The Cleveland Orchestra November 3, 4, 5, 9, 10, 11 Concerts by Live Publishing

THE

CLEVEL AND ORC HE STR A

2O1 7-18 CENTENNIAL SEASON

FRANZ WELSER-MÖST

Week 4 November 3, 4, 5 Elgar, Enigma, and Emanuel Ax page 31

Week 5 November 9, 10, 11 Mendelssohn’s Scottish Symphony page 61

Perspectives Reviews from Europe pages 8-9

SEVERANCE HALL

AUTUMN

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2O1 7-18 CENTENNIAL SEASON

TA B L E

CONTENTS

THIS BOOK THE CLEVELAND ORCHESTRA

About the Orchestra

4 and 5 PAGE

Week

Musical Arts Association . . . . . . . . . . . . . . . . . . . . . . . . 7 Perspectives: From the Executive Director . . . . . . 8 From the Start: The Cleveland Orchestra . . . . . . 11 1OOth Season: From the Music Director . . . . . . . . . . . . . . . . . . . . . 19 From the President and Executive Director . . 21 From the County Executive . . . . . . . . . . . . . . . . . 23 From the Mayor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Severance Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Patron Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Upcoming Concerts . . . . . . . . . . . . . . . . . . . . . . . . 94-95

4 ELGAR, ENIGMA, & EMANUEL AX Concert: November 3, 4, 5 . . . . . . . . . . . . . . . . . . . 31 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 33 WEEK

ELGAR

Serenade for Strings . . . . . . . . . . . . . . . . . . . . . . . . 39 BEETHOVEN

Piano Concerto No. 1 . . . . . . . . . . . . . . . . . . . . . . . . 41 ELGAR

Enigma Variations . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Conductor: Vladimir Ashkenazy . . . . . . . . . . . . . . . . 35 Soloist: Emanuel Ax . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 NEWS

The Orchestra is welcomed home from its first European Tour, in 1957.

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.

Cleveland Orchestra News . . . . . . . . . 51

MENDELSSOHN’S SCOTTISH Concert: November 9, 10, 11 . . . . . . . . . . . . . . . . . 61 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 63 WEEK

COVER: PHOTOGRAPHY BY ROGER MASTROIANNI AND THE CLEVELAND ORCHESTRA ARCHIVES:

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

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

VIVALDI

“Il Favorito” Concerto . . . . . . . . . . . . . . . . . . . . . . . 65 HAYDN

These books are printed with EcoSmart certified inks, containing twice the vegetable-based material and one-tenth the petroleum oil content of standard inks, and producing 10% of the volatile organic compounds.

Symphony No. 88 . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 MENDELSSOHN

Symphony No. 3 (“Scottish”) . . . . . . . . . . . . . . . . 73 Leader: William Preucil . . . . . . . . . . . . . . . . . . . . . . . . 60

Support Second Century Sponsors . . . . . . . . . . . . . . . . . . . . . 20 Annual Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Table of Contents

The Cleveland Orchestra

10 0

RE ASON S

CE LE BR ATE

No. 62 The Cleveland Orchestra was among the first American orchestras to be heard regularly on the radio.

BakerHostetler is honored to share with The Cleveland Orchestra a 100-year tradition of excellence in service to our community. We are proud of our decades-long support of this world-class orchestra, and to celebrate its legacy we have gathered 100 facts about its illustrious history. Visit bakerlaw.com/100reasons to read them all.

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Kerstin Trawick thinks it’s never too late to learn something new. Living at Judson Park, she continues to pursue lifelong learning opportunities at Case Western Reserve University. Judson and Case Western Reserve have established an exciting partnership that offers Judson residents complete access to University events, programs and facilities, like the Kelvin Smith Library and the new state-of-the-art Tinkham Veale University Center. For CWRU alumni considering a move to Judson, there is an attractive discount towards an independent living entry fee and complimentary relocation package. Learn more about all the beneﬁts included in the partnership between Judson and Case Western Reserve University. Call (216) 446-1579 today.

