The Cleveland Orchestra March 9, 11, 12 Concerts by Live Publishing

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Concert: March 9, 11, 12 BACH’S SAINT JOHN PASSION — page 31 About J. S. Bach — page 59 Learning More — page 62 PERSPECTIVES from the Executive Director — page 7 Changing Times, Changing Meaning — page 8

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CONTENTS

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THIS WEEK THE

CLEVELAND

ORCHESTRA

COVER: BACH SAINT JOHN MANUSCRIPT

Upfront

PAGE

WEEK 14 From the Executive Director . . . . . . . . . . . . . . . . . . . . 7 Changing Times, Changing Meanings . . . . . . . . . . 8

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

About the Orchestra Musical Arts Association . . . . . . . . . . . . . . . . . . . . . . . The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . . . Music Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Severance Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Patron Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . Concert Calendar . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

13 17 23 26 29 90 91 94

14 BACH’S SAINT JOHN Program: March 9, 11, 12 . . . . . . . . . . . . . . . . . . . . . 31 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 33 WEEK

BACH

Saint John Passion . . . . . . . . . . . . . . . . . . . . . . . . . . Listing of Movements . . . . . . . . . . . . . . . . . . . . . . . About Johann Sebastian Bach . . . . . . . . . . . . . . . Learning More . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

35 47 59 62

Conductor: Franz Welser-Möst . . . . . . . . . . . . . . . . . 23 Soloists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53-55 Cleveland Orchestra Chorus . . . . . . . . . . . . . . . . . 56-57 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.

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.

Cleveland Orchestra News . . . . . . . . . 65

Support Sound for the Centennial . . . . . . . . . . . . . . . . . . . . . . Heritage Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Annual Support: Individuals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Corporate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Foundation and Government . . . . . . . . . . . . . .

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.

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Table of Contents

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Perspectivesfrom the Executive Director March 2017 Although run as a non-profit arts organization, The Cleveland Orchestra is a business, employing nearly 200 musicians and staff members, and operating with an annual budget of more than $50 million. As with any business, the pace of work varies from week to week and season to season. While every week features behind-the-scenes activity and planning, the first half of March this season is a particularly busy and action-packed time, featuring not just public concerts, but education performances for students, a family concert, and a special discussion forum, as well as a full schedule of Board and committee meetings moving the business forward. All of this is capped off on March 17 with a special event announcing the Orchestra’s Centennial Season. On March 5, a special panel discussion forum was held to discuss the extent of antisemitism in Bach’s Saint John Passion. Franz Welser-Möst convened a panel of scholars for this powerful public discussion, coinciding with the Orchestra’s performances of this Bach masterpiece, March 9-12. Presented in partnership with Case Western Reserve University and the Maltz Museum of Jewish Heritage, this discussion of a challenging topic that must be confronted whenever performing this problematic masterpiece, was designed to address and put in context both the beauty and the ugliness that are within this work. It was recorded by our media partner ideastream, and is available for on-demand viewing at ideastream.org. While The Cleveland Orchestra offers education presentations and performances throughout the year, we also devote several weeks each year specifically to this important focus. On March 5, the season’s second Family Concert took place, telling the musical tale of “The Magic Firebird” in partnership with the Enchantment Theatre Company. Large puppets brought the story to life along with Igor Stravinsky’s great ballet score. From March 8-10, the Orchestra is performing six daytime Education Concerts at CWRU’s new Maltz Performing Arts Center, encoring the “Violins of Hope” presentation created as part of the collaborative proejct Violins of Hope Cleveland in 2015. These encore concerts tell of the importance of music in Jewish life before, during, and after the Holocaust — and of the power of music to voice human dignity, and to offer hope. It is amazing and exhilarating to watch students experience these concerts, and to exit the performance with new energy, awareness, and understanding of the world, of music, and history. 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, and everything The Cleveland Orchestra will do, is only possible through the enthusiasm, interest, and support of our audiences and this community. Thank you for being a central part of the Orchestra’s story.

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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 PANEL DISCUSSION Learn more . . . The weekend prior to The Cleveland Orchestra’s performances of Bach’s Saint John Passion on March 9-12, Franz Welser-Möst discussed the work with a panel of guest speakers on Sunday, March 5. The event at The Temple–Tifereth Israel in Beachwood was free and open to the public. The public discussion was recorded by ideastream and is available for on-demand viewing by visting www.ideastream.org. The afternoon’s panelists included: 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 was 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 antisemitism (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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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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M U SI CA L AR TS ASSOC IATION

as of March 2017

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 Richard K. Smucker, President Dennis W. LaBarre, Chairman Richard J. Bogomolny, Chairman Emeritus 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 Dennis W. LaBarre 2009-17

THE CLEVELAND ORCHESTRA Franz Welser-Möst, Music Director

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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 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 THE CLEVELAND legacy commitments, while also securing broad-based and increasing annual ORCHESTRA support from across Northeast Ohio. The generous individuals and organizations listed on these pages have made long-term commitments of annual support, endowment funds, and legacy declarations to the Campaign. We gratefully recognize their extraordinary commitment toward the Orchestra’s future success. Your participation can make a crucial difference in helping to ensure that future generations of concertgoers experience, embrace, and enjoy performances, collaborative presentations, and education programs by The Cleveland Orchestra. To join this growing list of visionary contributors, please contact the Orchestra’s Philanthropy & Advancement Office at 216-231-7558. Listing as of January 30, 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)

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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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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. The New York Times has declared Cleveland under his direction 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 renewed success in semi-staged and staged opera productions. Franz Welser-Möst and The Cleveland Orchestra are frequent guests at many prestigious concert halls and festivals around the world, including regular appearances in Vienna, New York, and Miami, and at the festivals of Salzburg and Lucerne. In the past decade, The Cleveland Orchestra has been hugely successful in building up a new and, notably, younger audience through groundbreaking programs involving families, students, and 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 CORNETS Michael Sachs *

ENGLISH HORN Robert Walters

Michael Miller

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

Robert Woolfrey ACTING ASSISTANT PRINCIPAL

Yann Ghiro 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 *

Robert Walters

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

FEATURED EVENTS

CLEVELAND STATE UNIVERSITY presents

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EXPLORE THE AFRICAN AMERICAN EXPERIENCE Author Isabel Wilkerson discusses the incredible story of the Great Migration

June 7-9, 2017 in partnership with

EXAMINE THE CREATIVE PROCESS Award-winning American novelist Jonathan Safran Foer

LEAD LIKE A PRESIDENT

VISIT AHACSU.COM FOR MORE INFO

Pulitzer Prize winner and TIME Magazine editor Jon Meacham discusses the American presidency

and many more! Visit ahacsu.com for more info and tickets.

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. SAINT JOHN PASSION Special Panel Discussion “Bach’s Saint John’s Passion” Franz Welser-Möst led a special discussion at The Temple-Tifereth Israel in Beachwood. Recorded and available for on-demand viewing at www.ideastream.org

March 9, 11, 12 “Bach, Lutheranism, and the Gospel of John” with guest speaker David J. Rothenberg, chair, department of music, Case Western Reserve University

March 16, 18 “Stravinsky’s Musical Journey” with guest speaker Michael Strasser, professor of musicology, Baldwin Wallace University

March 30, 31, April 1 “Baroque Marathon” (Musical works by Handel, Rameau, Purcell) with Rose Breckenridge, lecturer and administrator, Cleveland Orchestra Music Study Groups

April 6, 7, 8 “Mozart: Piano and Concerto”

Concert Previews

with guest speaker Cicilia Yudha, assistant professor of piano, Youngstown State University

Bach’s Saint John Passion Saint John was Bach’s first Passion, written in 1724 before Saint Matthew (circa 1727) and the two or three additional scores now lost of other tellings of Christ’s Passion. Saint John is a powerful telling of the final days of Jesus of Nazareth — searing in intensity and dramatic in experience. Narrated by the Evangelist, John’s Gospel traces Jesus’s path from the capture in Gethsemane to the trial before Pilate, condemnation by the assembled people, and onward to the tragic culmination at Golgotha. Soloists and chorus depict the story’s characters, with the chorus taking on the roles as witnesses and participants, including the mob riled to anger. Solo arias offer heartfelt commentary, with the chorus responding through hymns of personal and community reflection.

“Christ Presented to the People” by Rembrandt van Rijn, 1655, drypoint print. Metropolitan Museum of Art, New York.

THE

CLEVELAND ORCHESTRA FRANZ WELSER-MÖST

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

Severance Hall

Thursday evening, March 9, 2017, at 7:30 p.m. Saturday evening, March 11, 2017, at 8:00 p.m. Sunday afternoon, March 12, 2017, at 3:00 p.m.

16 17 2 O 1 6 -1 7

Franz Welser-Möst, conductor

S E A S O N

johann sebastian bach (1685-1750)

The Passion According to Saint John BWV245

Part I.

Nos. 1-14

INT ER MISSION

Part II.

Nos. 15-40 MAXIMILIAN SCHMITT, tenor — Evangelist ANDREW FOSTER-WILLIAMS, bass-baritone — Jesus LAUREN SNOUFFER, soprano IESTYN DAVIES, countertenor NICHOLAS PHAN, tenor MICHAEL SUMUEL, bass-baritone — Pontius Pilate CLEVELAND ORCHESTRA CHAMBER CHORUS Robert Porco, director ANNA E. WHITE, soprano — Maid TED RODENBORN, tenor — Servant FRANCISCO X. PRADO, baritone — Peter

Sung in German with projected English supertitles. (Supertitles coutesy of Andrew Huth.) The concert will run about 2 hours and 20 minutes in performance, ending at about 9:50 p.m. on Thursday, 10:20 p.m. on Saturday, and 5:20 p.m. on Sunday.

