The Cleveland Orchestra October 14-16, 20-22, 25 Concerts

AUTUMN SEASON

SEVERANCE HALL

THE

CLEVELAND ORCHE STRA

16 17 2016-17

S E A S O N

FRANZ WELSER-MÖST

Concert: October 14, 15, 16 RAVEL’S DAPHNIS AND CHLOÉ — page 31 Concert: October 20, 21, 22 BRAHMS SYMPHONY & BARTÓK CONCERTO Concert: October 25 AT THE MOVIES: NOSFERATU — page 83 PERSPECTIVES from the Executive Director — page 7 MUSIC & POLITICS — page 8

— page 62

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16 17 TA B L E

OF

CONTENTS

2016-17

S E A S O N

THIS WEEK CLEVELAND

WEEKS Upfront

ORCHESTRA

3 AN D 4 PAGE

THE

From the Executive Director . . . . . . . . . . . . . . . . . . . . 7 Music & Politics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

About the Orchestra Musical Arts Association . . . . . . . . . . . . . . . . . . . . . . . 13 The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . . . 17 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Concert Calendar . . . . . . . . . . . . . . . . . . . . . . . 108 -109 WEEK

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DAPHNIS AND CHLOÉ Program: October 14, 15, 16 . . . . . . . . . . . . . . . . . 31 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 33

COVER PHOTOGRAPHY BY ROGER MASTROIANNI

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

MUSSORGSKY

Dawn on the Moscow River . . . . . . . . . . . . . . . . . 37 SHOSTAKOVICH

Violin Concerto No. 2 . . . . . . . . . . . . . . . . . . . . . . . 41 DUTILLEUX

Métaboles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 RAVEL

Daphnis and Chloé, Suite No. 2 . . . . . . . . . . . . . . . 49 Conductor: Alain Altinoglu . . . . . . . . . . . . . . . . . . . . 34 Guest Soloist: Baiba Skride . . . . . . . . . . . . . . . . . . . . . 35 NEWS

Cleveland Orchestra News . . . . . . 52-61

4 BRAHMS AND BARTÓK Program: October 20, 21, 22 . . . . . . . . . . . . . . . . 62 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 65 WEEK

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.

MARTINŮ

Parables . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 This program is printed on paper that includes 50% recycled content.

BARTÓK

Piano Concerto No. 1 . . . . . . . . . . . . . . . . . . . . . . . 73 BRAHMS

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

Symphony No. 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 Conductor: Jakub Hrůša . . . . . . . . . . . . . . . . . . . . . . . 66 Guest Soloist: Yuja Wang . . . . . . . . . . . . . . . . . . . . . . . 67

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.

4a NOSFERATU At the Movies: October 25 . . . . . . . . . . . . . . . . . . . 83 About the Movie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84 WEEK

Support Sound for the Centennial . . . . . . . . . . . . . . . . . . . 14-15 Annual Support . . . . . . . . . . . . . . . . . . . . . . . . . . 88-101

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Table of Contents

The Cleveland Orchestra

med·ley noun / ’medle- / a piece of music combining tunes or passages from various sources We are strongest when we work together to benefit the lives of those in our communities.

It’s an honor to form such a bond with The Cleveland Orchestra and its commitment to world-class performances.

EXPERIENCE FOR TOMORROW

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Perspectivesfrom the Executive Director Autumn 2016 Welcome to The Cleveland Orchestra’s 99th season. The coming months promise much as the Orchestra performs its annual season here at home in one of the most beautiful — and best-sounding — concert halls in the world.

Franz Welser-Möst, now in his fifteenth year as music director, and this Orchestra have formed an incredible partnership. They are widely acknowledged for their extraordinarily collaborative music-making and the finesse and depth of their performances. Their work together is filled with consummate craft, unprecedented precision, and passionate musical understanding.

Cleveland’s incredible onstage musical team was showcased at three prestigious music festivals in Europe in August, with audiences and critics alike lauding the Orchestra’s performances. One five-star review of the first Salzburg concert from the Kurier included these glowing observations: “Under the leadership of Franz Welser-Möst, The Cleveland Orchestra has matured into one of the supreme bodies of sound in the world. . . . Ultimate precision is coupled with a nearly uncontrollable joy in new sounds. . . . Even Richard Strauss is like child’s play for The Cleveland Orchestra and Welser-Möst, as they confirmed with a performance of the Symphonica domestica, in which Welser-Möst opened a cosmos of sound, replete with superlatives.”

(Additional European review excerpts can be read on a news page of this program book.)

The tour to Europe was, in fact, just part of a tremendously good summer filled with great performances by The Cleveland Orchestra here at home. Despite some evenings where rain dampened attendance, the 2016 Blossom Music Festival drew in nearly $2.3 million in ticket revenue. Record sales of Lawn Ticket Books once again helped carry this year’s success — alongside our popular Under 18s Free program — and resulted in an average of over 7,000 patrons per concert, down only slightly from the previous summer. Our Labor Day Weekend tradition for family programming was extraordinarily popular, with the Orchestra’s live accompaniment to the movie Raiders of the Lost Ark selling 25,000 tickets across two nights.

Our neighborhood residency “At Home in Hough” also brought forth wonderful participation, engaging residents of this important and historic neighborhood close to Severance Hall through workshops, classes, clinics, and performances. Hundreds of youth took part in music training and presentations, as well as arts programs delivered by our partners from the Cleveland Museum of Art. These efforts produced a showcase of neighborhood art and music surrounding The Cleveland Orchestra’s free Community Concert on August 11. The Orchestra, joined onstage by the specially-assembled Hough Community Chorus of more than 90 singers, brought the audience to its feet, clapping and singing along.

Looking to the months ahead, we have many performances of special promise in store — brought to life for you and made possible by you, thanks to generous support from across Northeast Ohio. I can think of no more exciting place to be than watching and hearing and experiencing this great Orchestra right now. The Cleveland Orchestra is playing better than ever, and everyone onstage is committed to serving up great art that is also great entertainment. Thank you for joining us — and I look forward to seeing you throughout the season.

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André Gremillet

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&Politics

Music

Music has always rallied our emotions — personal, public, and politic — reminding us of the roles composers have played in struggles for national identity, free speech, and more — from Beethoven and Haydn to Sibelius, Copland, Verdi, Strauss et al.

W H I L E M A N Y O F U S may think of

the concert hall as a place far from everyday politics, the power of music to sway emotions and elections, and to inspire and kindle revolution, has a long and ardent history.

This year’s fall season of The Cleveland Orchestra features examples of composers immersed in the politics of their times — as well as some who chose to keep their art outside the same turmoil.

Sibelius’s Symphony No. 2 was written soon after his great tone poem Finlandia, which had become a musical rallying cry toward Finnish independence from Russia. The Second Symphony also carries pride-of-place among great Finnish national works. Yet, of course, it can be enjoyed as pure music, too — great art can be appreciated on many levels.

Copland, whose Organ Symphony graces the Orchestra’s concert on opening weekend, pushed hard for an “American sound” in his music. While the Organ Symphony’s jazziness didn’t quite grab the public’s admiration, his later works certainly did — Appalachian Spring, Billy the Kid, Rodeo, Fanfare for the Common Man. Yet Copland’s own American-ness

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was questioned amidst the post-World War II McCarthy witch-hunt for communist sympathizers “lurking everywhere” — scarring his reputation for a time. Copland’s stirringly patriotic A Lincoln Portrait was scheduled to be included as part of President Dwight Eisenhower’s inaugural festivities in 1952, but was removed from the playlist because of who wrote it. Such choices remind us that politics is at times overwhelmed by emotion — that goodness and worth can be questioned in any of us, rightly or wrongly.

Contrasting examples of musical politics range from the courteous (but not subtle) message in Haydn’s “Farewell” Symphony of 1772, in which the orchestra musicians, tired and wanting to go home at the end of a long residency away from home, leave the stage one by one as their parts in the musical work conclude . . . eventually leaving an empty stage.

Haydn’s employer got the message and packed up the household (court musicians and all) that same week, allowing everyone to return to their families and homes.

Of course, in that instance, it was the visual effect and not necessarily the music itself that carried the message.

Musical Politics

The Cleveland Orchestra

In the 19th century, “Viva Verdi!” became a rallying cry for Italian unification under one king — quietly masquerading as praise of the great opera composer (who believed in the cause), but also standing as code for “Viva Vittorio Emanuele Re D’Italia” or “Viva Victor Emmanuel King of Italy”).

More complex examples include Beethoven and Shostakovich, whose symphonies Franz Welser-Möst so tellingly juxtaposed several seasons back.

Franz’s exploration of those symphonies was built around the political positions inherent in works by the two composers.

Beethoven’s views are more obvious in his writings and works, and consistent with changing attitudes toward political freedom advocated during the Age of Enlightenment. The politics of Shostakovich’s musical statements are much more veiled and enigmatic. And despite decades of solid debate, the jury is and always will be out on the vigor and vitality of Shostakovich’s political aims. Yes, perhaps he was ardently thumbing his nose at the government, or . . . well . . . maybe . . . he was just being human and writing music that moves us. (Franz returns to Beethoven’s political thinking during The Cleveland Orchestra’s Centennial Season in 2017-18, with fresh perspectives on the messaging underneath and within more Beethoven symphonies — sure to offer both emotional uplift and keen insight, in the midst of illuminating performances.)

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M O N A R C H Y, U N I T Y, A N D N A Z I I S M

In the 19th century, Giuseppe Verdi repeatedly ran into problems with government censors because the plots of his operas came tellingly close to everyday political situations and predicaments — requiring the composer to change character names or relocate the action to entirely different places (country and century) before those works could be performed. Audiences generally understood the underlying political messages nevertheless.

Verdi’s chorus “Va, Pensiero,” from the opera Nabucco, which gave voice to imprisoned Hebrew Slaves crying for their own homeland, gained great currency across Italy as a rallying cry for an Italian homeland united under one monarch. Even Verdi’s own name became a public codename for the political cause of unification: VIVA VERDI = Viva Vittorio Emanuele Re D’Italia (“Viva Victor Emmanuel King of Italy”). But when someone at the time said it, or wrote it, were they applauding a great Italian composer . . . or advocating for something more?

Richard Strauss, who pushed the

Politics and Music

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boundaries for appropriate subject matter in orchestral works (himself, his family, a mountain hike, death) and operas (incest, matricide, necrophilia) later found himself in an uncomfortable political situation.

After being asked twice by the Nazi government to head the Reichsmusikkammer, a governmental body to review musician salary standards and work rules, Strauss saw no option in continuing to refuse. But from within, he managed to advocate for and extend copyright for all composers, and to help safeguard family and friends of Jewish ancestry. At the same time, many international artists were boycotting performances in Nazi Germany, while others — both younger and imminent — kept the wheels of German opera companies and orchestras turning, bringing hope and small joys (and work and salaries) to a wide variety of musicians.

Some composers long dead were also drawn into the challenges and barbarism of Nazism, with Richard Wagner’s operas and ideology praised and applauded — and put on a pedestal — directly by Hitler himself. Of course, Wagner’s own anti-Semitism fit nicely into Hitler’s ideas.

The shadow this has cast on Wagner’s music has continued — the Israel Philharmonic wouldn’t play anything by Wagner for decades, and only broke that silence in small doses in non-regular concerts. The issue remains unsettled and perhaps unsolvable — can a composer’s viewpoints outside of music be separated from the music itself?

WINDS OF AMERICAN POLITICS

The anti-war songs of the 1960s and early 1970s literally helped sway (and sing

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and swing and strum) the U.S. away from the Vietnam War. This music signalled a strong view — mostly through the words, not the notes — and continued a long tradition in American elections with campaign songs and music to rally each side of a debate. Recent elections bring recurring stories of songwriters who object to their works being used by campaigns —

Just like choosing which candidates to vote for in an election, choosing which concerts to attend in a symphony season can be an emotional and life-changing act. on both the right and the left — at campaign events. (Similarly, films appropriate songs and melodies, and forever coloring the associations we attached to particular works of music — Strauss’s “Also Sprach Zarathustra” in 2001: A Space Odyssey, Wagner’s “Ride of the Valkyries” in Apocalypse Now, Mozart’s Piano Concerto No. 21 in Elvira Madigan, and so forth.)

Sometimes the politics of music move forward as an unexpected part of a love story, as audiences are swayed in sympathy. The Broadway musicals of Rodgers & Hammerstein were often daring in pushing social-political issues, especially misogyny and discrimination, with repeated songs and situations that questioned racial barriers and norms. That they were applauded and helped move American society forMusical Politics

The Cleveland Orchestra

Songs and songwriting have long played a role in U.S. politics.

ward can be credited ass much to their authors’ fortitude as to the music which that fortitude allowed them to write. Still, singing (or whistling) a happy tune can sometimes change your mind about a situation.

Of course, some politicians rise above common angst and have preferred to keep conversation civil and congenial — and options for reconciliation open.

Perhaps only a great politician, such as Abraham Lincoln, could have ordered his military band to play his opposition’s music near the end of the Civil War. When asked why, he said “I have always thought ‘Dixie’ one of the best tunes I have ever heard. Our adversaries attempted to appropriate it, but I insisted yesterday that we fairly captured it . . . and I now request the band to favor me with its performance.”

Your favorite pop star may sing or write a great song for everyday life.

Whether their political judgement is equally gifted, well, you have to make that decision yourself. Their art may or may not sway you . . . politically. That said, the Severance Hall 2016-17

lyrics to some songs, the story of some operas, the history of certain works of art . . . make them specifically political. Many composers and lyricists were indeed trying to make a point, to advocate for (or against) movement in a certain direction.

Just like choosing which candidates to vote for in an election, choosing which concerts to attend in a symphony season can be an emotional and life-changing act. Choose thoughtfully what you’ll hear.

Listen whole-heartedly.

—Eric Sellen

Politics and Music

Eric Sellen serves as program book editor for The Cleveland Orchestra — and believes in the power of music.

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2016

2017

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216.320.0012 | apollosfire.org

Passion. PERIOD.

T H E M U S I C AL ARTS ASSOCIATION

as of September 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 Yuval Brisker 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 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 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)

Laurel Blossom (SC) 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 T R U S TE E S E M E R I TI Charlotte R. Kramer Gary A. Oatey

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

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

H O N O RARY T RUS T E E S FOR LIFE Robert P. Madison Gay Cull Addicott Robert F. Meyerson Allen H. Ford James S. Reid, Jr. Robert W. Gillespie Dorothy Humel Hovorka Percy W. Brown 1953-55 Frank E. Taplin, Jr. 1955-57 Frank E. Joseph 1957-68 Alfred M. Rankin 1968-83

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

THE CLEVELAND ORCHESTRA Franz Welser-Möst, Music Director

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André Gremillet, Executive Director

Musical Arts Association

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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 September 15, 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

GIFTS OF $1 MILLION TO $5 MILLION

Art of Beauty Company, Inc. BakerHostetler Mr. William P. Blair III Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mrs. M. Roger Clapp* Eaton FirstEnergy Foundation Forest City 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 Medical Mutual The Andrew W. Mellon Foundation

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Ms. Beth E. Mooney 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 (4)

Sound for the Centennial Campaign

The Cleveland Orchestra

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 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 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. O’Neill Quality Electrodynamics (QED) Mr. and Mrs. James A. Saks Hewitt and Paula Shaw The Skirball Foundation Roy Smith Richard and Nancy Sneed R. Thomas and Meg Harris Stanton Mr. and Mrs. Jules Vinney* David A. and Barbara Wolfort Women’s Committee of The Cleveland Orchestra

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 Gary Hanson and Barbara Klante Iris and Tom Harvie Jeff and Julia Healy The Hershey Foundation T. K. and Faye A. Heston Mr. Daniel R. High Mr. and Mrs. Donald M. Jack, Jr.

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Elizabeth B. Juliano Bernie and Nancy Karr Mr. and Mrs.* S. Lee Kohrman Mr. James Krohngold 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. and Mrs. David A. Ruckman

Sound for the Centennial Campaign

Mr. Larry J. Santon Raymond T. and Katherine S. Sawyer 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)

* deceased

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its Centennial Season in 2017-18, The Cleveland Orchestra continues refining its mission, praised as one of the very best orchestras in the world and noted for its devotion and service to the community it calls home. The 2016-17 season marks the ensemble’s fifteenth year under the direction of Franz Welser-Möst, one of the world’s most renowned musical leaders. Looking toward the future, the Orchestra and its board of trustees, 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 fully focus on serving its hometown community (through outstanding concerts, vibrant musical engagement, and strong music education programs), 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 concert presentations and community partnerships in Miami, Florida, a recurring residency at Vienna’s Musikverein, and regular appearances at Switzerland’s Lucerne Festival, at New York’s Lincoln CenAS IT APPROACHES

Severance Hall 2016-17

ter Festival, and at Indiana University.

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. 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 touring cities 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” neigh-

About the Orchestra

17

1918

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

15th

1l1l 11l1 1l1I

The 2016-17 season marks Franz Welser-Möst’s 15th 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 Sept 2016)

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

126,787

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

post-concert entertainment), film scores performed live by the Orchestra, collaborations with pop and jazz singers, ballet and opera presentations, and standard repertoire juxtaposed in meaningful contexts with new and older works. Franz Welser-Möst’s creative vision has given the Orchestra an unequaled opportunity to

PHOTO BY ROGER MASTROIANNI

borhood residency program, designed to bring the Orchestra and the citizens of Northeast Ohio together in new ways.

Additionally, a Make Music! initiative championed by Franz Welser-Möst advocates 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 and to develop the youngest audience of any orchestra. 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 Severance Hall 2016-17

explore music as a universal language of communication and understanding.

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 performances as some of the best such concert experiences anywhere in the world. Hundreds of thousands have learned to love music

About the Orchestra

19

through its education programs and have celebrated important events with its music.

While strong ticket sales cover just under half of each season’s costs, it is the generosity 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

brought a special pride to the ensemble and its hometown. With acoustic refinements under Szell’s guidance and a building-wide restoration and expansion in 1998-2000, Severance Hall continues to provide the Orchestra an enviable and intimate acoustic environment in which to perfect the ensemble’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.

20

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 M I C H A E L P O E H N

Franz Welser-Möst is among today’s most distinguished conductors. The 2016-17 season marks his fifteenth year as music director of The Cleveland Orchestra, with the future of this acclaimed partnership now extending into the next decade. Under his direction, the New York Times has declared Cleveland to be the “best American orchestra“ for 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 semi-staged 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. His recent performances with the Philharmonic have included critically-acclaimed opera productions at the Salzburg Festival (Strauss’s Der Rosenkavalier in 2014, Beethoven’s Fidelio in 2015, and Strauss’s Die Liebe der Danae in 2016), 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. For the 2016-17 season, he leads the Vienna Philharmonic in performances in Vienna and on tour in the United States, including three concerts at Carnegie Hall in February 2017.

