The Cleveland Orchestra February 9-11, 14, 16-18 Concerts by Live Publishing

WINTER SEASON

SEVERANCE HALL

THE

CLEVELAND ORC HE STR A

16 17 2 O16-17

FRANZ WELSER-MÖST

Concert: February 9, 10, 11 MAHLER'S SONG OF THE EARTH

— page 31

At the Movies: February 14 BREAKFAST AT TIFFANY’S — page 57 Concert: February 16, 17, 18 MOZART AND TCHAIKOVSKY — page 71 PERSPECTIVES from the Executive Director — page 7 Changing Times, Changing Meanings — page 8

S E A S O N

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16 17 TA B L E

CONTENTS

2 O1 6 -1 7

S E A S O N

THIS WEEK CLEVELAND

WEEKS

ORCHESTRA

10 AN D 11

Upfront

PAGE

THE

From the Executive Director . . . . . . . . . . . . . . . . . . . . 7 Changing Times, Changing Meanings . . . . . . . . . . 8

About the Orchestra Musical Arts Association . . . . . . . . . . . . . . . . . . . . . . . 13 The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . . . 17 Music Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Severance Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 Patron Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 Concert Calendar . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

COVER PHOTOGRAPHY BY ROGER MASTROIANNI

Copyright © 2017 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

10 THE SONG OF THE EARTH Program: February 9, 10, 11 . . . . . . . . . . . . . . . . . . 31 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 33 WEEK

SCHUBERT

“Unfinished” Symphony . . . . . . . . . . . . . . . . . . . . . 35 MAHLER

The Song of the Earth . . . . . . . . . . . . . . . . . . . . . . . 39 Conductor: Donald Runnicles . . . . . . . . . . . . . . . . . . 53 Soloists: Michelle DeYoung, Paul Groves . . . . 54-55 MOVIE BREAKFAST AT TIFFANY’S Program: February 14 . . . . . . . . . . . . . . . . . . . . . . . . 57 Movie Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 Conductor: Justin Freer . . . . . . . . . . . . . . . . . . . . . . . . 61 NEWS

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.

Cleveland Orchestra News . . . . . . 64-69

Support Sound for the Centennial . . . . . . . . . . . . . . . . . . . 14-15 Annual Support . . . . . . . . . . . . . . . . . . . . . . . . . . 86-97

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

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

11 MOZART & TCHAIKOVSKY Program: February 16, 17, 18 . . . . . . . . . . . . . . . . . 71 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 73 WEEK

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.

MOZART

Concerto for Two Pianos . . . . . . . . . . . . . . . . . . . . 75 TCHAIKOVSKY

Manfred Symphony . . . . . . . . . . . . . . . . . . . . . . . . . 79 Conductor: Semyon Bychkov . . . . . . . . . . . . . . . . . . 84 Soloists: Katia and Marielle Labèque . . . . . . . . . . . 85

Table of Contents

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Perspectivesfrom the Executive Director February 2017 In these cold and wintery weeks of the year, even with great concerts warming our souls here at Severance Hall, it seems quite encouraging to also think ahead to the warm summer months and the delights of lovely evenings at Blossom surrounded by nature and the pleasures of great music in the great outdoors. Many of you will have read online and in newspapers that we’ve just announced the line-up of artists and programs for the 2017 Blossom Music Festival — with complete details being mailed out in the weeks ahead to ticket buyers and our friends. I look forward to seeing you there this coming summer. Planning each Orchestra season takes time and requires much careful thought and effort behind the scenes. Staff members begin mapping out facility and musician schedules years in advance, in tandem with ongoing discussions with Franz Welser-Möst and our core teams regarding ideas and the capacity (time and money) for new artistic projects. Many choices must be factored in, including guest artists’ schedules, resources, and overall balance. It is neither easy nor simple, but each year we roll out the future for you. Looking back across a number of seasons, it is also instructive to see how various aspects of The Cleveland Orchestra’s seasons have changed and evolved in recent years, very much on purpose. We have added new series and offerings, including annual opera presentations, movie nights, and summer concerts at Severance Hall, as well as varying concert lengths and start times — all to best match the changing needs and desires of you, our audience. After only a year here, I continue to be amazed and greatly impressed by how supportive you are, and by how hard the staff and Orchestra work each year to give you intelligent, interesting, exciting, varied, and emotion-filled programming. We are committed to working every day to be the best orchestra you can imagine. While you are just learning of our Blossom 2017 plans, more plans are also underway. On March 17, here at Severance Hall, we will announce major details of The Cleveland Orchestra’s 100th season for 2017-18. This special year marks an important milestone. We believe, however, that its real importance is not about what we have already achieved, but as the beginning of this institution’s Second Century. The past 99 years of great performances are prelude to everything we can do in the years ahead . . . as we continue to nurture a love for music in people across Northeast Ohio, young and old alike . . . as we deliver excellence in everything we do . . . as we serve you great performances built on the power of music to change lives for the better . . . to spark creativity, and to foster learning and understanding. Everything we have done, everything The Cleveland Orchestra will do is only possible through your enthusiasm, interest, and support. Being here with us, contributing toward the Orchestra’s work financially and intellectually, and with questions and ideas is part of your starring roles. I am grateful each and every day for your interest and dedication, and for the devoted work of the musicians onstage, the staff behind the scenes, and the many volunteers who each take their roles so personally and seriously, to ensure that your Cleveland Orchestra grows each year toward even more extraordinary achievements and success. Thank you.

Severance Hall 2016-17

André Gremillet

THE TIMES THEY ARE A-CHANGING

Evolving Tastes . . . Changing Meaning Upcoming performances of Bach’s Saint John Passion and the movie Breakfast at Tiffany’s remind us how our understanding of celebrated classics can shift through changing times and evolving attitudes . . . by Eric Sellen E A C H S E A S O N of concerts brings a

range of music from across the centuries. Some works feel timeless, imparting strength and a solid connection to human truths. Yet other pieces remind us that eras change — as do taste, sensitivities, and accepted norms. Two works being performed by The Cleveland Orchestra in February and March raise questions about society, aesthetics, and morals — and whether one can enjoy a piece of art despite flaws now visible in its original meaning or its creator’s beliefs. Is Bach’s Saint John antiSemitic, or was it intended to be? Is the casting and portrayal of a certain character in the movie Breakfast at Tiffany’s racist? How do we balance modern understanding with past perspective? Years ago, I liked Tchaikovsky better; now I prefer Mahler. Did the music change, or did I? Or the way I listen, or what I’m listening for? As a callow youth, I thought life was a clear trajectory from simple to complex, from white wine to red, ketchup to mustard, Tchaikovsky to Mahler. I’ve learned in the years since

that life is much more . . . interesting — especially regarding the parameters for “good taste” and personal choice. In a more obvious process, the meaning of words change across time, as do the “right” words for public use. What one generation finds offensive, the next may take up in solidarity and defiance. The words your grandmother used to describe people of African American descent, or Chinese, or Native American are most likely not the terms you use today. Times change, and language moves along with us — though some of us, yes, are more willing to embrace new words and let go of older ones. Musical works similarly go in and out of fashion, not just over the style of the notes but because of the meanings embedded within a work, or the words being sung, or even over the way it is presented. True timeless masterpieces are few and far between. Beethoven’s Violin Concerto may be universally beloved today, but it took half a century after the composer’s death to get there — and Evolving Tastes

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the untiring advocacy of violinist Josef Joachim — to get it accepted as a normal part of the concert repertoire. So . . . what are any of us to do?! Give up that favorite out-of-style sweater in the back of the closet? Listen only in private to that symphony once roundly applauded but now thought passé (but which still speaks directly to your heart)?! Or do we . . . just face the music unashamed, but well aware that times have changed and . . . well, yes, even Mozart wouldn’t write that if he were alive today. At what point does a blemish spoil the entire fruit? How can we embrace the past, knowingly and wisely? GOOD INTENTIONS VS. G E T TI N G TH E POINT ACROSS

Songs and stage works (anything with words, really) are perhaps most susceptible to changing attitudes. Everyone loves Beethoven’s Ninth Symphony. Yet those uplifting words at the end talk about “all men becoming as brothers.” Yes, we’ve come to believe, we want to believe it’s a universal call to solidarity and that sisters are welcome, too. But . . . that isn’t literally what the words say, and women didn’t have anything near equality at home and in society then. For many people today, the text’s possible meanings do “allow” everyone to join in. Though for some a sense of exclusion remains. Imperceptibly, subconsciously. How can I, as a man, know what the word “man” means to everyone (men, women, and in-between). What does it mean, how does it feel to a young girl first experiencing Beethoven’s Ode to Joy. Full of joy! Half joy? Killjoy? Severance Hall 2016-17

Perception is half of how communication works. Intended meaning, if the other person doesn’t catch your drift, doesn’t succeed. To close the final act of Richard Wagner’s great opera Die Meistersinger, there is a grand anthem and ode to Germanic arts and civilization. Premiered in 1867, these words were later bent to starkly dark effect by Hitler and Nazi Germany. Even today, a verse or two of the closing hymn is sometimes left out of performances. Yet the opera’s story, of a medieval German town celebrating its own culture — only partially aware of the outside world — gives us a context to understand that the anthem is sung to celebrate the town’s heritage, to defend its values, without necessarily disparaging all others. Evenso, Wagner the man did have what many today would say were “unhealthy views” about some of humanity’s peoples. Combined with Hitler’s appropriation of his art, this caused Wagner’s

Changing Meaning

music to be all-but-banned from Israel for many years — and despised by others. Is this like ivory, the purchasing of which today encourages the slaughter and disfiguring of the earth’s dwindling population of elephants? Or, because Wagner’s operas are from the past, are we free to reinterpret and enjoy the music, created by his flawed genius? The value of a work of art is as dependent on the viewer’s perception as any qualities inherent in the artwork itself. SATIRE AND MAKE UP

Theater, perhaps, has both the best and worst of it. The storyline may, in fact, be hued in a way that ages quickly, but a production can always be conceived that shows an alternative view. In contrast, movies don’t have many options — unlike live productions, a film is frozen in time. And, truth be told, some film classics are emotionally great but clearly outdated and out-of-fashion in detail. Sometimes there really is a good reason to remake a hit movie — to bring it up to date with modern sense and sensibilities. A recent new production of Gilbert & Sullivan’s The Mikado in New York raised several related issues, regarding not just the subject matter but when makeup should be used to change the ethnic characteristics of an actor. Black-face may be long gone from the Broadway stage, but . . . since this operetta’s premiere in 1885, thousands of productions of The Mikado have been staged with Caucasians (and others) dressed and made up to look like inhabitants of a madeup Japanese village. The show was written as a satirical spoof on British formalities and customs — with the story set in Japan because “everything Japanese” was new and trendy at the time. Yet satire and

trends often don’t survive historical scrutiny (or require further updating). Today, The Mikado is a show with good music and clever lyrics, filled with a veritable minefield for 21st-century worldly-wise sensitivities. Ban productions entirely? Or ask for creative license to present the satire to modern audiences? The New York Gilbert & Sullivan Players company that presented The Mikado in January appears, by all accounts, to have found a solution that successfully embraced and at the same time drew lines around the issue, framing the

Ultimately, it is up to each of us to find the right place for music in our lives — and to know that art helps us to understand the complexities of life, sometimes imperfectly. “show” as a dream of Gilbert and Sullivan, influenced by the world around them in 1885 — reminding viewers that context influences content. A similar casting and makeup controversy shadows the classic film Breakfast at Tiffany’s from 1961, which The Cleveland Orchestra is presenting in a special Valentine’s showing with live orchestral accompaniment on February 14. In the film, an Oriental man (I choose to use the problematic and out-of-date term “Oriental” purposefully, for effect) is played by a white actor, Mickey Rooney. The makeup and stereotyped mannerisms make some moments in the film cringe-worthy for many Evolving Tastes

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modern viewers. Some people might suggest that, metaphorically, because of a few bad apples, we should cut down the whole tree. Yet, Breakfast at Tiffany’s is a lauded and applauded movie, if charmingly oldfashioned, filled with some fine acting that carry forward a storyline accompanied by some strong music (by Cleveland-born Henry Mancini). Again, life — and the movies — are rarely perfect. Frozen in time, films are fascinating time capsules of past eras, exposing their details, warts and all.

BACH’S SAINT JOHN SPECIAL CONCERT PREVIEW MARCH 5 — Sunday at 3 p.m. The weekend prior to The Cleveland Orchestra’s performances of Bach’s Saint John Passion on March 9-12, Franz Welser-Möst will discuss the work with a panel of guest speakers on Sunday afternoon, March 5, beginning at 3 p.m. The event at The Temple–Tifereth Israel in Beachwood is free and open to the public, but registration is required by visiting www.maltzmuseum.com. The afternoon’s panelists include: Michael Marissen of Swarthmore College (author of the newly-released book Bach and God) and Rabbi Roger C. Klein (The Temple–Tifereth Israel), along with moderator David J. Rothenberg (Case Western Reserve University). The event is part of an ongoing partnership between The Cleveland Orchestra with the Maltz Museum of Jewish Heritage and Case Western Reserve University.

SAINTS AND SINNERS

The Saint John Passion was created by Bach in 1724. It tells the story of Jesus’s trial and crucifixion, as related in the New Testament book of Saint John, which has long been tinged with undercurrents of anti-Semitism (depending, in part, on specific phrasings in various translations and versions of its text). The question has long been debated and discussed — and will be again on March 5 (see details in the box above). We have no specific statements about Bach’s feelings on intentions; the meanings or inferences in the text of the Passion itself leave room for interpretation. The music, however, is clearly inspired and inspiring. So how should modern audiences respond? As much as we might like to believe that the concert hall is a safe refuge from the cares and concerns of the world, and a place to relax and get away from controversies in the news (or troubles in the neighborhood and anxiety among friends and family), few musical works are completely carefree. Somewhere in the history of each work, in the life of the composer or librettist, in the words and meaning of the music itself, there is likely to be both good

and bad, salvation and danger. Ultimately, it is up to each of us to find the right place for music and art in our lives and in our hearts — and to know that not only can melodies and harmonies and vistas and perspectives ease our worries, but art can help us to understand the complexities of life. Sometimes, getting away is not about relaxing, but merely finding the time to listen from a different point of view — and be inspired. So open your ears, eyes, and minds. And be willing, sometimes, to forgive your ancestors’ missteps. Eric Sellen serves as program book editor for The Cleveland Orchestra. email: esellen@clevelandorchestra.com

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Changing Meaning

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T H E M U S I C AL ARTS ASSOCIATION

as of December 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 Richard K. Smucker, First Vice President & President Elect 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 Dr. Ronald H. Bell Richard J. Bogomolny Yuval Brisker Jeanette Grasselli Brown Helen Rankin Butler Irad Carmi Paul G. Clark Robert D. Conrad Matthew V. Crawford Alexander M. Cutler Hiroyuki Fujita 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 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 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 Luci Schey Spring Hewitt B. Shaw Richard K. Smucker James C. Spira R. Thomas Stanton 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 George N. Aronoff S. Lee Kohrman Charlotte R. Kramer Donald W. Morrison Gary A. Oatey Raymond T. Sawyer 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 Dorothy Humel Hovorka Gay Cull Addicott Robert P. Madison Charles P. Bolton Robert F. Meyerson Allen H. Ford James S. Reid, Jr. Robert W. Gillespie

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

Severance Hall 2016-17

André Gremillet, Executive Director

Musical Arts Association

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 January 20, 2017. 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 Elizabeth Ring Mather and William Gwinn Mather Fund Medical Mutual

The Andrew W. Mellon Foundation 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

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GIFTS OF $500,000 TO $1 MILLION

Gay Cull Addicott American Greetings Corporation Jeanette Grasselli Brown and Glenn R. Brown Robert and Jean* Conrad Dr. and Mrs. Hiroyuki Fujita GAR Foundation Richard and Ann Gridley The Louise H. and David S. Ingalls Foundation Martha Holden Jennings Foundation Myra Tuteur Kahn Memorial Fund of The Cleveland Foundation Mr. and Mrs. Douglas A. Kern James and Gay* Kitson

Virginia M. and Jon A. Lindseth Ms. Nancy W. McCann 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 Dollar Bank Foundation 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 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

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 Mr. Larry J. Santon

Raymond T. and Katherine S. Sawyer SCH Foundation Mrs. David Seidenfeld David Shank The Sherwin-Williams Company Naomi G. and Edwin Z. Singer The Sisler McFawn Foundation 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)

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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Sound for the Centennial Campaign

* 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

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 Dec 2016)

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

129,789

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

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.