The Sunday concert is co-sponsored by Great Lakes Brewing Company.

Severance Hall 2016-17

Concert Program — Week 14

March 9, 11, 12

16 17

THIS WEEKEND'S CONCERT Restaurant opens: THUR 4:30 SAT 5:00 SUN 12:00

Concert Preview: BEGINS ONE HOUR BEFORE CONCERT

Concert begins: THUR 7:30 SAT 8:00 SUN 3:00

2016-17

S E A S O N

Severance Restaurant Reservations for pre-concert dining suggested:

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

PREVIEW

“Bach, Lutheranism, and the Gospel of John” with guest speaker David J. Rothenberg, chair, department of music, Case Western Reserve University

BACH Saint John Passion . . . . . . . . . . . . . . . . . Page 35 Part One (40 minutes) Duration times shown for musical pieces (and intermission) are approximate.

INTERMISSION (20 minutes)

Part Two (70 minutes)

Concert ends:

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

(approx.)

THUR 9:50 SAT 10:20 SUN 5:20

facebook.com/clevelandorchestra

Severance Restaurant Post-Concert Desserts and Drinks

twitter: @CleveOrchestra instagram: @CleveOrch

This Week’s Concerts

The Cleveland Orchestra

INTRODUCING THE CONCERT

Story, Passion & Belief

T H I S W E E K E N D ’ S C O N C E R T S present one great work, a masterpiece

of music and faith, rendered as dramatic story. Within it, there is conflict and tension, reflection and heartache. Bach wrote his Saint John Passion in 1724, and led the work’s first performance on Good Friday, April 7, in Leipzig. He revised it at least three times, presenting it again in 1725, 1732, and 1749. Yet it was only through the “Bach Revival” of the 19th century that Bach’s music and especially his biggest works — the Passions and Masses — came to be hailed among the great church-inspired works of art. As Hugh Macdonald discusses in his commentary about the piece (starting on page 35), Saint John as a whole and as music offers an experience of spiritual reflection and drama, regardless of one’s own religious belief. For Lutheran or Atheist, Jew or Catholic, Muslim or none-of-the-above, this telling of this story clearly invokes real questions about life, faith, love, and loss — from Peter’s denial through Jesus’s crucifixion. Take it as it comes, and allow yourself to be moved, in faith or doubt. Along with leading this week’s performances, Franz Welser-Möst led a powerful public discussion this past weekend about the antisemitism inherent within the Saint John Passion. The far-ranging panel discussion, presented in partnership with the Maltz Museum of Jewish Heritage and Case Western Reserve University, was recorded by the Orchestra’s media partner ideastream — and is well worth taking the time to watch, listen, and consider. It is available for on-demand streaming at ideastream.org. The value of music — of all the arts — in the world today is neither universally recognized nor celebrated. Healthcare can mend bones and help alleviate a troubled mindset. Food can nourish the body. A job can help support family. But . . . how remarkable indeed is the spark that music offers, to uplift from sorrow, to soothe from pain, to energize for tasks ahead. Like religion, music can be potent when you believe in its power. Let yourself believe. —Eric Sellen LIVE RADIO BROADCAST Saturday evening’s concert is being broadcast live on WCLV (104.9 FM). The concert will be rebroadcast as part of regular weekly programming on WCLV on Sunday afternoon, September 17, at 4:00 p.m.

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.

CMA

ARTLENS app

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

The Passion According to Saint John, BWV245 composed 1724

At a Glance

Johann Sebastian

BACH

born March 21, 1685 Eisenach, Saxe-Eisenach, Germany died July 28, 1750 Leipzig

Bach composed his Passion According to Saint John in the spring of 1724, leading its first performance on Good Friday that year on April 7 at the Church of Saint Nicholas in Leipzig. He made a number of revisions for performances in later years, including 1725, 1732, 1739 (partial version not performed), and 1749. This weekend’s Cleveland Orchestra performances follow the Bärenreiter New Bach Edition (NBE, or NBA = Neue Bach Ausgabe). which corresponds in most details with the original 1724 version. This work runs about 110 minutes in performance, plus intermission. Bach’s score calls for an orchestra of 2 flutes, 2 oboes (both doubling oboe d’amore and oboe da caccia), 2 violas

d’amore, viola da gamba, lute, organ, and strings, plus continuo of harpsichord and/or organ (with bass line doubling at times by cello or viola da gamba), plus chorus and soloists. The soloists include a quartet of soprano, alto, tenor, and bass voices, plus the Evangelist (tenor) and Christus (bass). Other roles, including Pontius Pilate (Pilatus), may be taken by a soloist or by a member of the chorus. The Cleveland Orchestra has presented Bach’s Saint John Passion on only three previous occasions, a single performance in 1928 conducted by F. Streiter, followed by a set of weekend performances in April 1962 led by Robert Shaw and another weekend in January 1985 led by Helmuth Rilling.

About the Music I N A R E C E N T A R T I C L E in the New Yorker magazine, Alex Ross selected the Saint John Passion as the focus of discussion of Bach’s spiritual personality, while taking under review a series of recent books that ask — and attempt to answer — questions about this very matter. The unarguable greatness of Bach’s music compels many of us to examine the nature of the man who created it. Yet in probing the nature of his beliefs, as many Bach scholars now strive to do, we are nevertheless confronted by the paucity of hard information. In recent decades, archival scholarship has enormously enhanced our knowledge of the background and context of Bach’s life and career — including the varieties of Lutheran worship practised in Thuringia and Saxony at the time, and the expected professional relationship between musicians and their employers. But this has done little to reveal very much about Bach’s personal beliefs and feelings. He wrote neither treatises nor memoirs, and his surviving correspondence is almost entirely devoted to administrative affairs connected with his work,

Severance Hall 2016-17

About the Music

not about himself, nor really about his musical intentions. That he was devout has never been in doubt, and the surest evidence of this is to be found in the middle of the United States, in Saint Louis, where the Concordia Seminary preserves Bach’s Bible with comments in his own hand clearly expressing his response either to the biblical text itself or to the printed commentary by its editor, Abraham Calov. Those written marginalia were intended for no eyes but his own. And, of course, Bach had only limited opportunities for imposing his own convictions on or into the music he was writing. Most of the non-biblical texts he set were existing poems by established Lutheran poets — though he at least had a certain flexibility in which ones he chose, and he may have provided a few texts of his own. In his church employment, Bach’s commitment was to promote the spiritual well-being of his congregations, to compose music of the highest possible quality, and to prove to his employers that he was capable of both of these. C R E AT I N G A M A S T E R PI E C E

Having assumed his duties in Leipzig in May 1723 (after several years working for a Calvinist nobleman who required mostly instrumental music), Bach took up the challenge of providing a complete cycle of sacred cantatas and passions for the church year. This was a huge undertaking, especially if his real ambition was to continue doing so for as many as five years. By the time Holy Week came round in April 1724, he had provided over fifty weekly cantatas, many of them of impressive dimensions. Good Friday vespers required a Passion setting. This had become standard in Lutheran churches by this time, and we can imagine Bach pondering how to approach the task. He selected Saint John’s Gospel as his starting point, and he devised the enactment of Christ’s Passion using the musical forms normally applied: choral movements, recitatives, arias, and chorales. He had worked with all of these forms, in various permutations, in his cantatas. What was not, however, familiar was the scale of the work

About the Music

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and the intensity of its dramatization. The opening chorus “Herr, unser Herrscher” proclaims not only the seriousness of what is to follow but also the expanded time-scale of the proceedings. The slow, tortuous shifts of harmony and the gradual build-up to the chorus’s inexorable entry move at a pace that defies haste, and the whole movement lasts nearly ten minutes. Throughout the work, the Gospel narrative is interrupted and held back by full-length reflective arias and chorales. The chorales, in particular, helped bring his audiences into reflection, built on texts and melodies familiar to his Lutheran congregation. Even after the long final chorus, “Ruht wohl,” which confers spiritual rest like a lullaby, In his church employthere is one more chorale before the music is ment, Bach’s commitfinished. ment was to promote As for the vivid quality of the narrative storyline, Bach was definitely stepping outside the spiritual well-being tradition in conveying John’s words with a realof his congregations, to ism that was disapproved of in certain Lutheran compose music of the circles, where it was argued that worship should be “unworldly” and that even music in support highest possible quality, of worship was suspect. and to prove to his emThe Evangelist’s lines, though set as recployers that he was caitative throughout, are anything but plain. And pable of both of these. the words of the protagonists — Jesus, Peter, Pilate — are made more real by being given to separate singers, as if talking to one another. Certain moments, such as Peter weeping bitterly when the cock crows, or the scourging of Christ, or the rending of the temple veil, as well as many mentions of death or crucifixion, stretch the Evangelist’s recitative into extraordinarily expressive melismas (singing the same syllable across a series or run of notes). Above all, when not representing the pious Christian soul of the present, the chorus is treated in a thoroughly dramatic and realistic way as the angry crowd of history, responding to Pilate’s questions with ever-increasing savagery and demanding Jesus’s death. Even such straightforward a question as “Were you not one of his disciples?” becomes a realistic short chorus with insistent, overlapping voices, and the soldiers (and others) who squabble over Christ’s garment sing “Lasset uns den nicht zerteilen” [“Let us not divide it”] to a perfectly crafted fugato — nearly a four-voice canon — while the cellos provide a constant click-track, perhaps intended to evoke the sound of rolling dice. Severance Hall 2016-17