Visit www.judsonsmartliving.org/cwru for information about this exciting partnership

MUSICAL ARTS ASSOCIATION

as of October 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 U S T E E S Virginia Nord Barbato (NY) Wolfgang C. Berndt (Austria)

Laurel Blossom (CA) Richard C. Gridley (SC)

Loren W. Hershey (DC) Herbert Kloiber (Germany)

T RU S TE E S E X- O F F I C I O Faye A. Heston, President, Volunteer Council of The Cleveland Orchestra Patricia Sommer, President, Friends of The Cleveland Orchestra Elizabeth McCormick, President, Blossom Friends of The Cleveland Orchestra T RU 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 CLEVEL AND ORCHESTR A Franz Welser-Möst, Music Director

Severance Hall 2017-18

André Gremillet, Executive Director

Musical Arts Association

Perspectives from the Executive Director November 2017 International Acclaim for Cleveland — The Orchestra has just returned from its autumn European Tour during this milestone 1OOth Season. Once again, the extraordinary artistry of Cleveland’s Orchestra under Music Director Franz Welser-Möst’s direction was praised for precision and passion, for unsurpassed clarity, and for the emotional power and commitment of their music-making. Playing in some of Europe’s most famous historic halls, and in two of the continent’s very newest concert venues, reminded audiences and reviewers alike of the astonishing quality and qualities that The Cleveland Orchestra offers as one of the best symphonic ensembles in the world. The people of Cleveland can take great pride in the Orchestra’s ongoing role as Ohio’s most-applauded musical ambassadors. Sharing the Applause — Throughout the tour, we worked to share with everyone in Cleveland the overwhelmingly positive reviews from critics across Europe, as well as a series of behind-the-scenes video segments looking at the efforts that touring requires — and the collaborative music-making that happens. These can be read or viewed on the Orchestra’s website. I am also pleased to share with you here a selection of excerpts from reviews of the tour’s series of concerts in Linz, Hamburg, Paris, Luxembourg, and Vienna: “The Cleveland Orchestra’s visit to the Philharmonie de Paris was unquestionably a can’tmiss musical event. . . . Our expectations were fully met as we found the Austrian conductor’s interpretation of Mahler’s Sixth Sympony convincing, both in substance and in form. . . . The orchestra upheld its reputation for excellence. . . . This was a pertinent and intelligent interpretation, a very committed and convincing performance. Bravo!” —ResMusica (Paris) “Music is the primary focus — with the excellence of The Cleveland Orchestra under Franz Welser-Möst taking any listener’s breath away. Even while briefly closing your eyes, you will still hear everything (and so much more) of what is happening visually in the opera. This was fully-rounded sound with nuance — an event! Flawless too were performances by Martina Janková as a touching Little Vixen, by Jennifer Johnson Cano as the fox and Alan Held as the Forester, or by Raymond Aceto as Harasta. . . . The cheers at the end were for every aspect of this performance.’” —Vienna Kurier “This was a brilliant performance. . . . . Stravinsky’s Rite of Spring was . . . impressive; the music was precisely led by Franz Welser-Möst through the angular rhythms and contrasts into a thrilling final at the end.“ —NDR Kultur (Hamburg) “Welser-Möst unfolds the details of Mahler’s colossal symphonic scenario in forward-pressing tempos. . . . In doing so, he can safely rely on the abilities of the instrumental sections and soloists of his Clevelanders, who flawlessly savor Mahler’s expressive phrasing and colorful scales. Powerful crescendos are performed with the same perfection as the softly melting hues of the strings. . . . Great applause followed.” —Kronen Zeitung (Austria)

From the Executive Director

The Cleveland Orchestra

“Franz Welser-Möst conducted Mahler’s Sixth Symphony on the second evening of the performances with his Cleveland Orchestra in the Grosser Saal of the Elbphilharmonie. . . . Mahler, known for his demanding requirements, would probably have approved of what Welser-Möst did with this Mahler symphony. How he merged together dramatic, hard-hitting, and frenetically loving characteristics. How brilliantly and with caring focus on each detail this American orchestra proved itself in excellent form, especially throughout all the solo wind instruments. . . . Where to start the praise, where to end with the amazement? Magnificent, for the urgency with which Welser-Möst kept the manically agitated pulse alive. . . This version was delightfully unsentimental, quite lean and sinewy, with the wallowing fat of pathos exercised away, offering an existential rollercoaster ride. Every single measure called for everyone to give their all, a collective tour de force, an emotional burden that exhausted and animated at the same time. At the end, there was the hard-earned standing ovation.” THE CLEVELAND —Hamburger Abendblatt CENTENNIAL SEASON

2O17

EUROPEAN TOUR

“The Cleveland Orchestra under the direction of Franz Welser-Möst impresses with its customary clarity and balance, which is their trademark.”