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

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 being released in early 2017. 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

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

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 2 O 1 6 -1 7

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

HORNS Michael Mayhew § Knight Foundation Chair

Jesse McCormick Robert B. Benyo Chair

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

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

Michael Miller

Robert Walters ENGLISH HORN Robert Walters

Michael Miller

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

Robert Woolfrey ACTING ASSISTANT PRINCIPAL

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

BASS CLARINET Yann Ghiro BASSOONS John Clouser * Louise Harkness Ingalls Chair

Gareth Thomas Barrick Stees 2 Sandra L. Haslinger Chair

Jonathan Sherwin CONTRABASSOON Jonathan Sherwin

Severance Hall 2016-17

Margaret Allen Ireland Chair

Donald Miller Tom Freer * Thomas Sherwood KEYBOARD INSTRUMENTS Joela Jones *

CORNETS Michael Sachs *

Samuel C. and Bernette K. Jaffe Chair

PERCUSSION Marc Damoulakis*

Mary Elizabeth and G. Robert Klein Chair

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

Rudolf Serkin Chair

Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair

LIBRARIANS Robert O’Brien Joe and Marlene Toot Chair

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

Richard Stout Alexander and Marianna C. McAfee Chair

Shachar Israel

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

* Principal § 1 2

Associate Principal First Assistant Principal Assistant Principal on sabbatical leave

CONDUCTORS Christoph von Dohnányi MUSIC DIRECTOR LAUREATE

Brett Mitchell ASSOCIATE CONDUCTOR

Elizabeth Ring and William Gwinn Mather Chair

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

DIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

Tom Freer 2*

Mr. and Mrs. Richard K. Smucker Chair

Orchestra Roster

Baldwin Wallace University

Conservatory of Music Opera Program presents Francis Poulencâ&#x20AC;&#x2122;s

DIALOGUES CARMELITES

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Feb 23-25 @ 7:30pm Feb 26 @ 2pm John Patrick Theatre

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The Cleveland Orchestra

16 17 LEARNING MORE ABOUT THE MUSIC

2 O1 6 -1 7

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. February 9, 10, 11 “Symphonic Song, Unfinished Business” (Musical works by Mahler, Schubert) with guest speaker Rabbi Roger C. Klein of The Temple–Tifereth Israel

February 16, 17, 18 “Doubled Delight, Romantic Symphony” (Musical works by Mozart, Tchaikovsky) with guest speaker Donna Lee, professor of piano, Kent State University

February 23, 24, 25 “Exotic Views” (Musical works by Pintscher, Saint-Saëns, Schoenberg, and Debussy) with Rose Breckenridge, lecturer and administrator, Cleveland Orchestra Music Study Groups

March 2, 4 “American Music, American Sounds” (Musical works by Bernstein, Thomas, and Copland) with guest Katherine Bormann violin, The Cleveland Orchestra

March 5 — Sunday at 3 p.m. for performances March 9, 11, 12 “Saint John’s Passion”

Concert Previews

Franz Welser-Möst leads a special discussion at The Temple-Tifereth Israel in Beachwood; free admission, but tickets required — Tickets: www.maltzmuseum.com

MedMutual.com/Arts

THE

CLEVELAND ORCHESTRA FRANZ WELSER-MÖST

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

Severance Hall

Thursday evening, February 9, 2017, at 7:30 p.m. Friday evening, February 10, 2017, at 8:00 p.m. Saturday evening, February 11, 2017, at 8:00 p.m.

Donald Runnicles, conductor FRANZ SCHUBERT (1797-1828)

16 17 2 O 1 6 -1 7

S E A S O N

“Unfinished” Symphony (Symphony “No. 8”) in B minor, D759 1. Allegro moderato 2. Andante con moto

INTER MISSION GUSTAV MAHLER (1860-1911)

The Song of the Earth [Das Lied von der Erde] Symphony for Two Soloists and Orchestra 1. The Drinking Song of Earth’s Sorrow [Das Trinklied vom Jammer der Erde] 2. The Lonely One in Autumn [Der Einsame im Herbst] 3. Of Youth [Von der Jugend] 4. Of Beauty [Von der Schönheit] 5. The Drunken One in Springtime [Das Trunkene im Frühling] 6. The Farewell [Der Abschied] MICHELLE DeYOUNG, mezzo-soprano PAUL GROVES, tenor

These concerts are sponsored by Medical Mutual, a Cleveland Orchestra Partner in Excellence. Donald Runnicles’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from Roger and Anne Clapp. Michelle DeYoung’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from The Margaret R. Griffiths Trust. Paul Groves’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from Eleanore T. and Joseph E. Adams.

Severance Hall 2016-17

Concert Program — Week 10

February 9, 10,11

16 17

THIS WEEKEND'S CONCERT Restaurant opens: THUR 4:30 FRI 5:00 SAT 5:00

2016-17

Severance Restaurant Reservations for pre-concert dining suggested:

216-231-7373 or via www.UseRESO.com

Concert Preview

PREVIEW

in Reinberger Chamber Hall

“Symphonic Song, Unfinished Business” with Rabbi Roger C. Klein, The Temple–Tifereth Israel

BEGINS ONE HOUR BEFORE CONCERT

Concert begins: THUR 7:30 FRI 8:00 SAT 8:00

S E A S O N

SCHUBERT “Unfinished” Symphony . . . . . . . . . . . . . . . . . . . Page 35 (25 minutes)

INTERMISSION (20 minutes)

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

MAHLER The Song of the Earth . . . . . . . . . . . . . . . . . . . . . . Page 39 (60 minutes) Sung Text begins on Page 44

Share your memories of the performance and join the conversation online . . .

Concert ends: (approx.)

THUR 9:20 FRI 9:50 SAT 9:50

facebook.com/clevelandorchestra

Severance Restaurant Post-Concert Desserts and Drinks

twitter: @CleveOrchestra instagram: @CleveOrch

This Week’s Concerts

The Cleveland Orchestra

INTRODUCING THE CONCERT

Earth, Death & Song

T H I S W E E K E N D ’ S P R O G R A M features two symphonies, one left un-

finished as the composer stretched himself onward with other ideas, and one that masquerades itself as a large-scale song cycle. In their own very different ways, each touches on the span and seasons of life that we know here on this world — filled with joy, tenderness, heartache, and, when we are lucky, peace and grace. Franz Schubert wrote two movements of a symphony in B minor in 1822. He laid them aside, however, as he continued with other projects and ideas. Only years after his death did this “Unfinished” Symphony appear in public, quickly becoming a popular favorite for its pleasing mix of surging rhythms and emotive mystery. Its nickname is, perhaps, unjust, for these two movements are complete and whole in themselves. Mahler’s Song of the Earth, written in 1908, is an altogether different and larger beast. Here, the composer was purposefully exploring life’s meaning and substance — tinged with a muted, resigned weariness inspired by a set of Chinese poems. Truth be told, all of Mahler’s symphonies — if not all his musical works, if not all music of every kind — explore the meaning of human life. Those with texts most obviously touch on specifics about life’s reasons and seasons, though it is sometimes the instrumental accompaniment and d ““commentary” t ” that says the most, enigmatically, with a feeling beyond words. Mahler’s Song of the Earth, written as a “symphony for two soloists,” is a grand farewell to life — a look across our common everydays, filled with bittersweet nostalgia for everything that each of us must eventually leave behind. In the midst of winter, it is easy — and wondrous, and wonderful — to reflect on life’s meanings for each of us, and to savor once more the joy and peace that music can bring. —Eric Sellen

Christoph von Dohnányi, who was originally scheduled to conduct this weekend’s concerts, was advised by his physician not to travel due to flu and, regretfully, was forced to cancel his appearance here. We are grateful to conductor Donald Runnicles, who is stepping in to lead these performances, with the musical selections and supporting artists as originally announced.

Severance Hall 2016-17

Introducing the Concerts

BASQUIAT THE UNKNOWN NOTEBOOKS January 22 through April 23, 2017 See the ﬁrst major exhibition of the artist’s notebooks ﬁlled with poetry, wordplay, sketches, and personal observations. Visit ClevelandArt.org for tickets or more information.

ClevelandArt.org This exhibition is organized by the Brooklyn Museum.

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Jean Michel Basquiat in his Great Jones Street studio, New York (detail), Tseng Kwong Chi (Chinese-Canadian-American, born Hong Kong, 1950–1990). Chromogenic print; 50 x 50 in. Muna Tseng Dance Projects, New York & Eric Firestone Gallery, East Hampton, New York. © 1987 Muna Tseng Dance Projects, Inc. New York. www.tsengkwongchi.com

“Unfinished” Symphony (No. 8) in B minor, D759 composed 1822

At a Glance

Franz

SCHUBERT born January 31, 1797 Himmelpfortgrund, near Vienna died November 19, 1828 Vienna

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Schubert’s first two movements of the B-minor Symphony date from October 1822. Sketches to a third-movement scherzo also exist. The Symphony, later published as “No. 8,” was not performed until December 17, 1865, 37 years after Schubert’s death, when the orchestra of the Society of the Friends of Music in Vienna was conducted by Johann Herbeck. Schubert’s “Unfinished” Symphony runs about 25 minutes in performance. Schubert scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2

trumpets, 3 trombones, timpani, and strings. In the United States, Schubert’s Symphony in B minor was first performed by the Theodore Thomas Orchestra on October 26, 1867, in New York. The Cleveland Orchestra first played the Symphony during its inaugural season (January 1919) under founding music director Nikolai Sokoloff. The most recent performances were given by Franz Welser-Möst in 2005, at Severance Hall and on tour.

About the Music B E H I N D T H E F I R S T P U Z Z L E posed by the “Unfinished”

Symphony — why didn’t Schubert finish it? — there is a second and even greater enigma. Schubert’s first six symphonies, written between 1813 and 1818, showed him completely at ease with all aspects of the form. But a few years later, he was leaving fragment after fragment, as if he had no longer felt up to the challenge. The B-minor Symphony is not Schubert’s only “Unfinished.” Other projected symphonies were abandoned even earlier in the compositional process — the “Unfinished” was preceded by two symphonic fragments in D major (D 615 from 1818 and D 708A from 1820-21) and a fairly complete sketch of a symphony in E major (D 729). All of these have been performed and/or completed in “realizations” in the later 20th century, and, in one instance, even including performances by The Cleveland Orchestra as long ago as 1928. All these “failed” projects point to Schubert’s growing dissatisfaction with symphonic form as he had been practicing it, and suggest that he was striving for something on a far larger scale than his previous efforts. Both stimulated and discouraged by Beethoven’s formidable example, he once exclaimed: “Who can do anything after him?!” Thus, it seems clear, Schubert was searching for his own artistic response to Beethoven’s symphonies — a response that would match Beethoven in scope and dramatic energy, yet be free from any direct stylistic influence. About the Music

Schubert eventually rose to the challenge in his “Great” C-major Symphony, completed in 1825, but it was a daunting task, accomplished only after several attempts and false starts. With the B-minor Symphony — known today as the “Unfinished” Symphony (and often given the count as “No. 8”) — Schubert came very close to a solution. As Brian Newbould, a specialist on the Schubert symphonies, has put it, this work is not so much an unfinished symphony as a “finished half-symphony” — it is the only one of the uncompleted “fragments” with two movements that are fully written out and orchestrated, needing no editing whatsoever in order to be performed.

“The ‘Unfinished’ Symphony THE MUSIC

clearly expresses the turbulences

While Beethoven tended to construct his symphonic movements of extremely short melodic or rhythmic the complex and difficult relationgestures, Schubert often started with ship with his father. On the one full-fledged melodic statements that unfold like songs. In this first movehand, there is this sense of restlessment, song soon turns into drama ness. And, on the other hand, when the second theme is suddenly a great intimacy of expression.” interrupted by a measure of silence, followed by a few moments of or—Franz Welser-Möst chestral turbulence, after which the previous idyll is restored only with some difficulty (and even then, only temporarily). One particular harmonic turn in the movement’s development section even uncannily anticipates the music of Wagner’s ground-breaking opera Tristan and Isolde. The second movement combines a peaceful and ethereal melody with a more majestic theme with trumpets, trombones, and timpani. A second melody is introduced in a new key (C-sharp minor), again with a dramatic extension. These contrasts in mood persist until the end of the movement, where the “peaceful and ethereal” E major is finally re-established after an exacting tonal journey through a number of different keys.

in Schubert’s life, most especially

FINDING IT AGAIN

The manuscript score of the “Unfinished” Symphony was long in the possession of the lesser-known composer Anselm Hüttenbrenner, who had been a friend of Schubert. Hütten-

About the Music

The Cleveland Orchestra

LEFT

Schubert (far right) with two of his best friends, Johann Baptist Jenger and Anselm Hüttenbrenner. After Schubert’s death, Hüttenbrenner had the sketches to the “Unfinished” Symphony, but did not release it for performance for over three decades. (Watercolor, 1827, by Josef Teltscher)

brenner gave no one access to the work for decades, for reasons that are not well understood. Finally, the story goes, conductor Johann Herbeck, who directed the concerts of the Gesellschaft der Musikfreunde [Society of the Friends of Music], bribed Hüttenbrenner by offering to perform one of his (Hüttenbrenner’s) works. Thus released, the score of the “Unfinished” was premiered in 1865 and quickly became a popular and lasting hit. Thus, thirty-seven years had passed from the composer’s death before one of his greatest masterworks was revealed to the audience. —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

The Song of the Earth [Das Lied von der Erde] composed 1908

At a Glance

Gustav

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

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Mahler wrote Das Lied von der Erde (“The Song of the Earth”), a symphony for tenor, contralto (or baritone), and orchestra, in the summer of 1908. The premiere took place six months after the composer’s death, on November 10, 1911, in Munich, with Bruno Walter conducting. Sarah Charles Cahier and William Miller were the soloists. The American premiere was given by Tilly Koenen and Johannes Sembach with the Philadelphia Orchestra under Leopold Stokowski, on December 15, 1916. Das Lied von der Erde runs about an hour in performance. Mahler scored it for an orchestra of

piccolo, 3 flutes (third doubling second piccolo), 3 oboes (third doubling english horn), 3 clarinets, piccolo clarinet in E flat, bass clarinet, 3 bassoons (third doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (glockenspiel, triangle, cymbals, tam-tam, tambourine, bass drum), 2 harps, mandolin, celesta, and strings, plus tenor and contralto (or baritone) soloists. The Cleveland Orchestra first performed Das Lied von der Erde in November 1940 under Artur Rodzinski. The most recent performances were given in March 2008 at Severance Hall concerts led by Franz Welser-Möst.

