Instruments, Percussion and Celesta in 1936, on a commission from Swiss conductor Paul Sacher, to celebrate the tenth anniversary of the Basel Chamber Orchestra. The premiere was given by that orchestra, under Sacher’s direction, in Basel on January 21, 1937. This work runs about 30 minutes in performance. Bartók scored it for strings (divided in two groups), piano,

harp, timpani, percussion (snare drum, side drum, cymbals, tam-tam, bass drum, xylophone), and celesta. The Cleveland Orchestra first performed this work in January 1954, at Severance Hall concerts led by Ernest Ansermet. It has been performed on several occasions since that time, most recently at concerts in January and February 2011 under the direction of Franz Welser-Möst.

Béla

BARTÓK

About the Music

born March 25, 1881 Nagyszentmiklós, Hungary

B A R T Ó K is often represented as a major composer and pianist

died September 26, 1945 New York

Severance Hall 2015-16

who was also interested in folk music. This is extremely misleading, since his pursuit of folksong was an obsession that gripped him all his life. Years were entirely devoted to the collection and recording of folk music in various countries of eastern Europe, not to mention Turkey and northern Africa. He was thus a nationalist both in his standing as Hungary’s leading composer and also as an authority on Hungarian national music. But he was equally drawn to related traditions in other countries. He published books on Hungarian, Rumanian, Serbo-Croat, Slovak, Turkish, and other countries’ music. During the years when he was regularly touring Europe and America, he held a position as teacher at the Budapest Academy of Music. But he did not enjoy teaching either composition or the piano, and he was greatly relieved when in 1934 he was employed as ethnographer by the Hungarian Academy of Sciences and could devote himself full-time to his research. He arranged a collection of 2500 Rumanian folksongs, traveled to Turkey and Anatolia, and gave lectures on his findings. He was also, piece by piece, composing his collection of graduated piano pieces to be called Mikrokosmos, begun when his young son Peter began to learn the piano. That Bartók had little self-urge to compose “serious” music at this time is borne out by the fact that all the major compositions of this period were written in response to commissions. The Fifth String Quartet (1934) was composed for Elizabeth About the Music

Sprague Coolidge, the Sonata for Two Pianos and Percussion (1937) for the Basel ISCM, and the Violin Concerto No. 2 (1938) for the violinist Zoltán Székely. A leading arts patron of the period was the Swiss conductor Paul Sacher, who devoted millions of dollars to commissioning works from all the prominent composers of the time, and establishing an archive in Basel which is today a major center for the study of twentieth-century music. Sacher’s money came through his marriage to Jaja Stehlin, a widow whose first husband, Emanual Hofmann, had inherited shares in the Hoffman-La Roche pharmaceutical comThis is a work from the panies; following World War II, Sacher captured height of Bartók’s matura majority stake in the firm, eventually becoming ity in which his full genius one of the wealthiest men in the world. From is displayed. Many musiBartók, Sacher commissioned both Music for Strings, Percussion, and Celesta (1936) and the cians would describe it as Divertimento for string orchestra (1939) — and his masterpiece, flawless led the first performances of both works. in proportions and strucThe somewhat awkwardly titled Music for ture, its creativity and Strings, Percussion, and Celesta could perhaps have been titled a symphony. Its four parts fit contrasts. Bartók might the symphonic model of contrasting movements have seen it more simply reasonably well, but for Bartók the word “Music” as a tribute to the namewas a suitably abstract title and the fact that no less inhabitants of central wind instruments are involved is at least implied. Even without winds, the palette of colors Europe who had inspired in this piece is remarkably rich, in part because him with their playing, the percussion includes a xylophone and the singing, stamping, strings include a harp. The piano can be classed shouting, and dancing. as either strings or percussion, and the strings themselves are divided into two full bodies in five parts each. Bartók specified that the two string orchestras should be positioned respectively at the left and right sides of the platform, with the percussion in between and the double basses at the back. THE MUSIC

This is a work from the height of Bartók’s maturity in which his full genius is on display. Many musicians would describe it as his masterpiece, flawless in proportions and structure, in its creativity and contrasts, and utterly secure in its uniqueness. Bartók would have seen it more simply as a tribute to the

About the Music

The Cleveland Orchestra

nameless inhabitants of central Europe who had inspired him with their playing, singing, stamping, shouting, and dancing. The natural rhythms and common intervals of folksong are evident throughout the work. Bartók’s grafting of these materials on to traditional procedures of classical music — including fugue, canon, and variation — is masterly, and the resulting musical language has a truly modern flavor. The first and third movements are slow, the second and fourth fast. The first movement opens with a Bach-like fugue on a tight, angular theme that generates a marvelously atmospheric cloud of sound. Percussion is introduced in light touches; the theme is inverted, the entries get closer together, and the ending is a perfect resolution of the argument. The division of two string orchestras is important in the brusque second movement. Piano and timpani are important too, the latter exploiting the glissando effect obtained from pedal timpani. The strings have “snap” pizzicatos from time to time. The tempo changes constantly without losing the high energy created by bracing rhythms of every kind. The slow third movement is a superb example of the kind of “night music” style that Bartók adopted on several occasions. He was a passionate lover of nature and could sometimes be found absorbed in studying the wings of a butterfly or a single blade of grass. In this music, the eerie sounds of nature are captured over an intense dialogue of the strings. When celesta, harp, and piano all set up a whirring sound, Bartók’s brilliance as an orchestral painter is at its peak. The movement leads to a climax and finally back to the lonely music of the night. How much can be made from a simple scale descending then ascending is revealed in the vigorous finale, with its strumming and stamping on jerky lop-sided rhythms, recalling the peasant dances Bartók had studied, recorded, and participated in all his life. In this case, he is mixing together folksong ideas from different nationalities, creating a truly new mix.

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About the Music

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Each year, thousands of Northeast Ohioans experience The Cleveland Orchestra for the first Ɵme. Whether you are a seasoned concertgoer or a first-Ɵmer, these pages give you ways to learn more or get involved with the Orchestra and to explore the joys of music further. Created to serve Northeast Ohio, The Cleveland Orchestra has a long and proud history of sharing the value and joy of music.

The Cleveland Orchestra performs all varie es of music, gathering family and friends together in celebra on of the power of music. The Orchestra’s music marks major milestones and honors special moments, helping to provide the soundtrack to each day and bringing your hopes and joys to life. From free community concerts at Severance Hall and in downtown Cleveland . . . to picnics on warm summer evenings at Blossom Music Center . . . From performances for crowds of students, in classrooms and auditoriums . . . to opera and ballet with the world’s best singers and dancers . . . From holiday gatherings with favorite songs . . . to the wonder of new composi ons performed by music’s rising stars . . . Music inspires. It for fies minds and electrifies spirits. It brings people together in mind, body, and soul.

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Changing Lives The Cleveland Orchestra is building the youngest orchestra audience in the country. Over the past five years, the number of young people a ending Cleveland Orchestra concerts at Blossom and Severance Hall has more than doubled, and now makes up 20% of the audience! • Under 18s Free, the flagship program of the Orchestra’s Center for Future Audiences (created with a lead endowment gi from the Maltz Family Founda on), makes a ending Orchestra concerts aﬀordable for families. • Student Advantage and Frequent FanCard programs oﬀer great deals for students.

The Cleveland Orchestra is one of the world’s most acclaimed and sought-a er performing arts ensembles. Whether performing at home or around the world, the musicians carry Northeast Ohio’s commitment to excellence and strong sense of community with them everywhere the Orchestra performs. The ensemble’s es to this region run deep and strong: • Two acous cally-renowned venues — Severance Hall and Blossom — anchor the Orchestra’s performance calendar and con nue to shape the ar s c style of the ensemble. • More than 60,000 local students par cipate in the Orchestra’s educa on programs each year. • Over 350,000 people a end Orchestra concerts in Northeast Ohio annually. • The Cleveland Orchestra serves as Cleveland’s ambassador to the world — through concerts, recordings, and broadcasts — proudly bearing the name of its hometown across the globe.

• The Circle, our new membership program for ages 21 to 40, enables young professionals to enjoy Orchestra concerts and social and networking events. • The Orchestra’s casual Friday evening concert series (Fridays@7 and Summers @Severance) draw new crowds to Severance Hall to experience the Orchestra in a context of friends and musical explora ons.

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Building Community The Cleveland Orchestra exists for and because of the vision, generosity, and dreams of the Northeast Ohio community. Each year, we seek new ways to meaningfully impact Cleveland’s ci zens. • Convening people at free community concerts each year in celebra on of our country, our city, our culture, and our shared love of music.

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Inspiring Minds Educa on has been at the heart of The Cleveland Orchestra’s community oﬀerings since the ensemble’s founding in 1918. The arts are a core subject of school learning, vital to realizing each child’s full poten al. A child’s educa on is incomplete unless it includes the arts, and students of all ages can experience the joy of music through the Orchestra’s varied educa on programs. The Orchestra’s oﬀerings impact . . . . . . the very young, with programs including PNC Musical Rainbows and PNC Grow Up Great. . . . grade school and high school students, with programs including Learning Through Music, Family Concerts, EducaƟon Concerts, and In-School Performances.

• Immersing the Orchestra in local communi es with special performances in local businesses and hotspots during our annual “At Home” neighborhood residencies. • Collabora ng with celebrated arts ins tu ons — from the Cleveland Museum of Art and PlayhouseSquare to Chicago’s Joﬀrey Ballet — to bring inspira onal performances to the people of Northeast Ohio. • Ac vely partnering with local schools, neighborhoods, businesses, and state and local government to engage and serve new corners of the community through neighborhood residencies, educa on oﬀerings, and free public events.

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The Cleveland Orchestra is in the midst of the Sound for the Centennial Campaign, a ten-year ini a ve that seeks to sustain the musical excellence and community engagement that sets this ensemble apart from every other orchestra in the world.

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Get Involved The Cleveland Orchestra has been supported by many dedicated volunteers since its founding in 1918. You can make an immediate impact by ge ng involved. • Over 100,000 friends of The Cleveland Orchestra par cipate online in our news, concerts, and performances through Facebook and Twi er. • The Women’s Commi ee of The Cleveland Orchestra and the Blossom Friends of The Cleveland Orchestra support the Orchestra through service and fundraising. For further informa on, please call 216-231-7557.

Ticket sales cover less than half the cost of The Cleveland Orchestra’s concerts, educa on presenta ons, and community programs. Each year, thousands of generous people make dona ons large and small to sustain the Orchestra for today and for future genera ons. Every dollar donated enables The Cleveland Orchestra to play the world’s finest music, bringing meaningful experiences to people throughout our community — and acclaim and admira on to Northeast Ohio. To learn more, visit clevelandorchestra.com/donate

• Over 400 volunteers assist concertgoers each season, as Ushers for Orchestra concerts at Severance Hall, or as Tour Guides and as Store Volunteers. For more info, please call 216-231-7425. • 300 professional and amateur vocalists volunteer their me and ar stry as part of the professionally-trained Cleveland Orchestra Chorus and Blossom Fes val Chorus each year. To learn more, please call 216-231-7372.

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Learn More To learn more about how you can play an ac ve role as a member of The Cleveland Orchestra family, visit us at Blossom or Severance Hall, a end a musical performance, or contact a member of our staﬀ.

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Making Music The Cleveland Orchestra passionately believes in the value of ac ve musicmaking, which teaches life lessons in teamwork, listening, collabora on, and self expression. Music is an ac vity to par cipate in directly, with your hands, voice, and spirit. • You can par cipate in ensembles for musicians of all ages — including the Cleveland Orchestra Chorus, Children’s Chorus, Youth Chorus, and Blossom Fes val Chorus, and the Cleveland Orchestra Youth Orchestra. • Each year, the Orchestra brings people together in celebra on of music and events, giving voice to music at community singalongs and during holiday performances. • We partner with local schools and businesses to teach and perform, in ensembles and as soloists, encouraging music-making across Northeast Ohio. Music has the power to inspire, to transform, to change lives. Make music part of your life, and support your school’s music programs.