Mr. Welser-Möst also maintains relationships with a number of other European orchestras and opera companies. His 2016-17 schedule includes Mozart’s The Marriage of Figaro with La Scala Milan. He also leads Mahler’s Ninth Symphony with the Dresden Staatskapelle, including a performance at the Salzburg Easter Festival. Recent engagements have also featured performances with Munich’s Bavarian Radio Symphony Orchestra and Zurich’s Tonhalle Orchestra, as well as his acclaimed debut with Amsterdam’s Royal Concertgebouw Orchestra. In December 2015, he led the Royal Stockholm Philharmonic in the Nobel Prize concert in Stockholm.

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 Severance Hall 2016-17

Music Director

23

Richard Strauss. Prior to his years with the Vienna State Opera, Mr. Welser-Möst led the 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 recent Salzburg Festival production he conducted of Der Rosenkavalier was awarded with the Echo Klassik for “best opera recording.“ With The Cleveland Orchestra, his recordings include DVD recordings of live performances of five of Bruckner’s symphonies and a multi-DVD set of major works by Brahms, featuring Yefim Bronfman and Julia Fischer as soloists. Brahms’s German Requiem is scheduled for release in 2016.

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.

“Franz Welser-Möst, music director of the subtle, responsive Cleveland Orchestra — possibly America’s most memorable symphonic ensemble — leads operas with airy, catlike grace. His style may well prove a natural fit with Debussy’s enigmatic masterpiece Pelléas and Mélisande, staged by the imaginative Yuval Sharon. May 2, 4, 6, 2017.”

—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

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Music Director

The Cleveland Orchestra

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T H E

C L E V E L A N D

FRANZ WELSER-MÖST MUSIC

DIRECTOR Kelvin Smith Family Chair

FIRST VIOLINS William Preucil CONCERTMASTER

Blossom-Lee Chair

Jung-Min Amy Lee ASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith Chair

Peter Otto FIRST ASSOCIATE CONCERTMASTER

Jessica Lee ASSISTANT CONCERTMASTER

Clara G. and George P. Bickford 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

26

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

Emilio Llinás 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 Jiah Chung Chapdelaine VIOLAS Wesley Collins* 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

16 17 2016-17

S E A S O N

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

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

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

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

BASSOONS John Clouser * Louise Harkness Ingalls Chair

Gareth Thomas Barrick Stees 2

HORNS Michael Mayhew § Knight Foundation Chair

Jesse McCormick Robert B. Benyo Chair

Hans Clebsch Richard King Alan DeMattia

CONTRABASSOON Jonathan Sherwin

Margaret Allen Ireland Chair

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

TRUMPETS Michael Sachs * Robert and Eunice Podis Weiskopf Chair

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

Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair

LIBRARIANS Robert O’Brien Joe and Marlene Toot Chair

Donald Miller

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

Michael Miller TROMBONES Massimo La Rosa*

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

Gilbert W. and Louise I. Humphrey Chair

Richard Stout Alexander and Marianna C. McAfee Chair

Shachar Israel 2 BASS TROMBONE Thomas Klaber EUPHONIUM AND BASS TRUMPET Richard Stout

* Principal § 1 2

*

Associate Principal First Assistant Principal Assistant Principal on sabbatical leave

CONDUCTORS Christoph von Dohnányi MUSIC DIRECTOR LAUREATE

Brett Mitchell TUBA Yasuhito Sugiyama* Nathalie C. Spence and Nathalie S. Boswell Chair

ASSOCIATE CONDUCTOR

Elizabeth Ring and William Gwinn Mather Chair

Robert Porco DIRECTOR OF CHORUSES

Sandra L. Haslinger Chair

Jonathan Sherwin

PERCUSSION Marc Damoulakis*

TIMPANI Paul Yancich *

Frances P. and Chester C. Bolton Chair

Otto G. and Corinne T. Voss Chair

Tom Freer 2*

Mr. and Mrs. Richard K. Smucker Chair

Severance Hall 2016-17

Orchestra Roster

27

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The Cleveland Orchestra

16 17 LEARNING MORE ABOUT THE MUSIC

2016-17

Concert Previews

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

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

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

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

Severance Hall 2016-17

S E A S O N

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.

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

Details: Speakers and other details about upcoming Previews can be found on the Orchestra’s website in the listing for each concert.

September 29, 30 “Season Overview: 2016-17” Franz Welser-Möst in conversation with André Gremillet, executive director of The Cleveland Orchestra

October 6, 7, 8, 9 “Making Masterpieces with” (Musical works by Beethoven and Respighi) with guest speaker Timothy Cutler, professor of music theory, Cleveland Institute of Music

October 14, 15, 16 “From St. Petersburg to Paris” (Musical works by Mussorgsky, Shostakovich, Dutilleux, and Ravel) with guest speaker Eric Charnofsky, instructor, department of music Case Western Reserve University

October 20, 21, 22 “New Approaches” with Rose Breckenridge, administrator and lecturer, Cleveland Orchestra Music Study Groups

October 27, 28, 29 “Taming Russia’s Naughty Boy” (Musical works by Prokofiev)

Concert Previews

with guest speaker Timothy Cutler, professor of muisc theory, Cleveland Institute of Music

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BakerHostetler is pleased to present Baiba Skride, violin.

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

EXPERIENCE FOR TOMORROW

bakerlaw.com

THE

CLEVELAND ORCHESTRA FRANZ WELSER-MÖST

M U S I C D I R E C TO R

Severance Hall

Friday evening, October 14, 2016, at 8:00 p.m.

Saturday evening, October 15, 2016, at 8:00 p.m.

Sunday afternoon, October 16, 2016, at 3:00 p.m.

Alain Altinoglu, conductor MODEST MUSSORGSKY (1839-1881)

16 17 2016-17

S E A S O N

Dawn on the Moscow River (Prelude to the opera Khovanshchina) orchestrated by Dmitri Shostakovich

DMITRI SHOSTAKOVICH (1906-1975)

Violin Concerto No. 2 in C-sharp minor, Opus 129 1. Moderato 2. Adagio 3. Adagio — Allegro BAIBA SKRIDE, violin

INTER MISSION HENRI DUTILLEUX (1916-2013)

MAURICE RAVEL (1875-1937)

Métaboles 1.

2.

3.

4.

5.

Incantatoire (Largamente) — Linéaire (Lento moderato) — Obsessionnel (Scherzando) — Torpide (Andantino) — Flamboyant (Presto)

Daphnis and Chloé, Suite No. 2 1. Daybreak — 2. Pantomime — 3. Dance of Celebration

This weekend’s concerts are supported through the generosity of the BakerHostetler Guest Artist Series sponsorship.

The concert will end at about 9:35 p.m. on Friday and Saturday and at approximately 4:35 p.m. on Sunday afternoon.

CLEVELAND ORCHESTRA RADIO BROADCASTS

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

Severance Hall 2016-17

Concert Program — Week 3

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October 14, 15, 16

THIS WEEKEND'S CONCERT Restaurant opens: FRI 5:00 SAT 5:00 SUN 12:00

2016-17

Severance Restaurant Reservations for pre-concert dining suggested:

S E A S O N

216-231-7373 or via opentable.com

Concert Preview

PREVIEW

in Reinberger Chamber Hall

“From St. Petersburg to Paris”

BEGINS ONE HOUR BEFORE CONCERT

Concert begins: FRI 8:00 SAT 8:00 SUN 3:00

16 17

with guest speaker Eric Charnofsky, instructor, department of music, Case Western Reserve University

MUSSORGSKY

Dawn on the Moscow River . . . . . . . . . . . . . . Page 37 (5 minutes)

SHOSTAKOVICH

Violin Concerto No. 2 . . . . . . . . . . . . . . . . . . . . Page 41 (30 minutes)

INTERMISSION (20 minutes)

Share your memories of this performance and join the conversation online . . . facebook.com/clevelandorchestra twitter: @CleveOrchestra instagram: @CleveOrch

DUTILLEUX Métaboles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 45 (15 minutes)

RAVEL Concert ends: (approx.)

Daphnis and Chloé, Suite No. 2 . . . . . . . . . . . Page 49 (15 minutes)

FRI 9:35 SAT 9:35 SUN 4:35

Severance Restaurant Post-Concert Desserts and Drinks Duration times shown for musical pieces (and intermission) are approximate.

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This Week's Concerts

The Cleveland Orchestra

INTRODUCING THE CONCERT

Dawn, Dissent, &Love

T H I S W E E K ’ S C O N C E R T S juxtapose darker Russian musical ideas with

more open French sensibilities. The first half brings the awakening dawn of an overture, the mood then mellowed by an exciting and jittery concerto by an aging master. The second half casts together two works of charismatic beauty, achieved through varying subtle and clear-eyed ways, ending with an ever-popular suite of brilliant stagesounds portraying an idyllic love story.

The concert opens with a lovely short work by Modest Mussorgsky, created for an opera he never finished. It portrays a quiet dawn brightening up the Russian sky, portent of a new day and good things yet to come. Written in 1872, it was orchestrated

by Dmitri Shostakovich in 1958, attempting to recapture an authentic Mussorgskian sound world.

The concert continues with Shostakovich himself as composer, with a rarelyheard violin concerto written in 1967 for A Romantic portrayal the 60th birthday of his friend David Oistrakh. This is heartfelt music, of the innocent love of Daphnis and Chloé, but strangely mixed in its messages, meanderings, and meanings. oil painting by Louis Shostakovich’s lifelong fight with the Soviet government over “good” Hersent, 1810s. and “bad” in music was nearly over, but his own conflict between writing dissent in music vs. writing music simply as music was still ongoing. Guest violinist Baiba Skride takes on the challenging solo role.

Henri Dutilleux’s Métaboles was commissioned by The Cleveland Orchestra during George Szell’s tenure as music director, to celebrate the 40th anniversary of the Orchestra’s founding. Dutilleux was in Cleveland for the world premiere performances in 1964. His clear but unusual voice as a composer here provides many sounds and ideas, evolving across this five-movement work.

To end the concert, guest conductor Alain Altinoglu has chosen an orchestral showpiece, the Suite No. 2 from Ravel’s great ballet score Daphnis and Chloé, from 1912. The classical pastoral setting of this story was perfect for this composer’s magnificent abilities as both orchestrator and storyteller — creating a rich and moving tapestry of sounds, colors, and beauty.

—Eric Sellen Severance Hall 2016-17

Introducing the Concerts

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Alain Altinoglu French conductor Alain Altinoglu became music director of the Théâtre Royal de la Monnaie in Brussels in January 2016. He has worked with dozens of orchestras and opera companies in Europe and the North America, and is making his Cleveland Orchestra debut with this weekend’s concerts.

Mr. Altinoglu concert appearances have included guest conducting engagements leading the orchestras of Bamberg, Bavarian Radio Symphony Orchestra, Berlin, Birmingham (UK), Chicago, Danish National Symphony, Dresden, Orchestre National de France, Orchestre Philharmonique de Radio France, Gothenburg Symphony, MDR Leipzig Radio Symphony Orchestra, London’s Philharmonia Orchestra, Orchestre National de Lyon, Orchestre de Paris, Philadelphia, Stockholm, Vienna, and Zurich.

Alain Altinoglu’s operatic repertory ranges from Mozart and Wagner to Debussy, Puccini, Strauss, Tchaikovsky, and Verdi. His opera work has included performances at many of the world’s foremost opera houses, including Bavarian State Opera in Munich, Bayreuth Festival, Deutsche Oper Berlin, Lyric Opera of Chicago, Metropolitan Opera, Zurich Opera, London’s Royal Opera House, Staatsoper unter den Linden, Teatro Colon Buenos Aires, and the Vienna State Opera. He has also led productions at all three of Paris’s opera houses, and has appeared at the music festivals in Aix-en-Provence, Orange, and Salzburg.

Beyond his work as a conductor,

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Alain Altinoglu is active in art song performance. He has accompanied mezzosoprano Nora Gubisch on several recordings for the Naïve label, featuring songs

by Berio, Brahms, de Falla, Granados, Obradors, and Ravel. They are also featured together on an album of songs by Henri Duparc on the Cascavelle label. Mr. Altinoglu’s discography for Naïve includes his conducting Henryk Gorecki’s Third Symphony and Sinfonia Varsovia, Tanguy’s Cello Concerto, and Dusapin’s Perelà. He has also recorded works by Lalo for Deutsche Grammophon and by Liszt for PentaTone.

On DVD, Mr. Altinoglu’s artistry can be experienced with Honegger’s Jeanne d’Arc au Bûcher, released by Arte/Accord in 2007. In addition, Deutsche Grammophon recently released a DVD album of Wagner’s The Flying Dutchman with the Philharmonia Zurich under Mr. Altinoglu’s direction.

Born in Paris in 1975 to Armenian parents, Alain Altinoglu studied at the Conservatoire National Supérieur de Musique de Paris. He currently teaches conducting there.

For additional information, please visit www.alainaltinoglu.com.

Guest Conductor

The Cleveland Orchestra

Baiba Skride Latvian violinist Baiba Skride appears with acclaimed orchestras around the world. Last season, she served as artistin-residence with the City of Birmingham Symphony Orchestra in Great Britain. She was first prize winner in Belgium’s Queen Elisabeth Music Competition in 2001. She made her Cleveland Orchestra debut in August 2011.

Ms. Skride’s performances have featured her as concerto soloist with dozens of important orchestras, across Europe, North America, and in Asia, Australia, and New Zealand. These have included engagements with Amsterdam’s Royal Concertgebouw Orchestra, Bavarian Radio Symphony Orchestra, Berlin Philharmonic, Copenhagen Philharmonic, Danish Radio Symphony, Residentie Orkest of the Hague, Helsinki Philharmonic, Leipzig Gewandhaus Orchestra, MDR Leipzig Symphony Orchestra, London Philharmonic, Melbourne Symphony, New Zealand Symphony, Northern Sinfonia, Orchestre de Paris, National Symphony Taiwan, Tokyo’s NHK Symphony, Philharmonia Orchestra, Royal Scottish National Orchestra, Royal Stockholm Philharmonic, Seoul Philharmonic, Sydney Symphony, Zurich’s Tonhalle Orchestra, and the Vienna Symphony Orchestra. In North America, her performances include engagements with the orchestras of Baltimore, Boston, Cincinnati, Cleveland, Detroit, Houston, Kansas City, Los Angeles, New York, Oregon, Philadelphia, Seattle, Toronto, Washington D.C., and Vancouver.

With a growing commitment to contemporary music, Ms. Skride’s performances have included Gubaidulina’s Severance Hall 2016-17

Guest Soloist

Offertorium with the Bavarian State Orchestra. With her sister and chamber music partner, pianist Lauma Skride, she gave the world premiere of Danish composer Hans Abrahamsen’s double concerto with the Royal Danish Chamber Orchestra. Ms. Skride also performs chamber music with Bertrand Chamayou and Sol Gabetta.

Baiba Skride’s discography features a Tchaikovsky album with the City of Birmingham Symphony Orchestra for Sony Classical and the Szymanowski concertos with the Oslo Philharmonic for Orfeo.

She has also recorded violin sonatas by Beethoven, Ravel, and Schubert with her sister, and a solo violin album with works

by Bach, Bartók, and Ysaÿe.

Born in 1981 into a musical family in Riga, Baiba Skride began her musical studies in her hometown. In 1995, she entered the Conservatory of Music and Theater in Rostock, Germany to work with Petru Munteanu.

Ms. Skride plays the Yfrah Neaman Stradivarius, kindly loaned to her by the Neaman family through the Beares International Violin Society.

For more information, please visit www.baiba-skride.com.

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ClevelandArt.org Works in process, 2016. Kara Walker (American, born 1969). Courtesy Kara Walker. Photo: Ari Marcopoulos.

Table Fountain, c. 1320–40. France. Gilt-silver, translucent enamel on basse-taille, and opaque enamel. The Cleveland Museum of Art, Gift of J. H. Wade, 1924.859.

Dawn on the Moscow River

composed 1872-79, as the Prelude to the opera Khovanshchina orchestral completion, 1959, by Dmitri Shostakovich

At a Glance

by

Modest

MUSSORGSKY born March 21, 1839 Karevo, Russia died March 28, 1881 St. Petersburg

Mussorgsky started work on the opera Khovanshchina in July 1872, writing both the music and the lyrics. After nine years of work, the opera was unfinished at the composer’s death. During a tour of Southern Russia in 1879, Mussorgsky performed the opera’s prelude as a separate piece, under the title “Rassvet no Moskve-reke” [“Dawn on the Moscow River”], on the piano.

The opera was revised, completed, and orchestrated by Nikolai RimskyKorsakov in 1881-83, and premiered in St. Petersburg in 1886. In 1958-59, Dmitri Shostakovich undertook a reworking of the opera, based on Mussorgsky’s manuscript vocal score. This version was premiered in 1960 and has become what is most often presented in opera houses — although Rimsky-Korsakov’s orchestration still shows up in orchestral concerts with some frequency.

The Prelude to Khovanshchina runs just over 5 minutes in performance. Shostakovich’s orchestration calls for 3 flutes, 2 oboes, english horn, 3 clarinets, 2 bassoons, contrabassoon, 4 horns, timpani, percussion (glockenspiel, tam-tam), 2 harps, piano, celesta, and strings.

The Prelude to Khovanshchina was first presented by The Cleveland Orchestra in December 1929 under Nikolai Sokoloff’s direction, utilizing RImsky-Korsakov’s orchestration.

That version has been presented by the Orchestra with some regularity, most recently in February 2011 under the direction of Jun Märkl. The Orchestra has presented Shostakovich’s orchestration of the prelude on at least one previous occasion, in February 1988, when Erich Leinsdorf led some orchestral excerpts from the opera.

About the Music S O O N A F T E R completing his first opera, Boris Godunov, Mussorgsky began work on a second one, which he called Khovanshchina. At the time of his death nine years later, the opera remained unfinished.

The title Khovanshchina is challenging for non-Russian speakers to pronounce, and even harder to translate. The word is derived from the name Khovansky, borne by two of the opera’s protagonists (father and son), and can be rendered approximately as “The World of the Khovanskys” or “The Ways of the Khovanskys.” In the opera’s storyline, the older Prince Khovansky, named Ivan, is the leader of the Old Believers, who are opposed

by Prince Vasily Golitsyn, head of a more progressive (but hardly more democratic) faction. Their conflict is part of the complex political situation in Russia at the end of the 17th century, preceding the reign of Czar Peter the Great. The younger Khovansky, Andrei, almost becomes a traitor to his father’s cause through

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37

his infatuation with a German girl, but is ultimately brought back to the fold and dies a martyr’s death along with the Old Believers.