About the Music “ T H E S O N G O F T H E E A R T H ” is a somewhat misleading translation of Mahler’s great symphonic song cycle Das Lied von der Erde. Rephrasing it to “Song About the Earth” might be more precise. Regardless, the Earth doesn’t do the singing here. Rather, it is humans who sing of what it feels like to live on this beautiful but deeply troubled planet. Ultimately, however, this great big piece does become a “song of the earth” in the sense that it strives to sum up the entire terrestrial experience of being human, of our existence as individuals and in relationship to our families, communities, and nature. This totality is achieved not by big description, but through exacting and scattered details. The form of The Song of the Earth unfolds in a succession of movements, each of which concentrates on one particular aspect of life on earth. The first and last of these constitute, in the words of leading Mahler scholar Donald Mitchell, a “majestic frame surrounding a group of movements of diverse character and tempi” — this is the same framing pattern that Mahler had used for the movements of his Second Symphony (and, to a certain extent, for the Third Symphony also). In the case of The Song of the Earth, the “majestic frame” consists of “Das Trinklied vom About the Music

Jammer der Erde” [The Drinking Song of Earth’s Sorrow], in which the dramatic poles of celebration and tragedy are established, and “Der Abschied” [The Farewell], which is filled with feelings of tragedy and resignation. The intervening movements — evoking the changing seasons and the transience of youth and beauty — represent a full life cycle, thus depicting through chosen details all the things to which we will have to say farewell, at the end of this musical piece, and at the end of our own lives. Such is the overall structure of Mahler’s Song of the Earth. And it is, in essence, a symphonic structure — removed through a layering of thought and consideration from a more traditional sequence of movements such as “allegro-adagioThis work’s opening scherzo-finale.” In fact, Mahler wrote this work as a symphony for two singers and orchestra, movement establishes the not as a traditional song cycle. dramatic poles of celebraIt is quite another matter that he did not tion and tragedy, leading give the work a number. It would have been his ninth symphony. But he had a superstitious fear to the ending “Farewell” of that number, according to a much-repeated movement, which is all story. Since Beethoven had created his own tragedy and resignagigantic Ninth, this number could not be taken tion. The intervening lightly by musicians; what is worse, no composer after Beethoven had been able to complete more movements (evoking the than nine symphonies (well, no major composer, changing seasons and at least). According to the story (whose truth is the transience of youth now questioned by many), Mahler tried to “fool and beauty) represent a Fate” by writing The Song of the Earth — or at least by calling it something other than a symphony. full life cycle, depicting He then composed his next real symphony and all the things to which we called it “No. 9,” but Fate would not be fooled. will have to say farewell. And his Tenth remained incomplete when Mahler died on May 18, 1911. Certainly if anyone had a reason to have a superstitious fear of death in 1908, it was Mahler who, in the previous year had seen his oldest daughter die at the age of 5, and had just been diagnosed with potentially fatal heart disease himself. 1907 was also the year Mahler resigned as director of the Vienna Opera — a post he had held for a decade — to quell the mounting hostility toward him and his work there. It was during this traumatic period that a friend presented him with a volume of poetry titled Die chinesische Flöte [“The Chinese Flute”] by Hans Bethge. This was a book of free ren-

About the Music

The Cleveland Orchestra

derings into German of classic Chinese poems. Or perhaps we should really call them a collection of beautiful German poems loosely based on classic Chinese originals? The provenance of these poems makes for a fascinating study. Bethge worked from a German book of poems translated from two different French editions, which in turn had been translated from the Chinese, with numerous conscious changes (and unknowing errors) made in each step of translating. Yet Bethge’s version was all Mahler had to work from. He also introduced his own changes in the poems he chose and, with a real stroke of genius, built a unique large-scale symphonic structure out of the short poems he selected from the book. The six movements run like this: 1. Das Trinklied vom Jammer der Erde [“The Drinking Song of Earth’s Sorrow”] is probably one of the few toasts ever given that, in so many words, says “to death” instead of “to life.” Before we can enjoy our wine, we have to be reminded of the misery of our existence, the brevity of life, and the horrors of the world (symbolized by the howling ape). It is a most unsettling world that appears in the music, only to be brushed aside when it is finally time to drink. The movement exudes high energy and defiance; the only quiet moments are the three utterances of the line “Dunkel ist das Leben, ist der Tod” [“Dark is life, and so is death”] — each repeated a half-step higher than the previous one. 2. Der Einsame im Herbst [“The Lonely One in Autumn”]. The long oboe solo that opens this movement sets a plaintive tone for the alto or baritone soloist, who sings of chilly winds and a weary heart. The lethargic feelings know almost no respite throughout the movement, except at the end, at the brief mention of the “Sonne der Liebe” [“sun of love”]. 3. Von der Jugend [“Of Youth”] is the happiest movement — indeed, the only entirely happy one — in the work. The subject of this peaceful idyll prompted Mahler to use the pentatonic scale (playable on the black keys of the piano) associated with China. This is the only movement where he resorted to this kind of “local color”; it is, therefore, ironic to find that the “porcelain pavilion” — the recurrent, dominant image of the poem — never existed in the Chinese original. It arose from a misinterpretation of a Chinese character by Judith Gautier, one of the French translators whose work was used by Bethge. 4. Von der Schönheit [“Of Beauty”] tells of a fleeting encounter between a group of young girls and some handsome horsemen who are riding by. The heart of one of the girls begins to beat faster at the sight of one of the young lads, but finally she is left with nothing but memories. The movement contains two instrumental interludes Severance Hall 2016-17

About the Music

in march tempo, marking the arrival and the departure of the horsemen. At the end, the excitement subsides and the main theme is broken up into small fragments as the happy vision fades. 5. Der Trunkene im Frühling [“The Drunken One in Springtime”]. A last glimmer of hope is offered by a small bird singing in a tree, heard by a man who is determined to drink himself into oblivion. The man, who has long since given up on life, hears the bird promise a new spring; but it is too late. He asks: “What do I care about the spring?” — and the innocent voice of the bird, represented by a violin solo, is silenced by the coarse drinking song. 6. Der Abschied [“The Farewell”], the final movement, lasts about half an hour (about as long as the other five movements put together). Here we enter a world that is completely different from what we have heard in the first five movements. On a structural level, the clear symmetrical forms of the earlier movements are abandoned in favor of a freer, more rhapsodic unfolding of the music. Sometimes Mahler even dispenses with the barline and allows the vocal and instrumental lines to evolve free from any metrical constraints. In his extensive analysis of The Song of the Earth, Donald Mitchell broke down the last movement into four major units, each consisting of several “recitatives,” “arias,” and instrumental interludes, with occasional recapitulations (encores) of material previously heard. The text combines two separate Bethge poems: “Awaiting a Friend” and “The Friend’s Departure,” offering a vague hint at a storyline. Two characters — one who is waiting and one who alights from his horse only to announce that he is leaving forever — share the same sadness and the same nostalgia and, in Mahler’s musical setting, they seem eventually to merge into one person. The first major section of the movement takes us from the lugubrious beginning (with its ominous tam-tam strokes) to a gradually unfolding vision of the whole world going peacefully to sleep. (Here Mahler is expanding on an image already introduced in the second movement.) The second section starts calmly but grows more passionate as the Friend (another human being, the last remaining kindred spirit) is evoked. This section ends on an emotional high point, after which an expressive cello solo, by way of transition, leads to the return of the movement’s opening (strokes of the tam-tam). An extensive orchestral interlude

About the Music

The Cleveland Orchestra

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(the third major section) follows as Mahler reiterates, without words, some of the melodic material of the first section. It is a funeral march of massive proportions, where march-like features (drumstroke, strong rhythmic profile) are combined with melodies of high lyrical intensity. The last section begins as the singer re-enters with another quasi-recitative (“Er stieg vom Pferd” — “He alighted . . .”), which gradually evolves into a poignant arioso. The most significant event of this section is without a doubt the switch from the tragic C-minor tonality, which has prevailed since the beginning of the movement, to a bright and soothing C major. At the moment of the final farewell to life, the text — and the music — speaks about flowers, springtime, and eternal blossoming. The well-known “ewig, ewig” [“forever, forever”] that ends Mahler’s Song of the Earth conjures up a vision of timeless, unspeakable beauty, which is the last thing the traveler beholds before leaving this earth forever. —Peter Laki Copyright © Musical Arts Association

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About the Music

The Song of the Earth music by Gustav Mahler; words arranged and edited by Mahler from German texts by Hans Bethge (1876-1946) based on original Chinese poems

Das Trinklied vom Jammer der Erde

“The Drinking Song of Earth’s Sorrow” — tenor solo

Schon winkt der Wein im gold’nen Pokale, Doch trinkt noch nicht, erst sing’ ich euch ein Lied! Das Lied vom Kummer soll auflachend in die Seele euch klingen. Wenn der Kummer naht, liegen wüst die Gärten der Seele, Welkt hin und stirbt die Freude, der Gesang. Dunkel ist das Leben, ist der Tod.

Wine already sparkles in the golden goblet, But do not drink yet, first I will sing you a song! The Song of Misery, to laughingly echo in your soul. When Misery draws near, the gardens of the soul lie wasted, killing and diminishing all joy, all singing. Dark is life . . . is death.

Herr dieses Hauses! Dein Keller birgt die Fülle des goldenen Weins! Hier, diese Laute nenn’ ich mein! Die Laute schlagen und die Gläser leeren, Das sind die Dinge, die zusammen passen. Ein voller Becher Weins zur rechten Zeit Ist mehr wert, als alle Reiche dieser Erde! Dunkel ist das Leben, ist der Tod.

Master of this house! Your cellar holds an abundance of golden wine! Here, this lute I call my own! To play the lute and empty the glasses, these are the things that go well together. A full cup of wine at the right time is worth more than all the kingdoms of this world! Full of darkness is life . . . is death.

Das Firmament blaut ewig und die Erde Wird lange fest steh’n und aufblüh’n im Lenz. Du aber, Mensch, wie lang lebst denn du? Nicht hundert Jahre darfst du dich ergötzen An all dem morschen Tande dieser Erde! Seht dort hinab! Im Mondschein auf den Gräbern Hockt eine wild-gespenstische Gestalt —

The sky will always be blue, and the earth will long be firm and blossom forth in spring. But you, human, how long will you live? Not a hundred years can you delight in all the rotten trash of this world! Look over there! In the moonlight on the graves squats a wild ghostly form —

Song of the Earth — Sung Text

The Cleveland Orchestra

Ein Aff’ ist’s! Hört ihr, wie sein Heulen Hinausgellt in den süssen Duft des Lebens! Jetzt nehmt den Wein! Jetzt ist es Zeit, Genossen! Leert eure gold’nen Becher zu Grund! Dunkel ist das Leben, ist der Tod!

It is an ape! Hear how it’s howling rings out against life’s sweet fragrance! Now take the wine! Now it is time, comrades! Empty your golden cups to the dregs! Dark is life . . . is death! —after Li T’ai-po

Der Einsame im Herbst

“The Lonely One in Autumn” — mezzo-soprano solo

Herbstnebel wallen bläulich überm See; Vom Reif bezogen stehen alle Gräser; Man meint, ein Künstler habe Staub von Jade Über die feinen Blüten ausgestreut.

Autumn mists drift blue over the lake; Covered with hoar-frost stand all the grasses; One might think that an artist had taken jade dust and sprinkled it over the delicate flowers.

Der süsse Duft der Blumen ist verflogen; Ein kalter Wind beugt ihre Stengel nieder. Bald werden die verwelkten, gold’nen Blätter Der Lotosblüten auf dem Wasser zieh’n.

The flowers’ sweet fragrance has evaporated; A cold wind bends their stems down. Soon will the withered golden leaves of the lotus blossoms drift upon the water.

Mein Herz ist müde. Meine kleine Lampe Erlosch mit Knistern, es gemahnt mich an den Schlaf, Ich komm’ zu dir, traute Ruhestätte! Ja, gib mir Ruh’, ich hab’ Erquickung not!

My heart is weary. My small lamp has gone out with a sputter, urging me to fall asleep. I come to you, beloved resting place! Yes, give me peace, I need to be refreshed!

Ich weine viel in meinen Einsamkeiten. Der Herbst in meinem Herzen währt zu lange. Sonne der Liebe willst du nie mehr scheinen, Um meine bittern Tränen mild aufzutrocknen?

I cry often in my loneliness. The autumn in my heart continues too long. Sun of love, will you no longer shine on my bitter tears to tenderly wipe them away? —after Chang Tsi P L E A S E T U R N PA G E Q U I E T LY

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Song of the Earth — Sung Text

Von der Jugend

“Of Youth” — tenor solo

Mitten in dem kleinen Teiche Steht ein Pavillon aus grünem Und aus weissem Porzellan.

In the middle of the pond stands a pavilion of green and white porcelain.

Wie der Rücken eines Tigers Wölbt die Brücke sich aus Jade Zu dem Pavillon hinüber.

Like the back of a tiger the bridge of jade arches across to the pavilion.

In dem Häuschen sitzen Freunde, Schön gekleidet, trinken, plaudern, Manche schreiben Verse nieder.

In the little house sit friends beautifully dressed, drinking and chatting, some are writing verses.

Ihre seidnen Ärmel gleiten Rückwärts, ihre seidnen Mützen Hocken lustig tief im Nacken.

Their silken sleeves fall backwards, their silken caps sit roguishly against their necks.

Auf des kleinen Teiches stiller Wasserfläche zeigt sich alles Wunderlich im Spiegelbilde.

On the pond’s still surface everything is reflected wondrously in mirror image.

Alles auf dem Kopfe stehend In dem Pavillon aus grünem Und aus weissem Porzellan.

Everything stands on its head in the pavilion of green and white porcelain.

Wie ein Halbmond steht die Brücke, Umgekehrt der Bogen. Freunde, Schön gekleidet, trinken, plaudern.

Like a half-moon stands the bridge, the arch upside down. Friends, handsomely dressed, drink and chat. —after Li T’ai-po

Von der Schönheit

“Of Beauty” — mezzo-soprano solo

Junge Mädchen pflücken Blumen, Pflücken Lotosblumen an dem Uferrande. Zwischen Büschen und Blättern sitzen sie, Sammeln Blüten in den Schoss und rufen Sich einander Neckereien zu.

Young maidens are picking flowers, plucking lotus blossoms on the riverbank. Among bushes and leaves they sit, gathering flowers in their laps and calling out teasingly to one another.

Song of the Earth — Sung Text

The Cleveland Orchestra

Gold’ne Sonne webt um die Gestalten, Spiegelt sie im blanken Wasser wider, Sonne spiegelt ihre schlanken Glieder, Ihre süssen Augen wider, Und der Zephir hebt mit Schmeichel kosen das Gewebe Ihrer Ärmel auf, führt den Zauber Ihrer Wohlgerüche durch die Luft.

Golden sunlight envelops the figures, reflecting them in the bright water, sunshine mirrors their slender limbs, their charming eyes, And the zephyr with caresses lifts the fabric of their sleeves, carrying the magic of their perfumes through the air.

O sieh, was tummeln sich für schöne Knaben Dort an dem Uferrand auf mut’gen Rossen? Weithin glänzend wie die Sonnenstrahlen; Schon zwischen dem Geäst der grünen Weiden Trabt das jungfrische Volk einher! Das Ross des einen wiehert fröhlich auf Und scheut und saust dahin, Über Blumen, Gräser, wanken hin die Hufe, Sie zerstampfen jäh im Sturm die hingesunk’nen Blüten, Hei! Wie flattern im Taumel seine Mähnen, Dampfen heiss die Nüstern!

Oh see, what handsome youths romp there near the bank on lively horses? In the distance they gleam like the sunbeams shining through the branches of the green willows That the sporting youths are trotting beneath. The horse of one neighs merrily, hesitates, and then gallops off, over flowers, grasses, its hooves stagger, trampling like a storm, crashing over the fallen flowers! Ho! How its mane tosses in a frenzy, steam blowing from its nostrils!

Gold’ne Sonne webt um die Gestalten, Spiegelt sie im blanken Wasser wider. Und die schönste von den Jungfrau’n sendet Lange Blicke ihm der Sehnsucht nach. Ihre stolze Haltung ist nur Verstellung. In dem Funkeln ihrer grossen Augen, In dem Dunkel ihres heissen Blicks Schwingt klagend noch die Erregung ihres Herzens nach.

Golden sunlight envelops the figures, reflecting them in the bright water. And the loveliest of the young women casts Long glances of desire after him. Her proud bearing is only pretense. In the flashing of her large eyes, In the depths of her fiery glance, the excitement still reverberates in her heart. —after Li T’ai-po P L E A S E T U R N PA G E Q U I E T LY

Severance Hall 2016-17

Song of the Earth — Sung Text

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Der Trunkene im Frühling

“The Drunken One in Springtime” — tenor solo

Wenn nur ein Traum das Leben ist, Warum denn Müh’ und Plag’!? Ich trinke, bis ich nicht mehr kann, Den ganzen, lieben Tag!

If life is merely a dream, why then trouble and care? I drink until I can drink no more. the whole long day!

Und wenn ich nicht mehr trinken kann, Weil Kehl’ und Seele voll, So tauml’ ich bis zu meiner Tür Und schlafe wundervoll!

And when I can drink no more, because throat and soul are full, then I stagger to my door and sleep blissfully!

Was hör’ ich beim Erwachen? Horch! Ein Vogel singt im Baum, Ich frag’ihn, ob schon Frühling sei, Mir ist als wie im Traum.