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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 Beth E. Mooney, Pension 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 an ambitious fundraising campaign. The Sound for the Centennial Campaign seeks to build the Orchestra’s Endowment through cash gifts and legacy commitments, THE while also securing broad-based and increasing annual support from across Northeast CLEVELAND ORCHESTRA Ohio. The generous individuals and organizations listed on these pages have made longterm 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 the Orchestra’s Philanthropy & Advancement Office at 216-231-7558. Listing as of March 10, 2016. GIFTS OF $5 MILLION AND MORE

The Cleveland Foundation Mr. and Mrs. Alexander M. Cutler Cuyahoga County residents through Cuyahoga Arts and Culture Nancy Fisher and Randy Lerner in loving recognition of their mother, Norma Lerner

Maltz Family Foundation Mrs. Alfred M. Rankin, Sr. 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 The George Gund Foundation Mr. and Mrs. Michael J. Horvitz Hyster-Yale Materials Handling NACCO Industries, Inc. Jones Day The Walter and Jean Kalberer Foundation Mr. and Mrs. Joseph P. Keithley KeyBank Kulas Foundation Mr. and Mrs. Dennis W. LaBarre Mrs. Norma Lerner The Lubrizol Corporation The Andrew W. Mellon Foundation

Ms. Beth E. Mooney Sally S.* and John C. Morley John P. Murphy Foundation David and Inez Myers Foundation The Eric & Jane Nord Family Fund Ohio Arts Council The Honorable and Mrs. John Doyle Ong The Payne Fund PNC Bank Julia and Larry Pollock 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 Mr. and Mrs. Richard K. Smucker 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 American Greetings Corporation Jeanette Grasselli Brown and Glenn R. Brown Robert and Jean* Conrad Dr. and Mrs. Hiroyuki Fujita GAR Foundation Richard and Ann Gridley The Louise H. and David S. Ingalls Foundation Martha Holden Jennings Foundation Myra Tuteur Kahn Memorial Fund of The Cleveland Foundation Mr. and Mrs. Douglas A. Kern James and Gay* Kitson

Virginia M. and Jon A. Lindseth Ms. Nancy W. McCann Medical Mutual of Ohio Nordson Corporation Foundation Parker Hannifin Foundation Charles and Ilana Horowitz Ratner Sally and Larry Sears Squire Patton Boggs (US) LLP Thompson Hine LLP Timken Foundation of Canton Ms. Ginger Warner Anonymous (4)

GIFTS OF $250,000 TO $500,000

Randall and Virginia Barbato John P. Bergren* and Sarah S. Evans The William Bingham Foundation Blossom Friends of The Cleveland Orchestra Mr. and Mrs.* Harvey Buchanan Cliffs Natural Resources The George W. Codrington Charitable Foundation The Helen C. Cole Charitable Trust The Mary S. and David C. Corbin Foundation Mr. and Mrs. Matthew V. Crawford William and Anna Jean Cushwa Nancy and Richard Dotson George* and Becky Dunn 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 Elizabeth B. Juliano 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 Roseanne and Gary Oatey William J. and Katherine T. Oâ&#x20AC;&#x2122;Neill Quality Electrodynamics (QED) Mr. and Mrs. James A. Saks Hewitt and Paula Shaw The Skirball Foundation Richard and Nancy Sneed 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 Akron Community Foundation Mr. and Mrs. George N. Aronoff Jack L. Barnhart Fred G. and Mary W. Behm Madeline & Dennis Block Trust Fund Ben and Ingrid Bowman Dr. Christopher P. Brandt and Dr. Beth Sersig Buyers Products Company Mr. and Mrs. David J. Carpenter Mary Kay DeGrandis and Edward J. Donnelly Judith and George W. Diehl Ernst & Young LLP Mr. Allen H. Ford Frantz Ward LLP Dr. Saul Genuth The Giant Eagle Foundation JoAnn and Robert Glick Hahn Loeser & Parks LLP Iris and Tom Harvie Jeff and Julia Healy The Hershey Foundation Mr. Daniel R. High Mr. and Mrs. Donald M. Jack, Jr. Bernie and Nancy Karr

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Mr. and Mrs.* S. Lee Kohrman Kenneth M. Lapine and Rose E. Mills Dr. David and Janice Leshner Litigation Management, Inc. Jeffrey Litwiller Linda and Saul Ludwig Dr. and Mrs. Sanford E. Marovitz Mr. Thomas F. McKee The Miller Family: Sydell Miller Lauren and Steve Spilman Stacie and Jeff Halpern The Margaret Clark Morgan Foundation The Nord Family Foundation Olympic Steel, Inc. Park-Ohio Holdings Corp. Helen Rankin Butler and Clara Rankin Williams The Reinberger Foundation Amy and Ken Rogat Audra and George Rose RPM International Inc. Mr. Larry J. Santon Raymond T. and Katherine S. Sawyer

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Mrs. David Seidenfeld David Shank Naomi G. and Edwin Z. Singer Drs. Charles Kent Smith and Patricia Moore Smith Sandra and Richey Smith George R. and Mary B. Stark Ms. Lorraine S. Szabo Virginia and Bruce Taylor Tucker Ellis Dorothy Ann Turick 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 (3)

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HE CLEVELAND ORCHESTRA

HAIL AND FAREWELL

Please join with the entire Cleveland Orchestra family as we bid farewell to two long-time musicians with the ending of the 2015-16 contract season. Their com-

Special thanks to musicians for supporting the Orchestra’s long-term ﬁnancial strength The Board of Trustees extends a special acknowledgement to the members of The Cleveland Orchestra for supporting the institution’s programs by jointly volunteering their musical services for several concerts each season. These donated services have long played an important role in supporting the institution’s financial strength, and were expanded with the 2009-10 season to provide added opportunities for new and ongoing revenuegenerating performances by The Cleveland Orchestra. “We are especially grateful to the members of The Cleveland Orchestra for this ongoing and meaningful investment in the future of the institution,” says André Gremillet, executive director. “These donated services each year make a measureable difference to the Orchestra’s overall financial strength, by ensuring our ability to take advantage of opportunities to maximize performance revenue. They allow us to offer more musical inspiration to audiences around the world than would otherwise be possible, supporting the Orchestra’s vital role in enhancing the lives of everyone across Northeast Ohio.”

bined service totals 74 seasons. Robert Vernon retires at the close of the Orchestra’s European Festivals Tour in August, after 40 years as principal viola of The Cleveland Orchestra, making him the longest-serving string principal in the ensemble’s history. Yoko Moore retires at the end of May with the close of the 2015-16 Severance Hall season, following 34 years as assistant concertmaster, and including 19 seasons as a coach for the Cleveland Orchestra Youth Orchestra. She was one of the first women appointed assistant concertmaster of a major American orchestra. Upon leaving the Orchestra, both musicians will become a member of the ensemble’s Musicians Emeritus roster, recognizing their long and dedicated service to the Orchestra and all of Northeast Ohio. Thank you! And best wishes in the years ahead as you continue teaching, performing, and pursuing your dreams.

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Yoko Moore

Robert Vernon Principal Viola Chaillé H. and Richard B. Tullis Endowed Chair The Cleveland Orchestra

Robert Vernon has served as principal viola of The Cleveland Orchestra since 1976 and is the longest-tenured string principal in the Orchestra’s history. He has performed more than 4,500 concerts with the Orchestra and has recorded more than 300 works — virtually the entire standard repertoire — with five different record labels, and has made more than 110 concert tours with The Cleveland Orchestra. As a soloist, Bob has appeared in seventeen different works in over 120 concerts at home in Severance Hall, including three works commissioned for him by The Cleveland Orchestra. He has also appeared as soloist on tour and with a number of other ensembles across the United States. A teacher as well as a performer, Bob is a member of the faculty and co-chair of the viola department at the Cleveland Institute of Music. For the past seven years, he has also served as a member of the viola faculty at New York’s Juilliard School, from which he graduated with honors. Bob’s students hold positions as chamber musicians and teachers, and have won positions in more than 50 major orchestras in North America and Asia — including eight positions in the viola section of The Cleveland Orchestra. Bob retires from The Cleveland Orchestra — but not, he says, from his life as a performer and teacher — in August following the ensemble’s European tour. He and his wife, Valerie, have been married for 35 years and have three grown children. He looks forward to spending more time with his family in the normal course of daily life, while continuing to perform and teach.

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THE CLEVELAND ORCHESTRA

Assistant Concertmaster Clara G. and George P. Bickford Endowed Chair The Cleveland Orchestra

Yoko Moore joined The Cleveland Orchestra in 1982 as one of the first women appointed assistant concertmaster of a major American ensemble. Prior to coming to Cleveland, she was a member of the Dallas Symphony Orchestra for five years and concertmaster of the Tulsa Philharmonic for one year. Born in Shimane, Japan, Yoko was encouraged by parents who believed that girls, as well as boys, should achieve. Shortly before her fourth birthday, she started playing the violin and, at age 12, she won her first prize. She set her sights on a music career and received her degree from Toho Music School in Tokyo and studied with Toshiya Eto. While in Tokyo, she performed with the New Japan Philharmonic under the direction of Seiji Ozawa and was a soloist with the Tokyo Symphony Orchestra and the Tokyo Solisten. Ozawa urged her to move to the United States, where there were more opportunities for women. Although her first love is orchestral playing, Yoko frequently performs in chamber music with friends and colleagues, and has also returned to Japan to appear as soloist on a number of occasions. She has performed as a soloist with The Cleveland Orchestra several times. Yoko says she has been fortunate to work with a succession of wonderful concertmasters, from the late Danny Majeske to William Preucil. “I’ve learned so much from all of them. My assistant concermaster position has never been just a job. Music is my joy. It expresses all my feelings.” Yoko looks forward to having more time to read and to listen to music, and to share more life experiences with her daughter and granddaughter.

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THE CLEVELAND ORCHESTRA

Cleveland Orchestra draws admiring reviews from the press in performances at Carnegie Hall in January and February The Cleveland Orchestra performed at New York’s Carnegie Hall earlier this year, first in January with Franz Welser-Möst and then in February with Mitsuko Uchida. The following excerpts from reviews and commentary represent the kind of admiration and acclaim that these performances engendered:

“It’s not often that a performance of a challenging new piece receives the kind of ovation typically awarded star virtuosi. But that’s what happened on Sunday night at Carnegie Hall when the conductor Franz Welser-Möst led The Cleveland Orchestra in the New York premiere of the Danish composer Hans Abrahamsen’s ‘let me tell you.’ . . . Sunday’s program also offered an outstanding performance of Shostakovich’s formidable Fourth Symphony. . . . Mr. Welser-Möst and his great orchestra just played the piece to the hilt. In this incisive, brilliant performance, the symphony seemed a purposeful entity, however shocking and excessive.” —New York Times, January 18, 2016 “Both works require utmost precision and high-level solo contributions, abundantly provided by the magnificent Clevelanders.” —Wall Street Journal, January 19, 2016 “The mighty Clevelanders turned their formidable attention to the often grotesque, ultimately sublime, hour-long ramblings and rumblings of Shostakovich’s rarely performed Fourth Symphony.” —Financial Times, January 19, 2016 “Less than a month after bringing an astonishing, hair-trigger program to Carnegie Hall — a wintry new vocal cycle by Hans Abrahamsen and a sensitive yet turbocharged Shostakovich performance — the Cleveland Orchestra returned on Sunday with something completely different . . . an evening of Mozart. Clarity, enthusiasm, commitment, a cohesion that’s warmly responsive rather than coldly exact. You always get the sense that this is a quartet in symphony orchestra’s clothing. The redoubtable Mitsuko Uchida . . . led two concertos from the piano. . . .Perceptive, receptive music-making. . . . The glory of The Cleveland Orchestra remains its balances: the smooth yet complex blend of its winds, the way the lower strings offer subtle depth to the higher ones.” —New York Times, February 16, 2016

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THE CLEVELAND ORCHESTRA

Modern Snare Drum Competition takes place May 27-28, with sessions open to the public

Family Concerts for 2016-17 season announced The Cleveland Orchestra has announced details of its Family Concerts series for the 201617 season. The series, for children ages 7 and older, are designed to introduce young people to classical music and feature performances by The Cleveland Orchestra with special guest artists. Subscriptions are now available through the Severance Hall Ticket Office. The three Family Concerts take place on Sunday afternoons in October, March, and April, with each featuring a program of music around a special theme. Prior to each 3:00 p.m. concert, an hour of free family-friendly pre-concert activities takes place throughout Severance Hall. The season’s concerts are: On Sunday, October 30, Halloween Spooktacular: Superman at the Symphony celebrates the first comic book superhero ever created (right here in Cleveland). The afternoon will feature the annual Halloween Costume Contest, with attendees encouraged to dress up. On Sunday, March 5, The Magic Firebird presents an imaginative production of the classic Russian tale of The Firebird, set to Igor Stravinsky’s dynamic ballet music. The Orchestra is joined by Enchantment Theatre Company, who will bring the story to life with large puppets, masks, and magic. The series concludes on Sunday, April 2, with Prokofiev’s “Peter and the Wolf,” in which the characters in the story are portrayed by various instruments as told by the guest artists of Magic Circle Mime Co.

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Cleveland Orchestra percussionist Thomas Sherwood is presenting his ninth annual “Modern Snare Drum Competition,” this year to be held in Cleveland May 27 and 28 in University Circle. The competition features two divisions, for those 26 or older, and for those 19 and younger. The contestants, limited to 35 entrants, compete through a series of performances, including newly commissioned works. The rounds are open free to the public. Preliminary rounds begin at the Cleveland Institute of Music on Friday, May 27, with the semi-final and final rounds taking place the next day at the Cleveland Museum of Art. This year’s jury of professional percussionists includes Sherwood and fellow Cleveland Orchestra members Marc Damoulakis and Tom Freer, as well as members of the Atlanta Symphony Orchestra, Third Coast Percussion, and eighth blackbird. For additional information, please contact by email to sherwoodperc@gmail.com.

B LOSSOM 2O16 Blossom tickets on sale Dates and programming for the 2016 Blossom Music Festival were announced in February. And individual tickets are now available through the Severance Hall Ticket Officer or online by visiting clevelandorchestra.com.