About the Music

D R A M AT I C PAC I N G

Treated in dramatic fashion, the Gospel narrative would be hard to bear were it not for Bach’s skill in varying the pace and drawing back from the action to allow us to take in its implications. This he does with the arias and chorales. Dramatic though the piece may be, he is emphatically not writing an opera. This Passion owes nothing to the pacing of opera. Operas of Bach’s time had no appeal for him (unlike his contemporary Handel), but Bach very well knew that these operas were built with the solo aria as its main vehicle. In the Saint John Passion, the arias have some similarity to opera arias, although they avoid almost any sense of florid or ornamental display of any kind. Yet the BaTreated in dramatic roque fondness for word-painting applies here, fashion, the Gospel as it does in opera, so that an aria can often sinarrative would be hard multaneously illustrate a single word in the text to bear were it not for while also supporting its main sentiment. The first aria, for example, “Von den StrikBach’s skill in varying ken meiner Sünden” [“From bonds of sin”], for alto, the pace and drawing seems to suggest bonds by tightly interlocking back from the action to the two solo oboes throughout the piece. In the second aria, “Ich folge dir” [“I follow thee”], allow us to take in its the solo flute follows the entry of the voice with implications. This he dog-like imitation. does with the arias and A particularly original form of aria is found chorales. Dramatic in the solo bass’s “Eilt, eilt” [“Haste, haste”] when the chorus interpolate the question “Wohin?” though the piece may [“Whither?”] so that the soloist can respond “nach be, he is emphatically Golgotha” [“to Golgotha”]. Some scholars, innot writing an opera. deed, have been tempted into seeing symbolic representation in almost each and every piece of the Passion (there are over seventy sections and sub-sections), knowing that Bach himself was drawn to such things. CHORALE CONNECTIONS

The eleven chorales draw back even further from the action. Their music was familiar to the congregation, at least the melody and the words were, although Bach supplied his own wonderfully imaginative harmonizations. Bach probably preferred his listeners not to join in, although it is difficult to imagine that they would refrain from doing so. The chorales provide a link from the Evangelist’s dramatic story to the world of everyday

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CIM@SEVERANCE HALL Wednesday, April 19, 2017 Enjoy an evening of Bernstein, Chopin and Tchaikovsky as the acclaimed Cleveland Institute of Music Orchestra returns to Severance Hall, home of The Cleveland Orchestra. The concert is FREE, with seating passes required. Contact the Severance Hall Box Ofﬁce at clevelandorchestra.com or call 216.231.1111 For a complete schedule of CIM events visit: cim.edu/events

worship, yet they in no way diminish the elevated impression that the Saint John Passion leaves with us. IN PERFORMANCE

Four days before the first performance, Bach learned that it was to take place in the church of St. Nicolas, not at St. Thomas’s as he supposed. No one had told him that the Passion services alternated every year from church to church. He was responsible for the music at both churches, and the visitor today may wonder how Bach controlled his forces in these buildings. St. Nicolas is the smaller of the two, but somehow Bach pulled it off. It is still a matter of dispute how big his choir was. The survival of hand-written copies suggests few voices, the church records suggest more. Both solutions work, as do the much larger choruses that we are accustomed to hearing today. Bach’s music has an uncanny flexibility in this regard. His vocal soloists would have been members of the choir, while for instruments he had both harpsichord and organ as continuo (perhaps reinforced with a cello), and flutes and oboes for winds. The oboists were expected to double on the deeper members of the oboe family, oboe da caccia and oboe d’amore, Severance Hall 2016-17

About the Music

and some archaic instruments were required for particular color and expressive range. The silky sound of the two string violas d’amore, which have resonating sympathetic strings, is heard in the bass arioso “Betrachte, meine Seel” [“Consider, my soul”] immediately after the scourging of Christ. They are supported by a lute, and they continue to play in the tenor aria that follows, “Erwäge, wie sein blutgefärbter Rücken” [“Consider, how His back is streaked with blood”], now without the lute, unless it joins the continuo group for the aria. The viola da gamba is the supporting solo instrument in the aria “Es ist vollbracht” [“It is accomplished”] for alto voice, the words echoing the last words of Jesus himself. The instrument’s otherworldly, mournful voice is ideal for this deeply expressive aria, which has a burst of speed and energy in the middle before returning to the profound resignation of the opening bars. In Bach’s time these older instruments were obsolescent but not obsolete, and they may owe their place in this work to the recycling of music written many years before. This was something Bach was never ashamed to do, and it contributed to the fluency and abundance of music composed in his first year at Leipzig. PA S S I O N AT E R E V I S I O N S A N D E D I T I O N S

Bach repeated the Saint John Passion the following year, 1725, when he could put it on in the more spacious St. Thomas’s. He modified it in certain ways, replacing the opening and closing choruses with two chorale elaborations — similar to what can be found in many of his cantatas. In a third version, probably from the 1730s, he omitted two episodes (Peter’s lament and the earthquake scene) that actually take their texts from Saint Matthew’s Gospel, not Saint John’s. He then prepared a new manuscript of the work, reverting to its original state (more or less) and gave it for a final time on Good Friday in 1749, the year before his death. The Saint Matthew Passion was written and premiered in 1727 or perhaps 1729. Coming after Saint John, it was conceived on an even grander scale, with double orchestra and double chorus. It is generally considered to be more contemplative in character, and the dramatization of the action is certainly toned down somewhat. Saint Matthew used to be considered the finer of the two Passions, but opinion has shifted in recent years, giving the Saint John a more equal standing amid these pyramidal works of the great Bach. The obituary published after Bach’s death reported that he had composed five Passions and five cycles of cantatas. A great deal

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Music is an agreeable harmony for the honor of God and the permissible delights of the soul. â&#x20AC;&#x201D;Johann Sebastian Bach

of his musical works has been lost, but he certainly did compose a Saint Mark Passion in 1726, revived in 1731. It is lost in its original form, although it has been possible to reconstruct certain portions of that score. There was probably a Saint Luke Passion, too. Of that, we can only imagine the contours of his artistic work, the peaks and valleys of his art within it. In the end, as in life, we are only left with what we can experience, imagine, or believe in. B E L I E F, F O R G I V E N E S S , A N D A N T I S E M I T I S M

In 18th-century Leipzig, even those who dared to express doubt would still class themselves as Christians. Contrast that spiritual foundation to today, when Christianity finds itself one of many competing religions across much of the world, and with fewer and fewer adherents claiming belief of any kind. Yet the Saint John Passion resides firmly among the acknowledged masterpieces of music, drawing The effect that this more performances and larger audiences than, say, music has on us is baroque opera. It is hard to imagine a professional or spiritual, regardless community chorus not wanting to sing it — and not being drawn into the extraordinary story of Christ’s of one’s beliefs, and Passion and its meaning. can be transcendent. The effect that this music has on us is spiritual, Such impressions or regardless of one’s beliefs, and can be transcendent. feelings from a work Such impressions or feelings from a work of art are not easily differentiated from religious experience. of art are not easily The long and glorious history of music written differentiated from for the Christian church demonstrates the inspirational religious experience. value of religion for composers and artists — despite the restrictions that Puritans, the Orthodox church, and others impose on music within worship. In truth, through his genius and diligent work as a musician and creator of music, Bach might be said to have done more to promote the Christian faith than any army of preachers. In our time, it has become necessary to examine the historical evolution and context of history’s attitude toward Judaism, including what Bach himself may (or may not) have thought — if only because the suspicion of antisemitism can do considerable damage. The Saint John Passion is exactly where such a charge might be aimed, since the Jews are leading participants in the story. Some of Bach’s music for them is agitated and energized, as if propelling the story forward in a certain direction. Yet, again, we have no evidence of Bach’s personal feelings beyond his selection of texts, which in

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“Pontius Pilate Washing His Hands,” from a series of paintings by Hans Holbein the Elder known as the “Gray Passion” (or sometimes as the “White Passion”), created circa 1495-1500 in Augsburg, Germany. OPPOSITE PAGE

Manuscript of Bach’s Saint John Passion.

some cases shows him to be removing hostile references to Jews, certainly not gratuitously inserting them. In the Lutheran church, there was an underlying resentment toward the Jews following in line from Luther’s own feelings (expressed with alarming viciousness at the end of his life). It might be fair to assume that Bach had no more — and no less — antisemitic fever than his fellow Lutherans. In both the Saint John and the Saint Matthew, Bach implies that although the Jews and the Romans were directly responsible for Christ’s death, the guilt must be borne by all of us. Alex Ross, reporting Michael Marissen’s recent study Bach & God, concludes that “Bach, following Lutheran convention, wished to shift emphasis from the perfidy of the Jews to the guilt of all participants in the Passion scene and, by extension, to present-day sinners.” In Saint John’s Gospel itself, we find the words: “Anyone that is without sin among you, let cast a first stone.” —Hugh Macdonald © 2017 Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis. He has written books on Beethoven, Berlioz, Bizet, and Scriabin.

