WINTER SEASON
SEVERANCE HALL
THE
CLEVELAND ORC HE STR A
16 17 2 O16-17
FRANZ WELSER-MÖST
Concert: March 16, 18 ALL-STRAVINSKY — page 29 About Stravinsky — page 33 Learning & Listening — page 64 PERSPECTIVES from the Executive Director — page 7
S E A S O N
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THIS WEEK THE
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COVER: STRAVINSKY, SKETCHED BY PABL0 PICASSO, 1920
Upfront
PAGE
WEEK 15 From the Executive Director . . . . . . . . . . . . . . . . . . . . 7
About the Orchestra Musical Arts Association . . . . . . . . . . . . . . . . . . . . . . . The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . . . Music Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Severance Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Patron Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . Concert Calendar . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
11 15 21 24 27 90 91 94
15 ALL-STRAVINSKY Program: March 16, 18 . . . . . . . . . . . . . . . . . . . . . . . 29 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 31 About Stravinsky . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 WEEK
STRAVINSKY
Fireworks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Apollo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Symphonies of Wind Instruments . . . . . . . . . . . Threni. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
41 43 47 51
Conductor: Franz Welser-Möst . . . . . . . . . . . . . . . . . 21 Seraphic Fire: Soloists . . . . . . . . . . . . . . . . . . . . . 59-61 Cleveland Orchestra Chorus . . . . . . . . . . . . . . . . . 62-63 NEWS
Copyright © 2017 by The Cleveland Orchestra and the Musical Arts Association Eric Sellen, Program Book Editor E-MAIL: esellen@clevelandorchestra.com Program books for Cleveland Orchestra concerts are produced by The Cleveland Orchestra and are distributed free to attending audience members. Program book advertising is sold through Live Publishing Company at 216-721-1800
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.
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216 6 367 4114 | www.carnegieinvest.com The Cleveland Orchestra
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 project 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.
Severance Hall 2016-17
André Gremillet
7
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.
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THE OPERA EVENT OF THE SEASON
OPERA IN FIVE ACTS BY C L AU D E D E B U SSY The Cleveland Orchestra conducted by Franz Welser-Möst stage direction by Yuval Sharon set design by Mimi Lien lighting and projection design by Jason Thompson costume design Ann Closs-Farley choreography by Danielle Agami featuring Elliot Madore, baritone (Pelléas) Martina Janková, soprano (Mélisande) Hanno Müller-Brachmann, bass-baritone (Golaud) Peter Rose, bass (Arkel) Nancy Maultsby, mezzo-soprano (Geneviève) Julie Mathevet, soprano (Yniold) David Castillo, baritone (Doctor/Shepherd) and the Cleveland Orchestra Chamber Chorus (Sung in French with English supertitles)
SEVERANCE HALL MAY 2 — TUESDAY at 7:30 p.m. MAY 4 — THURSDAY at 7:30 p.m. MAY 6 — SATURDAY at 7:30 p.m. Luminous and hypnotic — Pelléas and Mélisande is among the most magical and mesmerizing of all opera scores. Composed when Impressionism was a new and radical force, it was Claude Debussy’s only completed opera. This tale of two fallen lovers resonates with mystery and meaning. Debussy’s beautiful depiction transforms the unending musical longing that Richard Wagner had pioneered with Tristan and Isolde into a tragedy of unique power. It is presented at Severance Hall in a made-for-Cleveland production directed by Yuval Sharon (The Cunning Little Vixen) filled with dream-like realism.
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CREATE YOUR JEWISH LEGACY
Caring for those in need never goes out of style. Whether we are feeding the hungry, comforting the sick, or caring for the elderly, our Jewish values have always inspired us to act. Those same values teach us to care for the next generation. By making a legacy gift, you leave your children and grandchildren a precious inheritance and a lasting testimony to your values. Find out how you can become a member of the Jewish Federation of Cleveland’s Legacy Society by contacting Carol F. Wolf for a confidential conversation at 216-593-2805 or cwolf@jcfcleve.org.
L’dor V’dor. From Generation to Generation.
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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
Severance Hall 2016-17
André Gremillet, Executive Director
Musical Arts Association
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Sound for the Centennial TH E C A M PAI G N FO R TH E C LE V EL AN D O RC H ESTR A 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
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The Andrew W. Mellon Foundation Ms. Beth E. Mooney John C. Morley John P. Murphy Foundation David and Inez Myers Foundation The Eric & Jane Nord Family Fund Ohio Arts Council The Honorable and Mrs. John Doyle Ong The Payne Fund PNC Bank Julia and Larry Pollock Mr. and Mrs. Alfred M. Rankin, Jr. James and Donna Reid Barbara S. Robinson The Leighton A. Rosenthal Family Foundation The Sage Cleveland Foundation The Ralph and Luci Schey Foundation The Kelvin and Eleanor Smith Foundation Mr. and Mrs. Richard K. Smucker The J. M. Smucker Company Joe and Marlene Toot Anonymous (4)
Sound for the Centennial Campaign
The Cleveland Orchestra
GIFTS OF $500,000 TO $1 MILLION
Gay Cull Addicott American Greetings Corporation Jeanette Grasselli Brown and Glenn R. Brown Robert and Jean* Conrad Dr. and Mrs. Hiroyuki Fujita GAR Foundation Richard and Ann Gridley The Louise H. and David S. Ingalls Foundation Martha Holden Jennings Foundation Myra Tuteur Kahn Memorial Fund of The Cleveland Foundation Mr. and Mrs. Douglas A. Kern James and Gay* Kitson
Virginia M. and Jon A. Lindseth Ms. Nancy W. McCann Nordson Corporation Foundation Parker Hannifin Foundation Charles and Ilana Horowitz Ratner Sally and Larry Sears Squire Patton Boggs (US) LLP Thompson Hine LLP Timken Foundation of Canton Ms. Ginger Warner Anonymous (4)
GIFTS OF $250,000 TO $500,000
Randall and Virginia Barbato John P. Bergren* and Sarah S. Evans The William Bingham Foundation Blossom Friends of The Cleveland Orchestra Mr. and Mrs. Harvey Buchanan* Cliffs Natural Resources The George W. Codrington Charitable Foundation The Helen C. Cole Charitable Trust The Mary S. and David C. Corbin Foundation Mr. and Mrs. Matthew V. Crawford William and Anna Jean Cushwa 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.
Severance Hall 2016-17
Sound for the Centennial Campaign
* deceased
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its Centennial Season in 2017-18, The Cleveland Orchestra continues refining its mission, praised as one of the very best orchestras in the world and noted for its devotion and service to the community it calls home. The 2016-17 season marks the ensemble’s fifteenth year under the direction of Franz Welser-Möst, one of the world’s most renowned musical leaders. Looking toward the future, the Orchestra and its board of trustees, staff, volunteers, and hometown are working together on a set of enhanced goals for the 21st century — to continue the Orchestra’s legendary command of musical excellence, to fully focus on serving its hometown community (through outstanding concerts, vibrant musical engagement, and strong music education programs), to develop the youngest audience of any orchestra, to build on its tradition of community support and financial strength, and to move forward into the Orchestra’s next century with an unshakeable commitment to innovation and a fearless pursuit of success. The Cleveland Orchestra divides its time each year across concert seasons at home in Cleveland’s Severance Hall and each summer at Blossom Music Center. Additional portions of the year are devoted to touring and to a series of innovative and intensive performance residencies. These include an annual set of concert presentations and community partnerships in Miami, Florida, a recurring residency at Vienna’s Musikverein, and regular appearances at Switzerland’s Lucerne Festival, at New York’s Lincoln CenAS IT APPROACHES
Severance Hall 2016-17
ter Festival, and at Indiana University. Musical Excellence. The Cleveland Orchestra has long been committed to the pursuit of musical excellence in everything that it does. The Orchestra’s ongoing collaboration with Welser-Möst is widely-acknowledged among the best orchestra-conductor partnerships of today. Performances of standard repertoire and new works are unrivalled at home, in residencies around the globe, on tour across North America and Europe, and through recordings, telecasts, and radio and internet broadcasts. Its longstanding championship of new composers and commissioning of new works helps audiences experience music as a living language that grows and evolves with each new generation. Performances with Baroque specialists, recording projects of varying repertoire and in different locations, fruitful re-examinations and juxtapositions of the standard repertoire, and acclaimed collaborations in 20th- and 21st-century masterworks together enable The Cleveland Orchestra the ability to give musical performances second to none in the world. Serving the Community. Programs for students and community engagement activities have long been part of the Orchestra’s commitment to serving Cleveland and surrounding communities, and have more recently been extended to touring cities and residencies. All are being created to connect people to music in the concert hall, in classrooms, and in everyday lives. Recent seasons have seen the launch of a unique “At Home” neigh-
About the Orchestra
15
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 Mar 2017)
The Cleveland Orchestra has introduced over 4.1 million children in Northeast Ohio to symphonic music through concerts for children since 1918.
130,953
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
17
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.
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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
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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
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Music Director
The Cleveland Orchestra
FEATURED EVENTS
CLEVELAND STATE UNIVERSITY presents
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June 7-9, 2017 in partnership with
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LEAD LIKE A PRESIDENT
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Pulitzer Prize winner and TIME Magazine editor Jon Meacham discusses the American presidency
and many more! Visit ahacsu.com for more info and tickets.
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
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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
2
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
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audiocraft.com info@audiocraft.com 216-431-7300 The Cleveland Orchestra
16 17 LEARNING MORE ABOUT THE MUSIC
2 O1 6 -1 7
Concert Previews
The Cleveland Orchestra offers a variety of options for learning more about the music before each concert begins. For each concert, the program book includes program notes commenting on and providing background about the composer and his or her work being performed that week, along with biographies of the guest artists and other information. You can read these before the concert, at intermission, or afterward. (Program notes are also posted ahead of time online at clevelandorchestra.com, usually by the Monday directly preceding the concert.) The Orchestra’s Music Study Groups also provide a way of exploring the music in more depth. These classes, professionally led by Dr. Rose Breckenridge, meet weekly in locations around Cleveland to explore the music being played each week and the stories behind the composers’ lives. Free Concert Previews are presented one hour before most subscription concerts throughout the season at Severance Hall. The previews (see listing at right) feature a variety of speakers and guest artists speaking or conversing about that weekend’s program, and often include the opportunity for audience members to ask questions.
Severance Hall 2016-17
S E A S O N
Cleveland Orchestra Concert Previews are presented before every regular subscription concert, and are free to all ticketholders to that day’s performance. Previews are designed to enrich the concert-going experience. Concert Previews are made possible in part by a generous endowment gift from Dorothy Humel Hovorka. Details: Speakers and other details about upcoming Previews can be found on the Orchestra’s website in the listing for each concert. 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
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All Rise. The global law ďŹ rm Jones Day is proud to lead a standing ovation for The Cleveland Orchestra, one of the most acclaimed performing ensembles in the world. In concerts at home, in residencies from Miami to Vienna, and on tour around the world, The Cleveland Orchestra sets standards of artistic excellence, creative programming, and active community engagement.
2500 Lawyers. 44 Locations. 5 Continents. www.jonesday.com
THE
CLEVELAND ORCHESTRA FRANZ WELSER-MÖST
M U S I C D I R E C TO R
Severance Hall
Thursday evening, March 16, 2017, at 7:30 p.m. Saturday evening, March 18, 2017, at 8:00 p.m.
16 17 2 O 1 6 -1 7
Franz Welser-Möst, conductor
S E A S O N
IGOR STRAVINSKY (1882-1971)
Fireworks, Opus 4 Apollo, Ballet Music in Two Scenes (for string orchestra) First Tableau Prologue: The Birth of Apollo Second Tableau Variation d’Apollon — Pas d’Action (Apollo and the Three Muses) — Variation de Calliope — Variation de Polymnie — Variation de Terpsichore — Variation d’Apollon — Pas de deux (Apollo and Terpsichore) — Coda — Apothéose
Symphonies of Wind Instruments INTER MISSION
Threni: Lamentations of Jeremiah Soloists of SERAPHIC FIRE
Patrick Dupré Quigley, artistic director
MARGOT ROOD, soprano MARGARET LIAS, mezzo-soprano STEVEN SOPH, tenor BRIAN GIEBLER, tenor JAMES K. BASS, bass CHARLES WESLEY EVANS, bass CLEVELAND ORCHESTRA CHORUS Robert Porco, director
These concerts are sponsored by Jones Day, a Cleveland Orchestra Partner in Excellence.
Severance Hall 2016-17
Concert Program — Week 15
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March 16, 18
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THIS WEEKEND'S CONCERT Restaurant opens: THUR 4:30 SAT 5:00
Concert Preview: BEGINS ONE HOUR BEFORE CONCERT
Concert begins: THUR 7:30 SAT 8:00
2016-17
S E A S O N
Severance Restaurant Reservations for pre-concert dining suggested:
216-231-7373 or via www.UseRESO.com
P R E V I E W — Concert Hall
“Stravinsky’s Musical Journey” with guest speaker Michael Strasser, professor of musicology, Baldwin Wallace University Conservatory of Music
STRAVINSKY Fireworks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 41 (5 minutes)
Apollo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 43 (30 minutes)
Duration times shown for musical pieces (and intermission) are approximate.