Cleveland Orchestra News

Musicians Emeritus of

T H E

O R C H E S T R A

C L E V E L A N D

Listed here are the living members of The Cleveland Orchestra who served more than twenty years. Appointed by and playing under four music directors, these 45 musicians collectively completed a total of 1596 years of service — representing the Orchestra’s ongoing service to music and to the greater Northeast Ohio community. Listed by instrument section and within each by retirement year, followed by years of service. FIRST VIOLIN Keiko Furiyoshi 2005 — 34 years Alvaro de Granda 2 2006 — 40 years Erich Eichhorn 2008 — 41 years Boris Chusid 2008 — 34 years Gary Tishkoff 2009 — 43 years Lev Polyakin 2 2012 — 31 years SECOND VIOLIN Richard Voldrich 2001 — 34 years Stephen Majeske * 2001 — 22 years Judy Berman 2008 — 27 years Vaclav Benkovic 2009 — 34 years Stephen Warner 2016 — 37 years VIOLA Lucien Joel 2000 — 31 years Yarden Faden 2006 — 40 years CELLO Martin Simon 1995 — 48 years Diane Mather 2 2001 — 38 years Stephen Geber * 2003 — 30 years Harvey Wolfe 2004 — 37 years Catharina Meints 2006 — 35 years Thomas Mansbacher 2014 — 37 years BASS Lawrence Angell * 1995 — 40 years Harry Barnoff 1997 — 45 years Thomas Sepulveda 2001 — 30 years Martin Flowerman 2011 — 44 years HARP Lisa Wellbaum * 2007 — 33 years FLUTE/PICCOLO William Hebert 1988 — 41 years John Rautenberg § 2005 — 44 years Martha Aarons 2 2006 — 25 years

OBOE Robert Zupnik 2 1977 — 31 years Elizabeth Camus 2011 — 32 years CLARINET Theodore Johnson 1995 — 36 years Thomas Peterson 2 1995 — 32 years Franklin Cohen ** 2015 — 39 years BASSOON Ronald Phillips 2 2001 — 38 years Phillip Austin 2011 — 30 years HORN Myron Bloom * 1977 — 23 years Richard Solis * 2012 — 41 years TRUMPET/CORNET Bernard Adelstein * 1988 — 28 years Charles Couch 2 2002 — 30 years James Darling 2 2005 — 32 years TROMBONE Edwin Anderson 1985 — 21 years Allen Kofsky 2000 — 39 years James De Sano * 2003 — 33 years PERCUSSION Joseph Adato 2006 — 44 years Richard Weiner * 2011 — 48 years LIBRARIAN Ronald Whitaker * 2008 — 33 years

** Principal Emeritus * Principal § 1 2

Associate Principal First Assistant Principal Assistant Principal

listing as of February 2016

Appreciation

The Cleveland Orchestra

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THE CLEVELAND ORCHESTRA

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 2014-15 and 2015-16 seasons. Mark Atherton Martha Baldwin Charles Bernard Katherine Bormann Lisa Boyko Charles Carleton Hans Clebsch Patrick Connolly Ralph Curry Marc Damoulakis Alan DeMattia Vladimir Deninzon Maximilian Dimoff Scott Dixon Elayna Duitman Bryan Dumm Mark Dumm Tanya Ell Mary Kay Fink Kim Gomez Wei-Fang Gu Scott Haigh David Alan Harrell Miho Hashizume Mark Jackobs 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

Michael Miller Sonja Braaten Molloy Yoko Moore Ioana Missits Eliesha Nelson Peter Otto Chul-In Park Joanna Patterson Zakany Henry Peyrebrune Alexandra Preucil Lynne Ramsey Jeffrey Rathbun Jeanne Preucil Rose Stephen Rose Frank Rosenwein Michael Sachs Marisela Sager Jonathan Sherwin Sae Shiragami Emma Shook Joshua Smith Thomas Sperl Barrick Stees Richard Stout Jack Sutte Kevin Switalski Brian Thornton Isabel Trautwein Robert Vernon Carolyn Gadiel Warner Scott Weber Richard Weiss Beth Woodside Robert Woolfrey Derek Zadinsky Jeffrey Zehngut

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Accolades and celebrations surround Robert Vernon as violist prepares to retire On January 10, 2016, over twenty professional violists gathered at the Cleveland Institute of Music to play a concert in honor of Robert Vernon, who is retiring as principal viola of The Cleveland Orchestra this coming summer. The special concert celebrated Vernon as a teacher and recognized his legacy of forty seasons as principal. Seven members of The Cleveland Orchestra’s viola section, all of whom are former students of Vernon, performed in various small ensembles. As a large group ensemble, the twenty played as a “viola orchestra” to perform three larger works conducted by former viola student Ted Kuchar. The participants represented the orchestras of Atlanta, Boston, Cleveland, and South Dakota, as well as many teachers from major university music schools from around the country. This coming summer, Vernon’s tenure, accomplishments, and artistry as an orchestral player and teacher will also be recognized by the American Viola Society, which is bestowing its Career Achievement Award on him during their annual Festival meeting, this year being held in Oberlin in June.

Comings and goings 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.

Cleveland Orchestra News

We are proud to partner with The Cleveland Orchestra to build audiences for the future through an annual series of BakerHostetler Guest Artists.

EXPERIENCE FOR TOMORROW

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BakerHostetler is proud to present Rudolf Buchbinder, piano.

The Cleveland Orchestra

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, May 19, 2016, at 7:30 p.m. Friday morning, May 20, 2016, at 11:00 a.m. * Saturday evening, May 21, 2016, at 8:00 p.m. Sunday afternoon, May 22, 2016, at 3:00 p.m.

Franz Welser-Möst, conductor v

antonín dvor ák (1841-1904)

leos janác ek (1854-1928)

2015-16 SEASON

The Wood Dove, Opus 110 * Suite from the opera From the House of the Dead (arranged by František Jílek)

1. Moderato — Allegro — Presto — 2. Andante — Allegro con moto — Allegretto — Andante — 3. Tempo I — Moderato — Maestoso

INTER MISSION * ludwig van beethoven

(1770-1827)

Piano Concerto No. 5 (“Emperor”) in E-flat major, Opus 73 1. Allegro 2. Adagio un poco mosso — 3. Rondo: Allegro RUDOLF BUCHBINDER, piano

This weekend’s concerts are supported through the generosity of the BakerHostetler Guest Artist Series sponsorship. Saturday’s concert is co-sponsored by RPM International Inc. The Thursday performance is dedicated to Mr. and Mrs. Alfred M. Rankin, Jr. in recognition of their extraordinary generosity in support of The Cleveland Orchestra’s Annual Fund. The Saturday performance is dedicated to The Walter and Jean Kalberer Foundation in recognition of their extraordinary generosity in support of The Cleveland Orchestra’s Annual Fund. The concert will end on Thursday evening at about 9:15 p.m., on Saturday night at approximately 9:45 p.m., and on Sunday afternoon at about 4:45 p.m.

The Cleveland Orchestra’s Friday Morning Concert Series is endowed by the Mary E. and F. Joseph Callahan Foundation.

*The Friday morning concert is performed without intermission and features the works by Janáček and Beethoven. The concert will end at about 12:10 p.m.

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Concert Program — Week 22

PRESENTED BY CLEVELAND STATE’S CENTER FOR ARTS AND INNOVATION

CELEBRATE CREATIVITY IN CLEVELAND!

JOIN US WEDNESDAY, JUNE 1

2016 CREATIVE VOICES SUMMIT & ARTS EDUCATION DAY LUNCHEON

KEYNOTE SPEAKER:

Judith Jamison

Kennedy Center honoree, former principal dancer and executive director, Alvin Ailey Dance Theater

“THE CURIOUS MIND” CREATIVE VOICES SUMMIT MODERATOR:

Kurt Andersen Studio 360

HONORARY CHAIR:

Henry J. Goodman

RSVP online at www.csuohio.edu/cai. PRESENTED WITH MEMBERS OF THE CLEVELAND ARTS EDUCATION CONSORTIUM: CLEVELAND ARTS EDUCATION CONSORTIUM

in Residence at Cleveland State University

The Cleveland Orchestra

INTRODUCING THE CONCERTS

Death, Guilt& Freedom F O R T H I S W E E K E N D ’ S C O N C E R T S , Franz Welser-Möst has chosen three contrasting works from across a range of more than a century, by three masterful composers. The first half pairs two very different but grim tales, told in music of different styles by two Czech composers — one from the mainstream of 19th-century European concert music, the other a 20th-century master whose unique musical vocabulary remains restless and refreshing. The concert opens with The Wood Dove by Antonín Dvořák, from 1896. This symphonic poem from the last decade of Dvořák’s life tells a ghoulish children’s tale, wrapped in a Romantic orchestra’s burnished tones and distinguishing sounds. Akin to Edgar Allan Poe’s “The Telltale Heart,” it tells the story of a woman who kills her husband, falls in love again, but then feels — or imagines — that her dead husband has returned as a wood dove, mocking her new happiness. Guilt wracks her mind, and a second funeral march begins as wife joins husband — and wood dove happily goes on about his own life. A bird is also part of the plotline in the concert’s second piece, a suite from Leoš Janáček’s opera From the House of the Dead, written 1927-28. Based on Dostoyevsky’s memoirs of his time in a Siberian prison camp, the opera’s episodes paint a dark and gritty tale of human misery mixed with hope. In the final act, the prisoners’ take heart in releasing a bird to freedom, even as they must remain imprisoned. This week’s suite, told in Janáček’s uniquely personal vocabulary, gives us a glimpse of the prisoners’ neverending darkness, pierced by small hopes and brief joys — all from this enigmatically mesmerizing early 20th-century opera score. The concert ends with Beethoven’s gloriously impassioned Fifth Piano Concerto from 1809. Nicknamed the “Emperor” (we don’t really know why) in English-speaking countries, this final concerto from the master’s pen shines with inventiveness, from its grand opening through the gentle quietude of its slow movement, to the fusillade of joy that bursts forth in the finale. Rudolf Buchbinder is soloist in this genuine masterpiece. —Eric Sellen

CLEVELAND ORCHESTRA RADIO BROADCASTS

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

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Introducing the Concert

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The Wood Dove [Holoubek], Opus 110 composed 1896

At a Glance Dvořák wrote Holoubek [The Wood Dove] in the fall of 1896 as the fourth of a series of symphonic poems he created that year. It was first performed on March 20, 1898, in Brno conducted by Leoš Janáček. The first performance in America took place the next year, with Theodore Thomas leading the New York Philharmonic. This work runs nearly 20 minutes

Antonín

DVOŘÁK born September 8, 1841 Nelahozeves, Bohemia died May 1, 1904 Prague

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in performance. Dvořák scored it for 2 flutes plus piccolo, 2 oboes plus english horn, 2 clarinets plus bass clarinet, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (triangle, cymbals, tambourine, bass drum), harp, and strings. The Cleveland Orchestra is performing Dvořák’s The Wood Dove for the first time with this week’s concerts.

About the Music A F T E R C O M P L E T I N G his ninth symphony, nicknamed “From

the New World,” in 1893, Dvořák composed no more symphonies. In the last ten years of his life, he turned his attention instead toward opera, writing three that last decade of his life, and to symphonic poems, of which he wrote five in close succession in 1896-97. The first four symphonic poems, including The Wood Dove, were based on narrative folk-ballads by the Czech poet Karel Jaromir Erben (1811-1870). The last, A Hero’s Song, was of a different kind, representing a general image of heroism. It is somewhat surprising that Dvořák had not written symphonic poems before. Franz Liszt had shown how much could be done in this genre at least forty years earlier, compressing the expressive range of a symphony into a single movement and reaching out for the most romantic forms of expression without using words. French and Russian composers wrote symphonic poems in abundance, and in Bohemia both Smetana and Fibich had contributed a number of works to the genre, including Smetana’s strongly nationalist cycle of six symphonic poems, Má Vlast (or “My Homeland”), completed in 1880. By the time Dvořák embarked on his first, The Water Goblin, in 1896, Richard Strauss had created a sensation with such pieces as Don Juan and Till Eulenspiegel, both with vivid action depicted in orchestral language. Dvořák was also intending to create pieces with a story depicted in the music, and it is possible that he intended a set of six symphonic poems as Czech folk stories to match Smetana’s set of six historical-national poems. The first three Erben-inspired symphonic poems were About the Music

The opening represents the husband’s funeral. We then hear the widow’s crocodile tears in the flutes and violins. Her new suitor is announced by a distant trumpet, followed by their wedding. Driven to distraction by her conscience, the new bride drowns herself. An epilogue portrays a second funeral march, watched over by the now satisfied wood dove.

sketched in rapid succession in a little over two weeks between January 6 and 22, 1896, and the fourth, The Wood Dove, followed in October and November of the same year, with A Hero’s Song composed in 1897. The Erben stories are graphic and sometimes gruesome tales of kings and princesses, magic castles, and golden rings, which Dvořák re-told in musical form. At times, he set Erben’s lines to music and then simply removed the words. In other parts, he more simply represented the main figures in the story by portraying their mood and personality and actions through music. He put The Wood Dove in this latter category, while also identifying five major episodes or parts of the story with tempo changes in the score itself. The story of The Wood Dove concerns a young widow who sorrowfully follows her husband’s coffin to the grave. She then meets a young man who distracts her from her grief. They are married, but when she hears a wood dove cooing in an oak tree above her husband’s grave, she is smitten with remorse and drowns herself. Erben reveals at the very end that she had poisoned her first husband. Most of Dvořák’s musical themes in The Wood Dove have a similar outline, rising a few notes and then falling, so it is more the character and pace of the music rather than the themes that guide the action. The opening represents the husband’s funeral. Soon after the trumpet enters, we hear the widow’s crocodile tears in the flutes and violins. The young man is announced by a distant trumpet, and their wedding is a boisterous scherzo with strong hints of the composer’s popular Slavonic Dances. The festivities over, the couple are on their own (strings alone) when the wood dove can be heard (flutes, oboe, and high harp), answered by a sinister bass clarinet. Driven to distraction by her conscience, the new bride drowns herself. An epilogue portrays a second funeral march, watched over by the now satisfied wood dove. The Wood Dove was first performed under the direction of Leoš Janáček, who had asked Dvořák if he had a new piece that his orchestra in Brno could play. It was swiftly followed by performances abroad — conducted by Mahler in Vienna, Oskar Nedbal in Berlin, Henry Wood in London, and Theodore Thomas in New York. —Hugh Macdonald © 2016

About the Music

The Cleveland Orchestra

Suite from From the House of the Dead [Z mrtvého domu]

from the opera composed 1927-28, arranged by František Jílek 1978-79

At a Glance

LEOŠ

JANÁČEK born July 3, 1854 Hukvaldy, Moravia died August 12, 1928 Ostrava, Czechoslovakia

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Janáček wrote his final opera, From the House of the Dead [Z mrtvého domu] in 1927-28, based on Dostoyevsky’s novel Memoirs from the House of the Dead and writing his own libretto in Czech. He completed the first two acts, but left the third act sketched but incomplete at his death. The opera was premiered on April 12, 1930, in Janáček’s hometown of Brno. Conductor František Jílek created this suite from the opera in 1978-79. It was published in 1990. This suite runs about 25 minutes in performance. It calls for an

orchestra of 4 flutes (third and fourth doubling piccolo), two oboes plus english horn, three clarinets plus bass clarinet, 3 bassoons plus contrabassoon, 4 horns, 3 trumpets, bass trumpet (doubling tenor tuba), 3 trombones, tuba, timpani, percussion (triangle, metal chains, cymbals, snare drum, tam-tam, rattle, anvil, bass drum, xylophone, glockenspiel), celesta, harp, and strings. The Cleveland Orchestra has previously performed the Overture to From the House of the Dead, at concerts in 1992 led by Libor Pešek.