Mussorgsky conducted extensive historical research on the period of the story before writing his own libretto of the opera. In Boris Godunov, he had used Pushkin’s drama as a starting point. In Khovanshchina, however, there was no literary source for him to work from, so he created the story directly from history books and his own imagination.

“Dawn on the Moscow River” is Mussorgsky’s own title for the prelude. He played it separately as a piano piece on several occasions, using that title. It is based on a single melody of strong Russian flavor, which gradually grows in intensity and then fades back into silence.

One interpretation holds Throughout the 20th century, there was that the peaceful prelude much controversy — and criticism — over the symbolizes the golden relationship of this prelude to the opera. The stage action of the opera is a rather downcast reign of Peter the Great. story about the struggle of various political parThat, however, does not ties for control over Russia, while the prelude is seem to have been Musa gentle, lyrical piece with no hints at dramatic sorgsky’s view. He was conflicts of any kind. In addition, the theme of the prelude returns only once in the opera, in keenly aware that underthe portions completed by Mussorgsky before neath the public face of his death — and the symbolic meaning of that goodness, Peter’s Russia quote is not entirely clear. was a repressive police Traditional Russian and Soviet historiography held that the peaceful prelude symbolized state. For him, the prethe reign of Peter, supposedly a golden age that lude was more about put an end to decades of political turmoil and hope for the future. suppression of dissent. That, however, does not seem to have been Mussorgsky’s view. He was keenly aware that underneath the public face, Peter’s Russia was a repressive police state that dealt with the warring factions by suppressing all of them. It is telling that Mussorgsky chose not to include Peter among the opera’s characters (although the future Czar’s guard troops do appear). In fact, Mussorgsky portrayed each of the opera’s characters with great empathy, not siding with any but understanding them all, never losing sight of the complex human emotions that almost always lurk beneath political divisions.

Mussorgsky had no illusions about progress in politics, as we know from a much-quoted letter he wrote to Vladimir Stasov (a music critic who had initially suggested the topic of Khovanshchina to the

38

About the Music

The Cleveland Orchestra

“The years have done nothing to mitigate her vocal prowess. Her voice is rich, shapely, dynamic and still sultry,” wrote The New York Times.

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composer). Mussorgsky explained to Stasov that as far as he was concerned, there could be no talk of progress “as long as the people themselves could not see with their own eyes what was being done to them and as long as they did not formulate their own will as to what should happen to them.” Which is to say that Mussorgsky did not believe in reforms, even in positive ones, if they came from above, against the will of the people.

The meaning of the prelude, then, if it can be put into words at all, is an abstract expression of hope for a better world, a dream of happiness that never comes true in the opera or — according to Mussorgsky’s pessimistic philosophy — in life.

Shostakovich’s orchestration and completion of the opera, premiered in 1960, has largely replaced Nikolai Rimsky-Korsakov’s version completed in the years immediately after the composer’s death.

Shostakovich, in fact, employs a slighter larger variety of instruments, but uses them more sparingly in his textures, more closely matching the orchestral soundworld of works that Mussorgsky had completed during his lifetime.

—Peter Laki Copyright © Musical Arts Association

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

He is a visiting associate professor at Bard College.

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About the Music

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Violin Concerto No. 2 in C-sharp minor, Opus 129 composed 1967

At a Glance

by

Dmitri

Shostakovich wrote his Second Violin Concerto in 1967; it was first performed in Moscow on October 26 of that year, with violinist David Oistrakh (to whom the concerto is dedicated) with Kirill Kondrashin leading the Moscow Philharmonic.

Oistrakh also gave the American premiere on January 11, 1968, with Leonard Bernstein and the New York Philharmonic.

This concerto runs about 30 minutes in performance. Shostakovich

scored it for flute, piccolo, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, timpani, tom-tom, and strings, plus the solo violin.

The Cleveland Orchestra has performed this concerto on only two previous occasions, first in 1976 when Lorin Maazel led performances with violinist Viktor Tretyakov, and in May 1991, when Christoph von Dohnányi led a weekend of performances with Gidon Kremer as the soloist.

SHOSTAKOVICH born September 25, 1906 St. Petersburg (later Leningrad) died August 9, 1975 Moscow

Severance Hall 2016-17

About the Music M U C H O F D M I T R I S H O S TA K O V I C H ’ S mature work radiates

the tension of waiting anxiously for something unpleasant to happen in a world that plays its cards behind closed doors. You will be arrested, his music seems to say. But we decide when!

Over the years of his career we have come to know the drill — to recognize a certain musical language: ominous, slowly panting themes delivered in bass and cello octaves; muffled drum heartbeats over tremolos expressing the weight of oppression; the out-of-tune violin of the ordinary uncooperative person; snaretapping sarcasm from Gogolian bureaucrats, and sharp woodwind ironies for those who know it is all a rigged game. And not least, one confronts the whirling dervishes of mindless activity.

It is one of the ironically balancing misfortunes in Shostakovich’s life that an ever more secure preeminence and acceptance by the Soviet regime was offset by an equal decline in his health. By the time of his death in 1975 from lung cancer, Shostakovich had already suffered several heart attacks and numerous bone-breaking accidents. And, one senses, from the late 1960s through to the final Symphony No. 15 of 1971, that much of the tension and misery within Shostakovich’s music is no longer political as such, but directed at the sense of his own impending death.

Shostakovich wrote his Second Violin Concerto in 1967 for David Oistrakh, who, the composer thought, would be celAbout the Music

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David Oistrakh and Dmitri Shostakovich together backstage after a concert.

ebrating his 60th birthday. (The gift was a year early!) The work may have been a labor of love, but its personality is dour and downbeat, the violin part brooding, downward themed and low in register (almost as though Shostakovich wished to see if Oistrakh could play the cello).

Bits and pieces of the composer’s Fifth and Tenth symphonies are audible at the opening. By the time the first movement gets going for real, we are in the land of snare drums and motoric sarcasm, winding up with an extended cadenza, partly accompanied, which then dies out again, waiting . . . waiting . . . like the first movement of Shostakovich’s own Tenth Symphony.

The second movement’s violin part is a touch more darkly lyrical, played over slowly pumping string chords similar to those in the closing moments of the first movement of the Fifth Symphony. A sarcastic cadenza turns slithery over soft underpinnings. And some will think you hear a touch

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The Cleveland Orchestra

of the British composer William Walton’s music-making. Indeed, the movement ends looking backward, with warm rich chords straight out of the Largo movement from Dvořák’s “New World” Symphony.

This is the concerto’s one really cozy moment, and it is quite a surprise!

A rondo finale third movement follows, containing qualities reminiscent of the perpetual motion of Samuel Barber’s Violin Concerto, but an even greater sense of similarity with the finale of Shostakovich’s Symphony No. 6. The variations alternate with material sometimes gritty, sometimes unbalanced or connected. The concerto ends bumptiously, but nobody would really say it was cheerful. Oh, well, Happy Birthday, anyway, my friend! (Thankful regardless, Oistrakh played both the world premiere, in Moscow in 1967, and the American premiere, in New York the following year.)

—Steven Kruger © 2016 Steven Kruger writes about music in the San Francisco area, and is the author of program notes for the Oregon Symphony and other ensembles.

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Métaboles composed 1957-64

At a Glance

by

Henri

DUTILLEUX born January 22, 1916

Angers, France died May 22, 2013

Paris

Severance Hall 2016-17

Dutilleux’s Métaboles (originally called Cinq Métaboles) was commissioned by The Cleveland Orchestra for its 40th anniversary in 1957-58.

Dutilleux didn’t complete the score until 1964, however. The world premiere took place at Severance Hall on January 14, 1965, conducted by George Szell, to whom the score was dedicated.

Métaboles runs just over 15 minutes in performance. Dutilleux scored it for 2 flutes, 2 piccolos (doubling third and fourth flutes), 3 oboes, english horn, 2 clarinets, small clarinet in E flat, bass clarinet, 3 bassoons,

contrabassoon, 4 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion (2 temple blocks, snare drum, 3 tomtoms [high, medium, low], bass drum, small suspended cymbal, Chinese cymbal, 2 tam-tams [large, medium], crash cymbals, triangle, cowbell, xylophone, glockenspiel), celesta, harp, and strings.

After the world premiere performances in 1965, George Szell and The Cleveland Orchestra presented Métaboles again at Severance Hall concerts in October 1967. The most recent performances were in April 2010, led by Semyon Bychkov.

About the Music T H E G R E E K W O R D metabole means “change” or “transition” in general. It has been used in varying contexts, with more specific or special meanings in both music theory and in rhetorics.

In ancient Greek musical theory, the word was used as a rough equivalent of the modern concept of modulation — that is, changing keys. The 16th-century Italian grammarian Scaliger defined it as a scheme in which, “when we have used one word in one place, we use a different word in the corresponding place in another clause.”

The French composer Henri Dutilleux may have been inspired by aspects of these varying meanings when he gave this work, commissioned by The Cleveland Orchestra for the ensemble’s 40th season in 1957-58, its title. Or he may simply have wanted to express the general meaning of “change” and “diversity” in an unusual way. At any rate, he changed the title from the original Cinq Métaboles (cinq = five) to Métaboles. By dropping the number five, he suggested that the change (whether transformation or substitution) should be understood as taking place across the course of the five interconnected movements, rather than specifically within any one movement or in each movement.

In a sense, all music is based on changes and transformations.

Is it possible to say in what way Dutilleux’s “metaboles” are different?

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45

The composer said that he had striven in all his works, including Métaboles, for a “careful avoidance of prefabricated formal scaffolding, with an evident predilection for the spirit of variation.” Thus, Dutilleux was wanting to steer clear of typical formal musical patterns such as A-B-A form (in all its different guises), or sonata form, or variation (in the narrow sense of the word). However, to continue creating music, if one dispenses with traditional patterns, something else must replace one of those ideas, lest the resulting music become chaotic and unintelligible. (Of course, some composers have purposefully veered toward chaos and randomness in their music, but Dutilleux was not interested in creating such a formless work.)

Dutilleux’s solution in Métaboles was original indeed. The work’s five contrasting movements are linked by motivic relationships, but there is no one main theme that keeps returning. Rather, there is an initial idea that constantly evolves: idea “A” is modified and becomes idea “B,” “B” gives rise Of Métaboles, George to “C,” which in turn engenders “D.” Szell, who conducted Such a scheme, however, inevitably raises the premiere, wrote: the question as to how to end this open chain “I am very favorably of motivic transformations. And it appears that the last movement gave Dutilleux more trouble impressed because it is than any of the others. In the summer of 1964, a well-organized work, the composer handed George Szell the four well contrasted in mood, completed movements, while the fifth was still tempo, and color, and in sketches. In a letter to Cleveland Orchestra manager A. Beverly Barksdale, Szell noted: “I at the same time the five am very favorably impressed because it is a wellpieces are organically organized work, well contrasted in mood, tempo, connected in thematic and color, and at the same time the five pieces are cross-references.” organically connected in thematic cross-references.”

Dutilleux finally chose to end his last movement with a reminiscence of the first. This is not, however, merely a trivial repetition or a simple return to the beginning — and the return of the earlier material is only one of many relationships criss-crossing the entire work.

In his own remarks about the piece, Dutilleux noted that each movement features different instrumental groups in the orchestra to emphasize these transformations. The first movement is dominated by the woodwinds, the second by the strings, the third by the brass, the fourth by the percussion, while the fifth brings about a “fusion of these different groups.”

The first idea, at the beginning of the first movement, emphasizes the interval of the tritone (known as an “augmented fourth” to musicians) in a variety of ways. This idea, mostly with a quiet feeling,

46

About the Music

The Cleveland Orchestra

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alternates with virtuoso woodwind passages. The insistence on motivic repeats, evoking the recitation of a sort of magic formula, explains the movement title “Incantatoire.” (The likely model for this musical “Incantation” is Stravinsky’s Symphonies of Wind Instruments, written in 1920.)

The second movement, scored for strings only, begins with a near-exact repetition of the quiet string passage from “Incantatoire.” A cello solo, in the high range of the instrument, emerges from this background. It is subsequently developed in complex polyphony with the strings divided into as many as fifteen different groups (each representing a separate “line” — hence the movement title “Linéaire”). The “lines” later converge in a modified restatement of the initial string passage.

The third movement is a fantasy on the augmented fourth, the characteristic interval encountered earlier. Emphasized by a staccato delivery (in short, well-separated notes), this interval forms the basis of the opening solo for double bass, later expanded by other low-pitched instruments (cellos, bassoons, bass clarinet, timpani). Then the horns, cellos, and basses present new material based on the same interval, this time singing in a broad legato. The whole orchestra eventually joins in, and the staccato variant predominates. The strings play pizzicato (plucking the strings) for much of this movement, titled “Obsessionnel,” which Severance Hall 2016-17

About the Music

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seems indeed “obsessed.” Near the end, the percussion enters, providing a link to the next movement.

In the fourth movement, played mostly by percussion instruments, mysterious noises are combined with legato (smooth) fragments for muted trumpets and trombones, which are “metaboles” of the legato music from the previous movement. The “torpid” motion of the movement is occasionally enlivened by figurations by clarinets.

The finale fifth movement, titled “Flamboyant,” takes its cue both from the rapid figures and the legato brass material. At one point, the figurations are developed in an intertwined fugue-like fashion, only to recede into the background as the “incantatory” harmonies from the first movement suddenly reappear. The “fusion” the composer talked about, therefore, refers not only to instrumentation but to form as well.

Although Dutilleux did not complete this commissioned work until six years after The Cleveland Orchestra’s 40th anniversary, it was a piece well worth the extra wait. Of the ten pieces commissioned by the Orchestra for that anniversary, only Métaboles and William Walton’s Partita have firmly found a place in concert hall repertoire.

—Peter Laki Copyright © Musical Arts Association

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Daphnis and Chloé, Suite No. 2 composed 1909-12

At a Glance

by

Maurice

RAVEL born March 7, 1875

Ciboure, Basses-Pyrénées died December 28, 1937 Paris

Severance Hall 2016-17

Ravel composed the ballet Daphnis and Chloé (in one act, divided into three scenes) between 1909 and 1912.

It was premiered by Sergei Diaghilev’s Ballets Russes on June 8, 1912, at the Théâtre du Châtelet in Paris. Vaslav Nijinsky and Tamara Karsavina danced the title roles; Pierre Monteux conducted. Ravel drew two suites of orchestral excerpts from the ballet, of which the second has especially gained wide acceptance in the concert hall.

Suite No. 2 runs about 15 minutes in performance. Ravel’s score calls for piccolo, 2 flutes, alto flute, 2 oboes,

english horn, 3 clarinets, bass clarinet, 3 bassoons, contrabassoon, 4 horns, 4 trumpets, 3 trombones, tuba, 2 harps, celesta, timpani, percussion (bass drum, 2 side drums, cymbals, triangle, tambourine, castanets, glockenspiel), and strings, plus an optional mixed chorus (singing without words).

The Second Suite from Daphnis and Chloé has been a staple of The Cleveland Orchestra’s repertoire since Nikolai Sokoloff conducted it in April 1925. The most recent performances were in January 2015, when Franz Welser-Möst led concerts featuring the complete ballet score.

About the Music U N L I K E M A N Y famous love stories — such as Tristan and

Isolde, Shanbo and Yingtai, or Romeo and Juliet — the tale of Daphnis and Chloé has a happy ending. It is a celebration of sensual love and beauty set in an imaginary world of ancient Greek shepherds. Many a secret dream, many an amorous fantasy is embodied in this luxuriant ballet score.

The story came from a pastoral romance by the Greek author Longus (3rd century, A.D.). The romance tells about the awakening of love between two young people, both abandoned as children and now tending their herds together. After various adventures — amorous rivalries, abductions by pirates, and other intrigues — it turns out that both are children of aristocratic families and they have a grand wedding, living happily ever after.

Ravel’s ballet on this subject was written on a commission from Sergei Diaghilev, the brilliant Russian impresario and founder of the Ballets Russes. Ravel received the commission in 1909, but the score was not completed until 1912. By the time the long-awaited score was finished, much had happened in the realms of Parisian ballet and music. Indeed, the fast-moving Diaghilev had initiated so many new projects that Ravel’s effort, when finally presented, was somewhat overshadowed by other productions, including a very controversial adaptation of About the Music

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

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Debussy’s Prelude to the Afternoon of a Faun, which opened just two weeks before Daphnis and Chloé. In addition, Stravinsky’s Firebird and Pétrouchka had received their premieres in 1910 and 1911, respectively. And Debussy’s Jeux and Stravinsky’s Rite of Spring were already in the making. Even the Greek topic had been “stolen” from Ravel with the ballet Narcisse, another production choreographed by Michel Fokine and with Nijinsky in the title role, premiered in 1911 with music by Nikolai Tcherepnin.

In the end, Daphnis and Chloé was presented on June 8, 1912, two days before the end of the ballet season, and played only twice before the company went on summer break.

“My intention,” Ravel said, “was to compose a vast musical fresco in which I was less concerned with archaism than with faithfully reproducing the Greece of my dreams, which is very similar to that imagined and painted by the French artists at the end of the 18th century.” Diaghilev and his choreographer, along with the set and costume designers, had hoped for something more authentically historical. But, ultimately, Ravel’s music sweeps away all questions of Greek facts and faces to evoke a wonderfully Romantic world of pastoral landscapes and the triumph of love.

The music of Daphnis and Chloé was more quickly successful in the concert hall, mainly in the form of the two suites that Ravel extracted from the score soon after the ballet music was completed. The second suite, presented at this weekend’s concerts, features three sections: Lever du jour (“Daybreak”), Pantomime, and Danse générale (“General Dance”), which form About the Music

The Cleveland Orchestra

the complete final part of the ballet in order.

The suite begins with a wonderful and famous representation of sunrise. Against a texture of lush figurations in flutes, clarinets, harps, and celesta, the basses and cellos begin a majestic tune, gradually taken over by violas and violins. The first shepherd crossing the stage is portrayed by the piccolo, the second by the equally high-pitched E-flat clarinet (both musicians were on the stage in the original ballet version). The embrace of Daphnis and Chloé is marked by an orchestral climax where the violins reach their highest register. The music calms down as the old shepherd Lammon tells his story about Pan and Syrinx (oboe solo), which Daphnis and Chloé proceed to enact in a pantomime. When the god creates his flute — the panpipe — from reed-stalks, we hear one of the most enchanting flute solos in the entire orchestral literature. (Actually, the melody is divided between the flutes, to give the musicians a chance to breathe!)