Symphonies of Wind Instruments . . . . . . Page 47 (10 minutes)
INTERMISSION (20 minutes)
Threni: Lamentations of Jeremiah . . . . . . Page 51 (35 minutes)
Concert ends:
Share your memories of the performance and join the conversation online . . .
(approx.)
THUR 9:20 SAT 9:50
Severance Restaurant Post-Concert Desserts and Drinks
facebook.com/clevelandorchestra twitter: @CleveOrchestra instagram: @CleveOrch
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This Week’s Concerts
The Cleveland Orchestra
INTRODUCING THE CONCERT
Except perhaps as a stamp, Stravinsky always gives you more than your two-cents worth.
Varied Voices, Notes&Styles
T H E R E A R E T W O K I N D S of composers, those whose style matures and evolves, and those who seem to find their “voice” early on, from the get-go. In reality, some mature and others don’t. One may perfect his or her art, while another evolves as the years go by toward radically different sorts of musical writings. Igor Stravinsky was all of this, and more. He found his voice as a composer early, but then reinvented himself and his music, not just once but repeatedly. Never content with each success he presented to the world, he kept searching for new ideas and new meaning in his writing. Contrarily, at times in so many words, he said that music has no meaning. But that was just a man wanting a reaction; he knew very well that, yes, music may have no meaning on the page, but in performance it evokes passion and discourse and emotional upheaval, for and against. For this week’s concerts, Franz Welser-Möst has chosen four Stravinsky works, mostly lesser known, from across this composer’s long and fecund career. In Fireworks, from 1908, we hear the big orchestral sounds, actionpacked and daringly poignant. We continue with the ballet Apollo, from 1927-28, largely in neo-classical style, echoing earlier eras through a modern filter. Then we step backward to 1919, when Stravinsky stripped off a veneer of “normal” in Symphonies of Wind Instruments — creating a coldly-inviting, modern-sounding work that treads carefully between old and new, passion and ice, form and function, verdant and fallow. To end the evening, The Cleveland Orchestra and Chorus are joined by six soloists from the Miami-based Seraphic Fire for the fiendishly challenging Threni, a work created in 1957-58. Here Stravinsky took hold of Arnold Schoenberg’s twelve-tone technique from a generation before, reinvigorating it with his own sort of rigor and formalism, blending the bereaving subject of Jeremiah’s lamentations over a lost Jerusalem with edge-cutting architectural structuring. In this, if we listen wide-eared and with open minds, we can hear not just music but human thought laid bare. —Eric Sellen
CLEVELAND ORCHESTR A R ADIO BROADCASTS
Current and past Cleveland Orchestra concerts are broadcast as part of regular weekly programming on WCLV (104.9 FM), Saturday evenings at 8:00 p.m. and Sunday afternoons at 4:00 p.m.
Severance Hall 2016-17
Introducing the Concerts
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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
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by David Wright
rhythms to neoclassical formality, from modernism and pagan worship to religious revival, from passion to formalism, from instrumental color to vocal exploration, Stravinsky’s changing directions mapped the course of Modern Music.
STRAVINSKY
From explosive
BEGINNINGS
Stravinsky Composed the 20th Century
LIKE THE WHOLE WORLD CRACKING Above: Igor Stravinsky as drawn by Cleveland Orchestra musician Laszlo Krausz, 1953
Severance Hall 2016-17
It’s a trope so embedded in our minds we’re hardly aware of it — a world born in revolution. The American Revolution gave us constitutional democracy, the French Revolution the “rights of man,” the Industrial Revolution the modern world. And in music, so the story goes, one night in Paris in 1913 changed everything. The first performance of Igor Stravinsky’s ballet Le Sacre du printemps [“The Rite of Spring”], with its barbaric sounds and angled rhythms so unlike anything heard or danced before, touched off a full-fledged audience riot, with demonstrations so noisy and prolonged, pro and con, that the performance could barely proceed. The tumult of that night reverberated through a tumultuous century of world wars,
Igor Stravinsky
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political upheaval, and drastic changes in artistic expression. There are composers living today — not just of concert music but jazz, rock, film scores, and much else — who recall how hearing The Rite of Spring for the first time in their lives opened their minds to what was possible in music. Yet, all that the 31-year-old Stravinsky had wanted to do was write a piece about spring. Not just any spring, of course, but, as Stravinsky later wrote in his memoirs, “the violent Russian spring that seemed to begin in an hour and was like the whole world cracking.” With this image in mind, and a ballet scenario of primitive ritual and human sacrifice, the composer of earlier lush Romantic scores (including Fireworks and The Firebird) found himself in uncharted territory. By the time he reached the work’s climactic “Sacrificial Dance,” he recalled later, he was imagining sounds that he did not know at first how to write down.
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Happily for all of us, he figured it out, pointing the way for generations of musicians to follow. As for Stravinsky himself, he was soon off anew, hunting for different musical ideas yet again. F R O M R H Y T H M S T O N E O - C L A S S I CA L
Igor Fyodorovich Stravinsky was born on June 17, 1882 in Oranienbaum, on the Gulf of Finland, and grew up in St. Petersburg, where his father Fyodor was a much-admired bass-baritone at the Imperial Opera House. While trying to follow his parents’ wishes and attending law school, he neglected his studies, attended the opera and ballet as often as he could, and eventually talked his way into the composition class of Nikolai Rimsky-Korsakov, Russia’s leading composer after the death of Tchaikovsky in 1893. The young Stravinsky learned his lessons well, eventually out-Rimskying Rimsky for Romantic spectacle in The Firebird, and setting out on an entirely new path in Igor Stravinsky
The Cleveland Orchestra
The Rite of Spring. Then a war and a revolution intervened. For Stravinsky, World War I and the 1917 Bolshevik Revolution meant exile to a Swiss village, cut off from his former artistic connections and financial resources. He and a friend, the Swiss writer C.F. Ramuz, conceived a folktale-based drama with musical accompaniment that could be produced as a traveling show with just a few actors, musicians, and a dancer. Simple out of necessity, L’Histoire du soldat [“The Soldier’s Tale”] set its story of a common soldier’s pact with the devil to a cheeky, tuneful score that put the concept of “Less is more” into music a generation before Ludwig Mies van der Rohe famously applied it to architecture. In 1920, Sergei Diaghilev, the ballet impresario who had commissioned The
While trying to follow his parents’ wishes to attend law school, Stravinsky neglected his studies, attended opera and ballet, and talked his way into a composition class. Firebird, The Rite of Spring, and other early Stravinsky scores, asked the composer if he would mind arranging some little pieces by the 18th-century composer G. B. Pergolesi for a new ballet. At first Stravinsky balked — but then Pergolesi’s lively, tuneful music got under his skin, and the delightful Pulcinella was the result. If Pulcinella was three-quarters PerSeverance Hall 2016-17
Igor Stravinsky, sketched by Picasso, 1920
golesi and just one-quarter Stravinsky, it was that one quarter that changed the course of music yet again. Stravinsky’s gentle, witty updates to the old master’s music — a dissonant overlapping harmony here, a rhythmic dislocation there, but most of all a new orchestral sound that felt open and fresh-scrubbed — set the tone for one of the 20th century’s most pervasive aesthetic movements: neo-classicism. Just seven years later, in fact, this trend, and the misunderstanding of it, had progressed to the point where Stravinsky had to clarify it in print. The classical ideal, he wrote, was not a matter of “superficial impressions” created by “the use of certain technical devices which were current in socalled classical [i.e. 18th-century] music,” such as trills and stereotyped accompaniment figures. Instead, Stravinsky wrote, “Classical music — true classical music — claimed musical form as its basic substance,” and he welcomed “a wholesome return to this formal idea.” The world-cracking Russian spring
Composing the 20th Century
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— and the Great War that was in some ways its violent political analogue — were behind Stravinsky and his audience now, and a “rage for order” (to borrow Wallace Stevens’s phrase) had taken their place. But even more than an aesthetic stance, Stravinsky had created a sound for his time. Just to take one example, Aaron Copland was a pupil of Nadia Boulanger, a Stravinsky enthusiast. Although few would call Copland’s ballet Appalachian Spring a neo-classical work, its lean, transparent scoring, so evocative of wide-open spaces, owes as much to Stravinsky as to the American landscape. M O D E R N I S M A N D B E YO N D
Stravinsky first met Pablo Picasso in 1917 in Rome, where these two giants of 20th-century culture immediately hit it off, debating and carousing deep into the night, the artist drawing three portraits of the composer. Similarities in their artistic careers — the deep roots in tradition, the involvement with and transformation of the materials of their art, the constant search for yet-unexplored avenues of expression that nevertheless seemed to be exactly what their times required — have often been noted. Perhaps not surprisingly, despite a long friendship they never collaborated on a work of art. For Stravinsky, always on such a restless quest for new and different and basic and foundational, founding a “school”
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seems to have been the furthest thing from his mind. He left such matters to the celebrated pedagogue Boulanger, whose studio filled with ambitious composers of every nationality. Stravinsky’s greatest satisfaction from The Soldier’s Tale, for example, came not from creating a model that countless future composers would follow, but from having finally written a work with a universal, not just Russian, theme. In this he quite openly contrasted himself with the other composing giant of that era, Arnold Schoenberg. In 1925, he told an interviewer that while other
For Stravinsky, always on a restless quest for new and different, founding a “school” was the furthest thing from his mind; he reinvented his musical style repeatedly, unsettling some fans. composers “are trying to discover the music of the future” — plainly referring to the inventor of twelve-tone composition — he wrote only for today. That same year, journalists who met his boat in New York asked what he thought of “modern muIgor Stravinsky
The Cleveland Orchestra
sic,” and Stravinsky replied, “I don’t write modern music. I only write good music.” Although Stravinsky admired Schoenberg’s seminal chamber work Pierrot Lunaire, he claimed to have forgotten the evening in 1912 when he dined at Schoenberg’s house with the latter’s pupils Anton Webern and Alban Berg, what he called his “First and Last Supper with the hypostatic trinity of twentieth century music.” Schoenberg got off a few jabs himself aimed directly at “der kleine Modernsky,” and the two avoided each other socially, even after the winds of World War II landed them in homes not far from each other in Los Angeles. RELIGION AND MEANING
One thing Stravinsky and Schoenberg had in common was a rediscovery of religious faith in mid-life. In 1925, Stravinsky rejoined the Russian Orthodox Church of his youth, and in works such as the Symphony of Psalms and Mass, he opened yet another avenue for subsequent composers — including Arvo Pärt and Sofia Gubaidulina — to express religious experience in a contemporary musical idiom. Stravinsky’s religious reorientation also affected his attitude toward secular subjects in his compositions. This onetime fan of the opera and ballet began having second thoughts about seeing his music enacted on the stage by singing actors and dancers. (He also had “control issues” Severance Hall 2016-17
Igor Stravinsky, sketched by Picasso, 1920
when the form of his music was being dictated by theatrical needs.) He turned more toward instrumental concert music, and toward more distanced, classical subjects for the stage. In 1928, in one of his early collaborations with the choreographer George Balanchine, the road that had begun with a Dionysian “rite of spring” led, quite literally, to Apollo. All this change unsettled some of his fans. The composer who had once been the toast and scandal of the Paris art world was pained by the cool initial reception of his oratorio Oedipus Rex in 1927. Eight years later, echoing the lament of musical innovators from Beethoven to the Beatles, he wrote: “At the beginning of my career I was a good deal spoiled by the public. . . . But I have a very distinct feeling that in the course of the last fifteen years my written work has estranged me from the great mass of my listeners. Liking the music of The Firebird, Pétrouchka, The Rite of Spring, and The Wedding, and being accustomed
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“The trouble with music appreciation in general is that people are taught to have too much respect for music. They should be taught to love it instead.” —Igor Stravinsky
to the language of those works, they are astonished to hear me speaking in another idiom. They cannot and will not follow me in the progress of my musical thought. What moves and delights them leaves me indifferent, and what still continues to interest them holds no further attraction for me.” He didn’t help his case when, elsewhere in the same book (Chronicle of My Life), he tried to explain the futility of debating what a piece of music “means”: “I consider that music is, by its very nature, essentially powerless to express anything at all, whether a feeling, an attitude of mind, a psychological mood, a phenomenon of nature etc. Expression has never been an inherent property of music.” The passage goes on to explain the philosophical point at some length, but these words, coupled with Stravinsky’s increasing tendency to indicate tempos by metronome markings instead of subjective terms like Allegro and Adagio, conjured up for many the image of a bloodless technocomposer writing music for robots. Contrast this with a recollection about Stravinsky by his friend Ramuz: “What I recognized in you was an appetite and a feeling for life, a love of all that is living; and for you all that is living is potentially music.” Then Ramuz slyly refers to “a kind of act of possession. . . . What you love is yours, and what you love ought to be yours. You throw yourself on your prey — you are in fact a man of prey.” In later years, this Stravinsky, the passionate artist snatching at life, became more familiar to audiences, as they learned to follow “the progress of [his] musical thought.” Praise and honors came to him in abundance as his role
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Stravinsky’s religious revival and reorientation in mid-life affected his attitude toward secular subjects as well. A onetime fan of opera and ballet, he began having second thoughts and worked increasingly in instrumental music. in shaping 20th-century culture came to be appreciated in its full breadth. He wrote or dictated a series of memoirs that revealed him as a witty and astute observer of the arts and the world in general, and he continued to compose and explore until his death in 1971, at age 88. There were, and always will be, listeners who love The Firebird and take a pass on much of the rest of Stravinsky’s music. Or think they do. But, in fact, his music, or music like it, or music possible because of it, is not an easy thing to avoid in the soundtrack of life in this modern 21st-century world of ours. David Wright is a former program annotator for the New York Philharmonic and writes about music for orchestras and festivals around the world.