About the Music J A N Á Č E K ’ S F I N A L O P E R A is one of the most unusual stage

dramas written to that time. As an opera, created in 1927-28, it was exceptional in having no principal singers (but many roles), no normal plotline (just episodes or tales by individual prisoners that, together, signify prison life in Siberia), no women characters (though there is a mezzo-soprano role, of a young prisoner, usually sung by a woman), and an unrelenting mood of oppression and suffering. Janáček was always obsessed by Russian literature and culture, and from Memoirs from the House of the Dead, the novel Dostoyevsky wrote ten years after his four horrifying years in a Siberian prison camp, Janáček crafted his own highly episodic libretto in Czech. Dostoyevsky’s experience not unnaturally changed his attitude to many things, awakening him to the human capacity for tenderness in a world of unrelieved brutality, a glimpse of light that at times shines out of the opera, making it an unforgettably moving drama. Janáček was 72 when he began the opera. He had developed a highly idiosyncratic way of writing music down, using blank paper and drawing seemingly random five-line staves here and there across the paper. Two faithful copyists, who came to understand most of what he intended through his markings, About the Music

The opera’s last act had to be pieced together from sketches after Janácek’s death, without certainty that the result was what the composer intended. This has not, however, prevented it from making regular appearances in the world’s opera houses — and leaving an unfailing impression of the power of music to humanize a dark world.

The Russian novelist Fyodor Dostoyevsky spent part of a decade as a prisoner in a Siberian work camp in the 1850s. His novel about his time there formed the basis of Janáček’s opera.

then produced the fair copy of the full score under the composer’s guidance. The first two acts were completed in this way, but then the composer died. So the last act had to be put together without clear certainty that the result was what the composer intended, for Janáček could not review the final score. It is thus an opera that has been edited in many versions. But this has not prevented it from making regular appearances in the world’s opera houses — and leaving an unfailing impression of the power of music to humanize a dark world. The stage drama was first performed in 1930 in the National Theatre in Brno, Janáček’s hometown. In 1945, the theater was renamed the Janáček Theater. Its conductor from 1952 to 1977 was František Jílek, well known for his interpretations of Smetana’s and Janáček’s music. In 1979, Jílek devised an orchestral suite from three sections of the opera, making his own reading of the sources where necessary. (Suites have also been created by other musicians.) The first movement (of three) is the opera’s Prelude. This was originally conceived as a violin concerto titled, first, Soul, and then The Wandering of a Little Soul — hence the prominence of a solo violin. Janáček’s characteristic sound world is immediately evident, and for those who experienced The Cunning Little Vixen at Severance Hall two seasons ago, the soundscape will feel somewhat familiar. Once again, the composer employs short pithy motifs repeated but not really developed, extreme high and low sounds often with little in the middle, rich low chords on trombones and tuba, active melodic timpani, and important percussion. In this instance, the percussion includes metal chains, of unspecified size. The second movement is the music that accompanies a play within the play in Act II. Prisoners are working outside on the construction of a riverboat. On an improvised stage, they About the Music

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perform two plays, mostly in mime. The first is the Don Juan story, with the Don being carried off by devils at the end, and the second is “The Miller’s Beautiful Wife,” based on a short story by Gogol about a wife who hides her lovers around the room while her husband is away. The last lover turns out to be Don Juan, who dances off with the miller’s wife before the flames consume him. The last movement represents the original ending of the opera. The leader of the group of prisoners, Alexandr Petrovič, is to be released along with an eagle that the prisoners caught earlier. So there is a sense of freedom and triumph, even though at the close the prison guards order the remaining prisoners back to work. —Hugh Macdonald © 2016 Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis. He has written books on Beethoven, Berlioz, Bizet, and Scriabin.

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About the Music

OPERA CIRCLE CLEVELAND

The Troubadour SMIRNOFF Conductor

Il trovatore VERDI

SCHUTZA The Met

SOBIESKA Opera Circle Cleveland

WETZEL Arizona Opera

CARR Central City Opera

SKOOG Opera Circle Cleveland

After its sold-out Madama ButterďŹ&#x201A;y 2015, Opera Circle Cleveland is returning to The Ohio Theatre with the Verdi masterpiece Il trovatore, fully staged with English translation projected.

Saturday, June 11, 2016 at 7:30 pm The Ohio Theatre, PlayhouseSquare 1511 Euclid Avenue, CLEVELAND Ohio 44115

TICKETS at 216-241-6000 or online at PlayhouseSquare.org

Piano Concerto No. 5 (“Emperor”) in E-flat major, Opus 73 composed 1809

At a Glance

Ludwig van

BEETHOVEN born December 16, 1770 Bonn died March 26, 1827 Vienna

Severance Hall 2015-16

Beethoven composed his Piano Concerto No. 5 in 1809. The first known performance was given in Leipzig on November 28, 1811, with Friedrich Schneider as soloist and Johann Philipp Christian Schulz leading the Gewandhaus Orchestra. This concerto runs about 40 minutes in performance. Beethoven scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings, plus the solo piano. The “Emperor” Concerto was the first of Beethoven’s five piano

concertos to be performed by The Cleveland Orchestra, in January 1922, with pianist Josef Hofmann under the direction of Nikolai Sokoloff. Since that time, it has been a frequent work on the Orchestra’s programs, at home and on tour, with many of the world’s greatest pianists, including Arthur Rubinstein, Artur Schnabel, Claudio Arrau, Rudolf Serkin, Rudolf Firkusny, Robert Casadesus, Leon Fleisher, Daniel Barenboim, Emil Gilels, Alicia de Larrocha, Murray Perahia, Vladimir Ashkenazy, Horacio Gutiérrez, and Radu Lupu.

About the Music L I K E M O Z A R T before him, Beethoven wrote his concertos for

piano and orchestra as vehicles for displaying his own dazzle as a performer. In those times — before radio and recordings and copyright, and when public concerts were less frequent than today — new music was all the rage. Composing your own ensured that you had fresh, unique material to perform. Your biggest hits, from last year or last week, were meanwhile quickly appropriated by others through copied scores. The best tunes were arranged for street organ grinders and local wind ensembles and in other ways that made your melodies popular, but gave you the composer no income. It is little wonder, then, that Mozart kept some scores under lock and key, and left the cadenzas for many of his concertos blank, so that only he could fill them in authentically with his own brand of extemporaneous perfection. Beethoven moved to Vienna at the age of 22 in 1792, the year after Mozart died. He’d hoped to get to Europe’s musical capital sooner and to study with Mozart, but family circumstances had kept him at home in Bonn helping raise his two younger brothers (around a father who drank too much and was frequently unpleasant). It was as a performer that Beethoven forged his reputation in Vienna, and within a year he was widely known as a red-hot piano virtuoso. About the Music

Mozart had written his concertos very carefully, so that the piano would not be drowned out by too many instruments playing at the same time. Because of changes to the instrument itself, however, Beethoven, concerto by concerto, was able to write more and more for an instrument that could play directly against a full orchestra.

This set the stage for writing his own concertos. For the first three, written between 1795 and 1802, he followed more or less in Mozart’s footsteps with the form. In the 1780s, Mozart had turned the concerto into a fully-realized and independent genre, sometimes churning out three or four charmingly new ones each season. But whereas Mozart, over the course of thirty or more works for solo piano or violin, had developed the concerto into sublime products, Beethoven (who completed just five works for piano and one for violin) strived to make the form individual and handmade again. Mozart created the molds and set the standards, and only occasionally over-filled or over-flowed them. Beethoven at first worked within and around those earlier definitions, but the thrust of his musical creativity eventually shattered tradition in order to offer up the first magnificently supercharged concertos of the Romantic 19th century. BIGGER PIANOS AND CONCERTOS

Beethoven’s last piano concerto (No. 5) marked a change in the composer’s life onstage. The Fourth — which daringly begins with the piano playing alone, against all tradition — was the last concerto that Beethoven premiered publicly. By the time of the Fifth’s debut, his hearing was so far gone that, even if able to play the solo part, he could no longer hear and coordinate the orchestra playing around him. For the premiere in November 1811, the solo part was handled by Friedrich Schneider in Leipzig, and for the first Viennese performance Beethoven’s student Carl Czerny played it, in February 1812. Between the Fourth and Fifth concertos, however, something even more important happened than the further closing off of Beethoven’s hearing. In 1809, he was given a brand-new piano (the manufacturer saw the gifting as a promotional opportunity), which, despite his increasing deafness, helped paved the way for the overwhelming grandness of his last concerto. The fortepiano — the two Italian words together mean “loud-soft” — as an instrument had been invented at the start of the 18th century, transforming the earlier harpsichord and clavichord, which could play each note at one set volume, into a sensitive and dynamic instrument that could play any note softly About the Music

The Cleveland Orchestra

or loudly or anywhere in between. While the new instrument took some time to catch on, it also underwent some evolutionary changes in design at the end of the century (including the introduction of an iron sounding board and steel strings), which gave it an expanded range of notes and dynamics. Mozart had written his concertos very carefully, so that the piano would not be drowned out by too many instruments playing at the same time. But as the piano itself got bigger and louder, Beethoven, concerto by concerto, was able to write more and more for an instrument that could play directly against a full orchestra. And in the Fifth Piano Concerto, the first movement opens big — with orchestral chords and piano flourishes. This is not, however, just ornamentation, for the thematic material of the entire movement derives out of these opening calls and response. Ingeniously, Beethoven builds the movement (the longest he wrote in any concerto) on a sense of increasing tension and climax, and with notable use of rhythms of two beats set against three. After this big opening comes one of the most heavenly of slow middle movements ever written, with the orchestra integrally interwoven into the piano’s lovely, lovingly, longing, lingering phrases. This is directly connected to the third-movement finale, which features one of classical music’s most irresistible and memorable tunes — although this characterization is not to suggest that it would be easy to sing a song to the jaunty stepping phrases of this movement’s main theme. Orchestra and piano share a discourse over this compelling material and its derivations, bringing the work to a close with requisite bluster and bang, and showing off soloist, orchestra, and Beethoven in equal proportions.

19th-century lithograph of Beethoven as a “gentleman.”

N A M E S A N D I N N OVAT I O N S

The origins of the nickname “Emperor” for this concerto are uncertain. Until the latter half of the 20th century, the name was not well-known or often-used outside of English speaking countries. Handed-down explanations for the nickname include a story that at the first Viennese performance (February 12, 1812) a French officer was: 1.) so overwhelmed by the concerto that he proclaimed it “an emperor among concertos” (or words to that Severance Hall 2015-16

About the Music

effect), or 2.) that the same mythical (or intoxicated) French soldier was so moved by some of the march-like music in the concerto or recognized a short phrase in the concerto so similar to La Marseillaise that he stood up and/or proclaimed that Emperor Napoleonâ&#x20AC;&#x2122;s presence was in the music. An early publisher or performer is a more likely, if less poetic, source for the name, which, whatever its origins, seems well justified by the concertoâ&#x20AC;&#x2122;s size and grandeur. In the context of listening to any of Beethovenâ&#x20AC;&#x2122;s five piano concertos, and while contemplating the composerâ&#x20AC;&#x2122;s innovations and evolution in the artform, it is occasionally worthwhile noting that there is a sixth piano concerto by Beethoven. This is an arrangement that he made (or helped supervise) of his own Violin Concerto, Opus 61, for a generous Italian publisher. Known as Opus 61a, it is infrequently programmed. Few soloists have bothered to learn the part, and, admittedly, some portions of it donâ&#x20AC;&#x2122;t really work. It is, nonetheless, a strangely interesting work to hear in performance or recording â&#x20AC;&#x201D; and a sure way for many modern listeners who feel too well-acquainted with Beethovenâ&#x20AC;&#x2122;s concertos to be startled again, as his audiences were, on hearing something unexpectedly familiar but different.