Daphnis and Chloé embrace one more time, and then the ecstatic Danse générale gets underway. Rather unusually for a ballet, large stretches of this dance were written in the asymmetrical meter of 5/4, to which dancers and musicians in 1912 were unaccustomed. (It is said that they had to scan the words “Ser-gei Dia-ghi-lev, Ser-gei Dia-ghi-lev” until they got the rhythm right.) This asymmetry and the use of ostinatos (repeated rhythmic figure or short melodic motif) throughout this final section remind us that Stravinsky’s Rite of Spring is less than a year away.

Both Daphnis and Chloé and The Rite of Spring end with similar effects — short rhythmic units repeated, varied, and stirred up to a paroxysm; and the fact that Stravinsky was to carry this effect even further takes nothing away from the brilliance and excitement of Ravel’s finale.

—Peter Laki

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

Copyright © Musical Arts Association

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orchestra news

THE CLEVELAND ORCHESTRA

Cleveland/Welser-Möst partnership garners critical acclaim on 2016 European tour The Cleveland Orchestra and Franz Welser-Möst performed at three prestigious European festivals in August, receiving applause and widespread critical acclaim. The following are excerpted from commentary and reviews of the 2016 European Festivals Tour:

“Welser-Möst creates the necessary space indeed for this orchestra to shine. The dense sound is indicative of a tightly-knit team; Welser-Möst’s reputation of having been instrumental in developing the orchestra’s sound during his tenure as chief conductor is well deserved. The performance was rewarded at the end with enthusiastic applause and congratulatory calls of ‘bravo’ from the audience.”

—APA (Austrian Press Agency) “This is an orchestra that has the marvelous ability to shift between pathos and clear, structured thought, without exaggerated sound splitting, without theatrics. This is especially true for their conductor — Welser-Möst’s interpretation of Beethoven was exemplary in its clarity while avoiding extremes, even in the tempos.”

—Badische Zeitung “Rousing applause sounded on Thursday in Salzburg’s Grosse Festspielhaus in celebration of The Cleveland Orchestra and music director Franz Welser-Möst.”

—Salzburg Nachrichten “Welser-Möst’s ideas were matter of fact and clear. He never hesitated, despite the many tempo changes and transitions. The orchestra forged this piece in a single casting from the initial engaging, exciting note to the final accord.”

—Salzburg Nachrichten “Under the guidance of maestro Franz Welser-Möst, The Cleveland Orchestra proved itself a superbly trained, beautifully sounding single body.”

—Kronen Zeitung “The audience could admire the enormous transparency and sensitive subtleness of the chamber music in Bartók’s Music for Strings, Percussion, and Celesta, throughout the entire evening that The Cleveland Orchestra played at Salzburg’s Great Festival Hall.”

—Kurier.at ”The Cleveland Orchestra demonstrated its fabulous technical skill, coupled with rhythmic agility. . . . The adagio featuring some ghost-like effects was especially explored with attention to precision and coloring.”

—Die Presse

52

Cleveland Orchestra News

The Cleveland Orchestra

orchestra news

THE CLEVELAND ORCHESTRA

.W.E.L.C.O.M.E. New principal viola and assistant concertmaster join Orchestra The Cleveland Orchestra welcomes violist Wesley Collins, whose appointment as principal viola was announced in June. He joined the Orchestra with the start of the 2016-17 season, and now holds the Orchestra’s Chaillé H. and Richard B. Tullis Principal Viola Endowed Chair. He fills the vacancy created from the retirement in August of principal viola Robert Vernon, who was Collins’s teacher at the Cleveland Institute of Music.

Prior to coming to Cleveland, Wesley Collins had been a member of the viola section of the Boston Symphony Orchestra, which he joined in 2012 and then was promoted to third chair viola in 2014. He had previously played as a member of the Atlanta Symphony Orchestra, 2008-12. Collins completed his bachelor of music degree at the Cleveland Institute of Music in 2007.

While a student in Cleveland, he played as a substitute with The Cleveland Orchestra, and also performed in the Canton Symphony Orchestra, Cleveland Chamber Symphony, and CityMusic Cleveland, and was assistant principal viola with the Akron Symphony Orchestra. His summer activities have included the Tanglewood Music Center, Sarasota Music Festival, Encore School for Strings, and the Pacific Music Festival.

Born and raised in Cincinnati, Wesley Collins began studying violin with his mother, Sandy Collins, at the age of four. He also played trumpet under the instruction of his father, Philip Collins, former principal trumpet of the Cincinnati Symphony Orchestra. He later switched to viola under the guidance and inspiration of Michael Klotz, violist of the Amernet String Quartet.

With the start of the 2016-17 season, The Cleveland Orchestra welcomes violinist Jessica Lee as assistant concertmaster. She holds the Orchestra’s Clara G. and George P. Bickford Assistant Concertmaster Endowed Chair. She fills the vacancy from Yoko Moore’s retirement at the end of last season.

Jessica Lee was the Grand Prize Winner of the 2005 Concert Artists Guild International Competition and has appeared as a soloist and in recital around the the world, including with the Malaysia Festival Orchestra for the gala birthday celebration of the Sultan of Malaysia in Kuala Lumpur, as well as performances with the Houston Symphony and other U.S. orchestras, and in recital in New York City, in Washington D.C., and at the Caramoor Festival. Her summer appearances have included performances at the Bridgehampton, Santa Fe, Music@Menlo, Lake Champlain, and Olympic music festivals.

As a chamber musician, Lee was a longtime member of the Johannes String Quartet and played as a member of the Chamber Music Society of Lincoln Center Two. She has toured with Musicians from Marlboro and is a member of the conductor-less string ensemble ECCO (East Coast Chamber Orchestra).

A native of Virginia, Jessica Lee began playing the violin at age three. Following studies with Weigang Li of the Shanghai Quartet, she was accepted to the Curtis Institute of Music at age 14 and earned a bachelor’s degree under the tutelage of Robert Mann and Ida Kavafian. She completed her studies with Robert Mann for a master of music degree at the Juilliard School.

Comings and goings

Silence is golden

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

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

Severance Hall 2016-17

Cleveland Orchestra News

53

orchestra news

THE CLEVELAND ORCHESTRA

Special concert brings together music and service Public concert on October 23 celebrates Rotary Foundation’s 100th anniversary; idea for Foundation was born in Cleveland; Rotary’s leaders come to Severance Hall To honor the leadership of Cleveland Rotarian Arch C. Klumph and to celebrate the 100th anniversary of his founding of The Rotary Foundation, Rotary District 6630 has planned a special concert by The Cleveland Orchestra to be presented at Severance Hall on Sunday, October 23, 2016, at 3:00 p.m. The concert is open to the public, who are invited to join with Rotarians from around the world in this milestone celebration. Tickets are available through the Severance Hall Ticket Office or online at www.clevelandorchestra.com.

Rotary and The Cleveland Orchestra previously collaborated in 1939 when the Orchestra performed at the opening of the Rotary International Convention, held that year at Cleveland Public Auditorium. This year’s Centennial Celebration Concert on October 23 features two works that the Orchestra performed at the 1939 concert: Emmanuel Chabrier’s España and Franz Liszt’s Les Préludes. Under the baton of Cleveland Orchestra associate conductor Brett Mitchell, the program also includes John Williams’s Celebrate Discovery!, Claude Debussy’s Prelude to the Afternoon of a Faun, and Beethoven’s Leonore Overture No. 3.

In addition to The Cleveland Orchestra’s performance, this special concert will feature a video history of The Rotary Foundation, in tribute to its founder, Arch C. Klumph.

A respected businessman, civic leader and humanitarian, Arch also was an accomplished flutist who performed with the Cleveland Philharmonic Orchestra and the Cleveland Symphony Orchestra (both predecessors of The Cleveland Orchestra), and he once confided to a reporter that he would trade his business success for a career in music: “My heart is in music and my head is in business. I wish my heart could have controlled my life.” Ultimately, his artistic interests enhanced his business work.

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“My heart is in music and my head is in business.

I wish my heart could have controlled my life.”

—Arch C. Klumph Rotarians from as far away as the Philippines and Australia have embraced Arch Klumph’s love of music and are joining together to witness this musical tribute to a true Renaissance Man, at world-renowned Severance Hall, an extraordinarily fitting location to honor his vision for “doing good in the world” with a performance by The Cleveland Orchestra, one of the most sought-after performing ensembles anywhere.

Founded in 1905, Rotary International is an association of more than 1.2 million business and professional leaders in over 200 countries who provide humanitarian service, promote high ethical standards, and help build goodwill and peace in the world. Rotary International conducts the world’s largest private scholarship program as well as people-to-people, businessto-business, and youth exchange programs, and is a major force in the worldwide fight against polio and other childhood diseases.

Cleveland Orchestra News

The Cleveland Orchestra

orchestra news

New Members Club monthly ticketing program launched with the 2016-17 season

I.N M.E.M.O.R.I.A.M Special musical program planned in memory of Louis Lane on November 20 at CIM

The Cleveland Orchestra has announced details of a new ticket packaging and loyalty program, called the “Members Club.” This $35 per month membership program is designed to offer convenience and value for patrons who want to experience more Cleveland Orchestra concerts each season and includes access to year-round concerts at both Severance Hall and the Blossom Music Festival. Similar to monthly programs offered by a variety of entertainment companies, the Members Club was created to serve audience members who desire more flexibility than traditional subscription packages.

The innovative program, which features a mobile app for convenience and mobile ticketing, is the latest addition to the Orchestra’s commitment to providing new ticketing options.

Membership provides the ultimate flexibility in attending The Cleveland Orchestra. In exchange for a monthly membership fee of $35 (billed automatically), members can reserve a single ticket for $10 to any concert, at any time, through a mobile app developed specifically for the program. For multiple tickets to a single concert, additional memberships are required.

The Members Club began with an invitation-only pilot program a year ago in Fall 2015 and is now being rolled out and offered to the public. Early development of the Members Club was funded by grants from The George W. Codrington Charitable Foundation and The Char and Chuck Fowler Family Foundation.

For more details and information, visit www.clevelandorchestra.com/membersclub.

Former Cleveland Orchestra resident conductor Louis Lane will be honored with a special musical program on Sunday afternoon, November 20. The event is being held in Mixon Hall at the Cleveland Institute of Music and will feature chamber music performances by musicians from CIM, The Cleveland Orchestra, and Akron and Canton symphonies. The hour-long program at 12:00 noon will feature musical and spoken tributes to Lane, who was a longtime and admired figure in classical music for Northeast Ohio.

Lane, who died in February at the age of 92, served as a member of The Cleveland Orchestra’s conducting staff for nearly two decades, from 1956 to 1974. He was also music director of the Cleveland Orchestra summer pops concerts presented at Public Auditorium (1952-68), and served as music director of Lake Erie Opera (1964-70) presenting summer operas at Severance Hall. He taught at both the Cleveland Institute of Music and Oberlin Conservatory, and served on the conducting staffs of both the Akron and Canton symphonies, and later with Dallas and Atlanta. Lane received The Cleveland Orchestra’s Distinguished Service Award in 2008.

The tribute event at CIM on November 20 is free and open to the public. ůĞǀĞůĂ

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THE CLEVELAND ORCHESTRA

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Cleveland Orchestra News

55

orchestra news

THE CLEVELAND ORCHESTRA

The Cleveland Orchestra

Distinguished Service Award The Musical Arts Association is proud to honor Robert Vernon as the 2016-17 recipient of the Distinguished Service Award, recognizing extraordinary service to The Cleveland Orchestra.

PREVIOUS RECIPIENTS

Distinguished Service Award Committee Marguerite B. Humphrey, Chair Ambassador John D. Ong, Vice Chair Richard J. Bogomolny Dr. Jeanette Grasselli Brown Robert Conrad AndrĂŠ Gremillet Carol Lee Iott Dennis W. LaBarre Robert P. Madison Clara Taplin Rankin

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Rosemary Klena 2015-16 James D. Ireland III 2014-15 Pierre Boulez 2013-14 Milton and Tamar Maltz 2012-13 Richard Weiner 2011-12 Robert Conrad 2010 -11 Clara Taplin Rankin 2009-10 Louis Lane 2008- 09 Gerald Hughes 2007- 08 John D. Ong 2006-07 Klaus G. Roy 2005 - 06 Alex Machaskee 2004 - 05 Thomas W. Morris 2003 -04 Richard J. Bogomolny 2002- 03 John Mack 2001-02 Gary Hanson 2000-01 Christoph von DohnĂĄnyi 1999-2000 Ward Smith 1998-99 David Zauder 1997-98 Dorothy Humel Hovorka 1996-97

Distinguished Service Award

The Cleveland Orchestra

HE CLEVELAND ORCHESTRA

Presented to Robert

award

Vernon by Dennis W. LaBarre at the concert of October 8, 2016

R O B E R T V E R N O N was invited to join The Cleveland Orchestra as principal viola in 1976. He

retired this past August, following forty years of dedicated service. During his tenure, Bob Vernon became the longest-serving string principal in the Orchestra’s history. He played in more than 4,500 concerts with the Orchestra and recorded more than 250 works — including much of the entire standard repertoire — with five different record labels, and performed on over 110 concert tours with The Cleveland Orchestra.

For four decades, Bob’s work — as a musician and teacher, as a section leader, soloist, and member of the ensemble — has embodied the dedication to musical excellence and collaborative music-making for which The Cleveland Orchestra is renowned throughout the world. His unequalled musicianship, paired with an assured self-modesty in service to his art, leads by example. His diplomatic yet firm leadership features a natural charm combined with consummate musical craft. He has always been generous with his time, professionally and personally. He ably served under three music directors and performed with countless guest conductors and artists, and was embraced as a colleague by nearly 300 musician-members of The Cleveland Orchestra across his forty-year tenure. Bob appeared as soloist in seventeen different works in over 120 concerts at home in Severance Hall, including three works commissioned for him by The Cleveland Orchestra. His solo appearances also included tours across the United States and to Europe, and performances at Carnegie Hall, Boston’s Symphony Hall, and the Kennedy Center in Washington D.C. As a teacher, Bob has co-chaired the viola department at the Cleveland Institute of Music, and continues doing so even after retiring from the Orchestra. He has also added teaching at New York’s Juilliard School in recent years, and has led masterclasses nationally and internationally, as well as coaching in residencies and at summer music festivals throughout his career. He has nurtured generations of viola students, helping to foster solid talent into performers of disciplined craft, unexcelled capability, and clear musical understanding. Bob’s students hold positions as celebrated chamber musicians and teachers, and have won positions in more than 50 major orchestras in North America, Asia, and Europe — including nine positions in the viola section of The Cleveland Orchestra, counting among these the violist chosen to succeed him as section principal.

Beyond his work as a musician onstage, Bob has championed the Orchestra’s education programs and community offerings, including coaching the Cleveland Orchestra Youth Orchestra. He has helped steer the institution forward, serving as a member of the search committee that selected Franz Welser-Möst as the Orchestra’s seventh music director. His work, dedication, and ultimate legacy have been recognized within his own profession and beyond. Earlier this year, the American Viola Society presented Bob with its Career Achievement Award “for his work as principal, soloist, chamber musician, and recording artist, and for the breadth and significance of his achievements as a teacher.”

In recognition of his long-serving, untiring, and exemplary leadership and unequalled musicianship in service to The Cleveland Orchestra, the art of music, and the Northeast Ohio community, the Musical Arts Association is extraordinarily pleased to present Principal Viola Emeritus Robert Vernon with its highest award for distinguished service.

Severance Hall 2016-17

Distinguished Service Award

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orchestra news

THE CLEVELAND ORCHESTRA

Cleveland Orchestra joined together with Cleveland Museum of Art for this summer’s neighborhood residency “At Home” in Hough Collaborations with community partners provided music and arts experiences all summer long All summer long, The Cleveland Orchestra joined with the Cleveland Museum of Art to celebrate music and art in Hough, an historic neighborhood located between downtown Cleveland and University Circle. This collaboration between two of Ohio’s premier cultural organizations extended the Orchestra’s ongoing neighborhood residency program and was designed to strengthen partnerships with local communities to develop new and meaningful ways to enliven Northeast Ohio with arts and music.

One highlight of the activities in Hough was a free public concert by The Cleveland Orchestra, led

by Cleveland Orchestra associate conductor Brett Mitchell on August 11. The concert was shared across Northeast Ohio via live broadcast on radio and online by ideastream® and with a television rebroadcast later in August on WVIZ PBS. In collaboration with the Hough community, the August 11 performance also showcased visual and musical talents of neighborhood citizens, with a display of photography from the Cleveland Museum of Art’s year-long centennial self-portrait project and displayed banners created by Hough community groups and Cleveland Museum of Art staff.

“The Cleveland Orchestra marked a new high for our neighborhood residency program,” says Joan Katz Napoli, the Orchestra’s director of education and community programs. “Collaborating with our Hough community partners was truly a neighborly endeavor that showcased the musical and artistic vibrancy at the heart of Hough, creating arts partnerships that will be sustained long into the future. It is always so exciting and fun to watch kids thrilled to learn by doing.”

The Cleveland Orchestra’s ongoing neighborhood residencies program is designed to reflect, interact with, and build upon the distinctive characters of different Northeast Ohio communities — and to celebrate the power of music

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Throughout the summer, music and visual arts programs took place at Hough community centers, demonstrating the power of the arts to enrich lives.

to build connections within and between neighborhoods, and to inspire people at every age.

All told, the Orchestra’s education and community programs touch the lives of thousands of young people in 100 neighborhoods across Northeast Ohio each year.

To learn more, visit clevelandorchestra.com.

Cleveland Orchestra News

THE

CLEVELAND ORCHESTRA

The Cleveland Orchestra

orchestra news Newest Cleveland Orchestra album with Mitsuko Uchida to be released in October The Cleveland Orchestra’s newest album of Mozart concertos with pianist Mitsuko Uchida is being released at the end of October by Decca. The new album features Mozart’s Piano Concertos Nos. 17 and 25, from live recordings made at Severance Hall concerts in February 2016. The recording will be available in the United States and internationally beginning on October 28. Pre-orders are being accepted at amazon.com, and by special arrangement the album itself will be available through the Cleveland Orchestra Store beginning the week prior to the official release date.

This is the fifth album of Mozart concertos pairing Uchida with The Cleveland Orchestra.