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The Passion According to Saint John by Johann Sebastian Bach Part One Betr ayal and Capture 1. CHORAL INTRODUCTION: “Herr, unser Herrscher, dessen Ruhm in allen Landen herrlich ist!” [Lord, our master, your glory is venerated in all lands!] 2a. Evangelist, Jesus: “Jesus ging mit seinen Jüngern über den Bach Kidron . . .” [Jesus went with his disciples and crossed the brook Cedron . . .] b. Chorus: “Jesum von Nazareth” c. Evangelist, Jesus: “Jesus spricht zu ihnen” [Jesus said to them . . .] d. Chorus: “Jesum von Nazareth” e. Evangelist, Jesus: “Jesus antwortete: Ich hab’s euch gesagt, dass ich’s sei . . .” [Jesus answered, I told you that I am he . . .] 3. CHORALE: “O grosse Lieb, o Lieb ohn’ alle Masse” [O great love, o measureless love] 4. Evangelist, Jesus: “Auf dass das Wort erfüllet würde . . .” [This was to fulfill the words He had spoken . . .] 5. CHORALE: “Dein Will gescheh, Herr Gott” [May Your will be done, Lord God] 6. Evangelist: “Die Schar aber und der Oberhauptmann . . .” [The soldiers with their commander . . .] 7. Aria (alto/countertenor): “Von den Stricken meiner Sünden” [To free me from the bonds of my sins]

Denial 8. Evangelist: “Simon Petrus aber folgete Jesu nach . . .” [Jesus was followed by Simon Peter . . .] 9. Aria (soprano): “Ich folge dir gleichfalls mit freudigen Schritten” [I too follow You with eager steps] 10. Evangelist, Maid, Peter, Jesus, Servant: “Derselbige Jünger war dem Hohenpriester bekannt . . .” [That disciple was known to the high priest . . .] Severance Hall 2016-17

Saint SaintJohn JohnPassion Passion

11. CHORALE: “Wer hat dich so geschlagen” [Who would strike You like that?] 12a. Evangelist: “Und Hannas sandte ihn gebunden zu dem Hohenpriester . . .” [“And Annas then sent Him bound to Caiaphas the High Priest . . .”] b. Chorus: “Bist du nicht seiner Jünger einer?” [“Aren’t you another of his disciples?”] c. Evangelist, Peter, Servant: “Er leugnete aber . . .” [“Peter again denied it . . .”] 13. Aria (tenor): “Ach, mein Sinn” [“Oh, my toubled soul”] 14. CHORALE: “Petrus, der nicht denkt zurück” [“Without thinking, Peter denies God”]

Part Two Interrogation and Beating 15. CHORALE: “Christus, der uns selig macht” [“Christ, who makes us blessed”] 16a. Evangelist, Pilate: “Da führeten sie Jesum von Kaiphas vor das Richthaus . . .” [“Jesus was taken from Caiaphas to the Governor . . .”] b. Chorus: “Wäre dieser nicht ein Übeltäter . . .” [“If he were not a criminal . . . we would not have brought him to you”] c. Evangelist, Pilate: “Da sprach Pilatus zu ihnen . . .” [“Pilate said to them . . .”] d. Chorus: “Wir dürfen niemand töten” [“It is not lawful for us to put any man to death”] e. Evangelist, Pilate, Jesus: “Auf dass erfüllet würde das Wort Jesu . . . ” [“Thus they ensured what Jesus had said…”] 17. CHORALE: “Ach grosser König, gross zu allen Zeiten” [“O mighty king, great for ever”] 18a. Evangelist, Pilate, Jesus: “Da sprach Pilatus zu ihm . . .” [“Pilate then asked . . .”] b. Chorus: “Nicht diesen, sondern Barrabam!” [“Not him, we want Barabbas”] c. Evangelist, Pilate, Jesus: “Barrabas aber war ein Mörder . . .” [“Barrabas was a murderer . . .”] 19. Arioso (bass): “Betrachte, meine Seel, mit ängstlichem Vergnügen” [“Consider, my soul, with anxious delight”] 20. Aria (tenor): “Erwäge, wie sein blutgefärbter Rücken” [“Consider how His back is streaked with blood”]

Saint John Passion

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Condemnation and Crucifixion 21a. Evangelist: “Und die Kriegsknechte flochten eine Krone von Dornen . . .” [“And the soldiers made a crown out of thorns . . . ”] b. Chorus: “Sei gegrüsset, lieber Jüdenkönig!” [“Hail, King of the Jews!”] c. Evangelist, Pilate: “Und gaben ihm Backenstreiche . . .” [“And they struck him in the face . . .”] d. Chorus: “Kreuzige, kreuzige!” [“Crucify him, crucify him!”] e. Evangelist, Pilate: “Pilatus sprach zu ihnen . . .” [“Pilate said to them . . .”] f. Chorus: “Wir haben ein Gesetz, und nach dem Gesetz soll er sterben” [“We have a law, and by that law he should die”] g. Evangelist, Pilate, Jesus: “Da Pilatus das Wort hörete, fürchtet’ er sich noch mehr . . .” [“When Pilate heard this, he was more afraid than ever . . .”] 22.

Chorale:

“Durch dein Gefängnis, Gottes Sohn, muss uns die Freiheit kommen” [“Your captivity, Son of God, brings us our liberty”]

23a. Evangelist: “Die Jüden aber schrieen” [“But the Jews kept shouting . . .”] b. Chorus: “Lässest du diesen los, so bist du des Kaisers Freund nicht” [“If you let this man go, you are no friend to Caesar”] c. Evangelist, Pilate: “Da Pilatus das Wort hörete, führete er Jesum heraus . . .” [“When Pilate heard this, he brought Jesus out . . .”] d. Chorus: “Weg, weg mit dem, kreuzige ihn!” [“Away with him, Crucify him!”] e. Evangelist, Pilate: “Spricht Pilatus zu ihnen . . .” [“Pilate said to them . . .”] f. Chorus: “Wir haben keinen König denn den Kaiser” [“We have no king but Caesar”] g. Evangelist: “Da überantwortete er ihn, dass er gekreuziget würde . . .” [“So he handed Him over to be crucified . . .”] 24. Aria (bass and chorus): “Eilt, ihr angefochtnen Seelen” [“Hurry, you tormented souls”] 25a. Evangelist: “Allda kreuzigten sie ihn . . .” [“There they crucified him . . .”] b. Chorus: “Schreibe nicht: der Jüden König” [“Do not write ‘King of the Jews’ ”] c. Evangelist, Pilate: “Pilatus antwortet . . .” [“Pilate replied . . .”] 26.

Chorale:

Severance Hall 2016-17

“In meines Herzens Grunde” [“Deep in my heart”]

Saint John Passion

27a. Evangelist: “Die Kriegsknechte aber, da sie Jesum gekreuziget hatten . . . [“The soldiers who crucified Jesus took His clothes . . .”] b. Chorus: “Lasset uns den nicht zerteilen, sondern darum losen, wes er sein soll” [“We must not tear this, let us cast lots for it”] c. Evangelist, Jesus: “Auf dass erfüllet würde die Schrift . . . ” [“And so the scripture was fulfilled . . .”] 28.

Chorale:

“Er nahm alles wohl in acht” [“He considered everything in His last hour”]

29. Evangelist, Jesus: “Und von Stund an nahm sie der Jünger zu sich . . .” [“From that moment the disciple took her into his home . . .”] 30. Aria (alto/countertenor): “Es ist vollbracht!” [“It is accomplished!”] 31. Evangelist: “Und neiget das Haupt und verschied . . .” [“And he bowed his head and died . . .”] 32. Aria (bass and chorus): “Mein teurer Heiland, lass dich fragen” [“Dearest Savior, let me ask You”] 33. Evangelist: “Und siehe da, der Vorhang im Tempel zeriss in zwei Stück . . .” [“And, behold, the veil of the temple was torn in two . . .”] 34. Arioso (tenor): “Mein Herz, in dem die ganze Welt bei Jesu Leiden gleichfalls leidet” [“My heart, the whole world shares Jesus’s suffering”] 35. Aria (soprano): “Zerfliesse, mein Herze, in Fluten der Zähren” [“Dissolve, my heart, in floods of tears”] 36. Evangelist: “Die Jüden aber, dieweil es der Rüsttag war . . . [“But the Jews, because it was the day before Sabbath . . .”] 37.

Chorale:

“O hilf, Christe, Gottes Sohn” [“Help us, Christ, Son of God”]

38. Evangelist: “Darnach bat Pilatum Joseph von Arimathia . . .” [“Pilate was then approached by Joseph of Arimathea . . .”] 39.

Chorus:

40.

Chorale:

“Ruht wohl, ihr heiligen Gebeine” [“Rest in peace, sacred body”] “Ach Herr, lass dein lieb Engelein” [“Lord, send your dear angels”]

ENDE 50

Saint John Passion

The Cleveland Orchestra

BAROQUE ORCHESTRA jeannette sorrell

NEW RELEASE ON AVIE RECORDS! â&#x20AC;&#x153;A resplendent performance... H[TXLVLWH 7KH PDJQLĂ&#x20AC;FHQW FKRUXV [sings] to breathtaking effect.â&#x20AC;? â&#x20AC;&#x201C; NEW YORK TIMES

APOLLOâ&#x20AC;&#x2122;S FIRE Baroque Orchestra on period instruments

JEANNETTE SORRELL Nicholas Phan, Evangelist Jesse Blumberg, Jesus Jeffrey Strauss, Pilate Amanda Forsythe | Terry Wey Christian Immler Recording from the dramatic production presented in Cleveland and New York, March 2016. Booklet includes extensive photos and URL link to video.