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About the Music

The Cleveland Orchestra

Ludwig van Beethoven, 1815, painted by W. J. MĂ¤hler

Music is a higher revelation than all wisdom and philosophy. It is the wine of new creation and I am Bacchus who presses out this glorious wine for all and makes them drunk with the spirits. â&#x20AC;&#x201D;Ludwig van Beethoven

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Rudolf Buchbinder Austrian pianist Rudolf Buchbinder is acclaimed among the world’s foremost musicians and frequently performs with major orchestras and at festivals around the globe. His first appearance with The Cleveland Orchestra was in August 1983, and his most recent was in April 2014. Mr. Buchbinder is known for his meticulous study of musical sources. He owns 35 complete editions of Beethoven’s sonatas and an extensive collection of autographed scores, first editions, and original documents. His performances of Beethoven’s complete sonatas are eagerly anticipated and discussed; he has played cycles in cities across the globe, including Beijing, Berlin, Buenos Aires, Milan, Munich, St. Petersburg, Vienna, and Zurich. A discography of more than 100 recordings testifies to the scope and diversity of Rudolf Buchbinder’s repertoire. His Teldec album of Haydn’s complete works for piano earned the Grand Prix du Disque in 1977. In recent years, he has favored recordings from his live performances. Examples of these albums include the Brahms piano concertos with the Royal Concertgebouw Orchestra, two DVDs featuring six Mozart concertos with Mr. Buchbinder conducting the Vienna Philharmonic from the keyboard, the Brahms piano concertos with the Israel Philharmonic, and Mozart concertos with Concentus Musicus Wein. Rudolf Buchbinder’s performance of Beethoven’s piano sona-

Severance Hall 2015-16

Guest Artist

tas at Dresden’s Semperoper was recorded live by Sony/RCA Red Seal, and in 2012, won both an Echo Klassik Award and the Choc de l’année. In 2007, Mr. Buchbinder became the founding artistic director of the Grafenegg Music Festival near Vienna. In 2009, he was featured in the award-winning German-Austrian documentary Pianomania, about a Steinway & Sons piano tuner. During the 2010-11 season, he served as the first artistin-residence for the Staatskapelle Dresden. Rudolf Buchbinder studied with Bruno Seidlhofer at the Vienna Academy of Music. Among his many honors and awards are the Austrian Cross of Honor for Science and Art, Bruckner Ring of the Vienna Konzerthaus, and the Gold Medal of Salzburg and Vienna. He has a published biography titled Da Capo: An Artist’s Portrait, offering insights into his life and art. For additional information, please visit www.buchbinder.net.

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Endowed Funds

funds established as of November 2015

The generous donors listed here have made endowment gifts to support specific artistic initiatives, education and community programming and performances, facilities maintenance costs, touring and residencies, and more. (Additional endowment funds are recognized through the naming of Orchestra chairs, listed on pages 26-27.) Named funds can be established with new gifts of $250,000 or more. For information about making your own endowment gift to The Cleveland Orchestra, please call 216-231-7558.

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

Guest Artists Fund

George Gund III Fund

Artistic Collaboration Joseph P. and Nancy F. Keithley

Artist-in-Residence Malcolm E. Kenney

Young Composers Jan R. and Daniel R. Lewis

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

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

Cleveland Orchestra Chorus Jerome and Shirley Grover Meacham Hitchcock and Family

American Conductors Fund Douglas Peace Handyside Holsey Gates Handyside

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

Concert Previews Dorothy Humel Hovorka

International Touring Frances Elizabeth Wilkinson

Unrestricted

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

Cleveland Orchestra Soloists Julia and Larry Pollock Family

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

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

Student Audiences Alexander and Sarah Cutler

Endowed Funds listing continues

Severance Hall 2015-16

Endowed Funds

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Endowed Funds continued from previous page EDUCATION AND COMMUNITY endowed funds help support programs that deepen connections to symphonic music at every age and stage of life, including training, performances, and classroom resources for thousands of students and adults each year. Education Programs Anonymous, in memory of Georg Solti Hope and Stanley I. Adelstein Kathleen L. Barber Isabelle and Ronald Brown Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Alice H. Cull Memorial Frank and Margaret Hyncik Junior Committee of The Cleveland Orchestra Mr. and Mrs. David T. Morgenthaler John and Sally Morley The Eric & Jane Nord Family Fund The William N. Skirball Endowment

Education Concerts Week

In-School Performances Alfred M. Lerner Fund

Classroom Resources Charles and Marguerite C. Galanie

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

Musical Rainbows Pysht Fund

Community Programming Alex and Carol Machaskee

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

SEVERANCE HALL endowed funds support maintenance of keyboard instruments and the facilities of the Orchestraâ&#x20AC;&#x2122;s concert home, Severance Hall. Keyboard Maintenance William R. Dew The Frederick W. and Janet P. Dorn Foundation Mr. and Mrs. Richard A. Manuel Vincent K. and Edith H. Smith Memorial Trust

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

Severance Hall Preservation Severance family and friends

BLOSSOM MUSIC CENTER and BLOSSOM FESTIVAL endowed funds support the Orchestraâ&#x20AC;&#x2122;s summer performances and maintenance of Blossom Music Center. Blossom Festival Guest Artist Dr. and Mrs. Murray M. Bett The Hershey Foundation The Payne Fund Mr. and Mrs. William C. Zekan

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

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

Endowed Funds

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

Cumulative Giving

Annual Support

JOHN L. SEVERANCE SOCIETY

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

$5 MILLION AND MORE

KeyBank PNC Bank $1 MILLION TO $5 MILLION

BakerHostetler Bank of America Eaton FirstEnergy Foundation Forest City The Goodyear Tire & Rubber Company Hyster-Yale Materials Handling NACCO Industries, Inc. Jones Day The Lubrizol Corporation / The Lubrizol Foundation Medical Mutual of Ohio Parker Hannifin Foundation The Plain Dealer PolyOne Corporation Raiffeisenlandesbank Oberösterreich (Europe) The J. M. Smucker Company UBS The John L. Severance Society recognizes the generosity of those giving $1 million or more in cumulative support. Listing as of March 2016.

gifts of $2,500 or more during the past year, as of March 5, 2016

PARTNERS IN EXCELLENCE $300,000 AND MORE

Hyster-Yale Materials Handling NACCO Industries, Inc. KeyBank Raiffeisenlandesbank Oberösterreich (Europe) The J. M. Smucker Company PARTNERS IN EXCELLENCE $200,000 TO $299,999

BakerHostetler Eaton FirstEnergy Foundation Jones Day PNC Bank PARTNERS IN EXCELLENCE $100,000 TO $199,999

American Greetings Corporation Forest City The Lincoln Electric Foundation Medical Mutual of Ohio Nordson Corporation Foundation Squire Patton Boggs (US) LLP Thompson Hine LLP White & Case (Miami) $50,000 TO $99,999

Dollar Bank Foundation Parker Hannifin Foundation Quality Electrodynamics (QED) voestalpine AG (Europe) Anonymous $25,000 TO $49,999 Buyers Products Company FirstMerit Bank Adam Foslid / Greenberg Traurig (Miami) Litigation Management, Inc. The Lubrizol Corporation Olympic Steel, Inc. RPM International Inc.

Severance Hall 2015-16

Corporate Annual Support

$2,500 TO $24,999 Akron Tool & Die Company American Fireworks, Inc. ArtsMarketing Services Inc. Bank of America BDI Brothers Printing Co., Inc. Brouse McDowell Eileen M. Burkhart & Co LLC Calfee, Halter & Griswold LLP Carlton Fields (Miami) 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 Frantz Ward LLP Arthur J. Gallagher & Co. The Giant Eagle Foundation Great Lakes Brewing Company Gross Builders Hahn Loeser & Parks LLP Huntington National Bank KPMG LLP Lakewood Supply Co. Littler Mendelson, P.C. Live Publishing Company Macy’s Materion Corporation Miba AG (Europe) MTD Products, Inc. North Coast Container Corp. Northern Haserot Oatey Ohio CAT Ohio Savings Bank, A Division of New York Community Bank Oswald Companies Park-Ohio Holdings Corp. The Plain Dealer PolyOne Corporation The Prince & Izant Company The Sherwin-Williams Company Southern Wine and Spirits (Miami) Stern Advertising Agency Struktol Company of America Swagelok Company Tucker Ellis UBS United Automobile Insurance (Miami) University Hospitals Ver Ploeg & Lumpkin, P.A. (Miami) WCLV Foundation Westlake Reed Leskosky Margaret W. Wong & Assoc. Co., LPA Anonymous (2)

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The Cleveland Orchestra

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

gifts of $2,500 or more during the past year, as of March 5, 2016

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

The George Gund Foundation Ohio Arts Council Timken Foundation of Canton $250,000 TO $499,999

Knight Foundation (Miami) Kulas Foundation John P. Murphy Foundation The Eric & Jane Nord Family Fund

$5 MILLION TO $10 MILLION

$100,000 TO $249,999

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

GAR Foundation Elizabeth Ring Mather and William Gwinn Mather Fund David and Inez Myers Foundation The Kelvin and Eleanor Smith Foundation

$1 MILLION TO $5 MILLION

$50,000 TO $99,999

The William Bingham Foundation The George W. Codrington Charitable Foundation GAR Foundation Ann and Gordon Getty Foundation The Louise H. and David S. Ingalls Foundation Martha Holden Jennings Foundation Elizabeth Ring Mather and William Gwinn Mather Fund David and Inez Myers Foundation National Endowment for the Arts The Eric & Jane Nord Family Fund The Payne Fund The Reinberger Foundation The Sage Cleveland Foundation The John L. Severance Society recognizes the generosity of those giving $1 million or more in cumulative support. Listing as of March 2016.

Severance Hall 2015-16

Paul M. Angell Family Foundation The George W. Codrington Charitable Foundation The Gerhard Foundation, Inc. Ann and Gordon Getty Foundation Martha Holden Jennings Foundation Myra Tuteur Kahn Memorial Fund of The Cleveland Foundation Miami-Dade County Department of Cultural Affairs (Miami) The Nord Family Foundation The Payne Fund The Sage Cleveland Foundation

$20,000 TO $49,999 The Batchelor Foundation, Inc. (Miami) Eva L. and Joseph M. Bruening Foundation Mary E. and F. Joseph Callahan Foundation The Helen C. Cole Charitable Trust The Mary S. and David C. Corbin Foundation Mary and Dr. George L. Demetros Charitable Trust The Helen Wade Greene Charitable Trust National Endowment for the Arts The Frederick and Julia Nonneman Foundation Peacock Foundation, Inc. (Miami) The Reinberger Foundation James G. Robertson Fund of Akron Community Foundation Sandor Foundation Harold C. Schott Foundation The Sisler McFawn Foundation The Veale Foundation

$2,500 TO $19,999 The Abington Foundation The Ruth and Elmer Babin Foundation Dr. NE & JZ Berman Foundation The Bernheimer Family Fund of The Cleveland Foundation Elisha-Bolton Foundation The Conway Family Foundation The Cowles Charitable Trust (Miami) The Harry K. Fox and Emma R. Fox Charitable Foundation Funding Arts Network (Miami) The Hankins Foundation The William Randolph Hearst Foundation The Muna & Basem Hishmeh Foundation Richard H. Holzer Memorial Foundation The Laub Foundation Victor C. Laughlin, M.D. Memorial Foundation Trust The Lehner Family Foundation The G. R. Lincoln Family 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 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

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 March 5, 2016

$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.

Daniel R. Lewis (Miami, Cleveland) Jan R. Lewis (Miami, Cleveland) Mrs. Alfred M. Rankin, Sr. $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 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 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 Peter B. Lewis* and Janet Rosel Lewis (Miami) The Ralph and Luci Schey Foundation Mr.* and Mrs. Ward Smith Mr. and Mrs. Richard K. Smucker 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 March 2016.

Individual Annual Support

The Cleveland Orchestra

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

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

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

George* and Becky Dunn Dr. and Mrs. Hiroyuki Fujita David and Francie Horvitz Family Foundation (Miami) James D. Ireland III* Mr. and Mrs. Joseph P. Keithley Dr. and Mrs. Herbert Kloiber (Europe) Mr. and Mrs. Dennis W. LaBarre Mrs. Emma S. Lincoln Milton and Tamar Maltz Elizabeth F. McBride Mary M. Spencer (Miami) Ms. Ginger Warner (Cleveland, Miami) Janet* and Richard Yulman (Miami)

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

Jeanette Grasselli Brown and Glenn R. Brown Mr. and Mrs. Alexander M. Cutler Hector D. Fortun (Miami) T. K. and Faye A. Heston Giuliana C. and John D. Koch Dr. and Mrs. Jerome Kowal Toby Devan Lewis Mr.* and Mrs. Edward A. Lozick Robert M. Maloney and Laura Goyanes Ms. Nancy W. McCann Ms. Beth E. Mooney Sally S.* and John C. Morley Margaret Fulton-Mueller Roseanne and Gary Oatey (Cleveland, Miami) The Claudia and Steven Perles Family Foundation (Miami) Mrs. Alfred M. Rankin, Sr. Charles and Ilana Horowitz Ratner Barbara S. Robinson (Cleveland, Miami) Sally and Larry Sears Hewitt and Paula Shaw Barbara and David Wolfort (Cleveland, Miami) Women’s Committee of The Cleveland Orchestra Anonymous (2)

George Szell Society Elisabeth DeWitt Severance Society gifts of $50,000 and more gifts of $25,000 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. Michael J. Horvitz Elizabeth B. Juliano Mr. and Mrs. Douglas A. Kern The Honorable and Mrs. John Doyle Ong Mr. Patrick Park (Miami) Mr. and Mrs. Alfred M. Rankin, Jr. Mr. and Mrs. Franz Welser-Möst INDIVIDUAL GIFTS OF $50,000 TO $74,999

Sheldon and Florence Anderson (Miami) Blossom Friends of The Cleveland Orchestra

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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 Mr. and Mrs. David J. Carpenter Robert and Jean* Conrad Mr. and Mrs. Geoffrey Gund Mrs. John A. Hadden, Jr. Mr. and Mrs. Jeffrey Healy Milton A. and Charlotte R. Kramer Charitable Foundation Virginia M. and Jon A. Lindseth Julia and Larry Pollock

Individual Annual Support

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THE CLEVELAN D ORCHESTRA listings continued

Barbara Robinson, chair Robert Gudbranson, vice chair Ronald H. Bell Henry C. Doll Judy Ernest Nicki Gudbranson Jack Harley Iris Harvie

The Ralph and Luci Schey Foundation Rachel R. Schneider Richard and Nancy Sneed (Cleveland, Miami) R. Thomas and Meg Harris Stanton

Faye A. Heston Brinton L. Hyde David C. Lamb Larry J. Santon Raymond T. Sawyer

The Leadership Patron Program recognizes generous donors of $2,500 or more to the Orchestraâ&#x20AC;&#x2122;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.