What do I hear upon waking? Hark! A bird sings in the tree. I ask whether spring has arrived, feeling as though I am in a dream.

Der Vogel zwitschert: Ja! Der Lenz is da, sei kommen über Nacht! Aus tiefstem Schauen lauscht’ ich auf, Der Vogel singt und lacht!

The bird twitters, “Yes! Spring is here, it has come overnight!” I awaken from deep contemplation, the bird sings and laughs!

Ich fülle mir den Becher neu Und leer’ ihn bis zum Grund Und singe, bis der Mond erglänzt Am schwarzen Firmament!

I fill my cup once more and empty it to the dregs and sing until the moon gleams against the black sky!

Und wenn ich nicht mehr singen kann, So schlaf’ ich wieder ein. Was geht mich denn der Frühling an? Lasst mich betrunken sein!

And when I can sing no more, then will I fall asleep again. What do I care about the spring? Let me remain drunk! —after Li T’ai-po P L E A S E T U R N PA G E Q U I E T LY

Severance Hall 2016-17

Song of the Earth — Sung Text

Der Abschied

“The Farewell” — mezzo-soprano solo

Die Sonne scheidet hinter dem Gebirgé. In alle Täler steigt der Abend nieder Mit seinen Schatten, die voll Kühlung sind. O sieh! Wie eine Silberbarke schwebt Der Mond am blauen Himmelssee herauf. Ich spüre eines feinen Windes Weh’n Hinter den dunklen Fichten!

The sun sinks behind the mountains. Across all the valleys evening descends with its shadows, filled with cool air. Oh see! Like a silver boat the moon floats upward on the heavenly blue lake. I feel a soft wind blowing beyond the dark pines.

Der Bach singt voller Wohllaut durch das Dunkel. Die Blumen blassen im Dämmerschein. Die Erde atmet voll von Ruh’ und Schlaf. Alle Sehnsucht will nun träumen, Die müden Menschen geh’n heimwärts, Um im Schlaf vergess’nes Glück Und Jugend neu zu lernen!

The brook sings melodiously through the darkness. The flowers grow pale in the twilight, the earth breathes, full of rest and sleep. All longing turns to dreaming, weary people head homeward, to forget happiness in sleep and to recall their youth.

Die Vögel hocken still in ihren Zweigen, Die Welt schläft ein! Es wehet kühl im Schatten meiner Fichten. Ich stehe hier und harre meines Freundes; Ich harre sein zum letzten Lebewohl.

Birds perch quietly on their branches, the world falls asleep! A cool breeze blows in the shadow of my pine trees. I stand here and wait for my friend; I wait for him to take a last farewell.

Ich sehne mich, o Freund, an deiner Seite Die Schönheit dieses Abends zu geniessen. Wo bleibst du! Du lässt mich lang allein! Ich wandle auf und nieder mit meiner Laute Auf Wegen, die vom weichen Grase schwellen.

I long, Oh friend, at your side to enjoy the beauty of this evening. Where are you? You leave me alone so long! I walk up and down with my lute on paths that swell with soft grass.

Song of the Earth — Sung Text

The Cleveland Orchestra

O Schönheit! O ewigen Liebens — Lebens — trunk’ne Welt! Er stieg vom Pferd und reichte ihm den Trunk Des Abschieds dar. Er fragte ihn, wohin Er führe und auch warum es müsste sein. Er sprach, seine Stimme war umflort: Du, mein Freund, Mir war auf dieser Welt das Glück nicht hold!

Oh beauty! Oh eternal love — life — drunken world! He alighted from his horse and offered a drink of farewell. He asked him where he was going and also why it had to be. He spoke, his voice was veiled: Oh, you, my friend! I have lived, but in this world happiness did not take hold!

Wohin ich geh’? Ich geh’, ich wand’re in die Berge. Ich suche Ruhe für mein einsam Herz. Ich wandle nach der Heimat! Meiner Stätte. Ich werde niemals in die Ferne schweifen. Still ist mein Herz und harret seiner Stunde! Die liebe Erde allüberall blüht auf im Lenz und grünt Aufs neu! Allüberall und ewig blauen licht die Fernen! Ewig . . . ewig . . .

Where am I heading? I go, I wander into the mountains. I seek peace for my lonely heart. I go to my native land, my home! I shall never roam in distant lands. My heart is quiet and awaiting its hour! The beloved earth everywhere blossoms forth in spring and greens anew! Everywhere and forever the horizon brightens to blue! Forever . . . forever . . . —after Meng Kao-yen and Wang Wei (English translation by Peter Laki and Eric Sellen)

Severance Hall 2016-17

Song of the Earth — Sung Text

Mahler, in a photograph taken in 1909 in New York

The point is not to take the world’s opinion as a guiding star, but to go one’s way in life and to work unfalteringly, neither depressed by failure nor seduced by applause. —Gustav Mahler

Donald Runnicles Scottish-born conductor Donald Runnicles enjoys close and ongoing relationships with several significant opera companies and symphony orchestras. His conducting is especially known for his work across Romantic and post-Romantic symphonic and opera repertoire. He is concurrently the general music director of the Deutsche Opera Berlin, chief conductor of BBC Scottish Symphony Orchestra, music director of Wyoming’s Grand Teton Music Festival, and principal guest conductor of the Atlanta Symphony Orchestra. He made his Cleveland Orchestra debut in February 1996 and most recently appeared here in April 2006. Donald Runnicles was born in Edinburgh, Scotland and was educated there and at Cambridge. His early career included posts with the London Opera Centre, in Mannheim, and at Bayreuth. In 1989, he became general music director of the Theater Freiburg and Orchestra, serving for four seasons, and subsequently served as music director of San Francisco Opera (1992-2008), and was principal conductor of the Orchestra of St. Luke’s (2001-07). Mr. Runnicles has conducted at leading international opera houses, orchestras, and summer festivals including Bayreuth, Glyndebourne, Ravinia, Salzburg, and Tanglewood. In Vienna, he has led performances at the Vienna State Opera, Theater an der Wien, and Vienna Volksoper. He also regularly conducts the Berlin Philharmonic, London Symphony Orchestra, and the Philadelphia Orchestra. Mr. Runnicles’s recent and upcoming highlights include engagements with the orchestras of Chicago, Dallas, Philadelphia, Severance Hall 2016-17

Guest Conductor

and Washington D.C., along with the Staatskapelle Dresden and the Zurich Tonhalle Orchestra. His operatic schedule this season includes two new productions with Deutsche Opera Berlin (Britten’s Death in Venice and Mozart’s Così fan tutte) and Wagner’s complete Ring of the Nibelung cycle. Donald Runnicles’s extensive discography includes Beethoven’s Ninth Symphony, Bellini’s I Capuleti e i Montecchi, Britten’s Billy Budd, Humperdinck’s Hansel and Gretel, Mozart’s Requiem, Orff’s Carmina Burana, and Wagner’s Tristan and Isolde. His recording of Wagner arias with tenor Jonas Kaufmann and the Orchestra of the Deutsche Opera Berlin won the 2013 Gramophone Prize for Best Vocal Recording, and his recording of Janáček’s Jenůfa with the Orchestra and Chorus of the Deutsche Opera Berlin was nominated for a 2015 Grammy Award for Best Opera Recording. Donald Runnicles was appointed to the Order of the British Empire in 2004, and has received honorary degrees from the Royal Scottish Academy of Music and Drama, San Francisco Conservatory of Music, and the University of Edinburgh. For more information, visit www.donaldrunnicles.org.

Michelle DeYoung American mezzo-soprano Michelle DeYoung has established herself as one of the most exciting artists of her generation. She made her Cleveland Orchestra debut in July 1999. She has returned on several occasions, including performances under the direction of Pierre Boulez in 2003, 2004, and 2008. Her most recent performances here were in January 2015 in a concert honoring Boulez’s 90th birthday. Ms. DeYoung performs each season in concert with major orchestras, at the world’s renowned opera houses, and in recital. This season, her engagements include appearances with the Philadelphia Orchestra, Los Angeles Philharmonic, Saint Louis Symphony Orchestra, Kansas City Symphony, Nashville Symphony, Portland Symphony, Finnish National Radio Orchestra, Paris’s Ensemble Intercontemporain, Tokyo’s NHK Symphony, Hong Kong Philharmonic, Melbourne Symphony, and the New Zealand Symphony. Other leading orchestras with whom Michelle DeYoung has appeared include those of Amsterdam, Berlin, Boston, Chicago, London, Los Angeles, Minnesota, New York, Paris, Pittsburgh, San Francisco, and Vienna. She has also performed at the Aspen, Cincinnati, Edinburgh, Lucerne, Ravinia, Saito Kinen, Salzburg, and Tanglewood festivals, and on recital stages across Europe and North America. She can be heard on international opera stages, from the Houston Grand Opera, Lyric Opera of Chicago, and Metropolitan Opera to the Bayreuth Festival, La Scala, and Tokyo Opera.

In recital, Ms. DeYoung has sung at the Ravinia Festival, Weill Recital Hall, Alice Tully Hall, San Francisco Symphony’s Great Performances series, Roy Thomson Hall, Paris’s Théâtre du Châtelet, Lisbon’s Gulbenkian Foundation, Edinburgh Festival, London’s Wigmore Hall, and Brussels’s La Monnaie. Recordings featuring Ms. DeYoung’s artistry include Grammy-winning albums with the San Francisco Symphony in Mahler’s Kindertotenlieder and in the London Symphony Orchestra’s live recording of Berlioz’s opera Les Troyens. Her growing discography also includes two recordings of Mahler’s Third Symphony, with the Chicago Symphony Orchestra and with the Pittsburgh Symphony, Bernstein’s “Jeremiah” Symphony, and Mahler’s Song of the Earth with the Minnesota Orchestra. Her first solo disc was released on the EMI label. Michelle DeYoung won the 1992 Metropolitan Opera National Council Auditions and is a graduate of the Met’s Lindemann Young Artist Development Program. She earned a bachelor’s degree from California State University.

Guest Soloist

The Cleveland Orchestra

Paul Groves American tenor Paul Groves enjoys an international career performing on the stages of the world’s leading opera houses and concert halls. He made his Cleveland Orchestra debut in January 2000 and most recently appeared here in May 2015. Mr. Groves’s schedule this season includes his return to the Opéra National de Paris for a rare role debut singing Alessandro Cesare in Cavalli’s Eliogabalo. He also returns to his native New Orleans to sing the title role in Gounod’s Faust with the New Orleans Opera, as well as singing Berlioz’s Requiem with the San Francisco Symphony, Stravinsky’s Perséphone with the Oregon Symphony, and Mahler’s The Song of the Earth with the orchestras of Cleveland and Indianapolis. Highlights of Mr. Groves’s recent seasons include his first performances in the title role of Wagner’s Parsifal with Lyric Opera Chicago, appearances as Admète in Gluck’s Alceste with Madrid’s Teatro Real, Nicias in Massenet’s Thaïs with the Los Angeles Opera, and Pylade in Gluck’s Iphigénie en Aulide at Vienna’s Theater an der Wien. He also returned to the Metropolitan Opera for Berg’s Lulu, and was seen in the East Coast premiere of Jennifer Higdon’s Cold Mountain with Opera Philadelphia. In concert, Mr. Groves has appeared with the major orchestras of North America and Europe, from Atlanta to Munich, Berlin to Los Angeles, and San Francisco to Zurich. On the operatic stage, in addition to his many appearances with New York’s Metropolitan Opera, he has sung

Severance Hall 2016-17

Guest Soloist

with the Bavarian State Opera, Frankfurt Opera, La Scala Milan, London’s Royal Opera, Los Angeles Opera, Paris Opera, Paris’s Théâtre du Châtelet, San Francisco Opera, Santa Fe Opera, and the Vienna State Opera. Mr. Groves’s discography includes operas on the EMI Classics, Naxos, Philips Classics, Sony Classics, Telarc, and Teldec labels. His performances in the Salzburg Festival’s productions of Mozart’s The Magic Flute and Berlioz’s La Damnation de Faust were recorded on DVD by Deutsche Grammophon and Naxos Records, respectively. His most recent albums include Roger Waters’s opera Ça Ira and several Ravel cantatas. Paul Groves graduated from Louisiana State University and the Juilliard School, and was a winner of the 1991 Metropolitan Opera National Council Auditions. He then joined the Met’s Young Artists Development Program, before launching his international career.

for getting everyone out of their seats. Inspiring. Thought Provoking. PNC is proud to sponsor The Cleveland Orchestra. Because we appreciate all that goes into your work.

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THE

CLEVELAND ORCHESTRA FRANZ WELSER-MÖST

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

16 17

Tuesday evening, February 14, 2017, at 7:30 p.m.

2 O 1 6 -1 7

A T

T H E

S E A S O N

M O V I E S

directed by Blake Edwards screenplay by George Axelrod based on the novella lla la by Truman Capote produced by Martin Jurow w and Richard Sheph Shepherd cinematography by Franz F. Planer aner and Philip H. Lathrop musical score by Henry nry Mancini Man with the music performed live by THE CLEVELAND ORCHESTRA

and the CLEVELAND ORCHESTRA YOUTH CHORUS conducted by JUSTIN FREER

THE CAST Audrey Hepburn . . . . . Holly Golightly / Lula Mae Barnes George Peppard . . . . . . . . . . . . . . . . . . Paul Varjak (“Fred”) Patricia Neal . . . . . . . . . . . . . Mrs. Emily Eustace Failenson Buddy Ebsen . . . . . . . . . . . . . . . . . . . . . . . . . . . Doc Golightly Martin Balsam . . . . . . . . . . . . . . . . . . . . . . . . . O.J. Berman Mickey Rooney . . . . . . . . . . . . . . . . . . . . . . . . Mr. Yunioshi Alan Reed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sally Tomato José Luis de Vilallonga . . . . . . . . . . . . José da Silva Pereira Stanley Adams . . . . . . . . . . . . Rutherford “Rusty” Trawler The film is presented with one intermission. Original score recreated for concert presentation by

CineConcerts

Breakfast at Tiffany’s was originally released in 1961 by Paramount Pictures. The film, score, and this concert presentation are licensed by Paramount Pictures.

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

Breakfast at Tiffany’s

CREATE YOUR JEWISH LEGACY

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

Movie adapted from the novella “Breakfast at Tiffany’s” by Truman Capote.

MOVI E SYN O P S IS Holly Golightly (Audrey Hepburn) is an aspiring actress and model living in a brownstone on Manhattan’s swank East Side. Totally madcap and daring in spirit, she is also a bundle of nerves and neuroses. She has a partially furnished apartment, owns a cat called Cat, calms her nerves (gets rid of the “mean reds”) by visiting Tiffany’s jewelry store, and is forever misplacing her door key, much to the dismay of her upstairs neighbor Mr. Yunioshi (Mickey Rooney), a Japanese photographer. Holly supports herself via a special job — receiving $100 each week to visit notorious convict Sally Tomato (Alan Reed) in Sing Sing prison; she brings “the weather report” back to Sally’s lawyer as proof of her visits in return for the payment. She also asks for “money for the powder room as well as for cab fare” whenever she goes out on a date. Paul Varjak (George Peppard) is a young writer who has just moved into Holly’s building. He is supported by an older woman nicknamed “2E” (Patricia Neal) in return for his compansionship. In the midst of their varied lives, Holly and Paul find it easy to talk to one another and become friends. After one of Holly’s outlandish cocktail parties, hosted by her Hollywood agent, O.J. Berman (Martin Balsam), Paul unexpectedly meets Doc Golightly (Buddy Ebsen), a gentle Texan whom Holly married when she was only 15 years old. Holly explains to Paul that the marriage was annulled long ago, and he helps her send the heartbroken Doc away. After a day on the town together, Paul realizes that he is in love with Holly and proposes to her; but she is determined to marry José (José Luis de Vilallonga), a South American millionaire. However, when it is publicly revealed that the “weather reports” from Sally Tomato really contained drug-ring information for his New York associates, the stuff y José abandons her. Furious at everything and everyone, Holly kicks Cat out of her taxicab into the rain and decides to leave town for Brazil, but Paul lectures her and then goes out to find Cat. Holly realizes how much she is giving up and races through the wet New York streets to a happy reunion with Paul and Cat. Severance Hall 2016-17

Breakfast at Tiffany’s

CineConcerts

Brady Beaubien

CineConcerts launched in 2013 with its signature concert experience, Gladiator Live, a concert hall screening of the Academy Award-winning film with live orchestra performing the classic Hans Zimmer soundtrack in full, synchronized to picture. CineConcerts has since become one of the world’s leading producers of live music experiences performed with visual media. Founded by composer-conductor Justin Freer and producer-writer Brady Beaubien, CineConcerts has engaged millions of people worldwide in concert presentations. These have ranged from full-length movie screenings with live orchestra to music-interactive sporting event experiences to original 3D-environment holiday programming. Since its debut, CineConcerts has quickly expanded its role as one of the leaders in this genre, with such concertmovie titles as The Godfather, Breakfast at Tiffany’s, It’s a Wonderful Life, and the entire Harry Potter film franchise. The company has also produced and toured several successful franchise celebration concerts, including Star Trek: The Ultimate Voyage, a 50th anniversary concert experience to celebrate 50 years of the Star Trek franchise, and DreamWorks Animation In Concert to celebrate 20-plus years of magical DWA film and music worldwide.