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BASQUIAT THE UNKNOWN NOTEBOOKS January 22 through April 23, 2017 See the first major exhibition of the artist’s notebooks filled with poetry, wordplay, sketches, and personal observations. Visit ClevelandArt.org for tickets or more information.
ClevelandArt.org This exhibition is organized by the Brooklyn Museum.
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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
Fireworks, Opus 4 composed 1908
At a Glance
by
IGOR
STRAVINSKY born June 17, 1882 Oranienbaum, near St. Petersburg died April 6, 1971 New York
Severance Hall 2016-17
Stravinsky wrote his orchestral fantasy Feyerverk [Fireworks] in 1908 and revised it the following year. The first performance took place in St. Petersburg on January 9, 1910, conducted by Alexander Siloti. This work runs not quite 5 minutes in performance. Stravinsky scored it for 2 flutes and piccolo, 2 oboes (second doubling english horn), 3 clarinets (third doubling bass clarinet), 2 bassoons, 6 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion
(triangle, cymbals, bass drum, glockenspiel), 2 harps, celesta, and strings. The Cleveland Orchestra first played Stravinsky’s Fireworks in February 1925, under the direction of the composer. He also led performances here in 1937 and 1964. The most recently scheduled performances were in 2000, conducted by Pierre Boulez. Franz Welser-Möst led performances as encores in October 2015, here at Severance Hall and on tour in Europe.
About the Music I G O R S T R AV I N S K Y studied law at Saint Petersburg University
at an age when many promising musicians went to the Conservatory. He was, however, studying music with individual teachers at this same time. By good fortune, he had a friend in Vladimir Rimsky-Korsakov, the son of the school’s most famous teacher and composer — and, thus, Stravinsky had an introduction to the best teacher of the time. In 1902, at the age of twenty, he became a private student and visited his teacher regularly until the latter’s death in 1908. Rimsky-Korsakov had a strong influence on Stravinsky, as we can hear in the brilliant scores he wrote between 1907 and 1913. The first two of these were a Scherzo fantastique (Opus 3) and Fireworks (Opus 4), both single movements for large orchestra in which the rich symphonic palette that Rimsky-Korsakov explored in his operas is taken to a next level. In the summer of 1908, Stravinsky composed Fireworks as a wedding gift for Rimsky-Korsakov’s daughter Nadezhda, who was engaged to a colleague student named Maximilian Steinberg. When the piece was finished, Stravinsky sent the score to his teacher at his country address, but it was returned to him marked “Not delivered on account of death of addressee.” Fireworks was performed in Saint Petersburg the following February, when it caught the attention of no less a connoisseur than Sergei Diaghilev, impresario of the Russian Ballet Company, About the Music
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A visual impression of fireworks in “Sailboat and Fourth of July Fireworks” by Winslow Homer (1887, watercolor and gouache on paper).
who had commissioned a new score from the composer Anatoli Liadov. When asked how his score was coming along, Liadov is said to have replied: “It’s nearly finished; I’ve bought the ruled music paper.” Diaghilev next turned to Stravinsky, who began work on what became The Firebird ballet at once. Its premiere in Paris in 1910 made him instantly famous. Fireworks is very short and very extrovert. The orchestra is large and the writing very intricate, so that feverishly active figures are flying around almost throughout. The constant explosions of a firework display are obvious features, and in the foreground a theme emerges in the brass, always overlapping with itself. The whirl of sound comes to an abrupt halt, and we hear what appears to be a direct borrowing from Dukas’s The Sorcerer’s Apprentice. This introduces a calmer passage with the melody in the strings and oboes, only to speed up again for a final display of . . . fireworks. —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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About the Music
The Cleveland Orchestra
Apollo or Apollon Musagète [“Apollo, Leader of the Muses”] Ballet in Two Scenes, for string orchestra composed 1927-28
At a Glance
by
Stravinsky composed his Apollon Musagète in 1927 on a commission from Elizabeth Sprague Coolidge. It was premiered on April 27, 1928, at the Library of Congress in Washington D.C., with choreography by Adolph Bolm. With the name simplified to Apollo, it was premiered with choreography by George Balanchine in Paris on June 12, 1928. This weekend’s performances are utilizing a revised scoring edition,
which Stravinsky created in 1947. This work runs about 30 minutes in performance. Stravinsky scored it for a small string orchestra. The Cleveland Orchestra first performed Stravinsky’s music for Apollo in December 1954, led by Leopold Stokowski. Performances at Blossom in 1985 and 1988 featured Rudolf Nureyev, while in 1987 it was danced by Baryshnikov & Co.
IGOR
STRAVINSKY
About the Music
born June 17, 1882 Oranienbaum, near St. Petersburg
H A V I N G L E F T R U S S I A and being prevented by the Bolshevik Revolution from going back, Stravinsky gradually threw off the Russian elements in his music along with the richness and extravagance of his early scores. The next phase of his career placed precision and order at the center of his aims, with all remnants of personal emotion and romantic expression purged. Pure abstraction is perhaps impossible in music, but in this period of his life Stravinsky somehow detached himself from his own music, as if it were something placed on his desk by someone else. Beauty of form, construction, and balance was his aim, with an inevitable echo of Baroque and early Classical music, which was, at the time, assumed to be similarly untainted by anything so coarse as the composer’s personal feelings. Stravinsky’s attachment to this style lasted longer than any other, nearly forty years, so that the 1920s, ’30s, and ’40s of the last century saw a steady stream of so-called “neo-classical” works, all markedly different from the spectacular ballets that had catapulted him to fame. Apollon Musagète [“Apollo, Leader of the Muses”] was written for Elizabeth Sprague Coolidge, whose foundation in Washington D.C. commissioned Stravinsky (with a $1000 fee) for a short ballet to be performed at a festival of contemporary music at the Library of Congress in 1928. The choreography was
died April 6, 1971 New York
Severance Hall 2016-17
About the Music
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by Adolph Bolm. Never without an eye for an opportunity, Stravinsky realized that he could also offer his new ballet to the impresario Diaghilev (who had commissioned the composer’s early big ballet scores). Diaghilev was delighted with the new score — and put it immediately into his repertoire, with George Balanchine as choreographer. Balanchine first became involved with Stravinsky’s music when, as a student at the Imperial Ballet School in Petrograd, he worked out some dances to the score of Pulcinella. In 1924, aged twenty, he joined Diaghilev’s Ballets Russes and was given The Song of the Nightingale in 1925 as an exercise. Apollon Musagète, retitled simply as Apollo, is the Stravinsky ballet with which Balanchine has always been most closely associated. George Balanchine It opened in Paris a few weeks after the wrote of Stravinsky’s Washington premiere, with Serge Lifar dancing score for Apollo: the role of Apollo. Balanchine later wrote that this was the turning-point in his life: “In its disci“In its discipline pline and restraint, its sustained one-ness of tone and restraint, its susand feeling, the score was a revelation. It seemed tained one-ness of tone to tell me that I could dare not to use everything, and feeling, the score that I too could eliminate.”
was a revelation. It seemed to tell me that I could dare not to use everything, that I too could eliminate.”
THE MUSIC
Discipline and restraint being the hallmarks of Stravinsky’s manner at this time, he removed all woodwind, brass, and percussion from the orchestra and selected just strings, writing in a spare style as if for chamber music. In addition, he picked Apollo, the god of order and self-discipline, as the central figure, leading the Muses to Parnassus. Of the nine Muses from legend, he kept just three, Calliope (Muse of poetry), Polymnia (Muse of mime), and Terpsichore (Muse of dance). Compared with the colorful earlier ballets and with Stravinsky’s then-recent stark opera Oedipus Rex, the music for Apollo has a sweetness and purity that exactly match the delicacy of the action. There is no disturbance or conflict — Apollo’s pure form and the elevated mission of the Muses ensure that serenity will dictate the tone. The Prologue takes the form of a Baroque French overture, featuring a slower section with dotted rhythms encasing a faster fugal section, and it portrays Apollo’s birth attended by two goddesses.
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About the Music
The Cleveland Orchestra
The scene then changes, leaving Apollo alone onstage. His first variation features a violin cadenza and a playful duet for two violins. We then meet the three Muses in a Pas d’action, then each Muse has a variation in turn. Calliope’s is wrapped in poetic conceit — Stravinsky wrote a pair of alexandrines by Boileau at the head of the score and then wrote a pair of figures for the first violins that match the poetry’s meter. In the middle, Calliope has an elegant cello solo to dance to. Polymnia’s variation is speedy and light, Terpsichore’s more reserved and halting. Apollo, the sun god, is then revealed in splendor in his second variation. If there is an emotional heart to this ballet, it is the Pas de deux for Apollo and Terpsichore, which is slow, muted, and never tarnished by passion. The Coda is thoroughly joyous and the Apotheosis shows Apollo bringing the Muses to Parnassus, the perfection of serenity and calm. —Hugh Macdonald © 2017
Severance Hall 2016-17
About the Music
Mikhail Baryshnikov as Apollo, with the three muses, in Balanchine’s choreography for Stravinsky’s score with New York City Ballet. Photograph by Paul Kolnik.
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Symphonies of Wind Instruments composed 1919-20
At a Glance
by
IGOR
STRAVINSKY born June 17, 1882 Oranienbaum, near St. Petersburg died April 6, 1971 New York
Severance Hall 2016-17
Stravinsky wrote Symphonies of Wind Instruments in 1920, and dedicated it in memory of Claude Debussy. The chorale section that concludes the work was published, in the form of a piano reduction, in an issue of Revue Musicale commemorating Debussy. The first performance of the completed Symphonies of Wind Instruments took place on June 10, 1921, at Queen’s Hall in London, with Serge Koussevitzky conducting. Stravinsky revised the work in 1947, when the full score was first published. This work runs about 10 minutes in performance. The 1947 version is for 23 players: 3 flutes, 2 oboes, english horn,
3 clarinets, 3 bassoons (third doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, and tuba. The original 1920 version was scored for 24 players, and included piccolo and alto flute. The 1947 version of Symphonies of Wind Instruments was performed in Cleveland (perhaps for the first time) in 1967, by members of the University Circle Orchestra conducted by James Levine. The Cleveland Orchestra first played this music, in the original 1920 version, in March 1972 conducted by Pierre Boulez. It has been presented a few times since then, in both the 1947 and 1920 versions, most recently in February 2012 led by Tito Muñoz.
About the Music S T R A V I N S K Y ’ S Symphonies of Wind Instruments belongs to
the transitional period around 1920, when there were still traces of Russian music in his themes and when he was already pruning the use of musical resources in his works in order to avoid hearton-sleeve expressiveness. In many ways, Symphonies of Wind Instruments feels like a purely abstract composition — hence its title (which tells us nothing) and the absence of percussion and strings (which, had they been included, would have enriched the sound spectrum of the work in dangerously expressive ways). In fact the title “Symphonies” refers to the baroque use of “sinfonia” for any kind of instrumental piece, however short. It also touches on the derivation of the word from Greek: syn (“with”) and phôné (“voice,” or “sound”) — sounding with or together. The sections of the piece are short and clearly distinct, but none carry titles or even the usual kind of Italian tempo instructions such as Allegro or Andante. Speeds are indicated solely by metronome marks, which serve a particular purpose by being all related. The three permitted speeds set the quarter note at, in turn, 72, then 108, then 144 per minute — thus giving a ratio of 1 to 1.5 to 2. Furthermore, 72 was at one time thought to be About the Music
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the average (or standard) human heartbeat. Nonetheless, somehow despite all those calculations and constraints, this piece does not sound like a mathematical composition. The rhythms are so fickle that no regular phrase-length is felt, and there is something dramatic about the way the textures alternate, like wildly different images replacing each other. The sound colors are particularly interesting — three flutes on their own, three oboes on their own, oboes with a trombone, high clarinets in a cluster, and, most notably, the sound of the entire group in solid chords. This “chording” first occurs very early on, when a few bars of flutes and clarinets in a high register are interrupted by a single, soft tutti [“all voices or instruments together”] chord, long then short, magical in its effect. In technical verbiage, it is an inversion of a B-flat dominant seventh — nothing special, except for a rogue B-natural in the middle of the chord, just enough to “This music,” wrote leave an indelible impression. Stravinsky, “is not Eventually, after the frequent alternation of meant to ‘please’ different types of music at their strictly controlled an audience, nor to speeds, only the solemn chords are left, and the piece closes with a sense of great solemnity. Thus, arouse its passions. Stravinsky rounds off his “piece-about-nothing” with I had hoped that it perfect judgement. would appeal to some The final pages of the score — and the ending of of those persons in the piece — relate directly to the origin of the work, which was a request from the Parisian music magawhom a purely zine La Revue musicale for a contribution to an issue musical receptivity they planned in homage to the memory of Claude outweighed the desire Debussy, who had died in March 1918. Stravinsky and Debussy had been close in the years 1910-1914 to satisfy their sentibefore World War I, and the latter’s death affected the mental cravings.” Russian composer deeply. For the magazine, Stravinsky wrote a chorale consisting of carefully spaced chords, and it was this short piece that provided a coda for the Symphonies work for 23 wind players that he was already working on in 1919. In his autobiography, Stravinsky wrote about this piece: “I did not, and indeed I could not, count on any immediate success for this work. It is devoid of all the elements which infallibly appeal to the ordinary listener and to which one is accustomed. It would be futile to look in it for any passionate impulse or dynamic brilliance. It is an austere ritual which is unfolded in terms of short litanies between different groups of homogeneous instruments.”