Severance Hall 2016-17

THE CLEVELAND ORCHESTRA

IN MEMORIAM

Robert Page 1927-2016 The Cleveland Orchestra notes the death on August 7 of former director of choruses Robert Page at the age of 89 — and extends condolences to his family and many friends. Page served as director of the Cleveland Orchestra Chorus for eighteen seasons, 1971-89, preparing the chorus for many concert performances and tours, as well as a number of acclaimed recordings, including Grammy Award-winning albums of Orff’s Carmina Burana and Gershwin’s Porgy and Bess. He had earlier worked with Eugene Ormandy at the Philadelphia Orchestra, and also led the Mendelssohn Choir of Pittsburgh for a quarter century, stepping down in 2005.

Cleveland Orchestra News

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Musicians Emeritus of

T H E

C L E V E L A N D

R

E

T

I

R

E

D

M

U

O R C H E S T R A

S

I

C

I

A

N

S

Listed here are the living members of The Cleveland Orchestra who served more than twenty years, all of whom now carry the honoray title of Emeritus. Appointed by and playing under four music directors, these 48 musicians collectively completed a total of 1701 years of playing in The Cleveland Orchestra — representing the ensemble’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 Yoko Moore 2 2016 — 34 years

FLUTE/PICCOLO William Hebert 1988 — 41 years John Rautenberg § 2005 — 44 years Martha Aarons 2 2006 — 25 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

CLARINET Theodore Johnson 1995 — 36 years Thomas Peterson 2 1995 — 32 years Franklin Cohen * 2015 — 39 years Linnea Nereim 2016 — 31 years

VIOLA Lucien Joel 2000 — 31 years Yarden Faden 2006 — 40 years Robert Vernon * 2016 — 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

OBOE Robert Zupnik 2 1977 — 31 years Elizabeth Camus 2011 — 32 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 § 1 2

Associate Principal Emeritus First Assistant Principal Emeritus Assistant Principal Emeritus listing as of September 2016

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Appreciation

The Cleveland Orchestra

orchestra news

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 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 Shachar Israel 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 Daniel McKelway Michael Miller Sonja Braaten Molloy

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

Severance Hall 2016-17

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.”

Cleveland Orchestra News

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THE

CLEVELAND ORCHESTRA FRANZ WELSER-MÖST

M U S I C D I R E C TO R

Severance Hall

Thursday evening, October 20, 2016, at 7:30 p.m.

Saturday evening, October 22, 2016, at 8:00 p.m.

Jakub Hrůša, conductor Parables

BOHUSLAV MARTINU (1890-1959)

1. A Sculptor — 2. The Garden — 3. A Labyrinth

Piano Concerto No. 1

BÉLA BARTÓK (1881-1945)

1. Allegro moderato 2. Andante 3. Allegro molto YUJA WANG, piano

INTER MISSION

Symphony No. 4 in E minor, Opus 98

JOHANNES BRAHMS (1833-1897)

1.

2.

3.

4.

Allegro non troppo Andante moderato Allegro giocoso Allegro energico e passionato

Severance Hall

Friday morning, October 21, 2016, at 11:00 a.m. * BOHUSLAV MARTINU (1890-1959)

JOHANNES BRAHMS (1833-1897)

Parables 1. A Sculptor — 2. The Garden — 3. A Labyrinth

Symphony No. 4 in E minor, Opus 98 1.

2.

3.

4.

Allegro non troppo Andante moderato Allegro giocoso Allegro energico e passionato

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.

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Concert Program — Week 4

The Cleveland Orchestra

Severance Hall

Friday evening, October 21, 2016, at 7:00 p.m.

KeyBank Fridays@7 Concert

Jakub Hrůša, conductor

16 17 2016-17

S E A S O N

Piano Concerto No. 1

BÉLA BARTÓK (1881-1945)

1. Allegro moderato 2. Andante 3. Allegro molto YUJA WANG, piano

Symphony No. 4 in E minor, Opus 98

JOHANNES BRAHMS (1833-1897)

1.

2.

3.

4.

Allegro non troppo Andante moderato Allegro giocoso Allegro energico e passionato

7

FRIDAYS@

The Cleveland Orchestra's Fridays@7 series is sponsored by KeyBank, a Cleveland Orchestra Partner in Excellence.

The Friday evening concert is performed without intermission.

Yuja Wang’s appearance this weekend with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from The Payne Fund.

CLEVELAND ORCHESTRA RADIO BROADCASTS

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

Severance Hall 2016-17

Concert Program — Week 4

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October 20, 21, 22

16 17

THIS WEEKEND'S CONCERT Restaurant opens: TH 4:30 FRI AM 12:00 FRI PM 5:00 SAT 5:00

2016-17

Severance Restaurant Reservations for pre-concert dining suggested: (luncheon after Friday Morning concert)

S E A S O N

216-231-7373 or via opentable.com

Concert Preview

PREVIEW

not presented Friday evening

“New Approaches”

BEGINS ONE HOUR BEFORE CONCERT

with Rose Breckenridge, lecturer and administrator, Cleveland Orchestra Music Study Groups FRIDAY MORNING 11:00

(25 minutes)

BARTÓK

MARTINŮ Parables . . . . . . . . . . . . . . . . . . . . Page 69

MARTINŮ

MARTINŮ

Concert begins: TH 7:30 SAT 8:00

FRIDAY EVENING 7:00

BARTÓK BRAHMS

(25 minutes)

BRAHMS

BARTÓK

Piano Concerto No. 1 . . . . . . . Page 73

12:15

8:15

INTERMISSION (20 minutes) Thursday and Saturday only.

No intermission for Friday concerts.

BRAHMS BRAHMS

Symphony No. 4 . . . . . . . . . . . Page 77 (45 minutes)

Severance Restaurant Concert ends:

Post-Concert Luncheon following the Friday Morning concert

7

YS@ A D I FR

Fridays@7: Stay after for a relaxed post-concert hour of conversation, drinks, and music.

(approx.)

TH 9:30 SAT 10:00

Severance Restaurant Post-Concert Desserts and Drinks after evening concerts

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Duration times shown for musical pieces (and intermission) are approximate.

This Week's Concerts

The Cleveland Orchestra

INTRODUCING THE CONCERT

Enigmatic Fables, Virtuosity & Dissonance T H I S W E E K E N D ' S C O N C E R T S bring together three works of varying

musical ideals, from three countries, written across a timespan of threequarters of a century — from Brahms’s last symphony, of 1885, to a more modern work created by Czech composer Bohuslav Martinů in 1959. Adjusting for variances as to what is played on which concert across the weekend, the program is rounded out with Hungarian accents via Béla Bartók’s brilliant First Piano Concerto from 1926.

Neither of the works by Martinů and Bartók featured this week can claim to have won a regular place in the concert hall. Yet both should be welcomed as a rare opportunity to hear these works, offering a better understanding of each composer’s mindset and artistry.

Martinů gained much acclaim in America while staying here in the 1940s — and wrote much music (including six symphonies) that gained great popularity at the time. After his return to Europe, he continued to compose prolifically to the end of his life, but remained a political exile and never returned to his Czech homeland. There are Czech roots to be heard in his music, including this week’s Parables, but they are hidden, Share your memories like the complex thinking that connects this of this performance and particular work to its literary origins. join the conversation online . . .

Over the years, Bartók’s First Piano facebook.com/clevelandorchestra Concerto has given way in popularity to twitter: @CleveOrchestra the Second and Third — although it might instagram: @CleveOrch be argued that the First is, in fact, the most genuinely Bartókian in its uncompromising modernity. His later music mellowed, but from a time he traveled city to city as a brilliant and controversial pianist, this piece shows he was not yet ready for autumnal colors. Guest pianist Yuja Wang tackles this complex and compelling concerto.

Guest conductor Jakub Hrůša concludes the concerts with Brahms’s late great Fourth Symphony. Here Brahms, ever the magician of melody and harmony, crosses some lines toward modern dissonance, but with ease and aplomb. We are comfortable in this tanginess of sound, comfortably cozy, warm, yet alert.

—Eric Sellen

Severance Hall 2016-17

Introducing the Concert

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-DNXE +UŢäD Czech conductor Jakub Hrůša is chief conductor designate of the Bamberg Symphony, and continues as permanent guest conductor of the Czech Philharmonic and as principal guest conductor of the Tokyo Metropolitan Symphony Orchestra. He made his Cleveland Orchestra debut in August 2012 and most recently conducted performances here in January 2015.

Born in the Czech Republic in 1981, Jakub Hrůša studied conducting at the Academy of Performing Arts in Prague, where his teachers included Jiří Bělohlávek. Since his graduation in 2004, he has conducted all the major Czech orchestras and increasingly appeared internationally across Europe, North America, and beyond. His leadership positions have included tenures as music director of the Bohuslav Martinů Philharmonic, associate conductor of the Czech Philharmonic, associate conductor with the Orchestre Philharmonique de Radio France, and music director and chief conductor of the Prague Philharmonia.

As a guest conductor, Mr. Hrůša has led many of the world’s great orchestras, including Amsterdam’s Royal Concertgebouw Orchestra, Deutsches Symphonie Orchester Berlin, Leipzig Gewandaus Orchestra, London’s Philharmonia Orchestra, Russian National Orchestra, and the Vienna Symphony. In 2009, he made his debuts in Australia and the United States. In North America, his engagements have included performances with the orchestras of Atlanta, Baltimore, Cleveland, Dallas, Houston, Los Angeles, Montreal, Ottawa, Philadelphia, and Washington D.C. In 2008, Mr. Hrůša made his debut

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with the Glyndebourne Festival and subsequently served as music director for Glyndebourne On Tour, 2010-12. He has also led opera performances for Finnish National Opera, Frankfurt Opera, Opera Hong Kong, Opéra National de Paris, Prague National Theater, Royal Danish Opera, and the Vienna State Opera — in a range of works from Dvořák and Janáček to Mussorgsky and Puccini.

As a recording artist, Jakub Hrůša has led six albums for the Supraphon label, including five with the Prague Philharmonia. Among works featured on those discs is a critically-acclaimed live recording of Smetana’s tone poem cycle Má Vlast. He has also recorded the Tchaikovsky and Bruch violin concertos with Nicola Benedetti and the Czech Philharmonic for Universal, as well as works by Berlioz, Strauss, and Suk with the Tokyo Metropolitan Symphony Orchestra for Octavia Records, and a series for PentaTone with the Prague Philharmonia.

Jakub Hrůša currently serves as president of the International Martinů Circle.

In 2015, he was the inaugural recipient of the Sir Charles Mackerras Prize.

For more information, please visit www.jakubhrusa.com.

Guest Conductor

The Cleveland Orchestra

Yuja Wang Chinese pianist Yuja Wang is recognized among of the most important and exciting artists of her generation. She is currently artist-in-residence at China’s National Center for the Performing Arts, as well as Stockholm’s Koncerthuset. She made her Cleveland Orchestra debut in August 2011 and most recently performed here in April 2014.

Since her professional debut with Canada’s National Arts Centre Orchestra in 2005, Ms. Wang has performed with major orchestras across Asia, North America, and Europe. In the current 2016-17 season, she appears here in North America with the ensembles of Boston, Dallas, Cleveland, Los Angeles, Philadelphia, San Francisco, and Toronto. She is also touring with the London Symphony Orchestra, Orchestra dell’Accademia Nazionale di Santa Cecilia, and the San Francisco Symphony, as well as performing solo recitals and chamber music presentations. She will also collaborate with orchestras in Asia and Europe.

Yuja Wang has appeared as a guest at the Baltic Sea, Salzburg, Tanglewood, Verbier, and Wolftrap festivals. Her chamber music partners include Lionel Bringuier, Gustavo Gimeno, Matthias Goerne, Martin Grubinger, and Leonidas Kavakos.

An exclusive Deutsche Grammophon artist, in 2009 Yuja Wang was named the Classic FM Gramophone Awards Young Artist of the Year for her debut recording, Sonatas & Etudes. Her second album, Transformation, was Gramophone

Severance Hall 2016-17

Guest Soloist

magazine’s Record of the Month in July 2010, and resulted in her 2011 Echo Award as Young Artist of the Year. Her recording of works by Rachmaninoff with Claudio Abbado and the Mahler Chamber Orchestra was nominated for a Grammy Award.

Born in Beijing in 1987, Yuja Wang began studying piano at age six and attended Beijing’s Central Conservatory of Music. She later moved to Canada to work with Hung Kuan Chen and Tema Blackstone at Calgary’s Mount Royal College Conservatory. In 2002, Ms. Wang won the Aspen Music Festival’s concerto competition and moved to the U.S. to study with Gary Graffman at the Curtis Institute of Music, where she graduated in 2008. Her honors include a 2006 Gilmore Young Artist Award and an Avery Fisher Career Grant in 2010.

Rolex has selected Yuja Wang as one of its cultural ambassadors, and she was recently inducted into Giorgio Armani’s Sì Women’s Circle.

For more information, please visit www.yujawang.com.

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Parables composed 1957-58, inspired by writings by Antoine de Saint-Exupéry and Georges Neveux

At a Glance

by

Bohuslav

MARTINŮ born December 8, 1890 Policka, Bohemia died August 28, 1959 Liestal, Switzerland

Severance Hall 2016-17

Martinů composed his Parables between June 1957 and February 1958, with each of the work’s three movements as musical reactions to specific poetic passages that the composer chose, two from an enigmatically philosophical book by Antoine de SaintExupéry, and the last movement by a passage from a play by Georges Neveux.

The three Parables were premiered on February 2, 1959, by the Boston Symphony Orchestra conducted by Charles Munch.

This work runs about 25 minutes in performance. Martinů scored it for 3 flutes (third doubling piccolo), three oboes, 3 clarinets, 3 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (xylophone, triangle, tambourine, small drum, two snare drums, tenor drum, bass drum, cymbals), and strings.

The Cleveland Orchestra is performing this work for the first time with this weekend’s concerts.

About the Music T H E C Z E C H C O M P O S E R Bohuslav Martinů completed his

Sixth Symphony in 1953 and gave it the title Fantaisies symphoniques. His orchestral works thereafter were symphonic in scale, but titled after the idea or inspiration behind them. Thus, we have the three Frescoes of Piera della Francesca of 1953, the three Parables of 1957-58, and the three Estampes of 1958.

Martinů died in 1959 after a life of incredible productivity, for he wrote an almost uncountable number of pieces in all genres and for all forces, right up to his death.

Parables came into existence in response to a commission from the Boston Symphony Orchestra, whose conductor, Charles Munch, was a friend and admirer of Martinů. The first two movements, composed in Rome in June-July 1957, were inspired by the French author-aviator-philosopher Antoine de Saint-Exupéry, whom Martinů had once met in New York. Each movement bears a quotation from Saint-Exupéry’s book La Citadelle, a collection of over two hundred short disquisitions on philosophical subjects.

For the first Parable we read: “And the sculptor fixed the likeness of a face in clay and as you walked by his work, you glanced at the face and passed on your way. And then it happened. You were not quite the same. Slightly changed, but changed, turned and inclined in a new direction, only for a while perhaps, but still for a while.”

The second Parable is derived from a later passage in About the Music

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Saint-Exupéry’s book: “And when I am in a garden which, with its fragrance, is my own domain, I sit on a bench and contemplate.

The leaves are falling and the flowers are fading. I sense both death and a new life but no sadness.”

This citation continues with images of the high seas and ends with the mysterious statement: “We go, my garden and I, from the flower to the fruit and from the fruit to the seed towards the flowering of the years to come.”

These readings, in some manner, were deeply moving for Martinů, but they relate in no clear way to the resulting music itself. His biographers have offered a variety of interpretations.

The first movement suggests serenity and expansiveness at the beginning and a certain Traditional building desolation at the end, pushing to a climax in the blocks or structures did middle followed by some visionary moments (announced by the harp). not suit Martinu. He The second movement may be intended preferred to let his ideas to embrace the life-cycle of both humans and develop continuously plants. There are strong suggestions of water across a piece. What in the scoring and a good deal of tension builds up twice. But the close is calm and unexpected listeners lose in clarity with a pure chord in B-flat major. of form, we gain in a The third Parable stands somewhat apart wealth of musical ideas. from the other two, being composed a few months later and indebted to a different source. While staying on Paul Sacher’s estate near Basel, Switzerland, Martinů heard the famous percussion group Tambours de Bâle in a rehearsal for Carnival. Martinů wanted to compose something with an important part for drums but found nothing in SaintExupéry to suggest them. So for this piece he instead attached to a different source, the play Le Voyage de Thésée by Georges Neveux, which he was already using for his next opera, Ariane, composed the same year.

The extract is for this Parable is: Theseus: Who are you?

Man: The Town Crier. I announce marriages and deaths and you are already in the labyrinth.

Theseus: Who are you?

Woman: I am Ariadne. Who are you?

Theseus: Behold the man who has vanquished the Minotaur! Behold him vanquished by a woman!

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About the Music

The Cleveland Orchestra

The colors and moods of this music are constantly shifting, with intermittent military echoes, although the tone is sometimes solemn, suggesting early music plainchant, or with instruments (oboe, bassoon, harp) in lonely isolation.

Martinů’s astonishing musical fluency, sustained even at the end of his life when his health was not good, accounts for a long list of compositions completed across his lifetime. This ripe imagination also clearly accounts for events within the music of Parables — for ideas never ceased to pour into his mind.

Traditional music building blocks or structures, including repeats and recapitulations, did not suit him. He usually preferred to let his ideas develop continuously throughout the course of a work, without a strict map or formula, and the music Parables follows this pattern (or lack of pattern). What listeners lose in clarity of form, we gain in a wealth of musical ideas.

—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.

The third movement of MarƟnu’s Parables touches on the Greek myth of Theseus in the labyrinth, finding and fighƟng the Minotaur.

(Roman mosaic, Conimbriga, Portugal)

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Jody & Herb Wainer

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About the Music

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Upon the 60th anniversary of the 1956 Hungarian Uprising, The Cleveland Orchestra welcomes to Severance Hall members, friends, and associates of the United Hungarian Societies, who are commemorating those events from sixty years ago this week.

HUNGARIAN UPRISING

6OTH ANNIVERSARY 23 October 1956 REMEMBERED

Sixty years ago, Hungarians rose up in a courageous David vs. Goliath struggle to assert their independence against Soviet occupation. A spontaneous demonstration for freedom by 200,000 students and workers on October 23, 1956, unexpectedly grew to become a revolution. In just thirteen days, Hungary managed to topple its communist government and began to introduce democratic reforms, endangering the Kremlin’s dominance of Central and Eastern Europe and exposing the hypocrisy and weakness of Soviet Communism.