ORCHESTRA

—Der Standard (Austria)

FR ANZ WE L S E R- M ÖST

“At this year’s residency in the Musikverein’s Goldener Saal, The Cleveland Orchestra and its chief conductor Franz Welser-Möst brought with them a shrewdly-conceived stage production, digitally-created at the highest caliber. This was Yuval Sharon’s staging of the ‘Cunning Little Vixen,’ developed in 2014 for Severance Hall, Cleveland’s counterpart to the Musikverein. . . . Though the production’s image world was created digitally, it draws from fold-out paper models in a style commonly found in old books. The full moon is by no means round. Rather, it resembles a potato. The props impress by their charming imperfections, as if crafted from cardboard. The audience’s imagination is not suffocated, but challenged. . . . The Cleveland Orchestra cultivates its musical rendering of Janaček at the highest level of color and nuance. The airy explorations of the score are played with such delicacy, so light and brilliant, they seem to be of silk. . . . Great jubilation and applause for a unique operatic enterprise.” —Die Presse (Austria)

The Season Continues — The Cleveland Orchestra’s 1OOth Season continues throughout November and December, with concerts offering classical masterpieces and internationally-acclaimed guest artists, along with the popular annual Christmas Concerts, movies with the soundtrack performed live, daytime Education Concerts for schoolchildren, and the season’s first performances by the Cleveland Orchestra Youth Orchestra. It’s an action-packed couple of months leading to the holidays and the New Year. Thank you for joining us to experience the power of music firsthand, as part of the great community that supports and enjoys our work to make the world a better place — through music, understanding, and creativity.

André Gremillet Severance Hall 2017-18

From the Executive Director

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CLEVELAND ORCHESTRA THE

December 1919, Grays Armory

From the Start

A Mission for Greatness in Community, Education, & Music by E R I C S E L L E N

2O1 7-18 CENTENNIAL SEASON

cclaimed for decades among the world’s top symphonic ensembles, The Cleveland Orchestra celebrates its 1OOth year during the 2017-18 season. Such fame and acclaim did not come without a plan. From the very beginning, the private citizens who created this public institution fully intended to foster a great musical ensemble that would carry the exceptional can-do spirit of the city of Cleveland far and wide. Generations have carried through on the hard work required to forge and sustain the Orchestra’s mission to share extraordinary musical experiences, to foster a love of music in students of all ages, and to proudly carry the name of the city it represents.

The Early Decades: Creation, Growth, and the Construction of Severance Hall At the time the ensemble was created, in 1918, Cleveland was a rising industrial metropolis heavily involved in the steel industry and rivalling Detroit in car manufacturing. Rich magnates put the money together for the Orchestra’s early seasons, including John L. Severance, an acquaintance of John D. Rockefeller. Unusually for the era, a woman, Adella Prentiss Hughes, was the Severance Hall 2017-18

About the Orchestra

guiding light behind the efforts to create a hometown band — and she worked tirelessly and with great political finesse to launch it on a trajectory toward being “as good as any orchestra in America.” Nikolai Sokoloff, the Orchestra’s first music director (1918-33), is often overlooked in light of his better-known suc-

cessors. He was, however, certainly good enough to pull the group together and guide them forward for more than a decade. Those years saw the start of many education programs that continue today — the Orchestra has introduced more than 4 million young people to classical music across its first century — as well as extensive touring across the United States and to Cuba, and its first concerts at New York’s famed Carnegie Hall. Perhaps the biggest push in the early years came from John L. Severance when he donated money toward the ensemble’s permanent home concert hall, named to honor both Severance and his wife when it opened in 1931. Severance Hall was among the very first such buildings designed with radio broadcasting capability in its original schematics and quickly gave the musical ensemble a new sense of permanence, style, and purpose. Artur Rodzinski came next as music director (1933-43), injecting a new level of energy into the Orchestra’s music making. A gifted if mercurial leader, who may (or may not) have had a pistol strapped to him onstage when he conducted, Rodzinski had big ambitions and started out strong. For four seasons in the mid-1930s, the Orchestra’s season featured fully-staged opera productions at Severance Hall, with some of the day’s most-renowned stars, including Lotte Lehmann and Friedrich Schorr. However, the cost of presenting four or five operas each year, in the midst of the Depression, eventually forced their discontinuation. Rodzinski moved forward nevertheless, with recordings alongside new and rediscovered works. Finally, he left CleveThe Cleveland Orchestra