Brady Beaubien is a Stanford graduate and All-American Athlete turned creative impresario. He is the founder of Interlace Media, an enterprising motion graphics company with a specialty of integrating theatrical and television media. The firm is a premier CG animation and advertising agency for feature films, having created global campaigns for over a hundred major Hollywood movies, including Avatar, XMen, Rio, Ice Age, and Die Hard franchises. Mr. Beaubien is also co-founder of CineConcerts, a company dedicated to reinventing the experience of theatrical presentation and orchestral music. In addition, he founded Interlace Design, an international architecture and design firm, currently building a new restaurant in Paris and an exclusive residence in Tokyo. His new headquarters — which he designed and built on Melrose Avenue — represents a commitment to the metropolitan and interconnected providence of Los Angeles. Advanced materials and technology merge with wood, concrete, and glass in an organic and modernist design. Mr. Beaubien has partnered with award winning sushi chef Nobu Matsuhisa to bring his new restaurant concept into the building.

Justin Freer, President/Founder/Producer Brady Beaubien, Co-Founder/Producer Jennifer Wootton, Production Associate David Hoffis, Sound Engineer and Production Supervisor Edward Kalnins, Video Playback and Synthesizer Production Molly Haydon, Marketing Director Andrew P. Alderete, Publicity WME Entertainment, Worldwide Representation

Production Company

The Cleveland Orchestra

Justin Freer American composer-conductor Justin Freer has established himself among the West Coast’s new generation of exciting musicians and has quickly become a sought-after conductor and producer of film-music concerts around the world. A native of California, he began his formal studies on trumpet, playing in wind ensembles, marching bands, and community orchestras. He turned to piano and composition, writing his first work (for wind ensemble) at age eleven. Continuing as a performer while studying composition, Mr. Freer experienced many performances of his music (by wind ensembles, choruses, and big bands) while still a teenager. He made his professional conducting debut at age sixteen. Mr. Freer has written for a variety of different mediums, including music for world-renowned trumpeters Doc Severinsen and Jens Lindemann, as well as appearing as a composer and/or conductor at some of the most well-known concert halls, festivals, music clinics, and conventions in the world. Major League Soccer called upon him to compose and conduct music for the 2011 and 2012 Major League Soccer Championship Cups. He has served as composer for several independent films and has written motion picture advertising music for a number of 20th Century Fox Studios campaigns, for such films as Avatar, The Day the Earth Stood Still, Dragonball Evolution, and Aliens in the Attic. As a conductor, Justin Freer has appeared with some of the most well-known orchestras in the world, including the Chicago Symphony Orchestra, London Philharmonic, New York Philharmonic, Severance Hall 2016-17

Guest Conductor

Philadelphia Orchestra, San Francisco Symphony, and Sydney Symphony Orchestra. He is making his Cleveland Orchestra debut with this evening’s presentation. His music has been the subject of discussion at the Oxford Round Table of Scholars and has been performed around the world — from New York City’s Carnegie Hall to Tokyo Opera City Concert Hall, and at many concert halls, colleges, and universities in between. Freer has been recognized with many grants and awards, from organizations including ASCAP, BMI, the Society of Composers and Lyricists, and the Henry Mancini Estate. He is the Founder and President of CineConcerts, and also spent several years as one of the principal conductors for The Lord of the Rings Trilogy In Concert and conducted the European concert run of Titanic. Justin Freer earned bachelor and master of music degrees in music composition from the University of California Los Angeles, where his principal teachers included Paul Chihara and Ian Krouse. He was also mentored by legendary film composer-conductor Jerry Goldsmith. For more information, visit www.justinfreermusic.com.

Cleveland Orchestra Youth Chorus Lisa Wong, Director

Daniel Singer, Assistant Director Daniel Overly, Accompanist

Founded in 1991, the Cleveland Orchestra Youth Chorus gives vocally talented singers of high-school age the opportunity to experience music-making at a professional artistic level. Comprised of students in grades 9-12, the members of the Youth Chorus represent some 40 different communities across Northeast Ohio. The Youth Chorus performs with the Cleveland Orchestra Youth Orchestra each year, presents its own annual holiday program, and sings in concerts with The Cleveland Orchestra. Membership is by audition. AT THE MOVIES: BREAKFAST AT TIFFANYâ&#x20AC;&#x2122;S Sema Albulet Mayfield High School

Sydney Ball Cleveland Heights High School

Amelia Bayless-Marr Shaker Heights High School

Leah Beardslee Mentor High School

Luke Benko Grace Christian Academy

Samuel Blocker University School

Anna Buescher Chagrin Falls High School

Max Clifford University School

Hannah Cogar Lakewood High School

Katelyne Crouch Pymatuning Valley High School

Maya Cundiff Saint Joseph Academy

Maksim Damljanovic K12 Home School

Sasha Desberg Revere High School

Jade Domos Aurora High School

Taniya Dsouza Gilmour Academy

Niamh Field Newbury Jr./Sr. High School

Spencer Fortney Kirtland Middle School

Joe Foti Saint Ignatius High School

Debolina Ghosh Hathaway Brown

Mariana Gomez Saint Peregrine Academy

Ben Gwinnell Lake Ridge Academy

Alyse Hancock-Phillips Berea-Midpark High School

Adam Holthaus University School

Anthony Iacovone Mentor High School

Fisher Ilijasic Shaker Heights High School

Elizabeth Javorsky Hathaway Brown

Tiger Jin Andrews Osborne Academy

Eleni Karnavas Independence High School

Lydia Kee Home School

Seth Ketchum Fairview Park High School

Aaron Kim Westlake High School

Katie Kleckner Ohio Connections Academy

Rachel Kovatich Strongsville High School

Natalily Kyremes-Parks Shaker Heights High School

Averie Lester Lakewood High School

Rebecca Li Andrews Osborne Academy

Jennifer Lutz North Royalton High School

Narayah B. Lyles Cleveland School of the Arts

Grace Maicki Hawken School

Sarah Malarney

Ellie Martin Laurel School

Madeleine Massey Laurel School

Eddie McLaughlin Benedictine High School

Eunice Min Shaker Heights High School

Grace Mino Highland High School

Cameron Morris Rocky River High School

Kristina Mullen Hathaway Brown

Nathan Niedzwiecki Homestead Lutheran Academy

Charles Nykiel Mentor High School

Isabella Oâ&#x20AC;&#x2122;Brien-Scheffer Berea-Midpark High School

Sara Phillips Amherst Steele High School

Rosalie Phillips Hathaway Brown

Justin Prindle Solon High School

Megan Qiang Hathaway Brown

Victoria Rasnick Strongsville High School

Mimi Ricanati Shaker Heights High School

Emma Violet Rosberil Saint Joseph Academy

Jennifer Rowan

Steven Schein Mentor High School

Maria Schreiner Hawken School

Robert Shaw Bay High School

Eva Shepard Kirtland High School

Emily Shields Mentor High School

Jackson Slater Cuyahoga Valley Christian Academy

Michael Stupecki Highland High School

Meghan Sweeney Mentor High School

Natalie Thomas Laurel School

Joey Thornton University School

Angel Victoria Tyler Andrews Osborne Academy

Casey Walters Jackson Memorial High School

Dana Way Laurel School

Azalea Artemis Webster Shaker Heights High School

Sydney Williams Rocky River High School

Garrett Wineberg West Geauga High School

Alex Wuertz Beaumont School

Mentor High School

Hannah Rutkowski Saint Joseph Academy

Laurel School

Annamarie Martin Gilmour Academy

Julie Weiner, Manager of Youth Choruses

Sarah Grube Shaker Heights High School

Cleveland Orchestra Youth Chorus

The Cleveland Orchestra

Lisa Wong

Assistant Director of Choruses, The Cleveland Orchestra Director, Cleveland Orchestra Youth Chorus

Lisa Wong became assistant director of choruses for The Cleveland Orchestra with the 2010-11 season, helping to prepare the Cleveland Orchestra Chorus and Blossom Festival Chorus for performances each year. With the 2012-13 season, she took on the added position of director of the Cleveland Orchestra Youth Chorus. In addition to her duties at Severance Hall, Ms. Wong is an associate professor of music at the College of Wooster, where she conducts the Wooster Chorus and the Wooster Singers and teaches courses in conducting, choral literature, and music education. She previously taught in public and private schools in New York, Pennsylvania, and Indiana. Active as a clinician, guest conductor, and adjudicator, she serves as a music panelist for the National Endowment for the Arts. Recent accolades have included work at Kenyatta University in Nairobi, Kenya, as a part of Tunaweza Kimuziki, and as a conductor for “Conducting 21C: Musical Leadership for a New Century” in Stockholm, Sweden. Ms. Wong holds a bachelor’s degree in music education from West Chester University and master’s and doctoral degrees in choral conducting from Indiana University.

OPERA THEATER

MARCH 1-4, 2016 | 7:30PM | KULAS HALL RESERVE YOUR TICKETS TO SEE CIM’S EXCEPTIONAL VOICE STUDENTS PERFORM IN A FULLY STAGED PRODUCTION OF ONE OF MOZART’S MOST POPULAR OPERAS. $20 adults | $10 students | $15 each seniors and groups of 10+ | 216.795.3211 or cim.edu

Severance Hall 2016-17

Cleveland Orchestra Youth Chorus

orchestra news Women’s Committee welcomes men and women as members for its work supporting the Orchestra As it approaches its own centennial in 2021, the Women’s Committee of The Cleveland Orchestra is preparing for the Orchestra’s exciting 100th Season in 2017-18. Membership in the volunteer group is open to both men and women, who work each year on a series of initiatives to help support the Orchestra’s community service activities and music education programs, and to promote and recognize the ensemble’s traditions of musical excellence. The group was created in 1921 by Adella Prentiss Hughes — the trailblazing woman who founded The Cleveland Orchestra and acted as the Orchestra’s first executive director. While preparing for this spring’s events, the volunteers are looking at new ways to extend the group’s success and support as the Orchestra enters its Second Century. The Committee’s initiatives include: Meet the Artist Series — an annual series of luncheons featuring short performances by and conversations with Cleveland Orchestra members and guest artists. Musician Recognition — hosting an annual recognition reception for Cleveland Orchestra musicians who reach a 25-year milestone as members, co-sponsored with the board of Trustees. Friday Matinee Buses — support for bus transportation options to the Orchestra’s Friday Morning Concert series, to help make attending these daytime performances accessible for residents from Akron, Beachwood, Brecksville, and Westlake. Alice B. Weeks Scholarship Program — given since 1967 in honor of an avid music-lover and supporter whose husband founded the firm that designed Severance Hall, this scholarship is today awarded annually to a Cleveland Orchestra Youth Orchestra member pursuing a career in music. For more information about joining the Women’s Committee, please contact Barbara Wolfort by email at barbwolfort@gmail.com.

THE CLEVELAND ORCHESTRA

A . R . O . U . N . D T. O .W. N Recitals and presentations featuring Orchestra musicians Upcoming local performances by members of The Cleveland Orchestra include: Continuing its 11th season, Close Encounters Chamber Music features performances by members of The Cleveland Orchestra and faculty musicians from the Cleveland Institute of Music, up close and in uniquely intimate settings. The program on Sunday afternoon, Febru-ary 26, features Dvořák’s String Quintet et alongside works by Bohuslav Martinů ů and Jörg Widmann — performed by Jinjoo Cho, Peter Otto, and Isabel Trautwein (violins), Yu Jin and Kirsten Docter (violas), and Tanya Ell (cello). The venue is the historic Dunham Tavern Museum Barn. An elegant dessert reception is included. Tickets are $45 for HeightsArts members, $55 for the general public. Discounted subscriptions and $15 student tickets are also available. Due to limited space, early reservations are recommended. For information, call 216-371-3457, or visit www.heightsarts.org. The Women’s Committee presents its next Meet the Artist luncheon on Friday, March 3. The event features Cleveland Orchestra cellist Dane Johansen, who will talk about his work as an orchestral musician and as soloist and chamber player. Johansen was a member of the Escher String Quartet for five years before joining The Cleveland Orchestra in March 2016. The luncheon will be held at the Cleveland Skating Club in Shaker Heights. The event includes a short performance by Johansen, who will then discuss his life as a musician with the Orchestra’s artistic administrator, Ilya Gidalevich. Reservations are required by February 27 and cost $40 for Women’s Committee members, $50 for nonmembers, or $100 for priority seating and a preluncheon reception. Call 440-338-3369 or email pk4sommer@roadrunner.com.

Cleveland Orchestra News

The Cleveland Orchestra

orchestra news .W.E.L.C.O.M.E. New bass clarinet joins Cleveland Orchestra In January, The Cleveland Orchestra welcomed

Yann Ghiro to the clarinet section as bass clarinet. Since 1998, he has served as principal clarinet of the BBC Scottish Symphony Orchestra, performing and recording regularly as soloist with that ensemble. He has also appeared as a guest with the Scottish Chamber Orchestra, City of Birmingham Symphony Orchestra, BBC Philharmonic, Northern Sinfonia, BBC National Orchestra of Wales, London’s Philharmonia Orchestra, and Korea’s KBS Symphony. He is a lecturer at the Royal Conservatory of Scotland. Yann Ghiro was born in 1971 in Nice, France, and began clarinet lessons at the age of eleven. After studying for six years at the Paris

THE CLEVELAND ORCHESTRA

Conservatoire — where he gained ﬁrst prize in clarinet, bass clarinet, and chamber music — Mr. Ghiro continued his studies at the Prague Mozart Academy, working with artists including Sándor Végh, Gábor Takács-Nagy, Philippe Hirschhorn, and Steven Isserlis. A Fulbright Scholarship then allowed him to study at the Juilliard School of Music in New York, graduating in 1996. On his return to France, he became principal bass clarinet in the Pasdeloup Orchestra in Paris. He also played regularly with Paris Opera, Orchestre de Paris, Ensemble Intercontemporain, Strasbourg Philharmonic Orchestra, Orchestre Philharmonique de Radio France, and the Monte Carlo Philharmonic Orchestra.

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

ADVANCE SUPPORT

for older adults and caregivers

Providing services in the home to help older adults remain independent in the community. HOME CARE z MENTAL HEALTH SERVICES z SOCIAL WORK ADULT DAY PROGRAM z SENIOR COMPANIONS 216.791.8000 l www.benrose.org/services

Severance Hall 2016-17

Cleveland Orchestra News

orchestra news Franz Welser-Möst leads discussion about Bach’s Saint John Passion at Temple–Tifereth Israel on Sunday afternoon, March 5 The weekend prior to The Cleveland Orchestra’s performances of Bach’s Saint John Passion on March 9-12, Franz Welser-Möst will discuss the work with a panel of guest speakers on Sunday afternoon, March 5, beginning at 3 p.m. The event at The Temple–Tifereth Israel in Beachwood is free and open to the public, but registration is required by visiting www.maltzmuseum.com. One focus of the afternoon’s discussion will be to address a question that has dogged the Passion almost since its premiere in 1724, whether the work was intended to be anti-Semitic — and how any lingering aspects of that legacy should be approached in modern performances. The Saint John Passion is an extraordinarily beautiful, poetic, and forceful telling of the Crucifixion of Jesus Christ. The panel will explore the context of European history, music, and religion that influenced the creation of Bach’s masterpiece and the intersections of meaning, message, and intent. The afternoon’s panelists include: Michael Marissen of Swarthmore College (author of the newlyreleased book Bach and God) and Rabbi Roger C. Klein (The Temple–Tifereth Israel), along with moderator David J. Rothenberg (Case Western Reserve University). The event is part of an ongoing partnership between The Cleveland Orchestra with the Maltz Museum of Jewish Heritage and Case Western Reserve University.