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About the Music
The Cleveland Orchestra
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“This music,” he said, “is not meant to ‘please’ an audience, nor to arouse its passions. I had hoped that it would appeal to some of those persons in whom a purely musical receptivity outweighed the desire to satisfy their sentimental cravings.” The first performance was almost designed not to have its desired effect, being placed at the end of a program of romantic and colorful Russian works offered to a London audience by the conductor Serge Koussevitzky. When the strings and percussion left the stage, without any re-arranging of the resulting many empty chairs onstage, the sight of a handful of wind players struck the audience as if it were a mistake. Being so obviously more modern than the other Russian works, the Symphonies of Wind Instruments really needed a more careful presentation — or context — than that first performance, which did not receive positive reviews. This weekend’s all-Stravinsky program, in which Symphonies is performed with Stravinsky’s revised score from 1947, gives it a different sort — and more appropriate kind — of setting, for it to work its austere magic. —Hugh Macdonald © 2017
Severance Hall 2016-17
About the Music
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Threni: Lamentations of Jeremiah composed 1957-58
At a Glance Stravinsky wrote his Threni in 1957-58 for the Vienna Biennale. The first performance took place on September 23, 1958, in Venice, with North German Radio Symphony and Chorus conducted by the composer. This work runs about 35 minutes in performance. Stravinsky scored it for 2 flutes, 2 oboes, english horn, 2 clarinets, bass clarinet, contrabassoon
by
IGOR
STRAVINSKY born June 17, 1882 Oranienbaum, near St. Petersburg died April 6, 1971 New York
Severance Hall 2016-17
(sarrusophone), 4 horns, 3 trombones, flugelhorn, tuba, timpani, percussion (tam-tam), harp, piano, celesta, and strings, along with chorus and six vocal soloists: soprano, contralto, two tenors, bass, and basso profundo. The Cleveland Orchestra is playing this work for the first time with this weekend's concerts.
About the Music S T R A V I N S K Y ’ S next change of direction, after his long neoclassical period, could not have been more surprising. Having completed the opera The Rake’s Progress, his largest work yet, in 1951, he may have felt that he had exhausted that style and was ready for something different. Shortly afterwards, Schoenberg died. Although the two composers had known each other in Berlin before World War I, they had lived in California within ten miles of each other for eleven years and had gotten together only once, at Franz Werfel’s funeral, without exchanging a word. Stravinsky had shown a tentative interest in Schoenberg’s style of serial (or twelve-tone) composition for a number of years. Between 1952 and 1955, he made a deeper study of the technique, with a special admiration for the music of Anton Webern (one of Schoenberg’s protégés). Stravinsky's new compositions at this time tread gradually closer to serialism, and in Threni, composed between the summer of 1957 and March 1958, he wrote his first wholly serial work. A single twelve-note row, which lacks any symmetrical features or thematic “hooks,” supplies all the notes of this composition — by drawing on its basic form, its retrograde (played backwards), its inverted form, and its retrograde inversion. Very few listeners are able to hear the mechanics by which such a composition is put together. However, certain intervals may become familiar while listening — and the rigor of the style is an assurance, for the composer at least, that the work is unified and solid. Raised in the Russian Orthodox church, Stravinsky had a
About the Music
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profound love of ritual, expressed in a good number of his works. He abandoned the faith in his youth but rejoined the Orthodox church in 1926. When he came to write his Mass in 1944, he was more closely attached to the Roman Catholic faith, partly because it permitted musical instruments in its worship services and because he wanted to write a liturgical Mass accompanied by wind instruments. For Threni, he picked a text from the Lamentations of Jeremiah, using the Vulgate Latin version. The three parts of the work take verses from chapters 1, 3, and 5 respectively, and the central part is itself divided into three, under the headings “Complaint,” “Sense of Hope,” and “Solace.” Stravinsky's The verses from voices consist of six soloists and a four-part chorus. each chapter are desIt need hardly be said that serial music is exceedignated by Hebrew letingly difficult to sing because it lacks the familiarity of tonal melody and because it constantly presents ters (aleph, beth, caph, awkward intervals. etc.), and these letters The orchestra is quite large, but never used all are actually sung by at once. The voices are usually accompanied, if at the chorus. At the all, by small groups, including moments featuring upper woodwinds, or three trombones, or strings beginning, they are set alone. A curiosity is the contralto bugle, or flugelwith a certain elaborahorn, prominently featured in the Elegia Prima. Antion, but in the Elegia other curiosity is the “parlando” in which the chorus Tertia they are sung speak some of the verses during the Elegia Prima in rhythmic syllables before the same words are then once only and resung. In the accompanying authorized English verpeated before each sion of the text, spoken passages are shown in italic. sentence of that verse. The verses from each chapter are designated by an beginning Hebrew letter (aleph, beth, caph, etc.) — in some Biblical manuscripts these are like artful typographical initials — and, in Stravinsky’s work, these letters are actually sung by the chorus. At the beginning, they are set with a certain elaboration, but in the Elegia Tertia they are sung once only and repeated before each sentence of that verse, as shown in the accompanying text. A characteristic orchestral combination generally supports each letter. The work ends with a prayer from the final chapter of the Lamentations, concluding in a solemn steady tread, not unlike the haunting end of the Symphonies of Wind Instruments. Even in his severest music, Stravinsky cannot help being himself. —Hugh Macdonald © 2017
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About the Music
The Cleveland Orchestra
Threni: Lamentations of Jeremiah music by I G O R
S T R AV I N S K Y
Biblical Latin text In the original text for The Book of Lamentations, each verse of Chapters 1, 2, and 4 begins with a different letter of the Hebrew alphabet (aleph, beth, gimel, daleth, etc.), making 22 verses in total. Chapter 3 gives three verses to each letter of the alphabet, yielding 66 verses. Stravinsky chose his text for Threni (the Latin name for The Book of Lamentations) from chapters 1, 3, and 5, but omitted many verses. As part of his musical setting, the name of the beginning letter for verses in chapters 1 and 3 is sung before that verse. Sections shown in italics are spoken in rhythm, prior to being sung.
Pronouncement: Incipit lamentatio Jeremiah Prophetae.
Here beginneth the lamentation of Jeremiah the prophet.
DE ELEGIA PRIMA from Chapter 1: Verses 1, 2, 5, 11, 20 ALEPH. Quomodo sedet sola civitas plena populo! Facta est quasi vidua domina gentium; princeps provinciarum facta est sub tributo. Quomodo sedet sola civitas plena populo! Facta est quasi vidua domina gentium; princeps provinciarum facta est sub tributo.
ALEPH. How doth the city sit solitary, that was full of people! How is she become as a widow! She that was great among the nations, and princess among the provinces, how is she become tributary! How doth the city sit solitary, that was full of people! How is she become as a widow! She that was great among the nations, and princess among the provinces, how is she become tributary!
BETH. Plorans ploravit in nocte, et lacrimae ejus in maxillis ejus.
BETH. She weepeth sore in the night, and her tears are on her cheeks.
HE. Facti sunt hostes ejus in capite; inimici ejus locupletati sunt; quia Dominus locutus est super eam propter multitudinem iniquitatum ejus. Facti sunt hostes ejus in capite; inimici ejus locupletati sunt; quia Dominus locutus est super eam propter multitudinem iniquitatum ejus.
HE. Her adversaries are the chief, her enemies prosper; for the Lord hath afflicted her for the multitude of her transgressions.
CAPH. Vide, Domine, et considera quoniam facta sum vilis!
CAPH. See, O Lord, and consider; for I am become vile.
Her adversaries are the chief, her enemies prosper; for the Lord hath afflicted her for the multitude of her transgressions.
P L E A S E T U R N PA G E Q U I E T LY
Severance Hall 2016-17
Threni: Sung Text
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RES(H). Vide, Domine, quoniam tribulor; conturbatus est venter meus, subversum est cor meum in memetipsa, quoniam amaritudine plena sum. Foris interfecit gladius, et domi mors similis est. Vide, Domine, quoniam tribulor; conturbatus est venter meus, subversum est cor meum in memetipsa, quoniam amaritudine plena sum. Foris interfecit gladius, et domi mors similis est.
RES(H). Behold, O lord, for I am in distress; my bowels are troubled; mine heart is turned within me; for I have grievously rebelled; abroad the sword bereaveth, at home there is as death. Behold, O lord, for I am in distress; my bowels are troubled; mine heart is turned within me; for I have grievously rebelled; abroad the sword bereaveth, at home there is as death.
DE ELEGIA TERTIA from Chapter 3 1.
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Querimonia [Complaint] Verses 1-3, 4-6, 16-18, 19-21
ALEPH. Ego vir videns paupertatem meam in virga indignationis ejus. ALEPH. Me minavit, et adduxit in tenebras, et non in lucem. ALEPH. Tantum in me vertit et convertit manum suam tota die.
ALEPH. I am the man that hath seen affliction by the rod of his wrath. ALEPH. He hath led me, and brought me into darkness, but not into light. ALEPH. Surely against me is he turned; he turneth his hand against me all the day.
BETH. Vetustam fecit pellem meam et carnem meam; contrivit ossa mea. BETH. Aedificavit in gyro meo, et circumdedit me felle et labore. BETH. In tenebrosis collocavit me, quasi mortuos sempiternos.
BETH. My flesh and skin hath he made old; he hath broken my bones. BETH. He hath builded against me and compassed me with gall and travail. BETH. He hath set me in dark places, as they that be dead of old.
VAU. Et fregit ad numerum dentes meos; cibavit me cinere. VAU. Et repulsa est a pace anima mea; oblitus sum bonorum. VAU. Et dixi: Periit finis meus, et spes mea a Domino.
VAU. He hath also broken my teeth with gravel stones, he hath covered me with ashes. VAU. And thou hast removed my soul far off from peace; I forgot prosperity. VAU. And I said, my strength and my hope is perished from the Lord.
ZAÏN. Recordare paupertatis, et transgressionis meae, absinthii et fellis. ZAÏN. Memoria memor ero, et tabescet in me anima mea. ZAÏN. Haec recolens in corde meo, ideo sperabo.
ZAÏN. Remembering mine affliction and my misery, the wormwood and the gall. ZAÏN. My soul hath them still in remembrance, and is humbled in me. ZAÏN. This I recall to my mind, therefore I have hope.
Threni: Sung Text
The Cleveland Orchestra
2.
Sensus spei [Sense of Hope] Verses 22-24, 25-27, 34-36, 40-42, 43-45, 49-51, 52-54, 55-57
HETH. Misericordiae Domini, quia non sumus consumpti; quia non defecerunt miserationes ejus. HETH. Novi diluculo, multa est fides tua. HETH. Pars mea Dominus, dixit anima mea; propterea exspectabo eum.
HETH. It is of the Lord's mercies that we are not consumed, because his compassions fail not. HETH. They are new every morning, great is thy faithfulness. HETH. The Lord is my portion, saith my soul; therefore will I hope in him.
TETH. Bonus est Dominus sperantibus in eum, animae quaerenti illum. TETH. Bonum est praestolari cum silentio salutare Dei. TETH. Bonum est viro cum portaverit jugum ab adolescentia sua.
TETH. The Lord is good unto them that wait for him, to the soul that seeketh him. TETH. It is good to hope and quietly wait for the salvation of the Lord. TETH. It is good for a man that he bear the yoke in his youth.