land to pursue his own career in the bigger cities of New York and, later, Chicago. For Erich Leinsdorf, the next music director (1943-46), timing was everything — and World War II largely precluded him from making much impact in Cleveland. Many of the ensemble’s musicians were on leave for military duty, and Leinsdorf himself was away part of the time for military service. Evenso, he made some solid recordings, led a variety of radio broadcasts, and re-affirmed his own bona fides for the high-powered international career he enjoyed in the ensuing decades. The Szell Era: Rise to International Fame George Szell, music director from 1946 until his death in 1970, took a credibly good orchestra and made it great. It’s not that he put The Cleveland Orchestra on the map, for it had been touring around the U.S. for years. It was more that he took the stage and insisted that Cleveland could be — in real fact, would become — as good

as any orchestra anywhere. His legendary standards focused 100 musicians toward a kind of peerless perfection that dazzled many ears. Just as a great restaurant grows its reputation through delivering consistent excellence, Szell was concerned with repeatability. Day in and day out, critics and audiences around the world could more and more count on The Cleveland Orchestra to deliver a great performance, everytime, anywhere. That predictability, coupled with the rise of audiophile home listening equipment (and stereo sound) turned Cleveland into a powerhouse in the recording studio, creating an outstanding catalog across the standard repertoire, many selections from which still hold their own as much as half a century later. The Orchestra’s ambitions also grew along with Szell’s tenure, touring internationally to amaze Europeans unaccustomed to such constant perfection in live performance. A ten-week tour in 1965 included a month in the Soviet Union, which became legendary among Cleveland’s musicians,

Education has long been a fundamental part of The Cleveland Orchestra’s programs each year, including teaching and coaching future musicians — such as these young students in 1929.

Severance Hall 2017-18

About the Orchestra

1918

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

16th

1l1l 11l1 l1l1 1

The 2017-18 season will mark Franz Welser-Möst’s 16th 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 53%

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

Follows Followson onFacebook Facebook(as (asof ofJune Sep 2017) 2016)

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

129,452 130,010

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

staff, and board members for the Orchestra’s unflagging ability to put on a great performance for wildly enthusiastic audiences — even with circumstances of lessthan-optimal hotels, transportation, and backstage facilities. Despite his reputation, the steel-eyed taskmaster Szell was not entirely without emotion and understanding of those around him or of humanity as a collective society. Stories abound of small gestures of sympathy and understanding at fateful moments in the lives of longtime Orchestra musicians. And, having escaped in the 1930s from a Europe-turned-afoul, he was well-tuned to world politics and changing times — and to the need for public statements in times of crisis. Following the assassination of Martin Luther King Jr. in 1968, he led the Orchestra in a moving performance of the Funeral March from Beethoven’s Seventh Symphony, making a statement of solidarity and caring with the ongoing struggle for human justice. Planning and foresight by the Orchetra’s leadership also brought about increased performance opportunities. In 1968, the opening of the Orchestra’s parklike countryside summer home, Blossom Music Center, ensured the musicians of a year-round employment contract, further bonding them with their hometown audiences (who also lined up by the thousands at Blossom for rock-n-roll concerts by the era’s other big-name musical legends). Forging Ahead: Boulez and Maazel Upon Szell’s death, Pierre Boulez was appointed to an interim position as musical advisor for two seasons (1970-72). Boulez Severance Hall 2017-18