THE CLEVELAND ORCHESTRA

New monthly Members Club ticketing program launched with the 2016-17 season 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. For more details and information, visit www.clevelandorchestra.com/membersclub.

Blossom Festival announced Dates and programming for the 2017 Blossom Music Festival were announced on February 5. Full details, as well as series subscriptions and Lawn Ticket Books are now available through the Severance Hall Ticket Office or online by visiting clevelandorchestra.com.

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Newest Cleveland Orchestra release features Brahms’s “German Requiem” on DVD

Cleveland Orchestra gift ideas continue into the new year . . .

The Cleveland Orchestra’s newest DVD recording is due out this month. Featuring Brahms’s A German Requiem in a live performance, it complements the release last year of all the Brahms symphonies and concertos. The recording was made this past autumn at Austria’s Abbey of St. Florian, and features the Vienna Singverein chorus along with soprano Hanna-Elisabeth Müller and baritone Simon Keenlyside, conducted by Franz FRANZ WELSER-M Welser-Möst. The recording ÖST became available in December in Europe and is being released in the United States in February. Pre-orders are being accepted at amazon. com, and by special arrangeJOHANNES BRA HMS EI DEUTSCHEN ment the DVD will be availS RE QU IEM able through the Cleveland Orchestra Store prior to the official release date.

The Cleveland Orchestra Store offers a host of gift ideas all year ’round — including the newest recordings (and celebrated classics) and Cleveland Orchestra logo apparel. Visit the Store on the ground floor of Severance Hall at intermission or following wing today’s concert. In addition, Cleveland Orchestra Gift Certificates and Blossom Lawn Ticket Books for the Orchestra’s 2017 Blossom Music Festival are available through the Severance Hall Ticket Offi ce ffice by calling 216-231-1111 or 800-686-1141, or online at clevelandorchestra.com.

THE CLEV ELAN

D ORC HESTRA

HANNA-ELISABETH

MÜLLER | SIMO

N KEENLYSIDE WIENER SINGV EREIN

Recorded live at the Stiftsbasi lika

St. Florian

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Cleveland Orchestra News

Musicians Emeritus of

T H E

C L E V E L A N D

O R C H E S T R A

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

Appreciation

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THE CLEVELAND ORCHESTRA

M.U.S.I.C.I.A.N S.A.L.U.T.E The Musical Arts Association gratefully acknowledges the artistry and dedication of all the musicians of The Cleveland Orchestra. In addition to rehearsals and concerts throughout the year, many musicians donate performance time in support of community engagement, fundraising, education, and audience development activities. We are pleased to recognize these musicians, listed below, who 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

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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.”

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

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BakerHostetler is pleased to present Katia LabĂ¨que and Marielle LabĂ¨que, piano.

THE

CLEVELAND ORCHESTRA FRANZ WELSER-MÖST

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

Severance Hall

Thursday evening, February 16, 2017, at 7:30 p.m. Friday evening, February 17, 2017, at 8:00 p.m. Saturday evening, February 18, 2017, at 8:00 p.m.

Semyon Bychkov, conductor WOLFGANG AMADÈ MOZART (1756-1791)

16 17 2 O 1 6 -1 7

S E A S O N

Piano Concerto No. 10

(for two pianos and orchestra) in E-flat major, K.365 1. Allegro 2. Andante 3. Rondo: Allegro KATIA LABÈQUE, piano MARIELLE LABÈQUE, piano

INTER MISSION PYOTR ILYICH TCHAIKOVSKY (1840-1893)

Manfred Symphony, Opus 58 1. Lento lugubre: Manfred wanders the Alps, his life ruined . . . 2. Vivace con spirito: The spirit of the Alps appears . . . 3. Pastorale: Andante con moto: A portrait of the simple, free life of the country folk . . . 4. Allegro con fuoco: A bacchanalian orgy in the cavern of Arimanes; Astarte appears, and Manfred is pardoned . . .

This weekend’s concerts are supported through the generosity of the BakerHostetler Guest Artist Series sponsorship. The concert will end at about 9:20 p.m. on Thursday and at approximately 9:50 p.m. on Friday and Saturday.

Severance Hall 2016-17

Concert Program — Week 11

February 16, 17, 18

16 17

THIS WEEKEND'S CONCERT Restaurant opens: THUR 4:30 FRI 5:00 SAT 5:00

2016-17

Severance Restaurant Reservations for pre-concert dining suggested:

216-231-7373 or via www.UseRESO.com

Concert Preview

PREVIEW

in Reinberger Chamber Hall

“Doubled Delight, Romantic Symphony” with Donna Lee, professor of music, Kent State University

BEGINS ONE HOUR BEFORE CONCERT

Concert begins: THUR 7:30 FRI 8:00 SAT 8:00

S E A S O N

MOZART Concerto for Two Pianos . . . . . . . . . . . . . . . . . . . Page 75 (25 minutes)

INTERMISSION (20 minutes)

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

TCHAIKOVSKY Manfred Symphony . . . . . . . . . . . . . . . . . . . . . . . . Page 79 (60 minutes)

Share your memories of the performance and join the conversation online . . .

Concert ends: (approx.)

THUR 9:20 FRI 9:50 SAT 9:50

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This Week’s Concerts

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INTRODUCING THE CONCERT

Duos& Romantic Legend T H I S W E E K E N D ' S C O N C E R T S feature two works written a century

apart — in time, style, and temperament. A passionate symphony and an elegant double concerto. Both convey emotional depths, but in very different ways. The evening begins with Mozart’s lovely Concerto for Two Pianos, written in 1780. Mozart created this while still in Salzburg, before throwing himself into the big-city life of Vienna and embarking on his masterful series of solo piano concertos there. This Double has strength, however, and heft, as well as grace and a joyous elegance. The parts for the two pianists — filled here by Katia and Marielle Labèque — offer a well-balanced back-and-forth, augmented also by the orchestra’s role, and providing a thoroughly delightful half hour of musical thought, entertainment, and commentary. After intermission, guest conductor Semyon Bychkov leads The Cleveland Orchestra through one of Tchaikovsky’s less-often-played named symphonies. Manfred, composed in 1885, tells in music the larger-than-life tale of Lord Byron’s narrative poem by the same Manfred is saved name. This zest-fi lled, dramatic work is musical Romanticism at from a fatal fall in its height, played full throttle with the largest orchestra Tchai“Manfred on the Jungfrau,” a paintkovsky ever deployed for a symphony. The story is fantastical, ing, 1842, by Ford telling about the nobleman Manfred, who wanders the Alps, Maddox Brown. wracked with guilt over his lost love, Astarte. He summons spirits and apparitions to help forgive his sins, but gains only indecision and uncertainty. Ultimately, as so many Romantics had dreamed, he finds salvation in the act of dying — his life spent, his emotions played out. —Eric Sellen

Severance Hall 2016-17

Introducing the Concerts

Sacred BACH A SPIRITUAL JOURNEY

J.S. Bach was famous for saying that the purpose of all music is “the glory of God and the refreshment of the spirit.” Guest conductor Joseph Gascho, a prize-winning harpsichordist and rising star of the American baroque scene, leads Apollo’s Fire and Apollo’s Singers in this spiritual journey.

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Concerto for Two Pianos in E-flat major, K.365 composed circa 1779-80

At a Glance

Wolfgang Amadè

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

Severance Hall 2016-17

Mozart composed his Concerto for Two Pianos in 1779 or 1780. The occasion for which the work was written is uncertain, though Mozart and his sister Nannerl may have played it together at an archiepiscopal concert in Salzburg on September 3, 1780. Mozart did play it in Vienna in November 1781. This concerto runs about 25 minutes in performance. Mozart scored it for 2 oboes, 2 bassoons, 2 horns, and strings, plus the two solo pianos.

Mozart added clarinets, trumpets, and drums to the scoring for the performance in Vienna in 1781, but those additions are usually not included in modern presentations. The Cleveland Orchestra first played this concerto in March 1922, and has presented it a number of times since then, most recently at Blossom in August 2005, when Jahja Ling conducted and played the piano along with his wife, Jessie Chang.

About the Music I N S E P T E M B E R 17 7 7 , Mozart set out on what proved to be a

17-month tour to Munich, Mannheim, and Paris. He hoped the trip would secure him a position in one of those great capitals of music, but despite numerous commissions, the composition of several fine works, and the forging of many new associations, the journey proved to be both a disappointment and a sorrow. He not only failed to land a suitable job, but his mother, his chaperon on the journey, died in Paris on July 3, 1778. It is with understandable relief that Mozart returned to his family in Salzburg in January 1779. It was probably his sister, Maria Anna (called “Nannerl” by the family), he was most glad to see on his homecoming. His relationship with her was one of love, playfulness, candor, and genuine respect for her musical abilities. We are not certain, but Mozart likely composed his Concerto for Two Pianos (later cataloged as K .365) to perform with his sister, a sort of musical celebration of the resumption of his family ties after a difficult trip abroad — and they may have played it together at a concert on September 3, 1780 (the available evidence is inconclusive). Mozart took the piece with him when he moved to Vienna the following March. He scheduled it for a private concert on November 23, 1781, and enlisted as his partner Josephine Auernhammer, the only daughter of the socially prominent Economic Councilor Johann Michael Auernhammer. Josephine was also About the Music

one of the piano students Mozart had taken on after settling in Vienna “to make ends meet,” as he reported to his father in Salzburg. The rest of his letter home painted a most unflattering picture of Fräulein Auernhammer. He labeled her ein Scheusel — “a horror” — and continued, “If an artist wished to paint the Devil in a lifelike way, he would be obliged to resort to her face as a model. She is as fat as a peasant girl. . . . To see her is enough to make one blind; a single look is a whole day’s punishment. . . . She is the biggest bore I know.” The lady herself harbored no false vanity about her looks, though she was proud of her keyboard skills. “I am not pretty; on the contrary, I am plain,” she reportedly told Mozart. “I don’t want to marry some clerk with three or four hundred florins, and I have no choice of anyone better. So I prefer to remain as I am and make a livelihood by my talents.” She underThe rondo-finale is estimated herself. In 1796, she wedded a prosperous one of Mozart’s most merchant named Boesenkoenig and was reportedly elaborate essays in still giving annual recitals in Vienna as late as 1813. Perhaps Mozart’s protests to his puritanical fathe form. This is ther about Josephine were more subterfuge than music overflowing substance. It seems that he was visiting the young with characteristic lady’s apartment three or four times a week in 1781, Mozartian touches which, to his father’s prudish eye, might appear to have been a more rigorous schedule of attention than — charm, taste, wit, strictly tutorial duties would demand. beauty, and the sense

that it is, somehow, exactly right.

THE MUSIC

“This Concerto is a work of happiness, gaiety, overflowing richness of invention, and joy in itself,” Alfred Einstein wrote in his classic study of the composer. The fullness of sonority created by its tandem soloists, enhanced by the dark patina of orchestral oboes, bassoons, and horns (Mozart added clarinets, trumpets, and drums for the Viennese performance, though the work is usually heard in its original instrumentation), has much to do with the ebullient emotional mood of the piece. The piece itself was probably influenced by Mozart’s 1779 visit to Paris, where there was a vogue for the “sinfonia concertante,” a concerto for more than one soloist. In this regard, it is not coincidental that the great Sinfonia Concertante for violin and viola (K .364) is exactly contemporary with the Two Piano Concerto (K .365). The piano soloists are treated here as equal partners, ex-

About the Music

The Cleveland Orchestra

changing and echoing phrases to create a carefully calculated musical balance. The orchestra, except for its occasional interludes, is accompanimental, taking little part in the musical development and lacking the full integration with the soloists that came to mark Mozart’s later masterpieces in the genre. The first movement begins with a bold, unison octave and a tiny mock fanfare for the orchestra to establish a martial mood for the Concerto’s opening measures. This, in the best Classical practice, is immediately balanced by a contrasting, tender strain for the strings. The orchestral introduction continues, presenting small thematic gems mined from Mozart’s inexhaustible supply of melodies. The soloists enter and weave their delicious embroideries around the themes repeated from the introduction. The movement’s development section, dominated by the pianists, achieves a pleasing blend of free figuration and true thematic development. In the recapitulation, the main theme, which was so sunny and optimistic in the opening exposition, takes on a more somber cast through determined allusions to the minor mode, shedding a new emotional light on the movement. (Mozart, or the showman in him, had an aversion to doing anything exactly the same way twice.) The expected, bright Eflat major tonality is achieved with the second theme and carried through the cadenza to the movement’s end. The graceful second movement is a simple song decorated with elaborate rococo ornamentation. The bewigged world of fashionable French and British society hovers above this music, filled with tantalizing melodic arabesques and orchestral felicities that do not ruffle the emotions too strongly. The rondo-finale third movement is one of Mozart’s most elaborate essays in the form — the opening theme pops up more than a dozen times as the movement struts along its course. This is music overflowing with characteristic Mozartian touches — charm, taste, wit, beauty, and the sense that it is, somehow, exactly right. —Richard E. Rodda © 2017 Richard Rodda writes program notes for orchestras and festivals across the United States.

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About the Music

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Manfred Symphony, Opus 58 composed 1885

At a Glance

Pyotr Ilyich

TCHAIKOVSKY born May 7, 1840 near Votkinsk, Russia died November 6, 1893 St. Petersburg

Severance Hall 2016-17

Tchaikovsky wrote his Manfred Symphony in 1885, basing its four movements on a programmatic scenario given to him by his colleague composer Mili Balakirev (who had received an earlier version of the idea from the journalist Vladimir Stassov). It was first performed on March 23, 1886, conducted by Max von Erdmannsdörfer in Moscow. Tchaikovsky dedicated the score to his recently deceased mentor Nikolai Rubinstein. This symphony runs nearly 60 minutes in performance. Tchaikovsky scored it for an orchestra of 3 flutes

(third doubling piccolo), 3 oboes (third doubling english horn, 3 clarinets (third doubling bass clarinet), 3 bassoons, 4 horns, 2 trumpets, 2 cornets, 3 trombones, tuba, timpani, percussion (triangle, tambourine, cymbals, bass drum, tam-tam, chime), harp harmonium, and strings. The Cleveland Orchestra first performed Tchaikovsky’s Manfred in November 1948 under the direction of Rudolph Ringwall. It has been heard on a few occasions since that time, most recently in January 1990 led by Vladimir Ashkenazy.