â&#x20AC;&#x153;Evokes deep spirituality while teeming with theatricality. A superlative performance.â&#x20AC;? â&#x20AC;&#x201C;MUSICAL AMERICA

#XCKNCDNG CV ĹżPG TGEQTF UVQTGU QPNKPG CPF YQTNFYKFG CPF HTQO #RQNNQ U (KTG CV ^ CRQNNQUĹżTG QTI

Maximilian Schmitt

Andrew Foster-Williams

German tenor Maximilian Schmitt sings a wide variety of operatic roles, in concert, and in recital throughout Europe. He discovered his love for music as a young member of the Regensburger Domspatzen Boys’ Choir, and soon began studies at the Berlin University of the Arts. He began his career as a member of the Young Ensemble of Munich’s Bavarian State Opera, starting in 2005. While there, he also made his debut in Salzburg singing Tamino in Mozart’s The Magic Flute. He subsequently became a member of the Ensemble of the Mannheim National Theater for four years. His repertoire ranges from Monteverdi and Mozart to Mendelssohn and Mahler. Recent performances have included Mahler’s Song of the Earth at the Zermatt Festival, his debut in the title role of Mozart’s Idomeneo in Strasbourg, and his Vienna State Opera debut as Don Ottavio in Mozart’s Don Giovanni, as well as concert engagements in Nuremberg singing in Bach’s Bminor Mass and in Haydn’s The Seasons at the Schleswig-Holstein Music Festival, and singing in recital at London’s Wigmore Hall. He made his Cleveland Orchestra debut in April 2013 with Haydn’s The Seasons.

English bass-baritone Andrew FosterWilliams is known for his operatic performances and diversity of stage roles. Although he first built his career on baroque foundations, he has been expanding into later and dramatic operas and concert works. Recent performances have included Don Pizarro in Beethoven’s Fidelio, Captain Balstrode in Britten’s Peter Grimes, Telramund in Wagner’s Lohengrin, Golaud in Debussy’s Pelléas and Mélisande, and Gunther in Wagner’s Götterdämmerung (across the United Kingdom in Opera North’s Ring cycle). His concert appearances have encompassed an eclectic repertoire, including performances with the Salzburg Mozarteum, San Francisco Symphony, Hong Kong Philharmonic, and the London Symphony Orchestra (led by Colin Davis). Mr. FosterWilliams’s performances this season include staged performances based on the story of Don Quichotte and drawn from music by Ravel, Falla, and Massenet at Opéra de Bordeaux, Elgar’s The Dream of Gerontius with the Minnesota Orchestra, and Escamillo in Bizet’s Carmen in Kasper Holten’s new production at the Bregenz Festival. He made his Cleveland Orchestra debut in January 2008 singing Haydn’s “Lord Nelson” Mass.

THE EVANGELIST

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Guest Soloists

JESUS CHRIST

Lauren Snouffer

Iestyn Davies

American soprano Lauren Snouffer’s performances span music from Claudio Monteverdi in the Baroque era up through modern writers including György Ligeti and George Benjamin. She performs across the United States, Europe, and beyond. Recent and upcoming performances include returns to the Théâtre du Capitole de Toulouse to sing the role of Héro in Berlioz’s Béatrice and Bénédict and to Seattle Opera to sing Pamina in Mozart’s The Magic Flute, as well as her debut in Karlsruhe in the role of Tusnelda in Handel’s Arminio, and performances of Orff’s Carmina Burana in Indianapolis and of Handel’s Messiah with the San Francisco Symphony. She recently was part of an all-star cast recording in the role of Teofane in Handel’s Ottone under the baton of George Petrou. A graduate of the Houston Grand Opera Studio, Ms. Snouffer was a winner of a 2013 Sara Tucker Study Grant from the Richard Tucker Music Foundation and a grand finalist in the 2012 Metropolitan Opera National Council Auditions. She is a graduate of Rice University and New York’s Juilliard School. She made her Cleveland Orchestra debut in May 2015 in Strauss’s opera Daphne.

British countertenor Iestyn Davies has sung on the world’s top opera stages, including New York’s Metropolitan Opera, Chicago Lyric Opera, La Scala Milan, London’s Royal Opera House, English National Opera, Glyndebourne Festival Opera, and Welsh National Opera, and in Munich, Vienna, and Zurich. His concert appearances have included engagements at La Scala Milan, Amsterdam’s Concertgebouw, Zurich’s Tonhalle, Paris’s Théâtre des ChampsÉlysées, New York’s Lincoln Center, and at the BBC Proms. He has sung in concert and recital at Carnegie Hall and appears regularly at London’s Wigmore Hall, where he has curated a series of performances as part of his own residency. His artistry can be heard on an expanding discography, which has garnered a number of awards. He recently appeared before London theater audiences singing the role of Farinelli in Farinelli and the King at the Globe Theatre and then on the West End stage at the Duke of York’s Theatre. After graduating in archaeology and anthropology from Cambridge’s Saint John’s College, Mr. Davies studied at the Royal Academy of Music in London. He made his Cleveland Orchestra debut in October 2014 singing in Bach’s Mass in B-minor.

Guest Soloists

The Cleveland Orchestra

Nicholas Phan

Michael Sumuel

American tenor Nicholas Phan appears regularly in the world’s premier concert halls, music festivals, and opera houses. His 2016-17 season includes return engagements with the symphony orchestras of Baltimore, Cleveland, North Carolina, Philadelphia, San Francisco, and St. Louis. He also makes his role debut in the title role of Stravinsky’s Oedipus Rex with London’s Philharmonia Orchestra, and his recital debut at London’s Wigmore Hall. As artistic director of Collaborative Arts Institute of Chicago, he is curating and performing in the organization’s fifth annual Collaborative Works Festival, a vocal chamber music festival. His growing discography includes several solo albums, as well as Stravinsky’s Pulcinella and Vivaldi’s L’Olimpiade. Mr. Phan’s many opera credits include appearances with the Los Angeles Opera, Houston Grand Opera, Glimmerglass Festival, Seattle Opera, and England’s Glyndebourne Opera. A graduate of the University of Michigan, Mr. Phan is the 2012 recipient of the Paul Boylan Distinguished Alumni Award. He also studied at the Manhattan School of Music and the Aspen Music Festival and School, and is an alumnus of the Houston Grand Opera Studio. He made his Cleveland Orchestra debut in April 2013.

American bass-baritone Michael Sumuel sings in opera and concerts throughout North America. His 2016-17 season includes his return to Houston Grand Opera as Belcore in Donizetti’s The Elixir of Love, as Masetto in Mozart’s Don Giovanni with San Francisco Opera, and his company debut as Alidoro in Rossini’s La Cenerentola with Norwegian National Opera. Concert engagements also include Beethoven’s Symphony No. 9 with the American Classical Orchestra at New York’s Geffen Hall. His past work has featured multiple appearances with Mercury Houston, including a project called “Napoleon and the Battle of Nations” as well as performing excerpts from Rameau’s Les Amants trahis and Thétis. He has also appeared with Da Camera of Houston for a program of Brahms and Schoenberg art songs in a multi-media project called “In the Garden of Dreams.” Mr. Sumuel is an alumnus of San Francisco’s Merola Opera Program and the Filene Young Artist program at Wolf Trap Opera, and was also a studio artist with Houston Grand Opera. He holds degrees from both Columbus State University and Rice University. He is making his Cleveland Orchestra debut with this week’s concerts.

Severance Hall 2016-17

Guest Soloists

PONTIUS PILATE

Robert Porco Director of Choruses Frances P. and Chester C. Bolton Endowed Chair The Cleveland Orchestra

Robert Porco became director of choruses for The Cleveland Orchestra in 1998. In addition to overseeing choral activities and preparing the Cleveland Orchestra Chorus and the Blossom Festival Chorus for a variety of concert programs each season, Mr. Porco has led many Cleveland Orchestra concerts at both Severance Hall and as part of the summertime Blossom Music Festival. He has also served as director of choruses for the Cincinnati May Festival since 1989. In 2011, Mr. Porco was honored by Chorus America with its annual Michael Korn Founders Award for a lifetime of significant contributions to the professional choral art. The Ohio native served as chairman of the choral department at Indiana University 1980-98, and in recent years has taught doctoral-level conducting there. As teacher and mentor, Mr. Porco has guided and influenced the development of hundreds of musicians, many of whom are now active as professional conductors, singers, or teachers. As a sought-after guest instructor and coach, he has taught at Harvard University, Westminster Choir College, and the University of Miami Frost School of Music.

Lisa Wong

Assistant Director of Choruses

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.

Cleveland Orchestra Chorus

The Cleveland Orchestra

Cleveland Orchestra Chorus Robert Porco, Director

Lisa Wong, Assistant Director Joela Jones, Principal Accompanist Alicja Basinska, Accompanist The Cleveland Orchestra Chorus is one of the few professionally-trained, all-volunteer choruses sponsored by a major American orchestra. Founded at the request of George Szell in 1952 and following in the footsteps of a number of earlier community choruses, the Cleveland Orchestra Chorus has sung in hundreds of performances at home, at Carnegie Hall, and on tour, as well as in more than a dozen recordings. Its members hail from nearly fifty Cleveland-area communities and together contribute over 15,000 volunteer hours to the Orchestra’s music-making each year.