made his professional American debut with the Cleveland ensemble in 1965. His relationship as a friend and influence on the podium in Cleveland eventually extended to nearly half a century. He brought daring programming of new music along with new ideas to clear the accumulated earwax from old ways of listening to classics. His astute musical judgement and his extraordinary laser-like precision on the podium eventaully won Cleveland five Grammy Awards. By example and with keen intellect and approach, he effortlessly encouraged the musicians across a widening spectrum of the repertoire. Lorin Maazel, the next music director (1972-82), stirred things up a bit for The Cleveland Orchestra. His high-energy leadership and fascinating programming, along with a compelling (if at times headstrong) conducting style also dared the musicians to make music in new ways. International touring continued, including the Cleveland’s first trips to South America and to Australia and New Zealand — with the Orchestra’s global reach becoming a true reality beyond its well-deserved reputation. The ensemble’s recordings also continued, with Maazel leading large swaths of the repertoire and helping the Orchestra pioneer digital recording. A New Golden Era: Dohnányi and a Restored Severance Hall Christoph von Dohnányi, the sixth music director (1982-2002), brought artistic leadership for a second “Golden Age,” as well as, finally, some critical distinction beyond being “the Orchestra that Szell built.” Dohnányi focused on both precision and

About the Orchestra

warmth of sound, while presenting intriguing programming of standard works mixed together with lesser-known repertoire. Touring became an annual part of the Orchestra’s calendar, including regular residencies in Salzburg, performances throughout Europe, and first performances in China. These years also coincided with the final era of growth in commercial recording. The Cleveland Orchestra laid claim to being the “most-recorded orchestra in America” for nearly a decade, turning out album after album annually to wide acclaim and sales. In addition, Dohnányi revived the Orchestra’s operatic traditions, though mostly with in-concert presentations, and devoted his work to further polish and amalgamate the musicians’ gifted artistry and ensemblework. One of the greatest long-term achievements of Dohnányi’s tenure was the renovation and expansion of Severance Hall, which restored what many have called “America’s most beautiful concert hall” to visual interior splendor while simultaneously enhancing its famously clear and intimate acoustics. The work also restored the hall’s original 6,025-pipe concert organ, making it once again useable (from a new location within the hall) for the first time in half a century. Accelerando con moto: Welser-Möst and a New Century Franz Welser-Möst became The Cleveland Orchestra’s seventh music director in the autumn of 2002. His charge has been to carry the ensemble forward

— first into the new millenium and now into the Orchestra’s own Second Century. His playbook has been to build on the best traditions of the past while steering clearly and with passionate directness to argue for music’s renewed relevance in a changing world. He has expanded repertoire while further honing the Orchestra’s flexibility for modern (and older) music. The Orchestra’s long operatic tradition has been augmented with the return of fullystaged opera productions to Severance Hall, including cutting-edge presentations filled with 21st-century technological know-how and wonder — all in service to telling the plotlines of challenging works in compelling ways and with superb casts. Welser-Möst has also led The Cleveland Orchestra in a series of acclaimed video and other recordings, further enlarging the ensemble’s storied recorded legacy. He has advocated for a renewed and extended focus aimed at serving the people of Cleveland, through expanded education offerings and a new diversity of programming and concert formats. Special ticketing programs offer free tickets for families to bring children with them to concerts, with a notable increase of younger people attending performances — with 20% of audiences now aged 25 and younger. In the past decade, the Orchestra has also extended its work as Cleveland’s ambassador to the world, regularly showcasing its extraordinary musicianship in music capitals and at festivals and in residencies across Europe and on tour in the

About the Orchestra

The Cleveland Orchestra

PHOTO BY ROGER MASTROIANNI

United States. With his contract extended to encompass a tenure of at least two decades, Welser-Möst continues to prepare The Cleveland Orchestra for its Second Century, serving the art of music and the people of its hometown earnestly and with the utmost dedication to harness the power of music to change lives and to inspire creativity and understanding. Tellingly, throughout the Orchestra’s history, there has been a strong tradition of leadership continuity, not just artistically (with only seven Music Directors in 100 years), but also in Presidents of the governing non-profit Board of Trustees (just twelve), and staff Executive Directors (only ten), providing a steady but focused progression of guidance propelling the Orchestra forward. Contrasted with the shifting sands at some other well-known ensembles, this unity of purpose and personnel has helped carry the Orchestra forward institutionally as a tireless agent for inspiring its hometown through great music. For, in truth, the Orchestra’s greatest strength remains the citizens of its hometown and the region surrounding Cleve-

land, whose forebears imagined such a world-famous orchestra could exist and then set about to make it happen. Individuals and corporations financed the Orchestra’s growth while insisting on excellence as the goal, not just musically, but in programs for educating and inspiring the city’s youth. That support continues today at uniquely high levels, boasting the greatest generosity of per capita donations for any major American orchestra. Thus, the extraordinary dream continues — marching The Cleveland Orchestra into a Second Century of achievement and success, arm in arm with the community whose name it carries.