About the Music O N E O F T H E H I G H L I G H T S of Hector Berlioz’s second visit

to Russia, in 1867-1868, was the performance of his symphony Harold in Italy, a work inspired by Byron’s narrative poem Childe Harold’s Pilgrimage. The Russian passion for Byron was still strong, even as such intense interest had largely run its course across the rest of Europe — and Berlioz’s colorful, programmatic work created a considerable stir among both the Russian public and the country’s musicians. Harold in Italy was, in fact, the direct inspiration for RimskyKorsakov’s Antar Symphony of 1868 and also caused Vladimir Stassov (an influential journalist and the philosophical shepherd of a group of nationalistic composers known as “The Five”) to concoct a literary program for a four-movement symphony based on another of Byron’s writings, Manfred. Stassov sent his outline to Mili Balakirev, one of “The Five,” who, finding the sketch “not in harmony with my intimate moods,” chose not to set it to music. Balakirev elaborated Stassov’s outline further, however, and sent it to Berlioz with the hope of inspiring a sequel to Harold in Italy. He even suggested the use in the proposed work of an idée fixe — a sort of “theme melody” that would be heard in every movement — a technique that had proven successful in Berlioz’s own Symphonie fantastique. Berlioz, tired, ill and nearing the end of his life, declined. Balakirev’s scenario lay fallow About the Music

for more than a dozen years. In 1882, Balakirev wrote Tchaikovsky a letter full of praise for the tone poems The Tempest and Francesca da Rimini, and thanking Tchaikovsky for the recent dedication of the revised version of Romeo and Juliet, whose form and subject he (Balakirev) had originally suggested. He also took the occasion to offer Tchaikovsky the longdormant Manfred program. Tchaikovsky replied that the plan seemed too close to the Berlioz model to allow for much originality, and told Balakirev that he was not interested. Two years later, Balakirev met Tchaikovsky at the first performance of Eugene Onégin at St. Petersburg’s Imperial Theater, and again urged him to consider Manfred. Tchaikovsky, having become more familiar with the poet’s works since Balakirev first suggested the topic, arrived at the realization that this might indeed be a subject for him. Though it has not won Balakirev sent Tchaikovsky a revised verthe acclaim of his last sion of the scenario, even suggesting keys, three numbered symphomoods and forms, and Tchaikovsky took it and nies, Manfred is neverthea newly purchased copy of the original poem along with him on a visit to Switzerland. less one of Tchaikovsky’s Soon, Tchaikovsky decided to go ahead most gripping orchestral with the project, despite reservations about essays. It is an emotioncomposing to a literary plan — “It is a thoufilled score, exhibiting sand times pleasanter to compose without a program,” he confided to a friend. a richness and variety of Tchaikovsky made sketches for Manfred instrumental sonorities during his spring 1885 travels, and settled down unsurpassed by most of to serious work on the score when he returned his other compositions. home to Russia in the summer. A D I F F I C U LT M U S I C A L B I R T H

The new piece did not come easily. “Nothing has ever been so difficult for me or cost me so much effort as the symphony I am now composing,” Tchaikovsky wrote in a letter. Work on Manfred was also complicated by the composer’s busy schedule. He was beginning production plans for the just-completed comic opera Cherevitzki [“The Tsarina’s Slippers”] and he had a waiting commission for another opera — what would be called The Enchantress — that he had to begin before Manfred could be finished. When Manfred was finally completed in December, the composer was curiously ambivalent about it. He called it “my finest symphonic composition” yet refused to accept any payment from his

About the Music

The Cleveland Orchestra

LEFT

“Manfred and the Alpine Witch,” watercolor painting 1837, by John Martin, based on Byron’s narrative poem.

publisher, Jurgenson, because he thought it would never be popular enough with audiences to repay the investment. Though the work has not won the acclaim of his last three numbered symphonies, it is nevertheless one of Tchaikovsky’s most gripping orchestral essays. BYRON’S ORIGINAL DRAMA

Byron called Manfred a drama, but never intended that it be staged. Rather, it was intended to be read aloud as a poetic recitation. He had even written to his publisher that it was “quite impossible to stage,” and that negotiations with the Drury Lane Theatre to mount a production “have given me the greatest contempt.” In 1817, Byron described the haunted, illusionary world of Manfred: “It is in three acts, of a very wild, metaphysical and inexplicable kind. Almost all of the persons — but two or three — are spirits of the earth and air, or the waters; the scene is in the Alps; the hero is a kind of magician, who is tormented by a species of remorse, the cause of which is left half unexplained. He wanders about invoking these spirits, which appear to him, and are of no use; he at last goes to the very abode of the Evil Principle, in propria persona, to evocate a ghost, which appears and gives him an ambiguous and disagreeable answer; and in the third act he is found by an attendant dying in the tower, where he had studied his art.” A MUSICAL STORY

The symphonic plan that Stassov and Balakirev wove around Byron’s play contains four scenes, which are faithfully mirrored by Tchaikovsky’s music. The outline states: 1. Manfred wanders over the Alps. His life is ruined; many burning quesSeverance Hall 2016-17

About the Music

tions remain unanswered; nothing remains to him but memory. The form of the ideal Astarte floats before his fancy; in vain he calls to her; only the echoes of the rocks give back her name. His thoughts and memories burn his brain and eat out his heart; he seeks and pleads for oblivion which none can give him. 2. Scherzo fantastique. The spirit of the Alps appears to Manfred in the rainbow of the waterfall. 3. A mood entirely different from the earlier movements. Program: the customs of the Alpine huntsmen, patriarchal, simple and kindly. With these customs Manfred comes into contact, and is in sharp contrast. Naturally, you must first of all have a little hunting motif, only here the greatest caution is necessary so as not to fall into triviality. Heaven preserve you from the commonplaces in the manner of German fanfares and hunting music! 4. Finale. A wild Allegro that depicts the caves of Arimanes, to which Manfred has gone to seek a meeting with Astarte. The contrast to this infernal orgy will be given by the appearance of Astarte’s shade. The music must be light, clear and maidenly. Then a repetition of the pandemonium; then sunset and the death of Manfred. In composing Manfred, Tchaikovsky not only followed Balakirev’s program but also adopted the technique of using an idée fixe that he had suggested. The idée fixe melody, symbolizing Byron’s romantic protagonist, is presented at the symphony’s outset and occurs in every movement. The work, especially in its opening movement, does not follow traditional symphonic forms — and it is perhaps for that reason that Tchaikovsky did not include it among his numbered symphonies, considering it rather a multi-movement symphonic poem. So truly do the individual movements reflect the emotional travails inherent in the literary scheme given above that little further comment is required. Manfred is one of Tchaikovsky’s most colorful orchestral pictures, exhibiting a richness and variety of instrumental sonorities unsurpassed by most of his other compositions. “Of all Tchaikovsky’s works, it is Manfred which has least deserved its fate,” wrote John Warrack in his biography of the composer. “He constructs a form of his own that is remarkably successful as an expression of his program. . . . It is a musical portrait, as strongly drawn as Berlioz’s Harold, of the guilty, doomed sensibility that was perhaps the aspect of Byron which most vividly appealed to the Russians.” —Richard E. Rodda © 2017

About the Music

The Cleveland Orchestra

OBERLIN COLLEGE & CONSERVATORY

ARTIST RECITAL SERIES 2016-17

A CELEBRATION OF THE ARTS AT OBERLIN SINCE 1878.

ST. LAWRENCE STRING QUARTET Performing Haydn, Beethoven, and John Adams

8 PM FRIDAY, NOVEMBER 11, 2016

MASTER CLASSES WITH MARILYN HORNE The legendary singer’s annual visit to work with conservatory students

8 PM FRIDAY, FEBRUARY 17, 2017 2 PM SUNDAY, FEBRUARY 19, 2017

TAFELMUSIK Performing Bach’s The Circle of Creation

8 PM TUESDAY, FEBRUARY 28, 2017

RICHARD GOODE, PIANO Performing Beethoven sonatas spanning the composer’s three style periods

4 PM SUNDAY, APRIL 9, 2017

THE CLEVELAND ORCHESTRA Featuring principal cellist Mark Kosower and principal oboist Frank Rosenwein as soloists, with music by Delius, Vaughan Williams, and Strauss

8 PM FRIDAY, APRIL 21, 2017

Artists and dates are subject to change. Subscriptions and partial-season packages are available. For ticket information, call 800-371-0178 or visit oberlin.edu/artsguide.

Semyon Bychkov Russian-born conductor Semyon Bychkov enjoys a globe-spanning career, leading orchestras and operas in Europe, Asia, Russia, and the United States. He made his Cleveland Orchestra debut in April 2010, returning again in October of that same year. Semyon Bychkov began piano lessons at age five, and later attended the Glinka Choir School. A pupil of Ilya Musin at the Leningrad Conservatory, he won the Rachmaninoff Conducting Competition in 1974, and immigrated to the United States the next year. He subsequently enrolled at the Mannes School of Music and, from 1980 to 1989, gained his first orchestral post with the Buffalo Philharmonic, as principal guest conductor and then as music director. Mr. Bychkov’s conducting roles have also included leadership positions with the Orchestre de Paris (1989-98), St. Petersburg Philharmonic (1990-94), Maggio Musicale in Florence (1992-98), Dresden Semperoper (1998-2003), and the West German Radio Symphony Orchestra (19972010). Semyon Bychkov’s work encompasses orchestral and operatic repertoire spanning four centuries. This season’s engagements include Mozart’s Cosi fan tutte at London’s Royal Opera, Wagner’s Parsifal at the Vienna State Opera, and multi-week festivals of Tchaikovsky’s music with both the New York Philharmonic and the BBC Symphony Orchestra. He is a frequent guest of the world’s best orchestras, including those of Amsterdam, Berlin, Chicago, Dresden, London, Los Angeles,

Munich, New York, San Francisco, and Vienna. As an opera conductor, he appears in London, Madrid, Milan, New York, Paris, Salzburg, and Vienna, and is recognized for his interpretations of works by Strauss, Verdi, and Wagner. With a recording career that began in 1986 when he signed with Philips, Mr. Bychkov has an extensive discography with the Berlin Philharmonic, Bavarian Radio Orchestra, Amsterdam’s Royal Concertgebouw Orchstra, and the West German Radio Symphony Orchestra, among others. His album of Wagner’s Lohengrin was named BBC Music Magazine’s Record of the Year in 2010. This past autumn, Decca released the first installment of Mr. Bychkov’s Tchaikovsky Project, a long-term collaboration with the Czech Philharmonic. Semyon Bychkov holds the Klemperer Chair of Conducting at the Royal Academy of Music, and the Gunther Wand Chair with the BBC Symphony Orchestra. The International Opera Awards named him Conductor of the Year in 2015.

Guest Conductor

The Cleveland Orchestra

Katia Labèque and Marielle Labèque French piano duo Katia and Marielle Labèque have been performing together for more than thirty-five years and are renowned for their synchronicity and energy. They made their Cleveland Orchestra debut in November 1985, returning regularly for the next decade. Their most recent performance with the Orchestra was in July 1997. The Labèque sisters have been regular guests of the major orchestras of Amsterdam, Berlin, Boston, Chicago, Dresden, Leipzig, London, Los Angeles, Philadelphia, and Vienna. They have also appeared with the English Baroque Soloists, Il Giardino Armonico, Musica Antiqua, Orchestra of the Age of Enlightenment, and Venice Baroque. In addition, they perform regularly at renowned music festivals and in recital throughout the world. Dedicated to repertoire both historical and modern, Katia and Marielle Labèque have worked with composers including Thomas Adès, Louis Andriessen, Luciano Berio, Pierre Boulez, David Chalmin, Philip Glass, Osvaldo Golijov, György Ligeti, and Olivier Messiaen. In 2005, the Labèques launched the KML Foundation to research, develop awareness for, and create new duo piano repertoire. In May 2015 they premiered a concerto written for them by Glass; another concerto commissioned from Bryce Dessner will be completed in 2018. The Labèques’ discography features works on Decca, EMI, Erato, Philips, Sony, and their own label, KML. Releases from KML include Sisters and Minimalist Dream House, which covers fifty years of minimalist music. This past summer, KML announced a new partnership with Severance Hall 2016-17

Guest Soloists

Deutsche Grammophon, which recently released their album of Stravinsky’s The Rite of Spring and Debussy’s Epigraphes Antiques. The Labèques can also be seen on several DVDs produced by EuroArts, including The Labèque Way: A Letter to Katia and Marielle by Alessandro Baricco produced by El Deseo (Pedro and Agustín Almodóvar) and filmed by Félix Cábez. Among highlights of the Labèques’ recent performances is the Vienna Summer Night Concert 2016, which attracted an audience of more than 100,000; Semyon Bychkov conducted this concert with the Vienna Philharmonic, now available on CD and DVD from Sony. More than 1.5 million viewers worldwide followed the event on television. The sisters graduated from the Paris Conservatory. Their biography, Une vie à quatre mains by Renaud Machart, was recently published by Buchet/Chastel. For more information, please visit www.labeque.com.

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 January 2017.

gifts during the past year, as of January 15, 2017

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

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:

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

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

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

Musicians of The Cleveland Orchestra (in-kind support for community programs and opportunities to secure new funding) Irma and Norman Braman (Miami) 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-Möst

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 Mr. and Mrs. Donald M. Jack, Jr. 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 Mrs. Jean H. Taber Barbara and David Wolfort (Cleveland, Miami) Women’s Committee of The Cleveland Orchestra

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

George Szell Society 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) Mary Alice Cannon 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

Severance Hall 2016-17

Individual Annual Support

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 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 Rick, Margarita, and Steven Tonkinson (Miami) Anonymous (3)

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 Irad and Rebecca Carmi 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 Tom and Shirley Waltermire Anonymous INDIVIDUAL GIFTS OF $15,000 TO $19,999

William Appert and Christopher Wallace (Miami) Dr. Christopher P. Brandt and Dr. Beth Sersig Dr. Ben H. and Julia Brouhard Mr. and Mrs. William E. Conway Mrs. Barbara Cook

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. and Mrs. Robert Ehrlich (Europe) Mr. Allen H. Ford Ms. Dawn M. Full Mr. and Mrs. Robert W. Gillespie 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 Dr. Anne and Mr. Peter Neff 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

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

Individual Annual Support

The Cleveland Orchestra

Because

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St. Petersburg Philharmonic with pianist Nikolai Lugansky

Concert: January 5, 6, 7 RHAPSODY IN BLUE — pages 28-29

Concert: January 12, 14 BRUCKNER’S SEVENTH SYMPHONY — page 59

PERSPECTIVES from the Executive Director — page 7

MESSAGE from the President — page 8

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Severance Hall 2016-17

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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 Mr. and Mrs. Robert P. Duvin Dr. and Mrs. Lloyd H. Ellis Jr. Mr. Brian L. Ewart and Mr. William McHenry Isaac K. Fisher (Miami) Kira and Neil Flanzraich (Miami) Bob and Linnet Fritz Albert I. and Norma C. Geller Dr. Edward S. Godleski 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 Mrs. Milly Nyman (Miami) Mr.* and Mrs. William M. Osborne, Jr. Mr. J. William and Dr. Suzanne Palmer AndrĂŠs 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 David M. and Betty Schneider Carol* and Albert Schupp 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 Pysht Fund Robert C. Weppler Sandy Wile and Susan Namen Anonymous (4)

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

Robert and Alyssa Lenhoff-Briggs Ellen E. and Victor J. Cohn Supporting Foundation Marjorie Dickard Comella Mrs. Lois Joan Davis Mr. and Mrs. Thomas S. Davis 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 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 Mr. John Mueller 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. Elizabeth Swenson 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 Mary and Oliver* Emerson Carl Falb Dr. D. Roy and Diane A. Ferguson William R. and Karen W. Feth Joseph Z. and Betty Fleming (Miami) Joan Alice Ford Michael Frank and Patricia A. Snyder Barbara and Peter Galvin Joy E. Garapic

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

Dr. and Mrs. D. P. Agamanolis Susan S. Angell Mr. William App Robert and Dalia 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

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

Dr. and Mrs. Adi Gazdar Joyce and Ab* Glickman Brenda and David Goldberg 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 Rob and Laura Kochis 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. Stephen B. and Mrs. Lillian S. Levine 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 Ms. Jennifer R. Malkin 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 Lynn and Mike Miller 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 Oâ&#x20AC;&#x2122;Connor Mr. Henry Ott-Hansen 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 Dr. and Mrs. Robert C. Ruhl 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 Drs. Charles Kent Smith and Patricia Moore Smith David Kane Smith Roy 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 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-ViĂąas and Joaquin Vinas (Miami) Mr. and Mrs. Mark Allen Weigand Dr. Edward L. and Mrs. Suzanne Westbrook Tom and Betsy Wheeler Richard Wiedemer, Jr. 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)