LAMED. Ut conteret sub pedibus suis omnes vinctos terrae. LAMED. Ut declinaret judicium viri in conspectu vultus Altissimi. LAMED. Ut perverteret hominem in judicio suo; Dominus ignoravit.
LAMED. To crush under his feet all the prisoners of the earth. LAMED. To turn aside the judgement of a man before the face of the most High. LAMED. To subvert a man in his cause, the Lord approveth not.
NUN. Scrutemur vias nostras, et quaeramus, et revertamur ad Dominum. NUN. Levemus corda nostra cum manibus ad Dominum in caelos. NUN. Nos inique egimus, et ad iracundiam provocavimus; idcirco tu inexorabilis es.
NUN. Let us search and try our ways, and turn again to the Lord. NUN. Let us lift up our hearts with our hands unto God in the heavens. NUN. We have transgressed and have rebelled; thou hast not pardoned.
SAMECH. Operuisti in furore, et percussisti nos; occidisti, nec pepercisti. SAMECH. Opposuisti nubem tibi, ne transeat oratio. SAMECH. Eradicationem et abjectionem posuisti me in medio populorum.
SAMECH. Thou hast covered with anger and persecuted us; thou hast killed and hast not spared. SAMECH. Thou hast covered thyself with a cloud, that our prayer should not pass through. SAMECH. Thou hast made me as an outcast, and as refuse in the midst of the people. P L E A S E T U R N PA G E Q U I E T LY
Severance Hall 2016-17
Threni: Sung Text
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AIN. Oculus meus afflictus est, nec tacuit, eo quod non esset requies. AIN. Donec respiceret et videret Dominus de caelis. AIN. Oculus meus depraedatus est animam meam in cunctis filiabus urbis meae.
AIN. Mine eye trickleth down, and ceaseth not, without interruption. AIN. Till the Lord look down, and behold from heaven. AIN. Mine eye affecteth mine heart because of all the daughters of my city.
TSADE. Venatione ceperunt me quasi avem inimici mei gratis. TSADE. Lapsa est in lacum vita mea, et posuerunt lapidem super me. TSADE. Inundaverunt aquae super caput meum; dixi: Perii.
TSADE. Mine enemies chased me sore, like a bird, without cause. TSADE. They have cut off my life in the dungeon, and cast a stone upon me. TSADE. Waters flowed over mine head; then I said, I am cut off.
COPH. Invocavi nomen tuum, Domine, de lacu novissimo. COPH. Vocem meam audisti; ne avertas aurem tuam a singultu meo et clamoribus. COPH. Appropinquasti in die quando invocavi te; dixisti: Ne timeas.
COPH. I called upon thy name, O Lord, out of the low dungeon. COPH. Thou hast heard my voice; hide not thine ear at my breathing, at my cry. COPH. Thou drewest near in the day that I called upon thee; thou saidst, Fear not.
3.
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Solacium [Solace] Verses 58-60, 61-63, 64-66
RES(H). Judicasti, Domine, causam animae meae, redemptor vitae meae. RES(H). Vidisti, Domine, iniquitatem illorum adversum me; judica judicium meum. RES(H). Vidisti omnem furorem, universas cogitationes eorum adversum me.
RES(H). O lord, thou hast pleaded the causes of my soul; thou hast redeemed my life. RES(H). O Lord, thou hast seen their iniquity against me; judge thou my judgement. RES(H). Thou hast seen all their vengeance and all their thoughts against me.
SIN. Audisti opprobrium eorum, Domine, omnes cogitationes eorum adversum me. SIN. Labia insurgentium mihi, et meditationes eorum adversum me tota die. SIN. Sessionem eorum et resurrectionem eorum vide; ego sum psalmus eorum.
SIN. Thou hast heard their reproach, O Lord, and all their imaginations against me. SIN. The lips of those that rose up against me, and their device against me all the day. SIN. Behold their sitting down and their rising up; I am their song.
Threni: Sung Text
The Cleveland Orchestra
THAU. Redes eis vicem, Domine, juxta opera manuum suarum. THAU. Dabis eis scutum cordis, laborem tuum. THAU. Persequeris in furore, et conteres eos sub caelis, Domine.
THAU. Render unto them a recompense, O Lord, according to the work of their hands. THAU. Give them sorrow of heart, thy curse unto them. THAU. Persecute and destroy them in anger from under the heavens, O Lord.
DE ELEGIA QUINTA from Chapter 5: Verses 1, 19, 21 Oratio Jeremiae Prophetae.
The prayer of the Prophet Jeremiah.
Recordare, Domine, quid acciderit nobis; intuere et respice opprobrium nostrum. Tu autem, Domine, in aeternum permanebis, solium tuum in generationem et generationem. Converte nos, Domine, ad te, et convertemur; innova dies nostros, sicut a principio.
Remember, O Lord, what is come upon us; consider, and behold our reproach. Thou, O Lord, remainest forever; thy throne from generation to generation. Turn thou us unto thee, O Lord, and we shall be turned; renew our days, as from the beginning.
FINIS
Michelangeloâ&#x20AC;&#x2122;s portrayal of the prophet Jeremiah as part the ceiling of the Sistine Chapel in Rome (fresco on plaster, 1512).
Severance Hall 2016-17
Threni: Sung Text
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Seraphic Fire
Patrick Dupré Quigley
Celebrating its 15th Anniversary Season performing throughout South Florida and nationally on tour, Seraphic Fire is one of the preeminent professional vocal ensembles in the United States. Led by founder and artistic director Patrick Dupré Quigley, Seraphic Fire brings top ensemble singers and instrumentalists from around the country to perform repertoire ranging from Gregorian chant and Baroque masterpieces to Mahler and newly-commissioned works by leading American composers. Two of the ensemble’s recordings, Brahms: A German Requiem and A Seraphic Fire Christmas, were nominated for 2012 Grammy Awards. Seraphic Fire puts South Florida at the center of artistic innovation during the 2016-17 season with eight world premieres by established and emerging American composers, performances with The Cleveland Orchestra (in Miami and in Cleveland), and a guest appearance by conductor Elena Sharkova. Seraphic Fire’s artistic accomplishments have translated to chart-topping album sales. The ensemble’s September 2014 release, Reincarnations: A Century of American Choral Music, soared to No. 6 on the Billboard Traditional Classical Chart and their Grammy-nominated Brahms: A German Requiem debuted at No. 7 on the Billboard Traditional Classical Chart. Seraphic Fire partners with Naxos of America for the distribution of Seraphic Fire Media.
Patrick Dupré Quigley has established himself as an exemplary conductor, creative programmer, and lauded arts entrepreneur whose skills as a musician transcend traditional genre boundaries. As founder and artistic director of Seraphic Fire, Mr. Quigley has received strong reviews for his work with the music of contemporary American composers. He is equally celebrated for his exacting, historically-informed performances of Classical and Baroque repertoire, and was honored with a Grammy Award nomination for his recording with Seraphic Fire of Brahms’s A German Requiem. Mr. Quigley’s guest conducting appearances include Handel’s Messiah at Carnegie Hall, along with programs with the San Francisco Symphony, Indianapolis Symphony, New World Symphony, Louisiana Philharmonic Orchestra, Mobile Symphony, Naples Philharmonic, and the San Antonio Symphony. This season’s engagements include the San Francisco Symphony, Grand Rapids Symphony, and the Cathedral Choral Society in Washington D.C. In August, he leads The Cleveland Orchestra and Blossom Festival Chorus in a performance of Mozart’s Requiem as part of this summer’s Summers@Severance series.
Artistic Director and Founder Seraphic Fire
Seraphic Fire’s performances this season are made possible through a generous gift from Alicia Celorio, Do Unto Others Trust.
Severance Hall 2016-17
Guest Artists
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Margot Rood (soprano) can be heard performing a wide range of repertoire on stages across the United States. Recent and upcoming solo appearances include the Boston Symphony Orchestra (Benjamin’s Dream of the Song), Rhode Island Philharmonic (Messiah), New World Symphony (Reich’s Desert Music), La Renommée in Lalande’s Les Fontaines de Versailles with Boston Early Music Festival, Hyacinthus in Mozart’s Apollo und Hyacinthus with Emmanuel Music, and Amor in Gluck’s Orfeo ed Euridice with Grand Harmonie. Ms. Rood has performed as a soloist with some of the premier new music ensembles in the United States, and was a 2015 recipient of the St. Botolph Club Foundation’s Emerging Artist Award for her work in new music. Notable recent engagements include her Carnegie Hall debut in the world premiere of Shawn Jaeger’s Letters Made with Gold, Kati Agocs’s Vessel, and the Evangelist in Arvo Pärt’s Passio with the Boston Modern Orchestra Project.
Margaret Lias (mezzo-soprano) has been praised and applauded for her singing across North America. Since her Boston Symphony Hall debut in 2011 with Handel and Haydn Society (Handel’s Israel in Egypt), she has been a frequent soloist under the baton of Harry Christophers. She made her Lincoln Center solo debut singing Mozart’s Requiem in 2015. Recent and upcoming appearances during 2016-17 include Princeton Pro Musica (Corigliano’s Fern Hill), Portland Symphony Orchestra (Beethoven’s Symphony No. 9), Handel Society of Dartmouth (Bach’s Mass in B minor), Masterworks Chorale (Mozart’s Missa Brevis), and Emmanuel Music (Bach’s Saint Matthew Passion). Ms. Lias was a founding member of vocal ensemble Skylark under Matthew Guard. She performs frequently with Boston Baroque, Voices of Ascension, Sacred Music in a Sacred Space, Emmanuel Music, and Musica Sacra New York.
Brian Giebler (tenor) can be heard singing diverse repertoire around the world. Recent and upcoming work includes engagements with the Virginia Symphony Orchestra, American Classical Orchestra, Trinity Wall Street Baroque Orchestra, New York City Chamber Orchestra, Pacific Northwest Ballet Orchestra, and Saginaw Bay Orchestra. He performs regularly with Conspirare of Austin and is a member of the Choir of Trinity Wall Street in Manhattan, where he most recently sang the Evangelist in Bach’s Saint Matthew Passion. This year, Giebler was a finalist in the Tafelmusik International Vocal Competition and received Honorable Mention at the Biennial Bach Vocal Competition sponsored by the American Bach Society and the Bach Choir of Bethlehem. In 2015, he was selected as the Victoria Bach Festival Young Artist and the Carmel Bach Festival’s Virginia Best Adams Tenor Fellow.
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Guest Soloists
The Cleveland Orchestra
Steven Soph (tenor) sings in concert and recital across the United States. The 2016-17 season features his return to The Cleveland Orchestra and Seraphic Fire for Stravinsky’s Threni, as well as appearances with Voices of Ascension for arias in Bach’s Saint John Passion, with Chicago Chorale for Bach’s Mass in B minor, and with the Bach Society of St. Louis for Mozart’s Mass in C minor. Recent seasons have included engagements with The Cleveland Orchestra in an all-Handel program led by Ton Koopman, New World Symphony and Seraphic Fire in Reich’s Desert Music, and Symphony Orchestra Augusta in Bach’s Mass in B minor, as well as appearances with the Mainly Mozart Festival Orchestra and the Cheyenne Symphony Orchestra. Mr. Soph remains active with many top American ensembles, including Seraphic Fire, Conspirare, Roomful of Teeth, Trident, Yale Choral Artists, Santa Fe Desert Chorale, Colorado Bach Ensemble, and Denver’s Choir of St. John’s Cathedral. James K. Bass (bass) has appeared as a soloist with many professional vocal ensembles, orchestras, and festivals. A conductor and singer, he currently serves as director of choral studies in the UCLA Herb Alpert School of Music and artistic director of the Long Beach Camerata. He received his doctor of musical arts degree from the University of Miami-Florida, and his master’s and bachelor’s degrees from the University of South Florida. Mr. Bass has prepared choirs for many leading conductors and was selected by Ton Koopman to be one of only twenty singers for a presentation of Bach cantatas at Carnegie Hall with the Amsterdam Baroque Soloists; he was earlier an auditioned member of Robert Shaw’s workshop choir at Carnegie. He also serves as Seraphic Fire’s associate conductor and director of education, and has served as choirmaster for the Classical Music Festival in Eisenstadt, Austria.
Charles Wesley Evans (bass) maintains an active career as a concert soloist and professional choral singer, and recently made his Carnegie Hall and Lincoln Center debuts. He began singing professionally as a chorister at the American Boychoir School in Princeton, New Jersey, touring nationally and internationally singing under the batons of notable conductors including John Williams, Zubin Mehta, James Levine, and Kurt Masur. Mr. Evans’s artistry has been heard on a variety of broadcasts throughout the United States and recorded on a number of notable recording labels. He holds a bachelor of arts in music from Brewton-Parker College in Mt. Vernon, Georgia, with further study at the Boston Conservatory of Music and the Westminster Choir College of Rider University. He currently serves as a visiting assistant professor of voice at the University of South Florida. Severance Hall 2016-17
Guest Soloists
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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.