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

Marsha and Brian Bilzin (Miami) In dedication to Donald Carlin (Miami) Martha and Bruce Clinton (Miami) Mr.* and Mrs. Gerald A. Conway Judith and George W. Diehl JoAnn and Robert Glick Mr. Loren W. Hershey Mrs. Marguerite B. Humphrey Mr. and Mrs. Donald M. Jack, Jr. Junior Committee of The Cleveland Orchestra Thomas E Lauria (Miami) Susan Morgan Martin, Patricia Morgan Kulp, and Ann Jones Morgan Mrs. Jane B. Nord William J. and Katherine T. Oâ&#x20AC;&#x2122;Neill Mr. and Mrs. James A. Ratner Mr. and Mrs. David A. Ruckman Mr. and Mrs. James A. Saks Marc and Rennie Saltzberg Mr. Larry J. Santon Jim and Myrna Spira Paul and Suzanne Westlake Anonymous

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

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. Yuval Brisker Mr. and Mrs. Matthew V. Crawford Jim and Karen Dakin Mr. Mike S. Eidson, Esq. and Dr. Margaret Eidson (Miami) Jeffrey and Susan Feldman (Miami) Dr. Edward S. Godleski Mary and Jon Heider (Cleveland, Miami) Allan V. Johnson Mr. and Mrs. Christopher Kelly Jonathan and Tina Kislak (Miami) Mr. and Mrs. Moshe Meidar (Miami) The Miller Family Sydell Miller Lauren and Steve Spilman Stacie and Jeff Halpern Kim Sherwin Mr. and Mrs. Donald Stelling (Europe) Rick, Margarita, and Steven Tonkinson (Miami) Gary L. Wasserman and Charles A. Kashner (Miami) The Denise G. and Norman E. Wells, Jr. Family Foundation Anonymous gift from Switzerland (Europe)

LEADERSHIP PATRON PROGRAM

William Appert and Christopher Wallace (Miami) Art of Beauty Company, Inc. Dr. Christopher P. Brandt and Dr. Beth Sersig Dr. Ben H. and Julia Brouhard Irad and Rebecca Carmi Jill and Paul Clark Mr. and Mrs. William E. Conway Mrs. Barbara Cook Peter D. and Julie F. Cummings (Miami) Do Unto Others Trust (Miami) Dr. and Mrs. Robert Ehrlich (Europe) Mr. Allen H. Ford Ms. Dawn M. Full Richard and Ann Gridley Gary Hanson and Barbara Klante Sondra and Steve Hardis Jack Harley and Judy Ernest David and Nancy Hooker Richard and Erica Horvitz (Cleveland, Miami) Trevor and Jennie Jones Tati and Ezra Katz (Miami) Mr. Jeff Litwiller Mr. and Mrs. Thomas B. McGowan Mr. Thomas F. McKee Mr. and Mrs. Stanley A. Meisel Edith and Ted* Miller Lucia S. Nash Mrs. David Seidenfeld Mr. and Mrs. Oliver E. Seikel Joe and Marlene Toot Mr. and Mrs. Daniel P. Walsh Tom and Shirley Waltermire Mr. and Mrs. Jeffrey J. Weaver Mr. and Mrs. Jeffrey M. Weiss

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

Mrs. Barbara Ann Davis Robert K. Gudbranson and Joon-Li Kim Eeva and Harri Kulovaara (Miami) Mr. and Mrs. Richard A. Manuel* Mr. and Mrs. Stephen Myers Paul A. and Anastacia L. Rose Mr. and Mrs. Alfred Umdasch (Europe) Margaret and Eric* Wayne Sandy and Ted Wiese

Individual Annual Support

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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 Drs. Nathan A. and Sosamma J. Berger Jayusia and Alan Bernstein (Miami) Laurel Blossom Mr. and Mrs. Richard L. Bowen Mr. D. McGregor Brandt, Jr. Paul and Marilyn Brentlinger* Mr. and Mrs. Marshall Brown J. C. and Helen Rankin Butler Scott Chaikin and Mary Beth Cooper Drs. Wuu-Shung and Amy Chuang Richard J. and Joanne Clark Henry and Mary* Doll Mr. and Mrs. Paul Doman 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) Mr. Isaac Fisher (Miami) Kira and Neil Flanzraich (Miami) Sheree and Monte Friedkin (Miami) Mr. and Mrs. Richard T. Garrett

Albert I. and Norma C. Geller Mr. and Mrs. Robert W. Gillespie Mr. David J. Golden Kathleen E. Hancock Mary Jane Hartwell Mr. and Mrs. James A. Haslam II Joan and Leonard Horvitz Ruth and Pedro Jimenez (Miami) Cherie and Michael Joblove (Miami) Andrew and Katherine Kartalis Alan Kluger and Amy Dean (Miami) Mrs. Elizabeth R. Koch Tim and Linda Koelz Stewart and Donna Kohl Shirley and William Lehman (Miami) Dr. David and Janice Leshner Elsie and Byron Lutman Mr.* and Mrs. Arch J. McCartney Mr. Donald W. Morrison Joy P. and Thomas G. Murdough, Jr. (Miami) Brian and Cindy Murphy Mr. Raymond M. Murphy Dr. Anne and Mr. Peter Neff Mrs. Milly Nyman (Miami) Mr. and Mrs. William M. Osborne, Jr.

Douglas and Noreen Powers AndrĂŠs Rivero (Miami) Audra and George Rose Dr. and Mrs. Ronald J. Ross Steven and Ellen Ross Michael and Chandra Rudd (Miami) Dr. Isobel Rutherford Dr. and Mrs. Martin I. Saltzman Drs. Michael and Judith Samuels (Miami) Raymond T. and Katherine S. Sawyer Carol* and Albert Schupp Mr. and Mrs. Joseph H. Serota (Miami) Seven Five Fund Dr. Marvin* and Mimi Sobel Howard Stark M.D. and Rene Rodriguez (Miami) Lois and Tom Stauffer Mrs. Jean H. Taber Bruce and Virginia Taylor Mr. Joseph F. Tetlak Dr. Russell A. Trusso Mr. and Mrs. Fred A. Watkins Florence and Robert Werner (Miami) 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 Mr. and Mrs. Stanley Cohen (Miami) Ellen E. & Victor J. Cohn Supporting Foundation Bob and Linnet Fritz Linda and Lawrence D. Goodman (Miami) Harry and Joyce Graham Mr. Paul Greig Iris and Tom Harvie Mrs. Sandra L. Haslinger Henry R. Hatch Robin Hitchcock Hatch Amy and Stephen Hoffman Mr. and Mrs. Brinton L. Hyde

Pamela and Scott Isquick Richard and Michelle Jeschelnig Joela Jones and Richard Weiss James and Gay* Kitson Kenneth M. Lapine and Rose E. Mills Judith and Morton Q. Levin Mr. and Mrs. Alex Machaskee Claudia Metz and Thomas Woodworth Georgia and Carlos Noble (Miami) Mr. J. William and Dr. Suzanne Palmer Pannonius Foundation Nan and Bob Pfeifer Rosskamm Family Trust Mrs. Florence Brewster Rutter

Patricia J. Sawvel Dr. and Mrs. James L. Sechler Dr. Gerard and Phyllis Seltzer and the Dr. Gerard and Phyllis Estelle Seltzer Foundation Drs. Daniel and Ximena Sessler Bill* and Marjorie B. Shorrock Mrs. Gretchen D. Smith Dr. Gregory Videtic Robert C. Weppler Dr. and Mr. Ann Williams Anonymous (3)

Diane Lynn Collier and Robert J. Gura Marjorie Dickard Comella Corinne L. Dodero Foundation for the Arts and Sciences Mr. Kamal-Neil Dass and Ms. Teresa Larsen Mr. and Mrs. Ralph Daugstrup Mr. and Mrs. Thomas S. Davis Pete and Margaret Dobbins Mr. and Mrs. Bernard H. Eckstein Dr. and Mrs. Robert Elston Mary and Oliver Emerson* Ms. Karen Feth Joseph Z. and Betty Fleming (Miami) Scott A. Foerster Joan Alice Ford Barbara and Peter Galvin Joy E. Garapic Dr. and Mrs. Adi Gazdar Brenda and David Goldberg Mr. Albert C. Goldsmith

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 Alfredo and Luz Gutierrez (Miami) Douglas M. and Amy Halsey (Miami) Clark Harvey and Holly Selvaggi Dr. Robert T. Heath and Dr. Elizabeth L. Buchanan Janet D. Heil* Anita and William Heller Thomas and Mary Holmes Elisabeth Hugh Ms. Carole Hughes Ms. Charlotte L. Hughes Mr. David and Mrs. Dianne Hunt Mr. and Mrs. Christopher Hyland

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

Dr. and Mrs. D. P. Agamanolis Susan S. Angell Mr. William App Agnes Armstrong Mrs. Elizabeth H. Augustus Mr. and Mrs. Robert H. Baker Jennifer Barlament and Ken Potsic Fred G. and Mary W. Behm Mr. and Mrs. Jules Belkin Mr. William Berger Dr. and Mrs. Eugene H. Blackstone Suzanne and Jim Blaser Dr.* and Mrs. Jerald S. Brodkey Dr. Thomas Brugger and Dr. Sandra Russ Frank and Leslie Buck Mr. and Mrs. William C. Butler Augustine* and Grace Caliguire Ms. Maria Cashy Dr. William and Dottie Clark Kathleen A. Coleman

Individual Annual Support

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Donna L. and Robert H. Jackson Mr. and Mrs. Richard A. Janus David and Gloria Kahan Rudolf D. and Joan T. Kamper Milton and Donna* Katz Dr. Richard and Roberta Katzman Mr. John and Mrs. Linda Kelly Mr. and Mrs. Michael T. Kestner Dr. and Mrs. William S. Kiser Mr. and Mrs.* S. Lee Kohrman Mr. Clayton R. Koppes Mr. James Krohngold Mr. and Mrs. Peter A. Kuhn Dr. and Mrs. Stephen A. Kushnick Mr. and Mrs. Arthur J. Lafave, Jr. David C. Lamb Mrs. Sandra S. Laurenson Anthony T. and Patricia A. Lauria Ivonete Leite (Miami) Irvin and Elin Leonard Mr. Lawrence B. and Christine H. Levey Dr. Alan and Mrs. Joni Lichtin Mr. and Mrs.* Thomas A. Liederbach Ms. Grace Lim Mr. Jon E. Limbacher and Patricia J. Limbacher Mr. Rudolf and Mrs. Eva Linnebach Anne R. and Kenneth E. Love Robert and LaVerne* Lugibihl Mr. and Mrs.* Robert P. Madison Ms. Jennifer R. Malkin Mr. and Mrs. Morton L. Mandel Alan Markowitz M.D. and Cathy Pollard Mr. and Mrs. E. Timothy McDonel James and Virginia Meil

Dr. and Mrs. Eberhard Meinecke Ms. Betteann Meyerson Mr. and Mrs. William A. Mitchell Curt and Sara Moll Dr. R. Morgan and Dr. S. Weirich (Miami) Richard and Kathleen Nord Mr. Thury O’Connor Mr. Henry Ott-Hansen Jay Pelham (Miami) Mr. and Mrs. John S. Piety Mr. Robert Pinkert (Miami) Mr. and Mrs. Richard W. Pogue In memory of Henry Pollak Martin R. Pollock and Susan A. Gifford Dr. and Mrs. John N. Posch Ms. Rosella Puskas Mr.* and Mrs. Thomas A. Quintrell Drs. Raymond R. Rackley and Carmen M. Fonseca Dr. James and Lynne Rambasek Mr. and Mrs. Roger F. Rankin Brian and Patricia Ratner Ms. Deborah Read Mr. and Mrs. Robert J. Reid Mrs. Charles Ritchie Amy and Ken Rogat Dr. and Mrs. Michael Rosenberg (Miami) Robert and Margo Roth Mr. and Mrs. Robert C. Ruhl David M. and Betty Schneider Linda B. Schneider Lee and Jane Seidman Mr. Eric Sellen and Mr. Ron Seidman Ms. Marlene Sharak Mrs. Frances G. Shoolroy*

Naomi G. and Edwin Z. Singer Family Fund Bruce Smith Drs. Charles Kent Smith and Patricia Moore Smith David Kane Smith Mr. and Mrs. William E. Spatz George and Mary Stark Dr. and Mrs. Frank J. Staub Mr. and Mrs. Donald W. Strang, Jr. Stroud Family Trust Dr. Elizabeth Swenson Ms. Lorraine S. Szabo Robert and Carol Taller Mr. and Mrs. Bill Thornton Mr.* and Mrs. Robert N. Trombly Miss Kathleen Turner Robert and Marti Vagi Don and Mary Louise VanDyke Teresa Galang-Viñas and Joaquin Viñas (Miami) Mr. and Mrs. Mark Allen Weigand Mr. and Mrs. Michael R. Weil, Jr. Charles and Lucy Weller Mr. and Mrs. Ronald E. Weinberg Tom and Betsy Wheeler Dr. Edward L. and Mrs. Suzanne Westbrook Nancy V. and Robert L. Wilcox Sandy Wile and Susan Namen Bob and Kat Wollyung Katie and Donald Woodcock Tony and Diane Wynshaw-Boris Anonymous (2)