CLEVELAND ORCHESTRA CHAMBER CHORUS — Saint John Passion SOPRANOS

ALTOS

TENORS

BASSES

Claudia Barriga Julie A. Cajigas Susan Cucuzza Emily Engle Lisa Hrusovsky Hope Klassen-Kay Lisa Manning Julie Myers-Pruchenski Jennifer Heinert O’Leary Melissa B. Patton Lenore M. Pershing Monica Schie Samantha Smith Sharilee Walker Carole Weinhardt Kiko Weinroth Anna E. White

Laura Avdey Debbie Bates Dawn Bodnar Brianna Clifford Carolyn L. Dessin Betty Huber Sarah Hutchins Karla McMullen Alanna M. Shadrake Ina Stanek-Michaelis Martha Cochran Truby Gina L. Ventre Maggie Fairman Williams Leah Wilson Lynne Leutenberg Yulish

Brent Chamberlin David Ciucevich Corey Hill* Peter Kvidera Adam Landry Alexander Looney Rohan Mandelia Ryan Pennington Matthew Rizer Ted Rodenborn Lee Scantlebury William Venable

Christopher Aldrich Kevin Calavan Charles Carr Nicolas Gutierrez Joshua Jones Joel Kincannon Scott Markov Preston Masters* Stephen Mitchell Tremaine Oatman Daniel Parsley Francisco X. Prado

* Shari Bierman Singer Fellow

Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee Jill Harbaugh, Manager of Choruses

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BACH

IN FOCUS

A Snapshot of a Great Composer’s Life and Legacy J O H A N N E S B R A H M S O N C E S A I D , “Study Bach: there you will

find everything.” Johann Sebastian Bach’s impact on the world of classical music, in fact, remains unsurpassed. He was innovative in so many ways, building a foundation for later musical developments and inspiring generations of composers to push the boundaries of convention. Listening to his music, or attending a performance of one of his major works (or even lesser-known ones), rewards us with the chance to re-examine his art and influence, to reflect on this great artist’s life, his religious faith, and his creative outlook. Bach was one of the most prominent composers of the Baroque period. The term “Baroque” comes from the Portuguese word barroco or “misshapen pearl.” This adjective was intended by 18th-century critics as a pejorative term to describe the highly stylized ornamentation that was characteristic of the visual arts, architecture, and music of the time. The term stuck, however, and Severance Hall 2016-17

Johann Sebastian Bach: 1685-1750

The music of my father has higher purposes — it is not supposed to fill the ear, but to move your heart. —Carl Philipp Emanuel Bach

Saint Nicholas Church in Leipzig, where Bach led the world premiere of his Saint John Passion in 1724.

became the name for this celebrated period in the visual arts and music, roughly the years 1600 to 1750. During this time, composers developed new musical genres, such as opera, pushed boundaries of tonality, and expanded the concept of musical form. Bach was born in Eisenach, Germany, in 1685, right in the middle of the Baroque era. Descended from a long line of musicians, he was exposed to music from an early age. He went to live with his older brother after the death of their parents, and it was then that he started to develop his exceptional abilities as a keyboardist. He received his first appointment as church organist at Arnstadt when he was still a feisty teenager. Accounts of him participating in a brawl and inviting a woman into the organ loft without permission give us an idea of his sometimes rebellious personality. In 1708, Bach accepted a position working for the Duke of Weimar, where he composed many cantatas (varied works for singers and small ensembles) and organ pieces. He appealed to the Duke for the position of Kapellmeister (chief musician) in 1716. But the Duke hired somebody else instead, and Bach threatened to leave his position in Weimar. The Duke, angered by Bach’s behavior, had him locked up in prison for a month. Bach was then unfavorably dismissed from his musical position and forced to seek other work. After this rough departure from Weimar, Bach went to work as Kapellmeister for Prince Leopold at Cöthen in 1717, where he created large amounts of instrumental music. This was the only post where he wrote very little for religious purposes, due to the musically sparse services held by the Calvinist churches there. In 1723, Bach moved to Leipzig, accepting a position as Kapellmeister of the churches of Saint Thomas (Thomaskirche) and the smaller Saint Nicholas, where he worked until his death in 1750. In Leipzig, Bach’s primary responsibilities were writing music for the weekly Lutheran church services and training the choirs who performed these works and the regular hymnody. It was during this time that he created his Saint John Passion (1724) and Saint Matthew Passion (1727), along with the first half of his Mass in B minor, the Missa Brevis (1733). In his final years, he completed the Mass in B-minor, Johann Sebastian Bach

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and also worked on his enigmatic Art of Fugue, a masterpiece in counterpoint. For many of us today, it may be surprising to be reminded or learn that Bach has not always been as famous as he is today. He was certainly renowned during his lifetime as an organist, but he was much less well-known as a composer. In fact, if you mentioned the name “Bach” on the streets of late 18th-century Germany, most people would assume you were talking about his son, composer C.P.E. Bach, rather than Johann Sebastian. Even though Bach’s music was not well known by the public at the end of the 18th and beginning of the 19th centuries, many composers of that time studied and used it as inspiration for their own works. And then, at the start of the 19th century, a renaissance of general interest in Bach’s music began to remind people of this old-time master. The young Felix Mendelssohn pushed things along with a rare public performance of the Saint Matthew Passion in 1829. Robert Schumann also helped bring Bach back in focus through forming the Bach-Gesellschaft (Bach Society) in 1850 with the goal of publishing all of Bach’s works and making them more widely available to music lovers everywhere. Johannes Brahms was one of the Society’s subscribers who eagerly awaited these new editions, and he looked to Bach’s compositions as models for some of his own works, including ideas in fugal counterpoint. This technique for writing two or more intertwining melodic lines sounding simultaneously had reached a peak of artistic perfection during the Baroque — so who better to turn to when writing in this style than Bach, the Baroque master of counterpoint himself! Bach’s works continue to inspire and influence composers more than 250 years after his death. His fame as a composer may have had its ups and downs, but his impact on the world of classical music remains unrivaled. —Kate Rogers Kate Rogers served as an intern with The Cleveland Orchestra’s Archives two seasons ago. She is a PhD candidate in musicology at Case Western Reserve University.

Severance Hall 2016-17

Johann Sebastian Bach

And if we look at the works of Johann Sebastian Bach — a benevolent god to which all musicians should offer a prayer to defend themselves against mediocrity — on each page we discover things which we thought were born only yesterday, from delightful arabesques to an overflowing of religious feeling greater than anything we have since discovered. And in his works we will search in vain for anything the least lacking in good taste. —Claude Debussy

BACH IN FOCUS Reading and Exploring In addition to the books suggested on these pages, hundreds of books and website pages are devoted to a myriad of details about Johann Sebastian Bach’s life and music.

Seven Books About For the Performer’s Perspective: Bach, Music in the Castle of Heaven, by John Eliot Gardiner. 672 pages. (Knopf, 2013). In this recent biography, renowned conductor and performer John Eliot Gardiner aims to give his audience “a sense of inhabiting the same experiences and sensations that Bach might have had in the act of music-making.” Having studied and performed Bach’s music most of his life, Gardiner also weaves his own experiences into the story, offering a unique and accessible perspective that any lover of music can thoroughly enjoy. For the Biography Lover: Johann Sebastian Bach: The Learned Musician, by Christoph Wolff. 640 pages. (W.W. Norton and Company, 2000). This riveting biography by leading Bach scholar Christoph Wolff was a finalist for the Pulitzer Prize in Biography in 2001. Wolff traces Bach’s life and development as a musician, and gives an in-depth look at the man behind the music. For the History Buff: Evening in the Palace of Reason: Bach Meets Frederick the Great in the Age of Enlightenment, by James R. Gaines. 273 pages. (Harper Perennial, 2005). This award-winning dual-biography uses a brief meeting between two great men to illuminate the Enlightenment’s changing ideas about humanity’s place in and understanding of the world. For the Lover of All-Things-Bach: The New Bach Reader: A Life of Johann Sebastian Bach in Letters and Documents, ed. Hans T. David and Arthur Mendel, Revised and Expanded by Christoph Wolff. 551 pages. (W.W. Norton and Company, 1998). If you are a Bach fanatic, this collection is for you. As Yo-Yo Ma states, “just reading these documents brings this composer to life in a most exciting and vivid way. They help us to see who he was, what he thought, what he did and why.” This collection paints a picture of Bach’s daily life, and even includes the first-ever Bach biography, from 1802.

More About Bach

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About Listening to the Passions: Hearing Bach’s Passions, by Daniel R. Melamed. 204 pages. (Oxford University, reprint 2016). An exploration of Bach’s music and scholarship about how to perform it today, as well as suggestions of what to listen for — and how best to experience Bach’s artistry — within the two surviving Passions, Saint John and Saint Matthew. About Bach’s Spiritual Beliefs and His Music: Bach & God, by Michael Marissen. 288 pages. (Oxford University, 2016). Seven essays about finding religious messages in Bach’s music, how Bach viewed God, and how Bach served God in creating a range of musical masterpieces. Including questions about Lutheran faith at the time, and the extent of prevailing (and veiled) anitsemitism. For the Armchair Traveler: Exploring the World of J.S. Bach: A Traveler’s Guide, by Robert L. Marshall and Traute M. Marshall. 280 pages. (University of Illinois Press, 2016). An introduction and discussion, with illustrations and photographs, of fifty towns across Bach’s Germany — places he lived, worked, visited, and influenced. Including descriptions and depictions of each location today and during Bach’s lifetime.

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More About Bach

Listening The web hosts a plethora of listening options for hearing performances of Bach’s many, many works. If you still like the physicality of CDs, or simply want to own rather than rent, there are at least two competing boxed sets of all his works, which can be found online (142 discs for around $120 vs. 172 discs for around $170 or less).