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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. STRAVINSKY — Threni: Lamentations of Jeremiah ( SEMI - CHORUS & FULL CHORUS ) SOPRANOS
ALTOS
TENORS
BASSES
Florence Brodowski Susan Cucuzza ♦ Emily Engle Lisa Hrusovsky ♦ Hope Klassen-Kay ♦ Lisa Manning Jessica M. May Julie Myers-Pruchenski Jennifer Heinert O’Leary ♦ Melissa B. Patton Lenore M. Pershing Monica Schie ♦ Samantha Smith Sharilee Walker ♦ Carole Weinhardt Kiko Weinroth
Laura Avdey Dawn Bodnar Carolyn L. Dessin ♦ Betty Huber ♦ Sarah Hutchins * Karla McMullen Ina Stanek-Michaelis ♦ Rachel Thibo Martha Cochran Truby Gina L. Ventre Maggie Fairman Williams Leah Wilson Lynne Leutenberg Yulish
Brent Chamberlin David Ciucevich Manuel Gomez Corey Hill * Peter Kvidera ♦ Rohan Mandelia James Newby ♦♦ Matthew Rizer ♦ Ted Rodenborn Lee Scantlebury ♦ William Venable
Christopher Aldrich Brian Bailey Kevin Calavan Joshua Jones Jason Levy ♦ Preston Masters * Stephen Mitchell Tremaine Oatman ♦♦♦ Daniel Parsley Francisco X. Prado * Patrick Wickliffe
CHORUS
CHORUS
Vincent L. Briley Gerry C. Burdick ♦♦ Tod Lawrence John Sabol James Storry ♦♦♦♦ Charles Tobias ♦♦ Michael J. Ward
Tyler Allen Jack Blazey Sean Cahill Peter B. Clausen ♦ Nick Connavino Christopher Dewald Jeffrey Duber ♦ Matthew Englehart Thomas E. Evans ♦ Richard Falkenberg ♦♦ Tim Manning Tyler Mason Roger Mennell ♦♦ Robert Mitchell Keith Norman ♦♦♦ John Riehl ♦♦ James B. Snell Stephen Stavnicky
SEMI - CHORUS
CHORUS
Amy Foster Babinski Genevieve M. Bettendorf Kimberly Brenstuhl Yu-Ching Ruby Chen Lisa Rubin Falkenberg ♦♦ Sarah Gaither Samantha Garner Sarah Jones-Gould Rebecca S. Hall Shannon R. Jakubczak Adrienne Leska Kate Macy ♦♦ Megan Meyer S. Mikhaila Noble-Pace Joy Rivera Cassandra E. Rondinella Meghan Schatt Jane Timmons-Mitchell ♦♦ Mary Wilson ♦ Constance Wolfe ♦
SEMI - CHORUS
CHORUS
Alexandria Albainy ♦ Emily Austin ♦ Lydia M. Chamberlin Brianna Clifford Barbara J. Clugh Marilyn Eppich ♦♦ Amanda Evans Haley Gabriel Kathy Jo Gutgsell Ann Marie Hardulak ♦♦♦♦ Karen Hunt Kate Klonowski Lucia Leszczuk ♦♦ Diana Martin ♦ Danielle S. McDonald Peggy A. Norman ♦ Marta Perez-Stable Alanna M. Shadrake Laure Wasserbauer ♦ Debra Yasinow ♦♦
SEMI - CHORUS
Service Recognition ♦ 15-24 years ♦♦ 25-34 years ♦♦♦ 35-44 years ♦♦♦♦ 45+ years
SEMI - CHORUS
* singing solo in “Sensus Spei” of Threni * Shari Bierman Singer Fellow
Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee Jill Harbaugh, Manager of Choruses
Severance Hall 2016-17
Cleveland Orchestra Chorus
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STRAVINSKY Reading and Exploring In addition to the books suggested here, many other books and website pages are devoted to Stravinsky‘s life and his music.
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Four Books About For the Biography Lover: Memories and Commentaries, by Igor Stravinsky and Robert Craft. 336 pages. (Faber & Faber, 2002, one-volume revised compilation of five “Conversations” plus additional material). Robert Craft worked side-by-side with Stravinsky through the last two decades of the composer’s life, and helped bring Stravinsky’s words and thoughts (as well as his music) to the public. This volume brings together conversations in which Craft encouraged Stravinsky to talk about his work, his music, his life, and thoughts about the world. For the Lover of All-Things-Stravinsky: Stravinsky: In Pictures and Documents, by Vera Stravinsky and Robert Craft. 688 pages. (Simon & Schuster, 1979). This book is a treasure trove of original documents, featuring photos, letters from friends and associates, and more. For the History Buff: Rites of Spring, by Morris Eksteins. 416 pages. (Mariner Books, 2000). A probing look at the dawn of the Modern Age, beginning with the premiere of Stravinsky’s The Rite of Spring and examining the Great War (World War I) and the impact of its warfare — and deaths of millions, through duty and daring, stupidity and backward-looking face-saving — on the civilized world and generations of humanity. And looking beyond the First World War to the postwar era, into the pursuit of technology, and through the adulation and election of Hitler to his death in 1945. For Those Wanting Detail: Two-Volume Biography — Stravinsky: A Creative Spring, Russia and France, 1881-1934 and Stravinsky: The Second Exile, France and America 19341971, by Stephen Walsh. 1440 pages. (Knopf, 1999 and 2006). A remarkably thorough and detailed walk through Stravinsky’s life, and how events and his personality combined to create a musical genius who kept pushing boundaries and recalibrating his own tastes. More About Stravinsky
The Cleveland Orchestra
Listening The web hosts a plethora of listening options for hearing performances of Stravinsky’s music. But if you still like the physicality of CDs, or simply want to own (rather than rent, borrow, or eavesdrop), Deutsche Grammophon offers a complete edition (30 CDs for around $100), and Sony offers a box set of performances with The Cleveland Orchestra, New York Philharmonic, and other ensembles led by the composer (57 CDs for about $150). And don’t overlook two memorably good (and award-winning) recordings — of The Rite of Spring — by The Cleveland Orchestra under the direction of Pierre Boulez.
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orchestra news
THE CLEVELAND ORCHESTRA
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
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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.
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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: Several Cleveland Orchestra musicians are performing two new works on Sunday afternoon, March 19, at the Judson Manor Ballroom (1890 East 107th Street). The event at 3:00 p.m. is open to the public, with free admission and parking. The works being performed are Triskadekaphilia by Margi Griebling-Haigh (wife of Orchestra musician Scott Haigh) and Zafro by Julian Fueyo (a student at the Cleveland Institute of Music). Orchestra members performing include Sae Shiragami, Beth Woodside, YunTing Lee, and Peter Otto (violins), along with pianist Randall Fusco. 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
The Cleveland Orchestra
orchestra news .W.E.L.C.O.M.E. New bass clarinet joins Cleveland Orchestra In January, The Cleveland Orchestra welcomed
Yann Ghiro to the clarinet section as bass clarinet. Since 1998, he has served as principal clarinet of the BBC Scottish Symphony Orchestra, performing and recording regularly as soloist with that ensemble. He has also appeared as a guest with the Scottish Chamber Orchestra, City of Birmingham Symphony Orchestra, BBC Philharmonic, Northern Sinfonia, BBC National Orchestra of Wales, London’s Philharmonia Orchestra, and Korea’s KBS Symphony. He is a lecturer at the Royal Conservatory of Scotland. Yann Ghiro was born in 1971 in Nice, France, and began clarinet lessons at the age of eleven. After studying for six years at the Paris
THE CLEVELAND ORCHESTRA
Conservatoire — where he gained first prize in clarinet, bass clarinet, and chamber music — Mr. Ghiro continued his studies at the Prague Mozart Academy, working with artists including Sándor Végh, Gábor Takács-Nagy, Philippe Hirschhorn, and Steven Isserlis. A Fulbright Scholarship then allowed him to study at the Juilliard School of Music in New York, graduating in 1996. On his return to France, he became principal bass clarinet in the Pasdeloup Orchestra in Paris. He also played regularly with Paris Opera, Orchestre de Paris, Ensemble Intercontemporain, Strasbourg Philharmonic Orchestra, Orchestre Philharmonique de Radio France, and the Monte Carlo Philharmonic Orchestra.
Committed to Accessibility Severance Hall is committed to making performances and facilities accessible to all patrons. For information about accessibility or for assistance, call the House Manager at 216-231-7425.
north W point portfolio managers c o r p o r a t i o n Ronald J. Lang Diane M. Stack Daniel J. Dreiling Severance Hall 2016-17
Cleveland Orchestra News
440.720.1102 440.720.1105 440.720.1104
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orchestra news
THE 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.
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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.
Cleveland Orchestra News
The Cleveland Orchestra
orchestra news
THE CLEVELAND ORCHESTRA
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.
THE CLEV ELAN
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Concert: January 5, 6, 7 RHAPSODY IN BLUE — pages 28-29
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PERSPECTIVES from the Executive Director — page 7
MESSAGE from the President — page 8
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Severance Hall 2016-17
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Cleveland Orchestra News
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Musicians Emeritus of
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Listed here are the living members of The Cleveland Orchestra who served more than twenty years, all of whom now carry the honorary title of Emeritus. Appointed by and playing under four music directors, these 48 musicians collectively completed a total of 1701 years of playing in The Cleveland Orchestra — representing the ensemble’s ongoing service to music and to the greater Northeast Ohio community. Listed by instrument section and within each by retirement year, followed by years of service. FIRST VIOLIN Keiko Furiyoshi 2005 — 34 years Alvaro de Granda 2 2006 — 40 years Erich Eichhorn 2008 — 41 years Boris Chusid 2008 — 34 years Gary Tishkoff 2009 — 43 years Lev Polyakin 2 2012 — 31 years Yoko Moore 2 2016 — 34 years
FLUTE/PICCOLO William Hebert 1988 — 41 years John Rautenberg § 2005 — 44 years Martha Aarons 2 2006 — 25 years
SECOND VIOLIN Richard Voldrich 2001 — 34 years Stephen Majeske * 2001 — 22 years Judy Berman 2008 — 27 years Vaclav Benkovic 2009 — 34 years Stephen Warner 2016 — 37 years
CLARINET Theodore Johnson 1995 — 36 years Thomas Peterson 2 1995 — 32 years Franklin Cohen * 2015 — 39 years Linnea Nereim 2016 — 31 years
VIOLA Lucien Joel 2000 — 31 years Yarden Faden 2006 — 40 years Robert Vernon * 2016 — 40 years CELLO Martin Simon 1995 — 48 years Diane Mather 2 2001 — 38 years Stephen Geber * 2003 — 30 years Harvey Wolfe 2004 — 37 years Catharina Meints 2006 — 35 years Thomas Mansbacher 2014 — 37 years BASS Lawrence Angell * 1995 — 40 years Harry Barnoff 1997 — 45 years Thomas Sepulveda 2001 — 30 years Martin Flowerman 2011 — 44 years HARP Lisa Wellbaum * 2007 — 33 years
OBOE Robert Zupnik 2 1977 — 31 years Elizabeth Camus 2011 — 32 years
BASSOON Ronald Phillips 2 2001 — 38 years Phillip Austin 2011 — 30 years HORN Myron Bloom * 1977 — 23 years Richard Solis * 2012 — 41 years TRUMPET/CORNET Bernard Adelstein * 1988 — 28 years Charles Couch 2 2002 — 30 years James Darling 2 2005 — 32 years TROMBONE Edwin Anderson 1985 — 21 years Allen Kofsky 2000 — 39 years James De Sano * 2003 — 33 years PERCUSSION Joseph Adato 2006 — 44 years Richard Weiner * 2011 — 48 years LIBRARIAN Ronald Whitaker * 2008 — 33 years
* Principal Emeritus § 1 2
Associate Principal Emeritus First Assistant Principal Emeritus Assistant Principal Emeritus listing as of September 2016
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Appreciation
The Cleveland Orchestra
orchestra news
THE CLEVELAND ORCHESTRA
M.U.S.I.C.I.A.N S.A.L.U.T.E The Musical Arts Association gratefully acknowledges the artistry and dedication of all the musicians of The Cleveland Orchestra. In addition to rehearsals and concerts throughout the year, many musicians donate performance time in support of community engagement, fundraising, education, and audience development activities. We are pleased to recognize these musicians, listed below, who volunteered for such events and presentations during the 2014-15 and 2015-16 seasons. Mark Atherton Martha Baldwin Charles Bernard Katherine Bormann Lisa Boyko Charles Carleton Hans Clebsch Patrick Connolly Ralph Curry Marc Damoulakis Alan DeMattia Vladimir Deninzon Maximilian Dimoff Scott Dixon Elayna Duitman Bryan Dumm Mark Dumm Tanya Ell Mary Kay Fink Kim Gomez Wei-Fang Gu Scott Haigh David Alan Harrell Miho Hashizume Shachar Israel Mark Jackobs Joela Jones Richard King Alicia Koelz Stanley Konopka Mark Kosower Paul Kushious Massimo La Rosa Jung-Min Amy Lee Yun-Ting Lee Takako Masame Eli Matthews Jesse McCormick Daniel McKelway Michael Miller Sonja Braaten Molloy
Yoko Moore Ioana Missits Eliesha Nelson Peter Otto Chul-In Park Joanna Patterson Zakany Henry Peyrebrune Alexandra Preucil William Preucil Lynne Ramsey Jeffrey Rathbun Jeanne Preucil Rose Stephen Rose Frank Rosenwein Michael Sachs Marisela Sager Jonathan Sherwin Thomas Sherwood Sae Shiragami Emma Shook Joshua Smith Thomas Sperl Barrick Stees Richard Stout Trina Struble Jack Sutte Kevin Switalski Gareth Thomas Brian Thornton Isabel Trautwein Robert Vernon Lembi Veskimets Carolyn Gadiel Warner Stephen Warner Scott Weber Richard Weiss Beth Woodside Robert Woolfrey Paul Yancich Derek Zadinsky Jeffrey Zehngut
Severance Hall 2016-17
Special thanks to musicians for supporting the Orchestra’s long-term financial strength The Board of Trustees extends a special acknowledgement to the members of The Cleveland Orchestra for supporting the institution’s programs by jointly volunteering their musical services for several concerts each season. These donated services have long played an important role in supporting the institution’s financial strength, and were expanded with the 2009-10 season to provide added opportunities for new and ongoing revenuegenerating performances by The Cleveland Orchestra. “We are especially grateful to the members of The Cleveland Orchestra for this ongoing and meaningful investment in the future of the institution,” says André Gremillet, executive director. “These donated services each year make a measureable difference to the Orchestra’s overall financial strength, by ensuring our ability to take advantage of opportunities to maximize performance revenue. They allow us to offer more musical inspiration to audiences around the world than would otherwise be possible, supporting the Orchestra’s vital role in enhancing the lives of everyone across Northeast Ohio.”