Once the Soviet Union realized that no Western power was going to dare come to Hungary’s assistance, a massive military counteroffensive was launched on November 4, 1956, and quickly defeated the Hungarian freedom fighters.

The people of Hungary paid a heavy price for the revolution with many thousands killed, wounded, imprisoned, sentenced, or executed. More than 200,000 Hungarians, including many freedom fighters, chose to flee. Of the 35,000 who sought refuge in the United States, about 6,000 to 8,000 settled in Northeast Ohio. Through their spirit and hard work, they have made major contributions to the vitality and prosperity of this region’s cultural, educational, scientific and economic institutions.

Sixty years after those unforgettable autumn days, remembering and honoring the heroes of the Hungarian Revolution of 1956 remains a defining element of Hungarian heritage in Cleveland and throughout the world.

—Edith K. Lauer, a witness/participant in the 1956 Uprising, founder and chair emerita of the Hungarian American Coalition

For information about events in Northeast Ohio this weekend marking this historic anniversary, visit www.hungariancleveland.org.

Piano Concerto No. 1, Opus 83 composed 1926

At a Glance

by

Bartók composed the first of his three piano concertos between August and November 1926 in Budapest. He played the piano part at the world premiere on July 1, 1927, in Frankfurt, with Wilhelm Furtwängler conducting.

This concerto runs about 25 minutes in performance. Bartók scored it for 2 flutes, piccolo, 2 oboes, english horn, 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 2 trumpets, 3

trombones, timpani, percussion (snare drums, triangle, cymbals, bass drum, tamtam), and strings.

The Cleveland Orchestra first performed Bartók’s Piano Concerto No. 1 in April 1962, under George Szell’s direction and with Rudolf Serkin as the soloist. It has been presented on a few occasions since then, most recently in March 1993, when Pierre Boulez led performances with pianist András Schiff.

Béla

BARTÓK

About the Music

born March 25, 1881 Nagyszentmiklós, Hungary

F O R M O S T O F H I S C A R E E R , Béla Bartók divided his time

died September 26, 1945 New York

Severance Hall 2016-17

between four professions — as composer, as pianist, as folklorist, and as teacher. Each activity required many hours of quiet concentrated work, but each nurtured the others in innumerable ways, sometimes hidden, sometimes obvious, and nowhere more evident than in his music for piano solo and his three piano concertos.

Of the four professions, playing the piano was the one that provided the best means of making a living, but it also necessitated the time required for making foreign tours, and it required a useful selection of his own musical works to play. His situation in the early 1920s forced him to perform regularly both in Hungary and abroad, and although this did not stop him from producing an amazing quantity of ethnographic work at this time — recording and analyzing the folk music of many countries — he composed less.

At the time, he was also discouraged by the poor reception of his groundbreaking stage works, Bluebeard’s Castle, The Wooden Prince, and The Miraculous Mandarin, all composed between 1911 and 1919.

By 1926, Bartók realized that he needed more piano music for his concerts, and although he had composed an amazing quantity for solo piano in his early years, there had been nothing new since 1918 and a concerto with orchestra would obviously be useful for him and desired by presenters.

1926 thus saw the production of a string of new piano works About the Music

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— the Sonata (Opus 80), the suite Out of Doors (Opus 81), Nine Little Pieces (Opus 82), and Three Rondos on Slovak Folk Tunes (Opus 84). In between these, as the opus numbers indicate, came the largest and most important of the year’s compositions, the First Piano Concerto, Opus 83. It was performed the following year at the festival of the International Society for Contemporary Music in Frankfurt with the revered maestro Wilhelm Furtwängler conducting and Bartók himself as soloist.

Bartók (and later his second wife Ditta Pásztory) was the principal exponent of his own music — and it was as much the brazen virtuosity of his playing as the strident modernity of the music itself that caused the critics Bartók was the principal to swoon. Many of them at that time regarded exponent of his own muhis music as the ultimate suicide-note of classisic — and it was as much cal music, so dissonant, noisy, and uncivilized the brazen virtuosity of as to be offensive to intelligent human beings.

What they did not see or hear was the extremely his playing as the strident sensitive musician that lay behind the crackling modernity of the music brass and thumping piano, with an ear for the itself that caused the tiniest detail in the world around him and an critics to swoon. What artistic integrity from which he never wavered.

He was deeply wounded by the critics’ habitual they did not see or hear incomprehension.

was the extremely sensitive musician behind the crackling brass and thumping piano, with great artistic integrity.

THE MUSIC

The opening of the first movement provided Bartók’s enemies with all the ammunition they needed — with drums and low brass introducing a loud dissonant chord that includes B-flat, A, and G-sharp, three notes that could never be superimposed in the older classical “rules” for tonality.

Having thrown out this initial challenge, the music speeds up and proceeds to introduce fragmentary themes, which usually stay close to the first note and are always hotly pursued by the same theme in canon or upside-down in other instruments, and always tightly rhythmic even when the tempo accelerates or slows down.

The piano is treated as a percussion instrument and is never given a singing or legato melody. The habit within Bartók’s melodies of circling around their first note has deep roots, being related both to medieval plainchant and to folksong. He ascribed his sharp rhythmic sense to folk sources, too, even though rhythm really was the “mood of the moment” at a time when Stravinsky’s neo-baroque

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About the Music

The Cleveland Orchestra

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The importance of percussion in this score is clearly obvious, with the timpani treated as a chromatic instrument able to retune quickly to any note of the scale, and an array of different drums and cymbals given an exposed role in the slow second movement. Bartók specifies different sizes of drum and different sticks, so that the percussion are the piano’s only accompaniment in the first part of this movement. Eventually an oboe joins them, then a clarinet, then a flute, and the woodwind are finally given a smooth melody with the kind of Romantic expression entirely missing from the concerto thus far, while the piano provides a repeated ostinato of low clustered chords to prevent any suggestion of warm harmony in support.

The music suddenly speeds up and, it should be to no one’s surprise, the finale third movement is even more rhythmically alive than the first movement. The constant interplay of fragmentary themes is even more intense here, while the demands on the soloist are extended in every measure. The tempo relaxes occasionally, but never for long. The propulsion is strong to the very end, generating a sheer excitement equaled by very few other works from the 20th century.

—Hugh Macdonald © 2016

Severance Hall 2016-17

About the Music

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ENJOY THE INTIMATE SETTING OF ONE OF THE NATION’S BEST ACADEMIC ART MUSEUMS. LOCATED ON THE OBERLIN COLLEGE CAMPUS Free and open to the public since 1917, the Allen Memorial Art Museum presents an acclaimed collection of more than 14,000 objects from virtually every culture and time period.

FIRST THURSDAY PROGRAM On November 3 at 5:30 p.m., artist Fred Wilson gives a lecture on his work and influences (at the Hotel at Oberlin adjacent to the museum). Galleries remain open until 8 p.m. Free to the public.

Special exhibitions through June 12, 2017 WILDFIRE TEST PIT Artist Fred Wilson “mines” the AMAM collection, creating unexpected juxtapositions that encourage visitors to experience history anew.

FRED WILSON: BLACK TO THE POWERS OF TEN Works by the New York-based artist who was the recipient of a MacArthur “genius” grant explore race, time, memory, and meaning.

In Ripin Gallery, through December 23, 2016 TIME WELL SPENT: ART AND TEMPORALITY Reminders of the fleeting passage of time, along with times of day, seasonal cycles, and more.

Allen Memorial Art Museum 87 North Main St. Oberlin, Ohio

Open Tuesday to Saturday 10–5 Sunday 1–5 Closed Mondays and major holidays

Free admission www.oberlin.edu/ amam

Symphony No. 4 in E minor, Opus 98 composed 1884-85

At a Glance

by

Johannes

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

Severance Hall 2016-17

Brahms wrote his Fourth Symphony in Mürzzuschlag (Styria, Austria) during the summers of 1884 and 1885.

He conducted the first performance on October 25, 1885, in Meiningen, Germany, where Hans von Bülow was the music director. The United States premiere took place on December 11, 1886, with Walter Damrosch conducting the New York Symphony.

This symphony runs about 40 minutes in performance. Brahms scored it for 2 flutes (one doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets,

3 trombones, timpani, triangle, and strings. (Piccolo and triangle appear in the third movement only, contrabassoon in the third and fourth movements only, and trombones only in the finale.)

The Cleveland Orchestra first performed the Brahms Fourth in April 1925, led by music director Nikolai Sokoloff. It has been presented by the Orchestra frequently since then, most recently under the baton of Franz Welser-Möst — in 2014 at Severance Hall in January, at Blossom in August, and on tour in Europe that autumn.

About the Music I T I S U S U A L LY S A I D of Brahms that he delayed composing

a symphony until after he was forty out of respect for Beethoven’s great set of nine — and from a fear of being found wanting in comparison with his mighty predecessor. There is much truth in this. Indeed, Brahms acknowledged it himself.

Brahms’s rapid rise, at the age of twenty, into the circle of leading composers was set in motion by Robert Schumann, who declared publicly that Brahms was destined for a great future in the pedigree of German music. In the company of Schumann and his wife Clara, Brahms had played almost exclusively chamber music — which for them represented the real Beethoven legacy, especially the violin sonatas and late quartets, with the unspoken understanding that the Ninth Symphony was not necessarily the center of the Beethoven universe. Not coincidentally, at the same time, the Ninth (and its “Ode to Joy”) was being elevated

by Liszt and Wagner and their followers as a pointer to a future in symphonic poem and music drama, two territories in which Brahms never set foot.

When he finally resolved to write a symphony, Brahms had Schumann’s symphonies sounding in his ears as strongly as Beethoven’s — which is why a similarity can be heard between the opening of Schumann’s Fourth and the way in which Brahms began his First. When we reach the finale of Brahms’s First, though, About the Music

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we do unmistakably encounter an echo of the choral finale of Beethoven’s Ninth. “Any fool can see that,” was Brahms’s dismissive comment.

Once he had given one symphony to the world, it was easier for Brahms to embark on its successors. The rest followed more rapidly, within nine years. The Second followed very soon after the First, and the Fourth appeared within two years of the Third.

Self-critical to the point where he destroyed an unknown number of works that did not satisfy his exacting standards, Brahms always regarded symphonic writing as a tough proposition, to the point where we should be thankful that he gave us as many as four — just as we should be always grateful for the opportunity to hear each of them.

If Brahms had written a fifth symphony toward the end of his life, one might imagine There is a higher level something gloriously mellow, like the late clariof dissonance and tension net music or the Four Serious Songs. But that is in the Fourth Symphony not the direction in which the Fourth Symphony than in most of Brahms’s pointed. This work is, in fact, the least comfortable of his four symphonies in terms of musical music, but as always language and sonority. Brahms was aiming a with this composer, little bit more modern than we sometimes give it is perfectly judged — him credit. (We find it hard to imagine, similarly, that such a beautiful work as the Violin and balanced by faultless Concerto struck some of its original hearers as craftsmanship and an uncouth, but . . . history tells us otherwise.) abundant melodic gift.

There is a higher level of dissonance and tension in the Fourth Symphony than in most of Brahms’s music — but as always with this composer, it is perfectly judged, and balanced by faultless craft and an abundant melodic gift.

The symphony was first performed in Meiningen, a small town in central Germany that was briefly of great importance in the musical world thanks to the leadership of younger musicians like Hans von Bülow and Richard Strauss, who strongly encouraged Brahms and persuaded him in 1885 to grant them the first performance of his latest symphony, which would be a safer haven from the fickle audiences of hometown Vienna, especially as Wagner-mania was sweeping across Europe.

THE MUSIC

In general outline, Brahms does not deviate from his classical inheritance — a broad, substantial first movement, a lyrical slow movement, a jocular scherzo, and a strong, assertive finale. As usual, Brahms shows little interest in the more colorful instruments that most composers were delighting in at that time — no english horn, no bass clarinet, no tuba, no

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About the Music

The Cleveland Orchestra

Brahms in 1889, from a series of photographs by C. Brasch

It is not in fact so hard to compose. But what is fabulously difficult is to leave the superfluous notes under the table. â&#x20AC;&#x201D;Johannes Brahms

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harp. He does, however, ask for a contrabassoon in the last two movements to enrich the bass, and a piccolo for the third movement, where he also ventures into the percussion section with a very un-Brahmsian triangle.

And, although he clung to the old-fashioned hand-horns, not the valved variety then in universal use, he writes for the horns with infinite mastery.

After the First Symphony, whose opening Allegro is preceded by a slow introduction like a number of Beethoven’s symphonies (and Schumann’s Fourth), Brahms’s remaining symphonies adopt the maxim he always preferred — state your first theme clearly and firmly at the very outset. In this case, the first movement’s graceful opening theme, with its drooping thirds, is woven into the texture of the whole movement. And his writing for strings had never been so rich as here. The main contrast in this movement is rhythmic, for triplet figures keep intruding. At the end of the movement, however, the powerful drive of the original four-four pulse is unstoppable.

A pair of horns declare the slow second movement opening with a misleadingly forceful gesture. For this is the tenderest of slow movements, rich in complex harmony and smooth melody. The clarinet is especially favored, and the second subject (first heard in the cellos) is one of Brahms’s greatest inspirations, intensified each time it comes back.

The scherzo third movement brings out the hearty hill-walker in Brahms, and the triangle signals a breeziness that we rarely find in his music. The slower middle section is all too brief, as if Brahms was in a hurry to get back to his vigorous exercise, energetic enough to wonder what kind of finale could be sufficiently different to follow it.

For the last movement, Brahms did break with convention and composed a passacaglia (although he did not call it that), a baroque form grandly exhibited by Bach in which a short harmonic sequence is many times repeated in elaborate variation. This is the moment the trombones have been waiting for (a discipline mirrored from Beethoven’s Fifth), and they lay down the eight firm chords that define the sequence. The challenge for Brahms — as it was for Bach, too — is not to have the music seem to be stuck in the home key. His eight-bar outline is heard thirty times in wonderfully inventive variation, but it escapes from E minor only to taste, briefly, the nectar of E major following a desolate flute solo. The return to E minor sounds like a formal recapitulation of the beginning, with strong wind chords, but it simply heralds a stirring continuation of the variations, until, following one tremendous sequence after another, the symphony, in Sir Donald Tovey’s memorable words, “storms to its tragic close.”

—Hugh Macdonald © 2016

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Severance Hall

Tuesday evening, October 25, 2016, at 7:30 p.m.

16 17 2016-17

Todd Wilson, organ A T

T H E

S E A S O N

M O V I E S

N O S F E R AT U N O S F E R AT U : E I N E S Y M P H O N I E D E S G R A U E N S

A SY M PH O NY O F H O R RO R with improvised musical accompaniment performed live on Severance Hall’s NORTON MEMORIAL ORGAN Unauthorized film adaptation of Dracula by Bram Stoke Directed by F.W. Murnau Screenplay by Henrik Galeen Cinematography by Fritz Arno Wagner and Günther Krampf Production design by Albin Grau Produced by Enrico Dieckmann and Albin Grau

THE CAST Max Schreck . . . . . . . . . . . . . . . . . . . . . . . . . Count Orlok Gustav von Wangenheim . . . . . . . . . . . . Thomas Hutter Greta Schröder . . . . . . . . . . . . . . . . . . . . . . . Ellen Hutter Alexander Granach . . . . . . . . . . . . . . . . . . . . . . . . . Knock Georg H. Schnell . . . . . . . . . . . . . . . . Shipowner Harding Ruth Landshoff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Annie John Gottowt . . . . . . . . . . . . . . . . . . . . . Professor Bulwer Gustav Botz . . . . . . . . . . . . . . . . . . . . . . . Professor Sievers Max Nemetz . . . . . . . . . . . . . . . . Captain of S.S. Empusa Wolfgang Heinz . . . . . . . . . . . First Mate of S.S. Empusa Produced for video by David Shepard Presented without intermission, the film will end at approximately 8:55 p.m.

The Cleveland Orchestra’s At the Movies Series is sponsored

by PNC Bank, a Cleveland Orchestra Partner in Excellence.

Media Partner: cleveland.com

Severance Hall 2016-17

Concert Program — October 25

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N O S F E R AT U Originally released on March 4, 1929, in Germany.

Based on Bram Stoker’s novel Dracula from 1897, Nosferatu is widely considered one of the all-time best horror films ever created. Failing to gain permission from Stoker for the adaptation, director F.W. Murnau simply changed a few names (including “vampire” to “nosferatu,” and “Count Dracula” to “Count Orlok”) plus a few storyline details — and proceeded to make his film, regardless. The expressionist design of the film is celebrated as widely as the overall arch and horror of its themes and realization.

THE STORY — In the town of Wisbourg, estate agent Knock receives a commission from Count Orlok to find a house for him. He dispatches his young assistant, Hutter, to Orlok’s castle in the distant Carpathian Mountains. He instructs Hutter to induce the Count to buy the vacant house just opposite Hutter’s own in Wisbourg. The Count is all too eager to buy the proposed property, especially after he sees a photo of Hutter’s pretty young wife, Ellen. Hutter soon realizes the evil he’s dealing with — the Count sleeps by day in a crypt, and Hutter believes him to be a vampire or “Nosferatu.” The Count locks Hutter in his castle and makes his way by ship to Wisbourg in a shipment of coffins. As Orlok travels to Wisbourg, plague descends in his wake — and the people of Wisbourg begin to sense the coming of evil. Hutter escapes from Orlok’s castle determined to return home as quickly as possible, but, exhausted and ill, finds himself in a hospital. Hutter nonetheless arrives home the same day as Orlok just as the townsfolk begin to panic over the increasing number of deaths in town. Ellen can feel the impending darkness as Nosferatu gets closer. But she also learns that a sinless woman can sacrifice herself to kill the vampire. Will Hutter be able to save Ellen, from Nosferatu and/or her self-sacrifice?

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About the Movie

The Cleveland Orchestra

Todd Wilson Todd Wilson is the organ curator of the Norton Memorial Organ at Severance Hall. Regarded as one of today’s finest concert organists around the world, he serves as head of the organ department at the Cleveland Institute of Music. He also serves as director of music at Cleveland’s Trinity Episcopal Cathedral and house organist for the restored Aeolian organ at Stan Hywet Hall & Gardens in Akron.

Mr. Wilson received his bachelor and master of music degrees from the College-Conservatory of Music at the University of Cincinnati, where he studied organ with Wayne Fisher. Further coaching in organ repertoire was with Russell Saunders at the Eastman School of Music.