Nancy and James Grunzweig Lilli and Seth Harris Mr. Robert D. Hart Mary S. Hastings In Memory of Hazel Helgesen Mr. and Mrs. Jerry Herschman Dr. Fred A. Heupler Mr. Robert T. Hexter David Hollander (Miami) Dr. Keith A. and Mrs. Kathleen M. Hoover Dr. and Mrs. Scott R. Inkley Barbara and Michael J. Kaplan Dr. and Mrs. Richard S. Kaufman Mrs. Natalie D. Kittredge Dr. Gilles* and Mrs. Malvina Klopman Mr. Donald N. Krosin Ronald and Barbara Leirvik Dr. Edith Lerner Mary Lohman Mrs. Idarose S. Luntz 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 David and Judith Newell Mr. and Mrs. Peter R. Osenar Dr. Lewis and Janice B. Patterson Mr. Carl Podwoski Alfonso Rey and Sheryl Latchu (Miami) Dr. Robert W. Reynolds Carol Rolf and Steven Adler Fred Rzepka and Anne Rzepka Family Foundation Mr. Paul H. Scarbrough Ginger and Larry Shane Harry and Ilene Shapiro Mr. Richard Shirey Howard and Beth Simon Ms. Ellen J. Skinner Mr. Richard C. Stair Mr. Taras G. Szmagala, Jr. Kathy* and Sidney Taurel (Miami) Mr. Karl and Mrs. Carol Theil Erik Trimble Drs. Anna* and Gilbert True Richard Wiedemer, Jr. Mrs. Henietta Zabner (Miami) Marcia and Fred* Zakrajsek Max and Beverly Zupon

Mr. and Mrs. James B. Aronoff Joseph Babin Mr. Mark O. Bagnall (Miami) Ms. Delphine Barrett Mr. and Mrs. Belkin

Mr. Roger G. Berk Kerrin and Peter Bermont (Miami) Barbara and Sheldon Berns John and Laura Bertsch

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

Ms. Nancy A. Adams Mr. and Mrs. Robert J. Amsdell Dr. Ronald and Diane Bell Margo and Tom Bertin Howard R. and Barbara Kaye Besser Mr. and Mrs. David Bialosky Carmen Bishopric (Miami) Mr. and Mrs. Robert R. Broadbent Ms. Mary R. Bynum and Mr. J. Philip Calabrese Dr. and Mrs. William E. Cappaert John Carleton (Cleveland, Miami) Mr. and Mrs. Frank H. Carpenter Drs. Mark Cohen and Miriam Vishny Mr. Owen Colligan Mr. and Mrs. David G. de Roulet Mrs. April C. Deming Peter and Kathryn Eloff Mr. William and Dr. Elizabeth Fesler Richard J. Frey Peggy and David* Fullmer Loren and Michael Garruto Dr. and Mrs. Edward C. Gelber (Miami) Dr. and Mrs. Ronald L. Gould The Thomas J. and Judith Fay Gruber Charitable Foundation INDIVIDUAL GIFTS OF $2,500 TO $3,499

Mr. and Mrs. Charles Abookire, Jr. Dr. Jacqueline Acho and Mr. John LeMay Stanley I.* and Hope S. Adelstein Mr. and Mrs.* Norman Adler Mr. and Mrs. Monte Ahuja

Individual Annual Support

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contact John Moore 216.721.4300 jmoore@livepub.com

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

Jaime A. Bianchi and Paige A. Harper (Miami) Ms. Deborah A. Blades Bill* and Zeda Blau Doug and Barbara Bletcher Dr. Charles Tannenbaum and Ms. Sharon Bodine Mr. and Mrs. Richard H. Bole Mrs. Loretta Borstein Ms. Andrea L. Boyd Lisa and Ron Boyko Mr. and Mrs. David Briggs Laurie Burman Rev. Joan Campbell Mrs. Millie L. Carlson Leigh Carter Mr. and Mrs. James B. Chaney Dr.* and Mrs. Ronald Chapnick Mr. Gregory R. Chemnitz Mr. and Mrs. Homer D. W. Chisholm Mrs. Robert A. Clark Dr. John and Mrs. Mary Clough Kenneth S. and Deborah G. Cohen Mr. and Mrs. Mark Corrado Dr. Dale and Susan Cowan Mr. and Mrs. Manohar Daga Mrs. Frederick F. Dannemiller Dr. Eleanor Davidson Mr. and Mrs. Edward B. Davis Jeffrey and Eileen Davis Mrs. Lois Joan Davis Dr. and Mrs. Howard Dickey-White Dr. and Mrs. Richard C. Distad William Dorsky and Cornelia Hodgson Mr. George and Mrs. Beth Downes Mr. and Mrs. Robert Dreshfield Ms. Mary Lynn Durham Mr. and Mrs. Ronald E. Dziedzicki Esther L. and Alfred M. Eich, Jr. Erich Eichhorn and Ursel Dougherty Drs. Heidi Elliot and Yuri Novitsky Harry and Ann Farmer Mr. Paul C. Forsgren Michael Frank & Patricia A. Snyder Mr. William Gaskill and Ms. Kathleen Burke Mr. Wilbert C. Geiss, Sr. Anne and Walter Ginn Dr. and Mrs. Victor M. Goldberg Mr. and Mrs. David A. Goldfinger Mr. Davin and Mrs. Jo Ann Gustafson Dr. Phillip M. and Mrs. Mary Hall Mr. and Mrs. David P. Handke, Jr. Elaine Harris Green Mr. and Mrs. Donald F. Hastings Matthew D. Healy and Richard S. Agnes Mr. and Mrs. Robert D. Hertzberg (Miami) Dr. and Mrs. Robert L. Hinnes Mr. Larry Holstein Bob* and Edith Hudson (Miami) Dr. Randal N. Huff and Ms. Paulette Beech Ms. Luan K. Hutchinson Ruth F. Ihde Mrs. Carol Lee and Mr. James Iott Mr. Norman E. Jackson (Miami) Ms. LaVerne Jacobson Robert and Linda Jenkins Dr. Michael and Mrs. Deborah Joyce Mr. Peter and Mrs. Mary Joyce Mr. Stephen Judson 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 Mr. James Kish Fred* and Judith Klotzman Marion Konstantynovich Jacqueline and Irwin* Kott (Miami) Ellen Brad and Bart Kovac Dr. Ronald H. Krasney and Vicki Kennedy Dr. Michael E. Lamm Mr. and Mrs. John J. Lane, Jr. Michael Lederman Judy and Donald Lefton (Miami) Mr. Gary Leidich Michael and Lois A. Lemr Dr. Stephen B. and Mrs. Lillian S. Levine Robert G. Levy Ms. Mary Beth Loud Janet A. Mann Mr. and Mrs. Raul Marmol (Miami) Dr. and Mrs. Sanford E. Marovitz Ms. Dorene Marsh Dr. Ernest and Mrs. Marian Marsolais Mr. Fredrick Martin Ms. Amanda Martinsek Mr. Julien L. McCall William C. McCoy Mr. and Mrs. James E. Menger Stephen and Barbara Messner Loretta J. Mester and George J. Mailath Mr. Michael and Mrs. Lynn Miller Drs. Terry E. and Sara S. Miller Jim and Laura Moll Steven and Kimberly Myers Deborah L. Neale Marshall I. Nurenberg and Joanne Klein Richard and Jolene Oâ&#x20AC;&#x2122;Callaghan Dr. Guilherme Oliveira Mr. Robert D. Paddock George Parras Mr. Thomas and Mrs. Tommie Patton Dr. and Mrs. Gosta Pettersson Henry Peyrebrune and Tracy Rowell Dr. Roland S. Philip and Dr. Linda M. Sandhaus Dale and Susan Phillip Ms. Maribel Piza (Miami) Dr. Marc and Mrs. Carol Pohl Mrs. Elinor G. Polster Mr. Robert and Mrs. Susan Price Kathleen Pudelski Ms. C. A. Reagan David and Gloria Richards Michael Forde Ripich Mr. and Mrs. James N. Robinson II (Miami) Mr. Timothy D. Robson Ms. Linda M. Rocchi Miss Marjorie A. Rott* Michael and Chandra Rudd (Miami) Mr. Kevin Russell (Miami) Mrs. Elisa J. Russo Dr. Harry S. and Rita K. Rzepka Peter and Aliki Rzepka Dr. Vernon E. Sackman and Ms. Marguerite Patton Rev. Robert J. Sanson Ms. Patricia E. Say Mr. James Schutte Ms. Adrian L. Scott Mr. and Mrs. Alexander C. Scovil Dr. John Sedor and Ms. Geralyn Presti Ms. Kathryn Seider Charles Seitz (Miami) Mr. and Mrs. Thomas W. Seitz Ms. Frances L. Sharp Ms. Jeanne Shatten

Individual Annual Support

Dr. Donald S. Sheldon Dr. and Mrs. William C. Sheldon Mr. and Mrs. Reginald Shiverick Mr. Robert Sieck Laura and Alvin A. Siegal Lois H. Siegel (Miami) David* and Harriet Simon Dr. and Mrs. Conrad Simpfendorfer The Shari Bierman Singer Family Grace Katherine Sipusic Robert and Barbara Slanina Roy Smith Sandra and Richey Smith Ms. Barbara Snyder Lucy and Dan Sondles Mr. Louis Stellato Mr. and Mrs. Joseph D. Sullivan Ken and Martha Taylor Dr. and Mrs. Thomas A. Timko Steve and Christa Turnbull Mrs. H. Lansing Vail, Jr. Robert A. Valente Brenton Ver Ploeg (Miami) Mr. and Mrs. Les C. Vinney Dr. Michael Vogelbaum and Mrs. Judith Rosman Barbara and George von Mehren Alice & Leslie T. Webster, Jr. Mr. and Mrs.* Jerome A. Weinberger Mr. Peter and Mrs. Laurie Weinberger Richard and Mary Lynn Wills Mr. Martin Wiseman Michael H. Wolf and Antonia Rivas-Wolf Elizabeth B. Wright Rad and Patty Yates Dr. William Zelei Mr. Kal Zucker and Dr. Mary Frances Haerr Anonymous (6)

member of the Leadership Council (see first page of Annual Support listings)

* 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

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

11001 Euclid Avenue Cleveland, Ohio 44106

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

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 online by visiting clevelandorchestra.com/opentable. Intermission & Pre-Concert: Concession service of beverages and light refreshments is available before most concerts and at intermissions at a variety of lobby locations. Post-Concert Dining: Severance Restaurant is open after most evening concerts with à la carte dining, desserts, full bar service, and coffee. For Friday Morning Concerts, a post-concert luncheon service is offered.

CLEVELAND ORCHESTRA STORE A variety of items relating to The Cleveland Orchestra — including logo apparel, DVD and compact disc recordings, and gifts — are available for purchase at the Cleveland Orchestra Store before and after concerts and during intermissions. The Store is also open Tuesday through Friday from 11 a.m. to 6 p.m. Call 216-231-7478 for more information, or visit the Store online at clevelandorchestra.com.

ATM — Automated Teller Machine For our patrons’ convenience, an ATM is located in the Lerner Lobby of Severance Hall, across from the Cleveland Orchestra Store on the ground floor.

QUESTIONS If you have any questions, please ask an usher or a staff member, or call 216-231-7300 during regular weekday business hours, or email to info@clevelandorchestra.com.

RENTAL OPPORTUNITIES Severance Hall, a Cleveland landmark and home of the world-renowned Cleveland Orches-

Severance Hall 2015-16

Guest Information

tra, 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 216-2317420 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 prepaid parking passes is limited. To order pre-paid parking, call the Ticket Office at 216-231-1111. Parking can be purchased (cash only) for the at-door price of $11 per vehicle when space in the Campus Center Garage permits. However, the garage often fills up and only ticket holders with prepaid parking passes are ensured a parking space. Parking is also available in several lots within 1-2 blocks of Severance Hall. Visit the Orchestra’s website for more information and details.

FRIDAY MATINEE PARKING Due to limited parking availability for Friday Matinee performances, patrons are strongly encouraged to take advantage of these convenient off-site parking and round-trip bus options: Shuttle bus service from Cleveland Heights is available from the parking lot at Cedar Hill Baptist Church (12601 Cedar Road). The roundtrip service rate is $5 per person. Suburban round-trip bus transportation is availble from four locations: Beachwood Place, Crocker Park, Brecksville, and Akron’s Summit Mall. The round-trip service rate is $15 per person per concert, and is provided with support from the Women’s Committee of The Cleveland Orchestra.

CONCERT PREVIEWS Concert Preview talks and presentations begin one hour prior to most regular Cleveland Orchestra concerts at Severance Hall.

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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 AND SELFIES, VIDEO AND AUDIO RECORDING Photographs of the hall and selfies to share with others can be taken when the performance is not in progress. However, audio recording, photography, and videography are prohibited during performances at Severance Hall. And, 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 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 make arrangement by calling the House Manager in advance at 216-231-7425. Infrared Assistive Listening Devices are available from a Head Usher or the House Manager for most performances. If you need assistance, please

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contact the House Manager at 216-231-7425 in advance if possible. Service animals are welcome at Severance Hall. Please notify the Ticket Office as you buy 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 AND FAMILIES Regardless of age, each person must have a ticket and be able to sit quietly in a seat throughout the performance. Cleveland Orchestra subscription concerts are not recommended for children under the age of 8. However, there are several age-appropriate series designed specifically for children and youth, including: Musical Rainbows (recommended for children 3 to 6 years old) and Family Concerts (for ages 7 and older). Our Under 18s Free ticket program is designed to encourage families to attend together. For more details, visit clevelandorchestra.com/ under18.