Cleveland Orchestra News
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THE 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.
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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
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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
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Individual Annual Support
The Cleveland Orchestra
Join the millions of people who enjoy all the sounds of life! Cleveland Hearing & Speech Center is the premier provider of audiology products and services. From hearing screenings, Ä&#x17E;Ç&#x20AC;Ä&#x201A;ĹŻĆľÄ&#x201A;Ć&#x;ŽŜĆ?Í&#x2022; Ä&#x201A;ĹśÄ&#x161; Ä&#x161;Ä&#x17E;Ç&#x20AC;Ĺ?Ä?Ä&#x17E; ÄŽĆŤĹśĹ?Ć?Í&#x2022; Ć&#x161;Ĺ˝ Ä¨Ĺ˝ĹŻĹŻĹ˝Ç ĆľĆ&#x2030; Ä&#x201A;ĹśÄ&#x161; Ć?ĆľĆ&#x2030;Ć&#x2030;Ĺ˝Ć&#x152;Ć&#x161;Í&#x2022; ,^ Ç Ĺ?ĹŻĹŻ Ä&#x17E;ĹśĆ?ĆľĆ&#x152;Ä&#x17E; Ç&#x2021;Žƾ ĹśÄ&#x17E;Ç&#x20AC;Ä&#x17E;Ć&#x152; ĹľĹ?Ć?Ć? Ä&#x201A; ŜŽĆ&#x161;Ä&#x17E;Í&#x160;
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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
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Individual Annual Support
The Cleveland Orchestra
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 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
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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
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Mr. Bruce D. Jarosz Dr. Michael and Mrs. Deborah Joyce Rudolf D. and Joan T. Kamper Mr. Donald J. Katt and Mrs. Maribeth Filipic-Katt Angela Kelsey and Michael Zealy (Miami) The Kendis Family Trust: Hilary and Robert Kendis and Susan and James Kendis Bruce and Eleanor Kendrick Mr. James Kish Fred* and Judith Klotzman Marion Konstantynovich Ellen Brad and Bart Kovac Dr. Ronald H. Krasney and Vicki Kennedy Dr. Michael E. Lamm Mr. and Mrs. John J. Lane, Jr. Mr. and Mrs. Robert Lasser Michael Lederman Michael and Lois Lemr Robert G. Levy Drs. Todd and Susan Locke Ms. Mary Beth Loud Joel and Mary Ann Makee Janet A. Mann Mr. and Mrs. Raul Marmol (Miami) Dr. and Mrs. Sanford E. Marovitz Ms. Dorene Marsh Dr. Ernest and Mrs. Marian Marsolais Mr. Fredrick Martin Ms. Amanda Martinsek Mr. Julien L. McCall Ms. Charlotte V. McCoy William C. McCoy Mr. and Mrs. Christopher J. McKenna Mr. and Mrs. James E. Menger Stephen and Barbara Messner Loretta J. Mester and George J. Mailath Drs. Terry E. and Sara S. Miller Jim and Laura Moll Mr. and Mrs. Thomas W. Morris Mr. Ronald Morrow III Randy and Christine Myeroff Steven and Kimberly Myers Ms. Megan Nakashima Deborah L. Neale Marshall I. Nurenberg and Joanne Klein Richard and Jolene Oâ&#x20AC;&#x2122;Callaghan Mr. and Mrs. John Olejko Dr. and Mrs. Paul T. Omelsky James P. Ostryniec (Miami) Mr. Robert Paddock Dr. Dean and Mrs. Kathy Pahr Mr. John D. Papp George Parras Mr. Thomas and Mrs. Tommie Patton Matt and Shari Peart Henry Peyrebrune and Tracy Rowell Dr. Roland S. Philip and Dr. Linda M. Sandhaus Dale and Susan Phillip Mr. Carl Podwoski Mr. Robert and Mrs. Susan Price Mr. Lute and Mrs. Lynn Quintrell Drs. Raymond R. Rackley and Carmen M. Fonseca Dr. James and Lynne Rambasek Brian and Patricia Ratner Ms. C. A. Reagan Dr. Robert W. Reynolds David and Gloria Richards Mr. D. Keith and Mrs. Margaret Robinson James and LaTeshia Robinson (Miami) Mr. Timothy D. Robson Ms. Linda M. Rocchi Dr. Robert and Mrs. Lauryn Ronis Dick A. and Debbie Rose
Individual Annual Support
Mr. Kevin Russell (Miami) Mrs. Elisa J. Russo Dr. Harry S. and Rita K. Rzepka Peter and Aliki Rzepka Dr. Vernon E. Sackman and Ms. Marguerite Patton Fr. Robert J. Sanson Ms. Patricia E. Say Don Schmitt and Jim Harmon Mr. James Schutte Mr. and Mrs. Alexander C. Scovil Dr. John Sedor and Ms. Geralyn Presti Ms. Kathryn Seider Charles Seitz (Miami) Mr. and Mrs. Thomas W. Seitz Mr. Kenneth and Mrs. Jill Shafer Ms. Frances L. Sharp Larry Oscar and Jeanne Shatten Dr. and Mrs. William C. Sheldon Mr. and Mrs. Reginald Shiverick Mr. Grover Short Laura and Alvin A. Siegal The Shari Bierman Singer Family Robert and Barbara Slanina Sandra and Richey Smith Ms. Barbara Snyder Jorge Solano (Miami) Lucy and Dan Sondles Michalis and Alejandra Stavrinides (Miami) Mr. and Mrs. Martin Striegl Frederick and Elizabeth Stueber Dr. and Mrs. Thomas A. Timko Erik Trimble Steve and Christa Turnbull Mrs. H. Lansing Vail, Jr. Brenton Ver Ploeg (Miami) Suzanne and Carlos Viana (Miami) Dr. Michael Vogelbaum and Mrs. Judith Rosman Barbara and George von Mehren Mr. and Mrs. Reid Wagstaff Walt and Karen Walburn Alice and Leslie T. Webster, Jr. Mr. Peter and Mrs. Laurie Weinberger Mr. and Mrs. John W. Wilhelm Dr. Paul R. and Catherine Williams Elizabeth B. Wright Rad and Patty Yates Dr. William Zelei Mr. Kal Zucker and Dr. Mary Frances Haerr Anonymous (10)
member of the Leadership Council (see information box earlier in this section)
* deceased The Cleveland Orchestra is sustained through the support of thousands of generous patrons, including members of the Leadership Patron Program listed on these pages. Listings of all annual donors of $300 and more each year are published in the Orchestraâ&#x20AC;&#x2122;s Annual Report, which can be viewed online at CLEVELANDORCHESTRA .COM
The Cleveland Orchestra
Ben and Martha Lavin
Dr. Arthur Lavin Subscriber and Annual Fund donor
SHARING MUSIC WITH FAMILY AND FRIENDS . . .
“My parents loved The Cleveland Orchestra from the earliest days of their marriage — and introduced me to music’s great power, its gripping depths and joyful highs.” Ben and Martha Lavin married shortly after World War II. As a young couple, they became Cleveland Orchestra subscribers, making it a routine part of their week — and sharing Saturday nights and the Orchestra with their best friends. Their son, Arthur, began attending with his parents as a teenager, hearing the Orchestra at both Severance Hall and Blossom Music Center. Those early experiences, listening as a young man to great performances by George Szell, left an indelible impression: “In college, I dove deeply into listening — not studying music, for, although I tried, I was too clumsy to master an instrument. But I found my ears were tuned to music, and I have been plumbing its depths ever since!” “Above all, it is the nearly infinite power of great music to transform the mind and soul that is what I most appreciate, and the gift I so enjoy sharing with others.” Celebrate the power of music, and help build The CleveTHE land Orchestra’s future with your friends and community, by CLEVELAND ORCHESTRA supporting the Annual Fund. Call Elizabeth Arnett, Director of Leadership and Individual Giving, at 216-231-7522 today.
clevelandorchestra.com/AnnualFund
THE CLEVELAN D ORCHESTRA
Corporate Support The Cleveland Orchestra gratefully acknowledges and salutes these corporations for their generous support toward the Orchestra’s Annual Fund, benefit events, tours and residencies, and special projects.
Cumulative Giving
Annual Support
JOHN L. SEVERANCE SOCIETY
The Partners in Excellence program salutes companies with annual contributions of $100,000 and more, exemplifying leadership and commitment to musical excellence at the highest level.
$5 MILLION AND MORE
KeyBank PNC Bank $1 MILLION TO $5 MILLION
BakerHostetler Bank of America Eaton FirstEnergy Foundation Forest City The Goodyear Tire & Rubber Company Hyster-Yale Materials Handling NACCO Industries, Inc. Jones Day The Lubrizol Corporation / The Lubrizol Foundation Medical Mutual Parker Hannifin Foundation PolyOne Corporation Raiffeisenlandesbank Oberösterreich (Europe) The J. M. Smucker Company The John L. Severance Society recognizes the generosity of those giving $1 million or more in cumulative support. Listing as of January 2017.
gifts of $2,500 or more during the past year, as of January 15, 2017
PARTNERS IN EXCELLENCE $300,000 AND MORE
Hyster-Yale Materials Handling NACCO Industries, Inc. KeyBank Raiffeisenlandesbank Oberösterreich (Europe) The J. M. Smucker Company PARTNERS IN EXCELLENCE $200,000 TO $299,999
BakerHostetler Eaton FirstEnergy Foundation Jones Day PNC Bank PARTNERS IN EXCELLENCE $100,000 TO $199,999
American Greetings Corporation Forest City Medical Mutual Nordson Corporation Foundation Squire Patton Boggs (US) LLP Thompson Hine LLP White & Case (Miami) $50,000 TO $99,999
Dollar Bank Foundation Litigation Management, Inc. Parker Hannifin Foundation Quality Electrodynamics (QED) Anonymous $25,000 TO $49,999 Buyers Products Company Ernst & Young LLP Adam Foslid / Greenberg Traurig (Miami) The Lubrizol Corporation Olympic Steel, Inc. RPM International Inc.
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Corporate Annual Support
$2,500 TO $24,999 Akron Tool & Die Company American Fireworks, Inc. BDI Brothers Printing Co., Inc. Brouse McDowell Eileen M. Burkhart & Co., LLC Calfee, Halter & Griswold LLP The Cedarwood Companies Cleveland Clinic Cleveland Steel Container Corporation The Cleveland Wire Cloth & Mfg. Co. Cohen & Company, CPAs Community Counselling Services Consolidated Solutions Cozen O’Connor (Miami) DLR Group | Westlake Reed Leskosky Dominion Foundation Evarts Tremaine The Ewart-Ohlson Machine Company Ferro Corporation FirstMerit Bank Frantz Ward LLP Arthur J. Gallagher & Co. The Giant Eagle Foundation Great Lakes Brewing Company Gross Builders Hahn Loeser & Parks LLP The Lincoln Electric Foundation Littler Mendelson, P.C. Live Publishing Company Macy’s Materion Corporation Miba AG (Europe) MTD Products, Inc. North Coast Container Corp. Northern Haserot Oatey Ohio CAT Ohio Savings Bank, A Division of New York Community Bank OMNOVA Solutions Oswald Companies Park-Ohio Holdings Corp. PolyOne Corporation RSM US, LLP The Sherwin-Williams Company Southern Wine and Spirits (Miami) Stern Advertising Agency Struktol Company of America Swagelok Company Tucker Ellis United Automobile Insurance (Miami) University Hospitals Ver Ploeg & Lumpkin (Miami) Margaret W. Wong & Associates LLC Anonymous (2)
The Cleveland Orchestra
THE CLEVELAN D ORCHESTRA
Foundation & Government Support The Cleveland Orchestra gratefully acknowledges and salutes these Foundations and Government agencies for their generous support toward the Orchestra’s Annual Fund, benefit events, tours and residencies, and special projects.