Mr. Wilson made his Severance Hall recital debut in April 2001, and his Cleveland Orchestra debut at concerts in May 2001. In April 2005, he performed in a trumpet-and-organ recital at Severance Hall with the Orchestra’s principal trumpet, Michael Sachs; the event was recorded and is now available as a compact disc titled Live from Severance Hall.

Todd Wilson has won numerous competitions, including the Grand Prix de Chartres and the Fort Wayne Competition, and has performed extensively throughout North America and Europe, as well as in Asia. In 2003, he dedicated the organ in the Mormon Conference Center in Salt Lake City. In 2004, he performed in the first orchestral subscription concerts with the new organ at Disney Concert Hall in Los Angeles. Performances have also included the 2008 National Convention of the American Guild of Organists in Minneapolis-St. Paul and at the Guild’s 2012 Convention in Nashville.

A sought-after adjudicator, he has been a jury member for numerous national and international playing competitions. His interest in improvisation has led to a series of popular improvised accompaniments to classic silent films.

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Organist

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

Organ Layout

6” Wind Pressure

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

16’ 8’ 4’

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

61 pipes 61 pipes 61 pipes 61 pipes 61 pipes 61 pipes 61 pipes 61 pipes 61 pipes 61 pipes 61 pipes 61 pipes 61 pipes 427 pipes 244 pipes 61 pipes 61 pipes 61 pipes (Solo)

1-1/3’ Larigot Carillon III (12-17-22) 16’ Fagotto 8’ 8’ 8’

(Solo)

Swell Organ

Orchestral Trumpet Orchestral Oboe Clarinet Tremolo Harp 10” Wind Celesta

16’ 8’ 8’ 8’ 4’ 8’

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

73 pipes 73 pipes 73 pipes 73 pipes 61 pipes 73 pipes 73 pipes 73 pipes 73 pipes 73 pipes 73 pipes 61 pipes 305 pipes 305 pipes 73 pipes 73 pipes 73 pipes 73 pipes 73 pipes 73 pipes (Choir) (Choir)

Choir Organ 6” Wind Pressure

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

86

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

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

73 pipes 61 pipes 73 pipes 61 bars (ext.)

Solo Organ

6” Wind Pressure

16’ 8’ 8’ 8’ 8’ 8’ 8’ 8’ 8’ 4’ 4’ 2’

61 pipes 183 pipes 73 pipes

10” Wind Pressure

8’ 8’ 8’ 4’ 16’ 8’ 8’ 8’ 8’ 4’

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

73 pipes 73 pipes 73 pipes 73 pipes 85 pipes 73 pipes 73 pipes (ext.)

73 pipes 73 pipes

Chimes

25 bells

Pedal Organ 6” Wind Pressure

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

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

Norton Memorial Organ

The Cleveland Orchestra

Norton Memorial Organ The Norton Memorial Organ at Severance Hall is considered among the finest concert hall organs ever built. Designed specifically for symphonic use and specifically for Severance Hall, the Norton Memorial Organ was created by the renowned organ builder Ernest M. Skinner in Boston in 1930, and then installed just before the hall’s opening in February 1931.

The organ is named in memory of Mr. and Mrs. David Z. Norton, recognizing a contribution from their children — Miriam Norton White, Robert Castle Norton, and Laurence Harper Norton — to build the organ. David Norton and his wife had served on the board of trustees of The Cleveland Orchestra and Mr. Norton was the first president of the Orchestra’s non-profit governing corporation.

Originally located high above the stage, the organ was removed and restored by the Schantz Organ Company of Ohio during the renovation and restoration of Severance Hall (1998-2000). Thanks to the generosity of hundreds of musiclovers from across Northeast Ohio who donated specifically toward the organ’s restoration and future upkeep, the instrument was reinstalled in its new location surrounding the stage and then rededicated in January 2001.

The 94-rank Norton Memorial Organ has 6,025 pipes, made of lead and tin alloy, zinc, or wood. The largest pipe, made of wood, is 32 feet in length, and the smallest, made of metal, is approximately seven inches in length.

To learn more about supporting the longterm maintenance and upkeep of Severance Hall’s Norton Memorial Organ, please contact Legacy Giving by calling 216-231-7556 or by email at legacygiving@clevelandorchestra.com.

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Norton Memorial Organ

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THE CLEVELAN D ORCHESTRA

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

Giving Societies

Lifetime Giving JOHN L. SEVERANCE SOCIETY $10 MILLION AND MORE

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) 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 September 2016.

88

gifts during the past year, as of September 15, 2016

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.

Individual Annual Support

The Cleveland Orchestra

Leadership Council 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) Musicians of The Cleveland Orchestra (in-kind support for community programs and opportunities to secure new funding) Mr. and Mrs. James A. Haslam III Mrs. Norma Lerner and The Lerner Foundation Milton and Tamar Maltz Sue Miller (Miami) INDIVIDUAL GIFTS OF $100,000 TO $199,999

Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Dr. and Mrs. Hiroyuki Fujita Mr. and Mrs. Michael J. Horvitz James D. Ireland IV The Walter and Jean Kalberer Foundation Mr. and Mrs. Joseph P. Keithley Dr. and Mrs. Herbert Kloiber (Europe) Mr. and Mrs. Dennis W. LaBarre Elizabeth F. McBride John C. Morley Mr. Patrick Park (Miami) Mary M. Spencer (Miami) Mr. and Mrs. Franz Welser-MĂśst

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:

INDIVIDUAL GIFTS OF $50,000 TO $74,999

Blossom Friends of The Cleveland Orchestra The Brown and Kunze Foundation Jeanette Grasselli Brown and Glenn R. Brown Mr. and Mrs. Alexander M. Cutler T. K. and Faye A. Heston Giuliana C. and John D. Koch Dr.* and Mrs. Jerome Kowal Jan R. Lewis (Miami) Toby Devan Lewis Mrs. Emma S. Lincoln Virginia M. and Jon A. Lindseth Margaret Fulton-Mueller Roseanne and Gary Oatey (Cleveland, Miami) Mrs. Alfred M. Rankin, Sr. Charles and Ilana Horowitz Ratner James and Donna Reid The Ralph and Luci Schey Foundation Sally and Larry Sears Hewitt and Paula Shaw Barbara and David Wolfort (Cleveland, Miami) Womenâ&#x20AC;&#x2122;s Committee of The Cleveland Orchestra

Elisabeth DeWitt Severance Society gifts of $25,000 and more

George Szell Society

INDIVIDUAL GIFTS OF $30,000 TO $49,999

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

Mr. William P. Blair III David and Francie Horvitz Family Foundation (Miami) Elizabeth B. Juliano Mr. and Mrs. Douglas A. Kern Ms. Nancy W. McCann Ms. Beth E. Mooney The Honorable and Mrs. John Doyle Ong Mr. and Mrs. Alfred M. Rankin, Jr. Barbara S. Robinson (Cleveland, Miami) Janet* and Richard Yulman (Miami) Anonymous

Dr. and Mrs. Wolfgang Berndt (Europe) Mr. and Mrs. David J. Carpenter Robert and Jean* Conrad George* and Becky Dunn Mr. and Mrs. Geoffrey Gund Mrs. John A. Hadden, Jr. Mr. and Mrs. Jeffrey Healy Milton A. and Charlotte R. Kramer Charitable Foundation Julia and Larry Pollock Rachel R. Schneider Richard and Nancy Sneed Jim and Myrna Spira R. Thomas and Meg Harris Stanton Ms. Ginger Warner (Cleveland, Miami) The Denise G. and Norman E. Wells, Jr. Family Foundation Paul and Suzanne Westlake listings continue

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Individual Annual Support

89

THE CLEVELAN D ORCHESTRA listings continued INDIVIDUAL GIFTS OF $25,000 TO $29,999

Mr. and Mrs. William W. Baker Marsha and Brian Bilzin (Miami) Mr. and Mrs. Charles P. Bolton In dedication to Donald Carlin (Miami) 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. James A. Saks Marc and Rennie Saltzberg Mr. Larry J. Santon Anonymous (2)

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

Gay Cull Addicott Randall and Virginia Barbato Laurel Blossom Mr. Yuval Brisker Jill and Paul Clark Mr. and Mrs. Matthew V. Crawford Mary Jo Eaton (Miami) Mr. Mike S. Eidson, Esq. and Dr. Margaret Eidson (Miami) Jeffrey and Susan Feldman (Miami) Hector D. Fortun (Miami) Mary and Jon Heider (Cleveland, Miami) David and Nancy Hooker Cherie and Michael Joblove (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 William I.* and Marjorie B. Shorrock Mr. and Mrs. Donald Stelling (Europe) Mrs. Jean H. Taber Rick, Margarita, and Steven Tonkinson (Miami) Tom and Shirley Waltermire Anonymous INDIVIDUAL GIFTS OF $15,000 TO $19,999

William Appert and Christopher Wallace (Miami) Mr. and Mrs. Dean Barry Dr. Christopher P. Brandt and Dr. Beth Sersig

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

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.

Dr. Ben H. and Julia Brouhard Irad and Rebecca Carmi Mr. and Mrs. William E. Conway Mrs. Barbara Cook Dr. and Mrs. Robert Ehrlich (Europe) Mr. Allen H. Ford Ms. Dawn M. Full Richard and Ann Gridley Robert K. Gudbranson and Joon-Li Kim Kathleen E. Hancock Sondra and Steve Hardis Jack Harley and Judy Ernest Richard and Erica Horvitz (Cleveland, Miami) 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 Drs. Michael and Judith Samuels (Miami) Mrs. David Seidenfeld Mr. and Mrs. Oliver E. Seikel Howard Stark M.D. and Rene Rodriguez (Miami) Joe and Marlene Toot Mr. and Mrs. Alfred Umdasch (Europe) Mr. and Mrs. Daniel P. Walsh Mr. and Mrs. Fred A. Watkins Mr. and Mrs. Jeffrey J. Weaver Meredith and Michael Weil Mr. and Mrs. Jeffrey M. Weiss Florence and Robert Werner (Miami)

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

Mrs. Barbara Ann Davis Eeva and Harri Kulovaara (Miami) James and Virginia Meil Joseph and Gail Serota (Miami) Gary L. Wasserman and Charles A. Kashner (Miami) Margaret and Eric* Wayne Sandy and Ted Wiese listings continue

90

Individual Annual Support

The Cleveland Orchestra

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

Sheldon and Florence Anderson (Miami) Mr. and Mrs. George N. Aronoff Jayusia and Alan Bernstein (Miami) Mr. and Mrs. Richard L. Bowen Mr. D. McGregor Brandt, Jr. Mr. and Mrs. Marshall Brown J. C. and Helen Rankin Butler Ms. Lucy Chamberlain Richard J. and Joanne Clark Jim and Karen Dakin Do Unto Others Trust (Miami) Henry and Mary* Doll Nancy and Richard Dotson Dr. and Mrs. Lloyd H. Ellis Jr. Mr. Brian L. Ewart and Mr. William McHenry Isaac K. Fisher (Miami) Kira and Neil Flanzraich (Miami) Albert I. and Norma C. Geller Mr. and Mrs. Robert W. Gillespie Linda and Lawrence D. Goodman (Miami) Patti Gordon (Miami) Mary Jane Hartwell

Thomas H. and Virginia J. Horner Fund Joan and Leonard Horvitz Ruth and Pedro Jimenez (Miami) Andrew and Katherine Kartalis Alan Kluger and Amy Dean (Miami) Mrs. Elizabeth R. Koch Stewart and Donna Kohl Shirley and William Lehman (Miami) Dr. David and Janice Leshner Elsie and Byron Lutman Mr. and Mrs. Alex Machaskee Mr.* and Mrs. Arch J. McCartney 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. Andres Rivero (Miami) Audra* and George Rose Paul A. and Anastacia L. Rose Mr. Peter Rose Steven and Ellen Ross

Mr. and Mrs. David A. Ruckman Michael and Chandra Rudd (Miami) Dr. Isobel Rutherford Dr. and Mrs.* Martin I. Saltzman Raymond T. and Katherine S. Sawyer Carol* and Albert Schupp Seven Five Fund David* and Harriet Simon Mrs. Gretchen D. Smith Dr. Marvin* and Mimi Sobel The Stair Family Charitable Foundation, Inc. Lois and Tom Stauffer Bruce and Virginia Taylor Dr. Russell A. Trusso Robert C. Weppler Sandy Wile and Susan Namen Anonymous (3)

Elisabeth Hugh Mr. David and Mrs. Dianne Hunt Mr. and Mrs. Brinton L. Hyde Pamela and Scott Isquick Joela Jones and Richard Weiss James and Gay* Kitson Tim and Linda Koelz Mr. James Krohngold David C. Lamb Kenneth M. Lapine and Rose E. Mills Judith and Morton Q. Levin Claudia Metz and Thomas Woodworth Mr. Donald W. Morrison Georgia and Carlos Noble (Miami) Pannonius Foundation Nan and Bob Pfeifer

Douglas and Noreen Powers Dr. and Mrs. Michael Rosenberg (Miami) Dr. and Mrs. Ronald J. Ross Rosskamm Family Trust Mrs. Florence Brewster Rutter Patricia J. Sawvel Dr. and Mrs. James L. Sechler Drs. Daniel and Ximena Sessler Dr. Gregory Videtic Dr. and Mr. Ann Williams Anonymous (2)

Jaime A. Bianchi and Paige A. Harper (Miami) 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 Drs. Wuu-Shung and Amy Chuang Kathleen A. Coleman Diane Lynn Collier and Robert J. Gura Maureen and George Collins (Miami)

Corinne L. Dodero Foundation for the Arts and Sciences Mr. and Mrs. Ralph Daugstrup Pete and Margaret Dobbins Mr. and Mrs. Paul Doman Mr. and Mrs. Robert P. Duvin Mary and Oliver* Emerson William R. and Karen W. Feth Joseph Z. and Betty Fleming (Miami) Barbara and Peter Galvin Joy E. Garapic Dr. and Mrs. Adi Gazdar Joyce and Ab* Glickman Brenda and David Goldberg

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 Marjorie Dickard Comella Mrs. Lois Joan Davis Mr. and Mrs. Thomas S. Davis Bob and Linnet Fritz Dr. Edward S. Godleski Harry and Joyce Graham Mr. Paul Greig AndrĂŠ and Ginette Gremillet Iris and Tom Harvie Henry R. Hatch Robin Hitchcock Hatch Amy and Stephen Hoffman INDIVIDUAL GIFTS OF $5,000 TO $7,499

Dr. and Mrs. D. P. Agamanolis Susan S. Angell Mr. William App Mr. and Mrs. Robert H. Baker Montserrat Balseiro (Miami) Fred G. and Mary W. Behm Mr. and Mrs. Jules Belkin Daniel and Trish Bell (Miami) Dr. Ronald and Diane Bell Drs. Nathan A. and Sosamma J. Berger Mr. William Berger Dr. and Mrs. Erol Beytas Mr. David Bialosky and Ms. Carolyn Christian

listings continue

92

Individual Annual Support

The Cleveland Orchestra

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

Mr. David J. Golden Mr. Albert C. Goldsmith Mr. and Mrs. Randall J. Gordon Robert N. and Nicki N. Gudbranson David and Robin Gunning Alfredo and Luz Gutierrez (Miami) Gary Hanson and Barbara Klante Mr. Robert D. Hart 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 Donna L. and Robert H. Jackson Carol S. and William G. E. Jacobs Mr. and Mrs. Richard A. Janus David and Gloria Kahan Milton and Donna* Katz Dr. Richard and Roberta Katzman Dr. and Mrs. Richard S. Kaufman Mr. and Mrs. Michael T. Kestner Dr. and Mrs. William S. Kiser Mrs. Natalie D. Kittredge Mr. and Mrs.* S. Lee Kohrman Mr. Clayton R. Koppes Jacqueline and Irwin* Kott (Miami) Mr. and Mrs. Peter A. Kuhn Dr. and Mrs. Stephen A. Kushnick Mr. and Mrs. Arthur J. Lafave, Jr. 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 Ms. Grace Lim

Mr. Rudolf and Mrs. Eva Linnebach Anne R. and Kenneth E. Love Robert and LaVerne* Lugibihl Mr. and Mrs. Morton L. Mandel Mr. David Mann Alan Markowitz M.D. and Cathy Pollard Mr. and Mrs. E. Timothy McDonel Dr. and Mrs. Eberhard Meinecke Dr. Susan M. Merzweiler Ms. Betteann Meyerson Mr. Robert Miller 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 Mr. J. William and Dr. Suzanne Palmer Jay Pelham (Miami) Mr. and Mrs. Richard W. Pogue In memory of Henry Pollak Dr. and Mrs. John N. Posch Ms. Rosella Puskas Mr.* and Mrs. Thomas A. Quintrell Mr. and Mrs. Roger F. Rankin Mr. and Mrs. Robert J. Reid Amy and Ken Rogat Robert and Margo Roth Mr. and Mrs. Robert C. Ruhl David M. and Betty Schneider Linda B. Schneider Ms. Adrian L. Scott Lee and Jane Seidman Mr. Eric Sellen and Mr. Ron Seidman Ms. Marlene Sharak Vivian L. Sharp Naomi G. and Edwin Z. Singer Family Fund

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 Mr. Joseph Stroud Dr. Elizabeth Swenson Ms. Lorraine S. Szabo Robert and Carol Taller Kathy* and Sidney Taurel (Miami) Mr. Joseph F. Tetlak Mr. and Mrs. Bill Thornton Mr.* and Mrs. Robert N. Trombly Miss Kathleen Turner Robert and Marti Vagi Robert A. Valente and Joan A. Morgensten Teresa Galang-Viñas and Joaquin Viñas (Miami) Mr. and Mrs. Mark Allen Weigand Charles and Lucy Weller Dr. Edward L. and Mrs. Suzanne Westbrook Tom and Betsy Wheeler Nancy V. and Robert L. Wilcox Bob and Kat Wollyung Katie and Donald Woodcock Tony and Diane Wynshaw-Boris Mrs. Henrietta de Zabner (Miami) Anonymous (2)

David Hollander (Miami) Dr. Keith A. and Mrs. Kathleen M. Hoover Dr. and Mrs. Scott R. Inkley Mrs. Carol Lee and Mr. James Iott Robert and Linda Jenkins Richard and Michelle Jeschelnig Barbara and Michael J. Kaplan Dr. Gilles* and Mrs. Malvina Klopman Mr. Donald N. Krosin Charles and Josephine Robson Leamy Ronald and Barbara Leirvik Dr. Edith Lerner Mrs. Idarose S. Luntz Herbert L. and Ronda Marcus Martin and Lois Marcus Ms. Nancy L. Meacham Bert and Marjorie Moyar Susan B. Murphy Joan Katz Napoli and August Napoli Richard B. and Jane E. Nash Mr. and Mrs. Peter R. Osenar Dr. Lewis and Janice B. Patterson Dr. and Mrs. Gosta Pettersson Maribel A. Piza (Miami) Dr. Marc A. and Mrs. Carol Pohl