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Richard K. Smucker elected as new President of The Cleveland Orchestra’s Board of Trustees At its regular meeting on Friday, March 3, Franz Welser-Möst and André Gremillet — and 2017, The Cleveland Orchestra‘s Board of Trustall my colleagues on the Board of Trustees, most ees elected long-time board member Richard especially the untiring efforts and far-sighted work K. Smucker to be the organization’s thirteenth that Richard Bogomolny and Dennis LaBarre have Board President. In this role, he will oversee brought in their leadership roles.” direction and governance for The Cleveland Or“It has been and will always be a privilege and chestra, working with the Board’s officers, Exan honor to serve this extraordinary institution,” ecutive Committee, and Trustees, alongside the said Dennis W. LaBarre. “As I hand the presidency Orchestra’s executive director, André Gremillet, to Richard K. Smucker, I remain fully committed and music director, Franz Welser-Möst. Smucker to The Cleveland Orchestra and its success, and was first elected to the Board of Trustees in 1989. will be actively involved as chairman as we move Smucker succeeds Dennis W. LaBarre, forward into a Second Century of great music and who has led the group as Board great pride for our community — here President since 2009. LaBarre has at home and across the globe. Our work served on the board for 29 years. together is truly a team effort, and I am As part of the planned succession thankful to all my teammates, past, and leadership transition, LaBarre present, and future.” was elected as board chairman. “There is no institution or organRichard J. Bogomolny, who ization dearer to my heart than The served as President for eight years Cleveland Orchestra,” said Richard J. and most recently as Chairman for Bogomolny. “I will continue to do evthe past fifteen years, was honored erything I can to support The Cleveland with the title chairman emeritus, Orchestra’s unrivalled success, for future a first in the Orchestra’s history. generations and for the greater good RICHARD K. SMUCKER Both LaBarre and Bogomolny will and enrichment of this community.” remain actively involved in the Almost alone among America’s Board’s ongoing work for the Orchestra. top symphony orchestras, The Cleveland The Cleveland Orchestra is in final stages of Orchestra has a long tradition of leadership planning to celebrate its centennial and launch continuity across all three institutional arenas into its Second Century. Smucker has chaired — artistic, board, and staff. In 99 years, the the group’s Centennial Planning Committee, Orchestra has been led by only seven music and the Orchestra is announcing details of its directors, thirteen board presidents, and eight 100th season for 2017-18 on March 17. executive directors. Such long tenures and con“I am first and foremost indebted to everyone tinuity, coupled with well-planned and orderly who has come before me,” commented Richard K. transitions at each level, have helped deliver Smucker, upon his election as president. “There a remarkable cohesion and stable platform of is no better or finer orchestra in the world than The planning and support for the Orchestra as it rose Cleveland Orchestra, and that is due not just to to national and international fame to become, the extraordinary talent and dedication onstage, and continue as, one of the world’s greatest and but to the ongoing support and generosity of this most-acclaimed music ensembles. Franz Welsercommunity, and to the incredible hard work of Möst became the Orchestra’s seventh music staff members, Board members, and volunteers director in 2002, with his contract now extendacross a century of excellence. I am appreciative ing beyond 2020. André Gremillet joined the to have been chosen to help lead this great instituOrchestra as executive director in January 2016, tion forward into what I know will be an extraorsucceeding Gary Hanson, who had served as the dinary future. I am also so very thankful to have Orchestra’s eighth staff executive from 2004 to such great partners for the years ahead, including the end of 2015. Severance Hall 2016-17

Cleveland Orchestra News

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: The Cleveland Cello Society presents a special recital on Friday evening, March 10, featuring Cleveland Orchestra cellist Mark Kosower on its Solo Artist Series, performing with pianist Jee-Won Oh. The program, presented at Cleveland’s The Music Settlement (11125 Magnolia Drive in University Circle), features works by Beethoven, Brahms, Khachaturian, Schubert, and Martinů. The recital begins at 7:00 p.m. Tickets are $25 general admission ($10 students). Patron level support is encouraged at the $100 level. For more information, visit www.clevelandcello.com or call 216-921-3480. Cleveland Orchestra musician Lisa Boyko (viola) performs on the Cleveland Institute of Music Faculty Recital series on Friday evening, March 31. The program, presented in Mixon Hall beginning at 8:00 p.m., features works by Bach, Schumann, and Hindemith, as well as the Duruflé Trio Opus 3 with Cleveland Orchestra flutist Mary Kay Fink and pianist Eric Charnofsky. Those interested in attending can contact CIM to reserve a free seating pass.

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

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

Cleveland Orchestra News

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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.

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HE CLEVELAND ORCHESTRA

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

Franz Welser-Möst leads discussion about Bach’s Saint John Passion at Temple–Tifereth Israel; recording can be viewed via on-demand streaming The weekend prior to The Cleveland Orchestra’s performances of Bach’s Saint John Passion on March 9-12, Franz Welser-Möst discussed the work with a panel of guest speakers on Sunday afternoon, March 5. The event was held at The Temple–Tifereth Israel in Beachwood and was recorded by the Orchestra’s media partner ideastream. The afternoon can be viewed online anytime via ondemand streaming by visiting www.ideastream.org. One focus of the afternoon’s discussion was 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 discussion tried to 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 were: 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.

At the beginning of the season last September, The Cleveland Orchestra 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. The Members Club began with an invitation-only pilot program a year ago in Fall 2015 and is now being rolled out and offered to the public. Early development of the Members Club was funded by grants from The George W. Codrington Charitable Foundation and The Char and Chuck Fowler Family Foundation. For more details and information, visit www.clevelandorchestra.com/membersclub.

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 all year ’round . . .

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 Decemberr in Europe and is being released in the United States in March. Pre-orders are being accepted before the release day at amazon.com, and, by JOHANNES BRA HMS EI DEUTSCHEN special arrangement, the DVD S RE QU IEM will be available through the Cleveland Orchestra Store prior to the 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 Severever ance Hall at intermission or following 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 Office by calling 216-231-1111 or 800-686-1141, or online at clevelandorchestra.com.

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Severance Hall 2016-17

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

The Cleveland Orchestra

orchestra news

THE CLEVELAND ORCHESTRA

M.U.S.I.C.I.A.N S.A.L.U.T.E The Musical Arts Association gratefully acknowledges the artistry and dedication of all the musicians of The Cleveland Orchestra. In addition to rehearsals and concerts throughout the year, many musicians donate performance time in support of community engagement, fundraising, education, and audience development activities. We are pleased to recognize these musicians, listed below, who volunteered for such events and presentations during the 2014-15 and 2015-16 seasons. Mark Atherton Martha Baldwin Charles Bernard Katherine Bormann Lisa Boyko Charles Carleton Hans Clebsch Patrick Connolly Ralph Curry Marc Damoulakis Alan DeMattia Vladimir Deninzon Maximilian Dimoff Scott Dixon Elayna Duitman Bryan Dumm Mark Dumm Tanya Ell Mary Kay Fink Kim Gomez Wei-Fang Gu Scott Haigh David Alan Harrell Miho Hashizume Shachar Israel Mark Jackobs Joela Jones Richard King Alicia Koelz Stanley Konopka Mark Kosower Paul Kushious Massimo La Rosa Jung-Min Amy Lee Yun-Ting Lee Takako Masame Eli Matthews Jesse McCormick Daniel McKelway Michael Miller Sonja Braaten Molloy

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

Severance Hall 2016-17

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

Cleveland Orchestra News

Remember how it felt . . . ? . . . to hear The Cleveland Orchestra for the first time? Yoash and Sharon Wiener believe there is nothing better than listening to beautiful music played by a world-class orchestra in an internationallyrenowned concert hall just a short drive from your home. And they’ve been enjoying The Cleveland Orchestra for nearly half a century. In addition to being long-time season subscribers to The Cleveland Orchestra at both Severance Hall and each summer’s Blossom Music Festival, Yoash and Sharon are supporting the Orchestra’s future through the gift annuity program. In exchange for their gift, Yoash and Sharon receive income for life and a charitable tax deduction. “Our very first date was nearly 50 years ago at a Cleveland Orchestra performance at Severance Hall. The date was great and so was the music, and The Cleveland Orchestra has been a central part of our lives together,” says Yoash. “Participating in the gift annuity program is our way of thanking the Orchestra for all it has meant to us.”

THE

CLEVELAND ORCHESTRA

To find out how you can create a gift annuity and join Yoash and Sharon in supporting The Cleveland Orchestra’s future, contact our Legacy Giving Office by calling 216-231-8006.

clevelandorchestra.com/cga 72

The Cleveland Orchestra

Legacy Giving THE CLEVELAND ORCHESTRA

H E R I TAGE S O C I ET Y The Heritage Society honors those individuals who are helping to ensure the future of The Cleveland Orchestra with a Legacy gift. Legacy gifts come in many forms, including bequests, charitable gift annuities, and insurance policies. The following listing of members is current as of November 2016. For more information, please contact the Orchestra’s Legacy Giving Office by calling Dave Stokley at 216-231-8006. Lois A. Aaron Leonard Abrams Shuree Abrams* Gay Cull Addicott Stanley and Hope Adelstein* Sylvia K. Adler* Gerald O. Allen* Norman and Marjorie* Allison George N. Aronoff Herbert Ascherman, Jr. Jack and Darby Ashelman Mr. and Mrs. William W. Baker Ruth Balombin* Mrs. Louis W. Barany* D. Robert and Kathleen L. Barber* Jack L. Barnhart Margaret B. and Henry T.* Barratt Norma E. Battes* Rev. Thomas T. Baumgardner and Dr. Joan Baumgardner Fred G. and Mary W. Behm Bertram H. Behrens* Dr. Ronald and Diane Bell Bob Bellamy Joseph P. Bennett Marie-Hélène Bernard Ila M. Berry Howard R. and Barbara Kaye Besser Dr.* and Mrs. Murray M. Bett Dr. Marie Bielefeld Raymond J. Billy (Biello) Dr. and Mrs. Harold B. Bilsky* Robert E. and Jean Bingham* Mr. William P. Blair III Madeline & Dennis Block Trust Fund Mrs. Flora Blumenthal Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. and Mrs. Charles P. Bolton Kathryn Bondy* Loretta and Jerome* Borstein Mr. and Mrs.* Otis H. Bowden II Ruth Turvy Bowman* Drs. Christopher P. Brandt and Beth Brandt Sersig Mr. D. McGregor Brandt, Jr. David and Denise Brewster Richard F. Brezic* Robert W. Briggs Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Ronald and Isabelle Brown* Mr. and Mrs. Clark E. Bruner* Mr. and Mrs. Harvey Buchanan* Rita W. Buchanan* Joan and Gene* Buehler