Cumulative Giving
Annual Support
JOHN L. SEVERANCE SOCIETY
$1 MILLION AND MORE
$10 MILLION AND MORE
The Cleveland Foundation Cuyahoga County residents through Cuyahoga Arts & Culture Kulas Foundation Maltz Family Foundation State of Ohio Ohio Arts Council The Kelvin and Eleanor Smith Foundation $5 MILLION TO $10 MILLION
The George Gund Foundation Knight Foundation (Cleveland, Miami) The Andrew W. Mellon Foundation John P. Murphy Foundation $1 MILLION TO $5 MILLION
The William Bingham Foundation The George W. Codrington Charitable Foundation GAR Foundation Ann and Gordon Getty Foundation The Louise H. and David S. Ingalls Foundation Martha Holden Jennings Foundation Elizabeth Ring Mather and William Gwinn Mather Fund David and Inez Myers Foundation National Endowment for the Arts The Eric & Jane Nord Family Fund The Payne Fund The Reinberger Foundation The Sage Cleveland Foundation The Sisler McFawn Foundation The John L. Severance Society recognizes the generosity of those giving $1 million or more in cumulative support. Listing as of January 2017.
Severance Hall 2016-17
gifts of $2,500 or more during the past year, as of January 15, 2017
The Cleveland Foundation Cuyahoga County residents through Cuyahoga Arts & Culture $500,000 TO $999,999
The George Gund Foundation The Andrew W. Mellon Foundation Ohio Arts Council $250,000 TO $499,999
Knight Foundation (Miami) Kulas Foundation John P. Murphy Foundation $100,000 TO $249,999
GAR Foundation Elizabeth Ring Mather and William Gwinn Mather Fund David and Inez Myers Foundation The Kelvin and Eleanor Smith Foundation $50,000 TO $99,999
Paul M. Angell Family Foundation The George W. Codrington Charitable Foundation Florida Division of Cultural Affairs (Miami) The Gerhard Foundation, Inc. Ann and Gordon Getty Foundation Martha Holden Jennings Foundation Myra Tuteur Kahn Memorial Fund of The Cleveland Foundation Miami-Dade County Department of Cultural Affairs (Miami) The Nord Family Foundation The Frederick and Julia Nonneman Foundation The Payne Fund The Sage Cleveland Foundation
$20,000 TO $49,999 The Batchelor Foundation, Inc. (Miami) Eva L. and Joseph M. Bruening Foundation Mary E. and F. Joseph Callahan Foundation The Helen C. Cole Charitable Trust The Mary S. and David C. Corbin Foundation Mary and Dr. George L. Demetros Charitable Trust The Char and Chuck Fowler Family Foundation The Helen Wade Greene Charitable Trust National Endowment for the Arts The Reinberger Foundation Sandor Foundation The Sisler McFawn Foundation George Stevens Fund of Akron Community Foundation The Veale Foundation
$2,500 TO $19,999 The Abington Foundation The Ruth and Elmer Babin Foundation Dr. NE & JZ Berman Foundation The Bernheimer Family Fund of The Cleveland Foundation Elisha-Bolton Foundation Cleveland State University Foundation The Conway Family Foundation The Cowles Charitable Trust (Miami) The Harry K. Fox and Emma R. Fox Charitable Foundation The Jean, Harry and Brenda Fuchs Family Foundation, in memory of Harry Fuchs The Hankins Foundation The Muna & Basem Hishmeh Foundation Richard H. Holzer Memorial Foundation The Laub Foundation Victor C. Laughlin, M.D. Memorial Foundation Trust The Lehner Family Foundation The G. R. Lincoln Family Foundation The Margaret Clark Morgan Foundation The M. G. O’Neil Foundation Paintstone Foundation Charles E. & Mabel M. Ritchie Memorial Foundation The Leighton A. Rosenthal Family Foundation SCH Foundation Albert G. & Olive H. Schlink Foundation Harold C. Schott Foundation Jean C. Schroeder Foundation Kenneth W. Scott Foundation Lloyd L. and Louise K. Smith Memorial Foundation The South Waite Foundation The O’Neill Brothers Foundation The George Garretson Wade Charitable Trust The S. K. Wellman Foundation The Welty Family Foundation Thomas H. White Foundation, a KeyBank Trust The Edward and Ruth Wilkof Foundation The Wuliger Foundation Anonymous (2)
Foundation and Government Annual Support
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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 86
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
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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
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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.
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11001 Euclid Avenue Cleveland, Ohio 44106
P H OTO BY S T E V E H A L L © H E D R I C H B L E S S I N G
CLEVELANDORCHESTRA.COM
the world’s most beautiful concert halls, Severance Hall has been home to The Cleveland Orchestra since its opening on February 5, 1931. After that first concert, a Cleveland newspaper editorial stated: “We believe that Mr. Severance intended to build a temple to music, and not a temple to wealth; and we believe it is his intention that all music lovers should be welcome there.” John Long Severance (president of the Musical Arts Association, 1921-1936) and his wife, Elisabeth, donated most of the funds necessary to erect this magnificent building. Designed by Walker & Weeks, its elegant HAILED AS ONE OF
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Georgian exterior was constructed to harmonize with the classical architecture of other prominent buildings in the University Circle area. The interior of the building reflects a combination of design styles, including Art Deco, Egyptian Revival, Classicism, and Modernism. An extensive renovation, restoration, and expansion of the facility was completed in January 2000. In addition to serving as the home of The Cleveland Orchestra for concerts and rehearsals, the building is rented by a wide variety of local organizations and private citizens for performances, meetings, and special events each year.
Severance Hall
The Cleveland Orchestra
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.
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AT T H E CO NC E R T COAT CHECK Complimentary coat check is available for concertgoers. The main coat check is located on the street level midway along each gallery on the ground floor.
PHOTOGRAPHY AND SELFIES, VIDEO AND AUDIO RECORDING Photographs of the hall and selfies to share with others can be taken when the performance is not in progress. However, audio recording, photography, and videography are prohibited during performances at Severance Hall. And, as courtesy to others, please turn off any phone or device that makes noise or emits light.
REMINDERS Please disarm electronic watch alarms and turn off all pagers, cell phones, and mechanical devices before entering the concert hall. Patrons with hearing aids are asked to be attentive to the sound level of their hearing devices and adjust them accordingly. To ensure the listening pleasure of all patrons, please note that anyone creating a disturbance may be asked to leave the concert hall.
LATE SEATING Performances at Severance Hall start at the time designated on the ticket. In deference to the comfort and listening pleasure of the audience, late-arriving patrons will not be seated while music is being performed. Latecomers are asked to wait quietly until the first break in the program, when ushers will assist them to their seats. Please note that performances without intermission may not have a seating break. These arrangements are at the discretion of the House Manager in consultation with the conductor and performing artists.
SERVICES FOR PERSONS WITH DISABILITIES Severance Hall provides special seating options for mobility-impaired persons and their companions and families. There are wheelchair- and scooter-accessible locations where patrons can remain in their wheelchairs or transfer to a concert seat. Aisle seats with removable armrests are also available for persons who wish to transfer. Tickets for wheelchair accessible and companion seating can be purchased by phone, in person, or online. As a courtesy, Severance Hall provides wheelchairs to assist patrons in going to and from their seats. Patrons can make arrangement by calling the House Manager in advance at 216-231-7425. Infrared Assistive Listening Devices are available from a Head Usher or the House Manager for most performances. If you need assistance, please
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contact the House Manager at 216-231-7425 in advance if possible. Service animals are welcome at Severance Hall. Please notify the Ticket Office as you buy tickets.
IN THE EVENT OF AN EMERGENCY Emergency exits are clearly marked throughout the building. Ushers and house staff will provide instructions in the event of an emergency. Contact an usher or a member of the house staff if you require medical assistance.
SECURITY For security reasons, backpacks, musical instrument cases, and large bags are prohibited in the concert halls. These items must be checked at coat check and may be subject to search. Severance Hall is a firearms-free facility. No person may possess a firearm on the premises.
CHILDREN AND FAMILIES Regardless of age, each person must have a ticket and be able to sit quietly in a seat throughout the performance. Cleveland Orchestra subscription concerts are not recommended for children under the age of 8. However, there are several age-appropriate series designed specifically for children and youth, including: Musical Rainbows (recommended for children 3 to 6 years old) and Family Concerts (for ages 7 and older). Our Under 18s Free ticket program is designed to encourage families to attend together. For more details, visit clevelandorchestra.com/ under18.
T IC K E T SE RV IC ES TICKET EXCHANGES Subscribers unable to attend on a particular concert date can exchange their tickets for a different performance of the same week’s program. Subscribers may exchange their subscription tickets for another subscription program up to five days prior to a performance. There will be no service charge for the five-day advance ticket exchanges. If a ticket exchange is requested within 5 days of the performance, there is a $10 service charge per concert. Visit clevelandorchestra.com for details and blackout dates.
UNABLE TO USE YOUR TICKETS? Ticket holders unable to use or exchange their tickets are encouraged to notify the Ticket Office so that those tickets can be resold. Because of the demand for tickets to Cleveland Orchestra performances, “turnbacks” make seats available to other music lovers and can provide additional income to the Orchestra. If you return your tickets at least two hours before the concert, the value of each ticket can be a tax-deductible contribution. Patrons who turn back tickets receive a cumulative donation acknowledgement at the end of each calendar year.
Guest Information
The Cleveland Orchestra
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Expression is an essential need. By better illustrating our story, we can better help you express yours.
Complete the story at oac.ohio.gov/identity.
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THE CLEVELAND C O N C E R T
C A L E N D A R
WINTER SEASON
SPRING SEASON
Bach’s Saint John Passion
Handel’s Royal Fireworks
Mar 9 — Thursday at 7:30 p.m. Mar 11 — Saturday at 8:00 p.m. Mar 12 — Sunday at 3:00 p.m. <18s
Mar 30 — Thursday at 7:30 p.m. Mar 31 — Friday at 11:00 a.m. <18s Apr 1 — Saturday at 8:00 p.m.
THE CLEVELAND ORCHESTRA Franz Welser-Möst, 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 Boréades 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 — Sunday at 3:00 p.m. <18s
All Stravinsky
THE CLEVELAND ORCHESTRA Brett Mitchell, conductor with special guests Magic Circle Mime Co
Mar 16 — Thursday at 7:30 p.m. Mar 18 — Saturday at 8:00 p.m. THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Seraphic Fire, vocal ensemble Cleveland Orchestra Chorus
STRAVINSKY Fireworks STRAVINSKY Apollo: Apollon musagète STRAVINSKY Symphonies of Wind Instruments STRAVINSKY Threni, Lamentations of Jeremiah Sponsor: Jones Day
Peter and the Wolf, Prokofiev’s beloved tale whose characters are portrayed by various instruments of the orchestra, returns to Severance Hall! Peter (strings), the Bird (flute), the Cat (clarinet), Grandpa (bassoon), the Duck (oboe), the Wolf (horns), and the Hunters (timpani) are assisted in this “re-telling with a twist” by the popular (and hilarious) Magic Circle Mime Company. You won’t want to miss this magical production! Free pre-concert activities begin one hour before start time. Sponsored by American Greetings Corporation
Mitsuko Uchida’s Mozart Apr 6 — Thursday at 7:30 p.m. Apr 7 — Friday at 8:00 p.m. <18s Apr 8 — 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 — Friday at 10:00 a.m. <18s Mar 18 — 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).
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Apr 7 — Friday at 10:00 a.m. <18s Apr 8 — 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
PELLÉAS & MÉLISANDE Tuesday May 2 at 7:30 p.m. Thursday May 4 at 7:30 p.m. Saturday May 6 at 7:30 p.m. THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor in a new production directed by Yuval Sharon with an international cast including Elliot Madore, baritone (Pelléas) Martina Janková, soprano (Mélisande)
Luminous and hypnotic — Pelléas and Mélisande is among the most magical and mesmerizing of all opera scores. This tale of two fallen lovers resonates with mystery and meaning. It is presented at Severance Hall in a made-for-Cleveland production directed by Yuval Sharon (The Cunning Little Vixen) filled with dream-like realism.
CLEVELAND ORCHESTRA TICKETS PHONE
216 - 231-1111 800-686-1141
clevelandorchestra.com Severance Hall 2016-17
Concert Calendar
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