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 two hours before the concert, the value of each ticket can be a tax-deductible contribution. Patrons who turn back tickets receive a cumulative donation acknowledgement at the end of each calendar year.

Guest Information

The Cleveland Orchestra

Itâ&#x20AC;&#x2122;s time for a new identity. One that tells the story of creativity in Ohio and illustrates it.

Expression is an essential need. By better illustrating our story, we can better help you express yours.

Complete the story at oac.ohio.gov/identity.

30 EAST BROAD STREET, 33RD FLOOR, COLUMBUS, OHIO 43215-3414 | 614-466-2613 OAC.OHIO.GOV | @OHIOARTSCOUNCIL| #ARTSOHIO

Remember how it felt . . . ? . . . to hear The Cleveland Orchestra for the first time? Yoash and Sharon Wiener believe there is nothing better than listening to beautiful music played by a world-class orchestra in an internationallyrenowned concert hall just a short drive from your home. And they’ve been enjoying The Cleveland Orchestra for nearly half a century. In addition to being long-time season subscribers to The Cleveland Orchestra at both Severance Hall and each summer’s Blossom Music Festival, Yoash and Sharon are supporting the Orchestra’s future through the gift annuity program. In exchange for their gift, Yoash and Sharon receive income for life and a charitable tax deduction. “Our very first date was 46 years ago at a Cleveland Orchestra performance in Severance Hall. The date was great and so was the music, and The Cleveland Orchestra has been a central part of our lives together,” says Yoash. “Participating in the gift annuity program is our way of thanking the Orchestra for all it has meant to us.”

THE

CLEVELAND ORCHESTRA

To find out how you can create a gift annuity and join Yoash and Sharon in supporting The Cleveland Orchestra’s future, contact our Legacy Giving Office by calling 216-231-7522.

clevelandorchestra.com/cga 104

The Cleveland Orchestra

Legacy Giving THE CLEVELAND ORCHESTRA

H E R I TAGE S O C I ET Y The Heritage Society honors those individuals who are helping to ensure the future of The Cleveland Orchestra with a Legacy gift. Legacy gifts come in many forms, including bequests, charitable gift annuities, and insurance policies. The following listing of members is current as of October 2015. For more information, please contact the Orchestra’s Legacy Giving Office by calling Liz Arnett at 216-231-7522. Lois A. Aaron Leonard Abrams Shuree Abrams* Gay Cull Addicott Stanley* and Hope Adelstein Sylvia K. Adler* Gerald O. Allen* Norman and Marjorie* Allison George N. Aronoff Herbert Ascherman, Jr. Jack and Darby Ashelman Mr. and Mrs. William W. Baker Ruth Balombin* Mrs. Louis W. Barany* D. Robert and Kathleen L. Barber* Jack L. Barnhart Margaret B. and Henry T.* Barratt Norma E. Battes* Rev. Thomas T. Baumgardner and Dr. Joan Baumgardner Fred G. and Mary W. Behm Bertram H. Behrens* Dr. Ronald and Diane Bell Bob Bellamy Joseph P. Bennett Marie-Hélène Bernard Ila M. Berry Howard R. and Barbara Kaye Besser Dr.* and Mrs. Murray M. Bett Dr. Marie Bielefeld Raymond J. Billy (Biello) Dr. and Mrs. Harold B. Bilsky* Robert E. and Jean Bingham* Mr. William P. Blair III Madeline & Dennis Block Trust Fund Mrs. Flora Blumenthal Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. and Mrs. Charles P. Bolton Kathryn Bondy* Loretta and Jerome* Borstein Mr. and Mrs.* Otis H. Bowden II Ruth Turvy Bowman* Drs. Christopher P. Brandt and Beth Brandt Sersig Mr. D. McGregor Brandt, Jr. David and Denise Brewster Richard F. Brezic* Robert W. Briggs Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Ronald and Isabelle Brown* Mr. and Mrs. Clark E. Bruner* Mr. and Mrs.* Harvey Buchanan Rita W. Buchanan*

Severance Hall 2015-16

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

Leagcy Givimg

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

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Legacy Giving THE CLEVELAND ORCHESTRA

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

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

Legacy Giving

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

The Cleveland Orchestra

Legacy Giving THE CLEVELAND ORCHESTRA

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

Severance Hall 2015-16

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

Legacy Giving

Mary Louise and Don VanDyke Elliot Veinerman* Nicholas J. Velloney* Steven Vivarronda Hon. William F.B. Vodrey Pat and Walt* Wahlen Mrs. Clare R. Walker John and Deborah Warner Mr. and Mrs. Russell Warren Joseph F. and Dorothy L. Wasserbauer Charles D. Waters* Reverend Thomas L. Weber Etta Ruth Weigl* Lucile Weingartner Eunice Podis Weiskopf* Max W. Wendel William Wendling and Lynne Woodman Marilyn J. White Robert and Marjorie Widmer* Yoash and Sharon Wiener Alan H. and Marilyn M. Wilde Elizabeth L. Wilkinson* Helen Sue* and Meredith Williams Carter and Genevieve* Wilmot Miriam L. and Tyrus W.* Wilson Mr. Milton Wolfson* and Mrs. Miriam Shuler-Wolfson Nancy L. Wolpe Mrs. Alfred C. Woodcock Katie and Donald Woodcock Dr.* and Mrs. Henry F. Woodruff Marilyn L. Wozniak Nancy R. Wurzel Michael and Diane Wyatt Mary Yee Emma Jane Yoho, M.D. Libby M. Yunger Dr. Norman Zaworski* William L. and Joan H. Ziegler* Carmela Catalano Zoltoski* Roy J. Zook* Anonymous (106)

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

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THE CLEVELAN C O N C E R T

C A L E N D A R

SUMMER SEASON featuring

2O16 BLOSSOM MUSIC FESTIVAL presented by The J.M. Smucker Company

2O16 BLOSSOM MUSIC FESTIVAL

1812 Overture

July 2 — Saturday at 8:00 p.m. <18s July 3 — Sunday at 8:00 p.m. <18s THE CLEVELAND ORCHESTRA Johannes Debus, conductor

RIMSKY-KORSAKOV Scheherazade SHOSTAKOVICH Suite No. 1 for Variety Orchestra TCHAIKOVSKY 1812 Overture

2O16 BLOSSOM MUSIC FESTIVAL

A London Symphony

July 16 — Saturday at 8:00 p.m.

ELGAR Introduction and Allegro (for string quartet and orchestra) MOZART Piano Concerto No. 21 VAUGHAN WILLIAMS Symphony No. 2 (“A London Symphony”) 2O16 BLOSSOM MUSIC FESTIVAL

An American in Paris

2O16 BLOSSOM MUSIC FESTIVAL

July 17 — Sunday at 7:00 p.m.

July 4 — Monday at 8:00 p.m.

THE CLEVELAND ORCHESTRA Bramwell Tovey, conductor Javier Perianes, piano

A Salute to America

<18s

BLOSSOM FESTIVAL BAND Loras John Schissel, conductor Great music, fireworks, and fun for the whole family! Blossom’s traditional, star-spangled celebration of America, including Broadway favorites and Sousa marches, and ending with Tchaikovsky’s 1812 Overture. Sponsor: KeyBank

RAVEL Rapsodie espagnole COPLAND Suite from Appalachian Spring RAVEL Piano Concerto in G major GERSHWIN An American in Paris Sponsor: Medical Mutual

Cooper Piano Competition: Stars of Tomorrow

Franz and Brahms

<18s

THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Lauren Snouffer, soprano Dashon Burton, bass-baritone Cleveland Orchestra Chorus

BARTÓK Music for Strings, Percussion, and Celesta BRAHMS A German Requiem Sponsor: Thompson Hine LLP 2O16 BLOSSOM MUSIC FESTIVAL

Beethoven’s Heroic Symphony July 9 — Saturday at 8:00 p.m.

<18s

2O16 SUMMERS @ SEVERANCE

July 8 — Friday at 7:00 p.m.

<18s

THE CLEVELAND ORCHESTRA Michael Francis, conductor David Fung, piano

<18s

THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor

ADÈS Overture, Waltz, and Finale from Powder Her Face STRAUSS Death and Transfiguration BEETHOVEN Symphony No. 3 (“Eroica”)

July 22 — Friday at 7:00 p.m.

<18s

THE CLEVELAND ORCHESTRA Jahja Ling, conductor Finalists, to be announced Experience the drama as the three finalists of the 2016 Thomas and Evon Cooper International Piano Competition each perform a great piano concerto, with the competition’s winner announced at the end of the evening. Presented in partnership with Oberlin College. Sponsor: Thompson Hine LLP 2O16 BLOSSOM MUSIC FESTIVAL

Thibaudet Plays Grieg July 23 — Saturday at 8:00 p.m.

<18s

THE CLEVELAND ORCHESTRA Jahja Ling, conductor Jean-Yves Thibaudet, piano

STRAVINSKY Four Norwegian Moods GRIEG Piano Concerto SIBELIUS Symphony No. 1

Sponsor: Blossom Friends of The Cleveland Orchestra

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Concert Calendar

The Cleveland Orchestra

D ORCHESTRA 2015-16 SE A SON

S E V E R A N C E

2O16 BLOSSOM MUSIC FESTIVAL

H A L L

Magic of the Movies

July 24 — Sunday at 7:00 p.m.

<18s

THE CLEVELAND ORCHESTRA Michael Krajewski, conductor Capathia Jenkins, vocalist Blossom Festival Chorus The greatest film scores performed live in a blockbuster tribute to some of the most memorable music of all time. Enjoy favorites from Titanic, Goldfinger, Star Wars, and more.

ORGONÁŠOVÁ

JOHNSTON

ERNST

OWENS

FREE DOWNTOWN CONCERT

A Star-Spangled Spectacular brought to you by Cuyahoga Arts & Culture July 29 — Friday evening THE CLEVELAND ORCHESTRA

Complete details of The Cleveland Orchestra’s annual free downtown concert — the first large public event on the newly-renovated Public Square — are being announced in mid-May. Free admission, no tickets required. Sponsor: KeyBank

Thursday May 26 at 7:30 p.m. Saturday May 28 at 8:00 p.m.

2O16 BLOSSOM MUSIC FESTIVAL

Zukerman Plays Mozart July 30 — Saturday at 7:00 p.m.

<18s

THE CLEVELAND ORCHESTRA Hans Graf, conductor Pinchas Zukerman, violin with Kent/Blossom Chamber Orchestra conducted by Brett Mitchell

NORMAN The Great Swiftness BEETHOVEN Symphony No. 8 HINDEMITH Overture, Cupid and Psyche MOZART Violin Concerto No. 5 (“Turkish”) TCHAIKOVSKY Symphony No. 6 (“Pathétique”) 2O16 BLOSSOM MUSIC FESTIVAL

Michael Feinstein’s Broadway July 31 — Sunday at 7:00 p.m.

DVOŘÁK’S STABAT MATER

<18s

THE CLEVELAND ORCHESTRA Jack Everly, conductor Michael Feinstein, vocalist

THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Luba Orgonášová, soprano Jennifer Johnston, mezzo-soprano Norbert Ernst, tenor Eric Owens, bass-baritone Cleveland Orchestra Chorus

Seeking solace, a grief-stricken Dvořák wrote his Stabat Mater after suffering the loss of three of his children in rapid and tragic succession. A profound, masterful setting of the expression of loss and sorrow, Dvořák’s work conveys his deep sense of emptiness — and documents his inner struggle and hard-won hope regained through music. Sponsor: Litigation Management, Inc.

Back by popular demand, Michael Feinstein returns to the Blossom stage for an unforgettable night of Broadway hits and classic songs by Ellington, Berlin, Gershwin, and more.

CLEVELAND ORCHESTRA TICKETS Visit clevelandorchestra.com for a complete schedule.

PHONE

216-231-1111 800-686-1141

clevelandorchestra.com Severance Hall 2015-16

Concert Calendar

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THE CLEVELAND ORCHESTRA U P C O M I N G

2015-16 SE A SON

C O N C E R T S

AT SEVERANCE HALL . . .

AT BLOSSOM . . .

SUMMERS@SEVERANCE

BLOSSOM MUSIC FESTIVAL

Friday July 8 at 7:00 p.m.

BEETHOVEN’S HEROIC SYMPHONY

FRANZ AND BRAHMS

Presented by The J.M. Smucker Company

Saturday July 9 at 8:00 p.m. <18s

THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Lauren Snouffer, soprano Dashon Burton, bass-baritone Cleveland Orchestra Chorus

THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor

Franz-Welser-Möst leads The Cleveland Orchestra and Chorus in one of Brahms’s most touching and achingly beautiful works, his German Requiem. Begun in mourning for his mother, Brahms chose his own texts from the Bible for a deeply personal and human requiem of universal caring. For this concert, the Requiem’s beauty is paired with the startlingly intriguing sounds of Bartók’s Music for Strings, Percussion, and Celesta. Sponsor: Thompson Hine LLP

Beethoven poured his heart and soul into the Third Symphony. Begun as a work in honor of Napoleon and the French people, it eventually became a paen to human freedom and the fight for justice everywhere — with Napoleon, by then having crowned himself Emperor, erased from the title page. From its opening chords through the passionate tread of its funeral march to the blazing glory of the finale, this symphony’s passion knows no bounds. The concert also features an operatic suite by Thomas Adès and Richard Strauss’s tone poem Death and Transfiguration. Sponsor: Blossom Friends of The Cleveland Orchestra

See also the concert calendar listing on previous pages, 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