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

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

Severance Hall 2016-17

Legacy Giving

Legacy Giving THE CLEVELAND ORCHESTRA

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

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

Legacy Giving

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

The Cleveland Orchestra

Legacy Giving THE CLEVELAND ORCHESTRA

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

Severance Hall 2016-17

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

Legacy Giving

Mary Louise and Don VanDyke Elliot Veinerman* Nicholas J. Velloney* Steven Vivarronda Hon. William F.B. Vodrey Pat and Walt* Wahlen Mrs. Clare R. Walker John and Deborah Warner Mr. and Mrs. Russell Warren Joseph F. and Dorothy L. Wasserbauer Charles D. Waters* Reverend Thomas L. Weber Etta Ruth Weigl* Lucile Weingartner Eunice Podis Weiskopf* Max W. Wendel William Wendling and Lynne Woodman Marilyn J. White Robert and Marjorie Widmer* Yoash and Sharon Wiener Alan H. and Marilyn M. Wilde Elizabeth L. Wilkinson* Helen Sue* and Meredith Williams Carter and Genevieve* Wilmot Miriam L. and Tyrus W. Wilson* Mr. Milton Wolfson* and Mrs. Miriam Shuler-Wolfson Nancy L. Wolpe Mrs. Alfred C. Woodcock Katie and Donald Woodcock Dr.* and Mrs. Henry F. Woodruff Marilyn L. Wozniak Nancy R. Wurzel Michael and Diane Wyatt Mary Yee Emma Jane Yoho, M.D.* Libby M. Yunger Dr. Norman Zaworski* William Zempolich and Beth Meany William L. and Joan H. Ziegler* Carmela Catalano Zoltoski* Roy J. Zook* Anonymous (108)

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

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, Director, 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

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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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Severance Hall 2016-17

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

Your Role . . . in The Cleveland Orchestra’s Future Generations of Clevelanders have supported the Orchestra and enjoyed its concerts. Tens of thousands have learned to love music through its education programs, celebrated important events with its music, and shared in its musicmaking — at school, at Severance Hall, at Blossom, downtown at Public Square, on the radio, and with family and friends. As Ohio’s most visible international ambassador, The Cleveland Orchestra proudly carries the name of our great city everywhere we go. Here at home, we are committed to serving all of Northeast Ohio with vital education and community programs, presented alongside wide-ranging musical performances. Ticket sales cover less than half the cost of presenting the Orchestra’s season each year. By making a donation, you can make a crucial difference in helping to ensure our work going forward. To make a gift to The Cleveland Orchestra, please visit us online, or call 216-231-7562.

clevelandorchestra.com

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.

Severance Hall 2016-17

Corporate Annual Support

$2,500 TO $24,999 Akron Tool & Die Company American Fireworks, Inc. BDI Brothers Printing Co., Inc. Brouse McDowell Eileen M. Burkhart & Co., LLC Calfee, Halter & Griswold LLP The Cedarwood Companies Cleveland Clinic Cleveland Steel Container Corporation The Cleveland Wire Cloth & Mfg. Co. Cohen & Company, CPAs Community Counselling Services Consolidated Solutions Cozen O’Connor (Miami) 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)

Dreams can come true

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

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

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

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 5 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

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

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THE CLEVELAND C O N C E R T

C A L E N D A R

WINTER SEASON

SPRING SEASON

Bachâ&#x20AC;&#x2122;s Saint John Passion

Handelâ&#x20AC;&#x2122;s Royal Fireworks

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

Mar 30 â&#x20AC;&#x201D; Thursday at 7:30 p.m. Mar 31 â&#x20AC;&#x201D; Friday at 11:00 a.m. <18s Apr 1 â&#x20AC;&#x201D; Saturday at 8:00 p.m.

THE CLEVELAND ORCHESTRA Franz Welser-MĂśst, 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

THE CLEVELAND ORCHESTRA Harry Bicket, conductor

BACH Saint John Passion

HANDEL Concerto Grosso, Opus 6 No. 11 RAMEAU Suite from Les BorĂŠades PURCELL Suite from King Arthur HANDEL Music for the Royal Fireworks Sponsor: Hyster-Yale Materials Handling Inc. AMERICAN GREETINGS FAMILY CONCERT

Peter and the Wolf

(Sung in German with projected English supertitles.)

Apr 2 â&#x20AC;&#x201D; Sunday at 3:00 p.m.

All Stravinsky

<18s

THE CLEVELAND ORCHESTRA Brett Mitchell, conductor with special guests Magic Circle Mime Co

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-MĂśst, conductor Seraphic Fire, vocal ensemble Cleveland Orchestra Chorus

STRAVINSKY Fireworks STRAVINSKY Apollo: Apollon musagĂ¨te STRAVINSKY Symphonies of Wind Instruments STRAVINSKY Threni, Lamentations of Jeremiah Sponsor: Jones Day

Peter and the Wolf 3URNRĂ&#x20AC;HYÂˇV EHORYHG WDOH ZKRVH FKDUDFWHUV DUH SRUWUD\HG E\ YDULRXV LQVWUXPHQWV RI WKH RUFKHVWUD UHWXUQV WR 6HYHUDQFH +DOO 3HWHU VWULQJV WKH %LUG Ă XWH WKH &DW FODULQHW *UDQGSD EDVVRRQ WKH 'XFN RERH WKH Wolf (horns), and the Hunters (timpani) are assisted in this Â´UH WHOOLQJ ZLWK D WZLVWÂľ E\ WKH SRSXODU DQG KLODULRXV 0DJLF &LUFOH 0LPH &RPSDQ\ <RX ZRQÂˇW ZDQW WR PLVV WKLV PDJLFDO production! )UHH SUH FRQFHUW DFWLYLWLHV EHJLQ RQH KRXU EHIRUH VWDUW WLPH Sponsored by American Greetings Corporation

Mitsuko Uchidaâ&#x20AC;&#x2122;s Mozart Apr 6 â&#x20AC;&#x201D; Thursday at 7:30 p.m. Apr 7 â&#x20AC;&#x201D; Friday at 8:00 p.m. <18s Apr 8 â&#x20AC;&#x201D; Saturday at 8:00 p.m.

PNC MUSICAL RAINBOW

The Cool Clarinet

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

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

MOZART Piano Concerto No. 12 MENDELSSOHN String Symphony No. 2 MOZART Piano Concerto No. 20 Sponsor: Quality Electrodynamics (QED) PNC MUSICAL RAINBOW

The Cheerful Cello

Under 18s Free

FOR FAMILIES

<18s

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).

Apr 7 â&#x20AC;&#x201D; Friday at 10:00 a.m. <18s Apr 8 â&#x20AC;&#x201D; Saturday at 11:00 a.m. <18s with Martha Baldwin, cello Sponsor: PNC Bank

Concert Calendar

The Cleveland Orchestra

ORCHESTRA

16 17 2 O 1 6 -1 7

I N

Don Quixote

T H E

S E A S O N

S P O T L I G H T

Apr 20 — Thursday at 7:30 p.m. Apr 21 — Friday at 11:00 a.m. <18s Apr 22 — Saturday at 8:00 p.m. THE CLEVELAND ORCHESTRA Andrew Davis, conductor Frank Rosenwein, oboe * Mark Kosower, cello Wesley Collins, viola

DELIUS Brigg Fair VAUGHAN WILLIAMS Concerto for Oboe and Strings* STRAUSS Don Quixote * not part of Friday concert

Sponsor: Squire Patton Boggs (US) LLP

Pelléas and Mélisande May 2 — Tuesday at 7:30 p.m. May 4 — Thursday at 7:30 p.m. May 6 — Saturday at 7:30 p.m. THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor featuring Elliot Madore, baritone (Pelléas) Martina Janková, soprano (Mélisande) Hanno Müller-Brachmann, bass-baritone (Golaud) Peter Rose, bass (Arkel) Nancy Maultsby, mezzo-soprano (Geneviève) Cleveland Orchestra Chamber Chorus in a new production directed by Yuval Sharon

DEBUSSY Pelléas and Mélisande Sung in French with projected English supertitles.

A Midsummer Night’s Dream May 11 — Thursday at 7:30 p.m. May 13 — Saturday at 8:00 p.m. May 14 — Sunday at 3:00 p.m. <18s THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Julia Fischer, violin with Itay Tiran, actor Anya Matanovic, soprano Emily Fons, mezzo-soprano Members of the Cleveland Orchestra Youth Chorus

HENZE Il Vitalino raddoppiato: Chaconne for Violin and Chamber Orchestra MENDELSSOHN Incidental Music to A Midsummer Night’s Dream Sponsor: KeyBank

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-Möst, conductor Seraphic Fire, vocal ensemble Patrick Dupré Quigley, director Cleveland Orchestra Chorus Robert Porco, director

This unique concert draws from the wealth and variety of Stravinsky’s musical output, centering on his writing style and stylings for voice. Featuring the Cleveland debut of Miami’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

CLEVELAND ORCHESTRA TICKETS PHONE

216 - 231-1111 800-686-1141

clevelandorchestra.com Severance Hall 2016-17

Concert Calendar

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