Mrs. Charles Ritchie Carol Rolf and Steven Adler Mr. Paul H. Scarbrough Ginger and Larry Shane Harry and Ilene Shapiro Mr. Richard Shirey Mr. Robert Sieck Howard and Beth Simon Angela and Jeffrey Gotthardt Mr. Karl and Mrs. Carol Theil Drs. Anna* and Gilbert True Mr. and Mrs. Les C. Vinney Mr. and Mrs. Norman L. Wernet Richard Wiedemer, Jr. Max and Beverly Zupon Anonymous (2)

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

Mr. and Mrs. Charles Abookire, Jr. Ms. Nancy A. Adams Mr. and Mrs. Robert J. Amsdell Agnes Armstrong Howard R. and Barbara Kaye Besser Lisa and Ronald Boyko Ms. Mary R. Bynum and Mr. J. Philip Calabrese Dr. and Mrs. William E. Cappaert Mr. and Mrs. Frank H. Carpenter Drs. Mark Cohen and Miriam Vishny Erich Eichhorn and Ursel Dougherty 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 Nancy and James Grunzweig In Memory of Hazel Helgesen Mr. and Mrs. Jerry Herschman Dr. Fred A. Heupler Mr. Robert T. Hexter

listings continue

94

Individual Annual Support

The Cleveland Orchestra

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95

THE CLEVELAN D ORCHESTRA listings continued INDIVIDUAL GIFTS OF $2,500 TO $3,499 Mr. and Mrs.* Norman Adler Mr. and Mrs. James B. Aronoff Art of Beauty Company, Inc. Mark and Maria Bagnall (Miami) Ms. Delphine Barrett Mr. and Mrs. Belkin Mr. Roger G. Berk Barbara and Sheldon Berns Margo and Tom Bertin John and Laura Bertsch Ms. Deborah A. Blades Bill* and Zeda Blau Doug and Barbara Bletcher Mr. and Mrs. Richard H. Bole Mr. and Mrs. David Briggs Mr. and Mrs. Henry G. Brownell Rev. Joan Campbell Mrs. Millie L. Carlson Leigh Carter Mr. and Mrs. James B. Chaney Dr. Ronald* and Mrs. Sonia Chapnick Mr. Gregory R. Chemnitz Mr. and Mrs. Homer D. W. Chisholm Michael and Lorena Clark (Miami) Dr. William and Dottie Clark Drs. John and Mary Clough Kenneth S. and Deborah G. Cohen Mr.* and Mrs. Gerald A. Conway Mr. and Mrs. Mark Corrado John and Lianne Cunningham (Miami) Mr. and Mrs. Manohar Daga Mrs. Frederick F. Dannemiller The Dascal Family (Miami) Mr. Kamal-Neil Dass and Mrs. Teresa Larsen Dr. Eleanor Davidson Jeffrey and Eileen Davis Carol Dennison and Jacques Girouard Dr. and Mrs. Howard Dickey-White 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. Harry and Ann Farmer Scott A. Foerster Joan Alice Ford Mr. Paul C. Forsgren Michael Frank and Patricia A. Snyder Mr. and Ms. Dale Freygang 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. Lawrence Haims* and Dr. Barbara Brothers Dr. Phillip M. and Mrs. Mary Hall Mr. and Mrs. David P. Handke, Jr. Christian and Holly Hansen (Miami) Elaine Harris Green Lilli and Seth Harris Barbara L. Hawley and David S. Goodman Matthew D. Healy and Richard S. Agnes Dr. and Mrs. Robert L. Hinnes Dr. Randal N. Huff and Ms. Paulette Beech Ms. Gretchen Hyland Ruth F. Ihde Mr. Norman E. Jackson Pamela Jacobson Mr. Bruce D. Jarosz Dr. Michael and Mrs. Deborah Joyce Rudolf D. and Joan T. Kamper Angela Kelsey and Michael Zealy (Miami)

96

The Kendis Family Trust: Hilary & Robert Kendis and Susan & James Kendis Bruce and Eleanor Kendrick Mr. James Kish Fred* and Judith Klotzman Marion Konstantynovich Ellen Brad and Bart Kovac Dr. Ronald H. Krasney and Vicki Kennedy Dr. Michael E. Lamm Mr. and Mrs. John J. Lane, Jr. Mr. and Mrs. Robert Lasser Michael Lederman Michael and Lois A. Lemr Dr. Stephen B. and Mrs. Lillian S. Levine Robert G. Levy Drs. Todd and Susan Locke Ms. Mary Beth Loud Joel and Mary Ann Makee 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 Mr. and Mrs. Thomas W. Morris Mr. Ronald Morrow III Randy and Christine Myeroff Steven and Kimberly Myers Deborah L. Neale Marshall I. Nurenberg and Joanne Klein Richard and Jolene Oâ&#x20AC;&#x2122;Callaghan Dr. and Mrs. Paul T. Omelsky James P. Ostryniec (Miami) Mr. Robert Paddock Dr. Dean and Mrs. Kathy Pahr Mr. John D. Papp George Parras Mr. Thomas and Mrs. Tommie Patton Mr. Matt Peart Henry Peyrebrune and Tracy Rowell Dr. Roland S. Philip and Dr. Linda M. Sandhaus Dale and Susan Phillip Mr. Carl Podwoski Mr. Robert and Mrs. Susan Price Drs. Raymond R. Rackley and Carmen M. Fonseca Dr. James and Lynne Rambasek Brian and Patricia Ratner Ms. C. A. Reagan Dr. Robert W. Reynolds David and Gloria Richards James and LaTeshia Robinson (Miami) Mr. Timothy D. Robson Ms. Linda M. Rocchi Dr. Robert and Mrs. Lauryn Ronis Dick A. and Debbie Rose 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 Fr. Robert J. Sanson Ms. Patricia E. Say Don Schmitt and Jim Harmon Mr. James Schutte

Individual Annual Support

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 Larry Oscar and Jeanne Shatten Dr. and Mrs. William C. Sheldon Mr. and Mrs. Reginald Shiverick Mr. Grover Short Laura and Alvin A. Siegal The Shari Bierman Singer Family Robert and Barbara Slanina Sandra and Richey Smith Mr. Roy Smith Ms. Barbara Snyder Jorge Solano (Miami) Lucy and Dan Sondles Michalis and Alejandra Stavrinides (Miami) Mr. Taras G. Szmagala, Jr. Dr. and Mrs. Thomas A. Timko Erik Trimble Steve and Christa Turnbull Mrs. H. Lansing Vail, Jr. Brenton Ver Ploeg (Miami) Suzanne and Carlos Viana (Miami) Dr. Michael Vogelbaum and Mrs. Judith Rosman Barbara and George von Mehren Mr. and Mrs. Reid Wagstaff Alice & Leslie T. Webster, Jr. Mr. Peter and Mrs. Laurie Weinberger Mr. and Mrs. John W. Wilhelm Dr. Paul R. and Catherine Williams Richard and Mary Lynn Wills Elizabeth B. Wright Rad and Patty Yates Dr. William Zelei Mr. Kal Zucker and Dr. Mary Frances Haerr Anonymous (9)

member of the Leadership Council (see information box earlier in this section)

* 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

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.

L’dor V’dor. From Generation to Generation.

Create Your Jewish Legacy www.jewishcleveland.org

THE CLEVELAN D ORCHESTRA

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

Cumulative Giving

Annual Support

JOHN L. SEVERANCE SOCIETY

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

$5 MILLION AND MORE

KeyBank PNC Bank $1 MILLION TO $5 MILLION

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

Listing as of September 2016.

gifts of $2,500 or more during the past year, as of September 15, 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 Medical Mutual Nordson Corporation Foundation Squire Patton Boggs (US) LLP Thompson Hine LLP White & Case (Miami) $50,000 TO $99,999

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

Severance Hall 2016-17

Corporate Annual Support

$2,500 TO $24,999 Akron Tool & Die Company American Fireworks, Inc. BDI Brothers Printing Co., Inc. Brouse McDowell Eileen M. Burkhart & Co. LLC Calfee, Halter & Griswold LLP The Cedarwood Companies Cleveland Clinic Cleveland Steel Container Corporation The Cleveland Wire Cloth & Mfg. Co. Cohen & Company, CPAs Community Counselling Services Consolidated Solutions Cozen O’Connor (Miami) Dominion Foundation Ernst & Young LLP Evarts Tremaine The Ewart-Ohlson Machine Company Ferro Corporation FirstMerit Bank Frantz Ward LLP Arthur J. Gallagher & Co. The Giant Eagle Foundation Great Lakes Brewing Company Gross Builders Hahn Loeser & Parks LLP The Lincoln Electric Foundation 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 OMNOVA Solutions Oswald Companies Park-Ohio Holdings Corp.

PolyOne Corporation RSM US, LLP The Sherwin-Williams Company Southern Wine and Spirits (Miami) Stern Advertising Agency Struktol Company of America Swagelok Company Tucker Ellis United Automobile Insurance (Miami) University Hospitals Ver Ploeg & Lumpkin, P.A. (Miami) Westlake Reed Leskosky Margaret W. Wong & Assoc. Co., LLC Anonymous (2)

99

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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

$20,000 TO $49,999

The Cleveland Foundation Cuyahoga County residents through Cuyahoga Arts & Culture The Andrew W. Mellon Foundation

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 Char and Chuck Fowler Family Foundation The Helen Wade Greene Charitable Trust National Endowment for the Arts The Frederick and Julia Nonneman Foundation Peacock Foundation, Inc. (Miami) The Reinberger Foundation Sandor Foundation Harold C. Schott Foundation The Sisler McFawn Foundation George Stevens Fund of Akron Community Foundation The Veale Foundation

$10 MILLION AND MORE

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

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

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

Listing as of September 2016.

Severance Hall 2016-17

gifts of $2,500 or more during the past year, as of September 15, 2016

$500,000 TO $999,999

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

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

GAR Foundation Elizabeth Ring Mather and William Gwinn Mather Fund David and Inez Myers Foundation The Kelvin and Eleanor Smith Foundation $50,000 TO $99,999

Paul M. Angell Family Foundation The George W. Codrington Charitable Foundation Florida Division of Cultural Affairs (Miami) 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

$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 The Jean, Harry and Brenda Fuchs Family Foundation, in memory of Harry Fuchs The Hankins Foundation The Muna & Basem Hishmeh Foundation Richard H. Holzer Memorial Foundation The Laub Foundation Victor C. Laughlin, M.D. Memorial Foundation Trust The 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

101

11001 Euclid Avenue Cleveland, Ohio 44106

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

CLEVELANDORCHESTRA.COM

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

HAILED AS ONE OF

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

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

Severance Hall

The Cleveland Orchestra

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, Director of Leadership and Individual Giving, at 216-231-7522 today.

clevelandorchestra.com/AnnualFund

Dreams can come true

Cleveland Public Theatreâ&#x20AC;&#x2122;s STEP Education Program Photo by Steve Wagner

... WITH INVESTMENT BY CUYAHOGA ARTS & CULTURE Cuyahoga Arts & Culture (CAC) uses public dollars approved by you to bring arts and culture to every corner of our County. From grade schools to senior centers to large public events and investments to small neighborhood art projects and educational outreach, we are leveraging your investment for everyone to experience.

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

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 2016-17

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 available 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.

105

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

106

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.

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THE CLEVELAND C O N C E R T

C A L E N D A R

AUTUMN SEASON Sibelius Second Symphony Sep 29 — Thursday at 7:30 p.m.

Sep 30 — Friday at 8:00 p.m. <18s THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Paul Jacobs, organ

IVES Symphony No. 3: The Camp Meeting COPLAND Organ Symphony SIBELIUS Symphony No. 2

Respighi’s Roman Triptych Oct 6 — Thursday at 7:30 p.m.

Oct 7 — Friday at 8:00 p.m. <18s Oct 8 — Saturday at 8:00 p.m.

Oct 9 — Sunday at 3:00 p.m. <18s THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor

BEETHOVEN Symphony No. 8 RESPIGHI Roman Festivas, Fountains of Rome, Pines of Rome Sponsor: Thompson Hine LLP

Daphnis and Chloé Oct 14 — Friday at 8:00 p.m. <18s Oct 15 — Saturday at 8:00 p.m.

Oct 16 — Sunday at 3:00 p.m. <18s THE CLEVELAND ORCHESTRA Alain Altinoglu, conductor Baiba Skride, violin

MUSSORGSKY Dawn on the Moscow River SHOSTAKOVICH Violin Concerto No. 2 DUTILLEUX Métaboles RAVEL Daphnis and Chloé Suite No. 2 Sponsor: BakerHostetler

Yuja Wang Plays Bartók Oct 20 — Thursday at 7:30 p.m.

Oct 21 — Friday at 11:00 a.m. <18s Oct 21 — Friday at 7:00 p.m. <18s Oct 22 — Saturday at 8:00 p.m.

THE CLEVELAND ORCHESTRA Jakub Hrůša, conductor Yuja Wang, piano *

BARTÓK Piano Concerto No. 1 * BRAHMS Symphony No. 4 * not part of Friday morning concert Fridays@7 Sponsor: KeyBank

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ROTARY INTERNATION FOUNDATION CENTENNIAL

Oct 23 — Sunday at 3:00 p.m.

THE CLEVELAND ORCHESTRA Brett Mitchell, conductor A special concert celebration open to the public and Rotarians from around the world — commemorating the 100th anniversary of the creation of The Rotary Foundation, which was the brainchild of Cleveland businessman Arch C. Klumph, a practiced flute player and music-lover. This matinee concert features musical works by Debussy, Beethoven, Liszt, and John Williams, plus video segments highlighting the history of Rotary and its humanitarian efforts.

Presented by Rotary International, Cleveland District AT THE MOVIES

Oct 25 — Tuesday at 7:30 p.m.

Movie: Nosferatu Todd Wilson, organ

The perfect Halloween treat — a silent film accompanied by an improvised score on Severance Hall’s mighty Norton Memorial Organ played by acclaimed organist Todd Wilson.

An expressionistic masterpiece starring Max Schreck as the vampire. It’ll scare the musical life out of you!

Sponsor: PNC Bank

Romeo and Juliet Oct 27 — Thursday at 7:30 p.m.

Oct 28 — Friday at 8:00 p.m. <18s Oct 29 — Saturday at 8:00 p.m.

THE CLEVELAND ORCHESTRA Stéphane Denève, conductor James Ehnes, violin

PROKOFIEV Love for Three Oranges Suite PROKOFIEV Violin Concerto No. 1 PROKOFIEV Suite from Romeo and Juliet PNC MUSICAL RAINBOWS

Oct 28 — Friday at 10:00 a.m. <18s Oct 29 — Saturday at 11:00 a.m. <18s

The Fantastic Flute with George Pope, flute

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

Sponsor: PNC Bank

Under 18s Free FOR FAMILIES

<18s

The Cleveland Orchestra is committed to developing the youngest audience of any orchestra. Our "Under 18s Free" program offers free tickets for young people attending with families (one per full-price paid adult for concerts marked with the symbol above).

Concert Calendar

The Cleveland Orchestra

ORCHESTRA AMERICAN GREETINGS FAMILY CONCERT

Oct 30 — Sunday at 3:00 p.m.

16 17 2016-17

F O R

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H O L I DAYS

<18s

THE CLEVELAND ORCHESTRA Brett Mitchell, conductor Look! Up in the Sky! It’s a Bird! It’s a Plane! No, it’s Superman at the Symphony! Celebrating the first comic book superhero (created right here in Cleveland), with music from the movies and more! Including a Costume Contest.

Sponsor: American Greetings

Duruflé Requiem Nov 17 — Thursday at 7:30 p.m.

Nov 19 — Saturday at 8:00 p.m.

Nov 20 — Sunday at 3:00 p.m. <18s THE CLEVELAND ORCHESTRA Matthew Halls, conductor Sasha Cooke, mezzo-soprano Cleveland Orchestra Chorus

HAYDN Te Deum for the Empress Maria Therese SCHUBERT Symphony No. 4 (“Tragic”) DURUFLÉ Requiem

AT P L AY H O U S E S Q U A R E

Sponsor: Squire Patton Boggs (US) LLP

Wed Nov 30 at 7 p.m.

Thurs Dec 1 at 7 p.m.

Fri Dec 2 at 11 a.m. and 7 p.m.

Sat Dec 3 at 2 p.m. and 7 p.m.

Sun Dec 4 at 2 p.m.

CLEVELAND ORCHESTRA YOUTH ORCHESTRA

Nov 18 — Friday at 8:00 p.m.

<18s

CLEVELAND ORCHESTRA YOUTH ORCHESTRA Brett Mitchell, conductor

BRIGGS Fountain of Youth BRUCKNER Symphony No. 4 A free Prelude Concert begins at 7:00 p.m. featuring members of the Youth Orchestra performing chamber music.

Beethoven’s Fateful Fifth Symphony Nov 25 — Friday at 8:00 p.m. <18s Nov 26 — Saturday at 8:00 p.m.

Nov 27 — Sunday at 3:00 p.m. <18s THE CLEVELAND ORCHESTRA Jaap van Zweden, conductor Daniil Trifonov, piano

BRITTEN Sinfonia da Requiem MOZART Piano Concerto No. 23 BEETHOVEN Symphony No. 5

George Balanchine’s

The Nutcracker

TM

PENNSYLVANIA BALLET Angel Corella, artistic director THE CLEVELAND ORCHESTRA conducted by Brett Mitchell Cleveland Orchestra Children’s Chorus

A holiday must-see full of magic and marvels, featuring Tchaikovsky’s beloved music score and featuring Pennsylvania Ballet in George Balanchine’s legendary production — with larger-than-life scenery, breathtaking dancing, and . . . plenty of seasonal magic!

TICKETS: 216-241-6000

Sponsored by Dollar Bank

Sponsor: Squire Patton Boggs

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

CLEVELAND ORCHESTRA TICKETS PHONE

216-231-1111 800-686-1141

clevelandorchestra.com Severance Hall 2016-17

Concert Calendar

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with PENNSYLVANIA BALLET SPONSORED BY

NOV 30 - DEC 4 MATINEE AND EVENING PERFORMANCES, AT THE STATE THEATRE

at

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Upcoming Concerts The Cleveland Orchestra or 216-241-6000