Lilli and Seth Harris In Memory of Hazel Helgesen Mr. and Mrs. Jerry Herschman Dr. Fred A. Heupler Mr. Robert T. Hexter David Hollander (Miami) Dr. Keith A. and Mrs. Kathleen M. Hoover Dr. and Mrs. Scott R. Inkley 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 E. 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 Mr. Taras G. Szmagala, Jr. Mr. Karl and Mrs. Carol Theil Drs. Anna* and Gilbert True Mr. and Mrs. Les C. Vinney Mr. and Mrs. Norman L. Wernet Richard and Mary Lynn Wills 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 Mr. and Mrs. Jeffrey R. Appelbaum 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 A. Fullmer Loren and Michael Garruto Dr. and Mrs. Edward C. Gelber (Miami) Angela and Jeffrey Gotthardt Dr. and Mrs. Ronald L. Gould Mr. and Mrs. Stephen Griebling The Thomas J. and Judith Fay Gruber Charitable Foundation Nancy and James Grunzweig Mr. Davin and Mrs. Jo Ann Gustafson

listings continue

Individual Annual Support

The Cleveland Orchestra

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 Georgette and Dick Bohr 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. Stanley Cohen (Miami) 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 Michael and Amy Diamant Dr. and Mrs. Howard Dickey-White Dr. and Mrs. Richard C. Distad Dr. M. Meredith Dobyns Carl Dodge 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 Mr. Paul C. Forsgren 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 Ms. Anna Z. Greenfield Drs. Erik and Ellen Gregorie Dr. and Mrs. Franklin W. Griff Dr. Lawrence Haims* and Dr. Barbara Brothers Dr. Phillip M. and Mrs. Mary Hall Douglas M. and Amy Halsey (Miami) Mr. and Mrs. David P. Handke, Jr. Christian and Holly Hansen (Miami) 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 Mr. Donald J. Katt and Mrs. Maribeth Filipic-Katt Angela Kelsey and Michael Zealy (Miami) The Kendis Family Trust: Hilary and Robert Kendis and Susan and James Kendis Bruce and Eleanor Kendrick Mr. James Kish Fred* and Judith Klotzman Marion Konstantynovich 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 Lemr 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 Ms. Charlotte V. McCoy William C. McCoy Mr. and Mrs. Christopher J. McKenna Mr. and Mrs. James E. Menger Stephen and Barbara Messner Loretta J. Mester and George J. Mailath 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 Ms. Megan Nakashima Deborah L. Neale Marshall I. Nurenberg and Joanne Klein Richard and Jolene Oâ&#x20AC;&#x2122;Callaghan Mr. and Mrs. John Olejko 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 Matt and Shari 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 Mr. Lute and Mrs. Lynn Quintrell 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 Mr. D. Keith and Mrs. Margaret Robinson James and LaTeshia Robinson (Miami) Mr. Timothy D. Robson Ms. Linda M. Rocchi Dr. Robert and Mrs. Lauryn Ronis Dick A. and Debbie Rose

Individual Annual Support

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 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 Mr. Kenneth and Mrs. Jill Shafer 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 Ms. Barbara Snyder Jorge Solano (Miami) Lucy and Dan Sondles Michalis and Alejandra Stavrinides (Miami) Mr. and Mrs. Martin Striegl Frederick and Elizabeth Stueber 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 Walt and Karen Walburn Alice and Leslie T. Webster, Jr. Mr. Peter and Mrs. Laurie Weinberger Mr. and Mrs. John W. Wilhelm Dr. Paul R. and Catherine Williams Elizabeth B. Wright Rad and Patty Yates Dr. William Zelei Mr. Kal Zucker and Dr. Mary Frances Haerr Anonymous (10)

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

* deceased 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

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

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 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 January 2017.

gifts of $2,500 or more during the past year, as of January 15, 2017

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 Ernst & Young LLP Adam Foslid / Greenberg Traurig (Miami) The Lubrizol Corporation Olympic Steel, Inc. RPM International Inc.

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) DLR Group | Westlake Reed Leskosky Dominion Foundation 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 (Miami) Margaret W. Wong & Associates LLC Anonymous (2)

The Cleveland Orchestra

THE CLEVELAN D ORCHESTRA

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

Cumulative Giving

Annual Support

JOHN L. SEVERANCE SOCIETY

$1 MILLION AND MORE

$10 MILLION AND MORE

The Cleveland Foundation Cuyahoga County residents through Cuyahoga Arts & Culture Kulas Foundation Maltz Family Foundation State of Ohio Ohio Arts Council The Kelvin and Eleanor Smith Foundation $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 January 2017.

Severance Hall 2016-17

gifts of $2,500 or more during the past year, as of January 15, 2017

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

The George Gund Foundation The Andrew W. Mellon Foundation Ohio Arts Council $250,000 TO $499,999

Knight Foundation (Miami) Kulas Foundation John P. Murphy Foundation $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 Frederick and Julia Nonneman Foundation The Payne Fund The Sage Cleveland Foundation

$20,000 TO $49,999 The Batchelor Foundation, Inc. (Miami) Eva L. and Joseph M. Bruening Foundation Mary E. and F. Joseph Callahan Foundation The Helen C. Cole Charitable Trust The Mary S. and David C. Corbin Foundation Mary and Dr. George L. Demetros Charitable Trust The Char and Chuck Fowler Family Foundation The Helen Wade Greene Charitable Trust National Endowment for the Arts The Reinberger Foundation Sandor Foundation The Sisler McFawn Foundation George Stevens Fund of Akron Community Foundation The Veale Foundation

$2,500 TO $19,999 The Abington Foundation The Ruth and Elmer Babin Foundation Dr. NE & JZ Berman Foundation The Bernheimer Family Fund of The Cleveland Foundation Elisha-Bolton Foundation Cleveland State University 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 The Margaret Clark Morgan Foundation The M. G. O’Neil Foundation Paintstone Foundation Charles E. & Mabel M. Ritchie Memorial Foundation The Leighton A. Rosenthal Family Foundation SCH Foundation Albert G. & Olive H. Schlink Foundation Harold C. Schott Foundation Jean C. Schroeder Foundation Kenneth W. Scott Foundation Lloyd L. and Louise K. Smith Memorial Foundation The South Waite Foundation The O’Neill Brothers 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

11001 Euclid Avenue Cleveland, Ohio 44106

CLEVELANDORCHESTRA.COM

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

HAILED AS ONE OF

Georgian exterior was constructed to harmonize with the classical architecture of other prominent buildings in the University Circle area. The interior of the building reflects a combination of design styles, including Art Deco, Egyptian Revival, Classicism, and Modernism. An extensive renovation, restoration, and expansion of the facility was completed in January 2000. In addition to serving as the home of The Cleveland Orchestra for concerts and rehearsals, the building is rented by a wide variety of local organizations and private citizens for performances, meetings, and special events each year.

Severance Hall

The Cleveland Orchestra

11001 Euclid Avenue Cleveland, Ohio 44106 CLEVELANDORCHESTRA.COM

AT SE V E R A N C E H A LL RESTAURANT AND CONCESSION SERVICE Pre-Concert Dining: Severance Restaurant at Severance Hall is open for pre-concert dining for evening and Sunday afternoon performances (and for lunch following Friday Morning Concerts). For reservations, call 216-231-7373, or online by visiting www.UseRESO.com. 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.

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

100

contact the House Manager at 216-231-7425 in advance if possible. Service animals are welcome at Severance Hall. Please notify the Ticket Office as you buy tickets.

IN THE EVENT OF AN EMERGENCY Emergency exits are clearly marked throughout the building. Ushers and house staff will provide instructions in the event of an emergency. Contact an usher or a member of the house staff if you require medical assistance.

SECURITY For security reasons, backpacks, musical instrument cases, and large bags are prohibited in the concert halls. These items must be checked at coat check and may be subject to search. Severance Hall is a firearms-free facility. No person may possess a firearm on the premises.

CHILDREN AND FAMILIES Regardless of age, each person must have a ticket and be able to sit quietly in a seat throughout the performance. Cleveland Orchestra subscription concerts are not recommended for children under the age of 8. However, there are several age-appropriate series designed specifically for children and youth, including: Musical Rainbows (recommended for children 3 to 6 years old) and Family Concerts (for ages 7 and older). Our Under 18s Free ticket program is designed to encourage families to attend together. For more details, visit clevelandorchestra.com/ under18.

T IC K E T SE RV IC ES TICKET EXCHANGES Subscribers unable to attend on a particular concert date can exchange their tickets for a different performance of the same week’s program. Subscribers may exchange their subscription tickets for another subscription program up to five days prior to a performance. There will be no service charge for the five-day advance ticket exchanges. If a ticket exchange is requested within 5 days of the performance, there is a $10 service charge per concert. Visit clevelandorchestra.com for details and blackout dates.

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

Guest Information

The Cleveland Orchestra

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

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

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

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

THE CLEVELAND C O N C E R T

C A L E N D A R

WINTER SEASON Youth Orchestra and Youth Chorus

Mahlerâ&#x20AC;&#x2122;s Song of the Earth Feb 9 â&#x20AC;&#x201D; Thursday at 7:30 p.m. Feb 10 â&#x20AC;&#x201D; Friday at 8:00 p.m. <18s Feb 11 â&#x20AC;&#x201D; Saturday at 8:00 p.m.

Feb 19 â&#x20AC;&#x201D; Sunday at 7:00 p.m.

CLEVELAND ORCHESTRA YOUTH ORCHESTRA Brett Mitchell, conductor

THE CLEVELAND ORCHESTRA Donald Runnicles, conductor Michelle DeYoung, mezzo-soprano Paul Groves, tenor

CLEVELAND ORCHESTRA YOUTH CHORUS Lisa Wong, director with Marian Vogel, soprano

SCHUBERT 6\PSKRQ\ 1R Â´8QÃ&#x20AC;QLVKHGÂµ

MAHLER The Song of the Earth [Das Lied von der Erde]

BATES Sea-Blue Circuitry DEBUSSY Nocturnes POULENC Gloria

Sponsor: Medical Mutual

7ZR RI 1RUWKHDVW 2KLRÂ·V SUHPLHU \RXWK HQVHPEOHV SUHVHQW a joint concert featuring two French works for chorus and RUFKHVWUD SOXV D UHFHQW RUFKHVWUDO ZRUN E\ $PHULFDQ composer Mason Bates.

AT THE MOVIES

Breakfast at Tiffanyâ&#x20AC;&#x2122;s Feb 14 â&#x20AC;&#x201D; Tuesday at 7:30 p.m.

Debussyâ&#x20AC;&#x2122;s La Mer

THE CLEVELAND ORCHESTRA Justin Freer, conductor Cleveland Orchestra Youth Chorus A classic movie from 1961 for Valentineâ&#x20AC;&#x2122;s Day! Experience director Blake Edwardsâ&#x20AC;&#x2122;s romantic comedy with Henry ManFLQLÂ·V OHJHQGDU\ VFRUH LQFOXGLQJ Â´0RRQ 5LYHUÂµ SOD\HG OLYH E\ The Cleveland Orchestra. Sponsor: PNC Bank

Mozart and Tchaikovsky Feb 16 â&#x20AC;&#x201D; Thursday at 7:30 p.m. Feb 17 â&#x20AC;&#x201D; Friday at 8:00 p.m. <18s Feb 18 â&#x20AC;&#x201D; Saturday at 8:00 p.m.

Feb 23 â&#x20AC;&#x201D; Thursday at 7:30 p.m. Feb 24 â&#x20AC;&#x201D; Friday at 11:00 a.m. <18s Feb 25 â&#x20AC;&#x201D; Saturday at 8:00 p.m. THE CLEVELAND ORCHESTRA Matthias Pintscher, conductor CÃ©dric Tiberghien, piano

PINTSCHER Ex Nihilo SAINT-SAÃ&#x2039;NS Piano Concerto No. 5 SCHOENBERG &KDPEHU 6\PSKRQ\ 1R * DEBUSSY La Mer [The Sea] * not performed on Friday concert

Sponsor: PNC Bank

THE CLEVELAND ORCHESTRA Semyon Bychkov, conductor Katia LabÃ¨que, piano Marielle LabÃ¨que, piano

All American: Coplandâ&#x20AC;&#x2122;s Third March 2 â&#x20AC;&#x201D; Thursday at 7:30 p.m. March 3 â&#x20AC;&#x201D; Friday at 7:00 p.m. <18s March 4 â&#x20AC;&#x201D; Saturday at 8:00 p.m.

MOZART Concerto for Two Pianos TCHAIKOVSKY Manfred Symphony

THE CLEVELAND ORCHESTRA Brett Mitchell, conductor William Preucil, violin

Sponsor: BakerHostetler

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

Under 18s Free FOR FAMILIES

<18s

BERNSTEIN Suite from On the Waterfront * THOMAS Juggler in Paradise: Violin Concerto No. 3 COPLAND Symphony No. 3 * not performed on Friday concert

Sponsor: Squire Patton Boggs LLPS (US) Fridays@7 Sponsor: KeyBank

Concerts with this symbol are eligible for "Under 18s Free" ticketing. Our "Under 18s Free" program offers free tickets for young people attending with families (one per full-price adult for concerts marked with the symbol above).

102

Concert Calendar

The Cleveland Orchestra

ORCHESTRA

16 17 2 O 1 6 -1 7

AMERICAN GREETINGS FAMILY CONCERT

I N

T H E

S E A S O N

S P O T L I G H T

The Magic Firebird

March 5 â&#x20AC;&#x201D; Sunday at 3:00 p.m.

<18s

THE CLEVELAND ORCHESTRA Ruth Reinhardt, conductor with special guests Enchantment Theatre Company An enchanted tree bears golden apples, a handsome Prince SXUVXHV D EHDXWLIXO SULQFHVV DQG D PDJQLÃ&#x20AC;FHQW Ã&#x20AC;UHELUG ZLWK magic feathers helps the Prince defeat the evil magician KashcheÃ¯! With life-sized puppets, masks, and magic, Enchantment Theatre Company presents the classic Russian fairytale The Firebird, set to the original ballet music by Igor Stravinsky. <RX ZRQÂ·W ZDQW WR PLVV WKLV PDJLFDO SURGXFWLRQ Free pre-concert activities begin one hour before start time. Sponsored by American Greetings Corporation Supported by The Giant Eagle Foundation

Bachâ&#x20AC;&#x2122;s Saint John Passion Mar 9 â&#x20AC;&#x201D; Thursday at 7:30 p.m. Mar 11 â&#x20AC;&#x201D; Saturday at 8:00 p.m. Mar 12 â&#x20AC;&#x201D; Sunday at 3:00 p.m. <18s THE CLEVELAND ORCHESTRA Franz Welser-MÃ¶st, conductor Maximilian Schmitt, tenor (Evangelist) Andrew Foster-Williams, bass-baritone (Christus) Lauren Snouffer, soprano Iestyn Davies, countertenor NIcholas Phan, tenor Michael Sumuel, bass-baritone Cleveland Orchestra Chamber Chorus

BACH Saint John Passion 6XQJ LQ *HUPDQ ZLWK SURMHFWHG (QJOLVK VXSHUWLWOHV

All Stravinsky Mar 16 â&#x20AC;&#x201D; Thursday at 7:30 p.m. Mar 18 â&#x20AC;&#x201D; Saturday at 8:00 p.m. THE CLEVELAND ORCHESTRA Franz Welser-MÃ¶st, conductor Seraphic Fire, vocal ensemble Cleveland Orchestra Chorus

STRAVINSKY )LUHZRUNV STRAVINSKY Apollo: Apollon musagÃ¨te STRAVINSKY Symphonies of Wind Instruments STRAVINSKY Threni, Lamentations of Jeremiah Sponsor: Jones Day

ALL-STRAVINSKY

with Seraphic Fire Thursday March 16 at 7:30 p.m. Saturday March 18 at 8:00 p.m. THE CLEVELAND ORCHESTRA Franz Welser-MÃ¶st, conductor Seraphic Fire, vocal ensemble Patrick DuprÃ© Quigley, director Cleveland Orchestra Chorus Robert Porco, director

This unique concert draws from the wealth and variety of Stravinskyâ&#x20AC;&#x2122;s musical output, centering on his writing style and stylings for voice. Featuring the Cleveland debut of Miamiâ&#x20AC;&#x2122;s Seraphic Fire vocal ensemble. [Pop culture note: Stravinsky was named by Time magazine as one of the most influential people of the 20th century.] Concert Sponsor: Jones Day

PNC MUSICAL RAINBOW

The Cool Clarinet Mar 17 â&#x20AC;&#x201D; Friday at 10:00 a.m. <18s Mar 18 â&#x20AC;&#x201D; Saturday at 11:00 a.m. <18s with Robert Woolfrey, clarinet

PHONE

216 - 231-1111 800-686-1141

Sponsor: PNC Bank

Severance Hall 2016-17

CLEVELAND ORCHESTRA TICKETS

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