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About the Orchestra

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FR ANZ WELSER-MÖST

Dear Friends,

Autumn 2017

Looking toward The Cleveland Orchestra’s second century, I am filled with enormous pride in the one-hundred-year collaboration between the Orchestra and this community. The exceptional musicianship and dedication of this Orchestra are acclaimed anew with each passing season — here at home and around the world — and are bolstered by your incredible interest in what we do. Your devotion inspires us each and every day. Your musical curiosity and intellect drive us forward, to study more, to dream beyond the past, and to continue exploring new boundaries in music. Conducting each performance is as exciting an adventure for me as the first time I stepped on the podium at Severance Hall. Our 1OOth season serves as an historic milestone, not only to celebrate our rich history, but to look forward to everything this institution will accomplish in the century to come. All of this is only possible because of you, through the passionate and devoted hometown that supports us, seeks answers, and eagerly attends our concerts. Against the ever-increasing and fractious challenges of today, I believe that we have an obligation to harness the life-changing power of music to make the world a better place — to push the limits of our art to create deep, meaningful experiences. Music is an incredible tool for good — to inspire people, as Beethoven believed, in the “fight for good,” for what is right and true. Music inspires creativity, engages the imagination, and fosters learning and understanding. I truly believe that The Cleveland Orchestra’s next 1OO years will indeed be exceptional. Together, we are launching a century that will be filled with extraordinary, unexpected, and emotionally-charged musical experiences for everyone. Thank you for joining us on the adventure!

Severance Hall 2017-18

Welcome: From the Music Director

2O1 7-18

THE CLEVELAND ORCHESTRA

CENTENNIAL SEASON

Second Century Celebration We are deeply grateful to the visionary philanthropy of the sponsors listed here who have given generously toward The Cleveland Orchestra’s 1OOth season in support of bringing to life a bold vision for an extraordinary Second Century — to inspire and transform lives through the power of music.

Presenting Sponsors

Leadership Sponsors

Sponsors

Ruth McCormick Tankersley Charitable Trust

Calfee, Halter & Griswold LLP National Endowment for the Arts The Sherwin-Williams Company

Westfield Insurance KPMG LLP PwC

Global Media Sponsor

Series and Concert Sponsors We also extend thanks to our ongoing concert and series sponsors, who make each season of concerts possible: American Greetings Corporation BakerHostetler Buyers Products Company Dollar Bank Foundation Eaton Ernst & Young LLP Forest City Frantz Ward LLP The Goodyear Tire & Rubber Company Great Lakes Brewing Company Hahn Loeser & Parks LLP Hyster-Yale Materials Handling, Inc. NACCO Industries, Inc. Jones Day KeyBank The Lincoln Electric Foundation Litigation Management, Inc. The Lubrizol Corporation Materion Corporation Medical Mutual MTD Products, Inc. North Coast Container Corp. Ohio Savings Bank Olympic Steel, Inc. Parker Hannifin Foundation PNC Bank Quality Electrodynamics (QED) RPM International Inc. The J. M. Smucker Company Squire Patton Boggs (US) LLP The Sherwin-Williams Company Thompson Hine LLP Tucker Ellis

Second Century Sponsors

The Cleveland Orchestra

THE CLEVEL AND ORCHESTR A A CENTURY OF EXCELLENCE. AN EXTRAORDINARY FUTURE.

Dear Friends, Welcome to The Cleveland Orchestra’s 1OOth season. This year represents a milestone anniversary, not just for the Orchestra itself but for the community that created it. A hundred years of hard work has created a century of excellence — connecting all of us together through extraordinary musical experiences. As we begin the Orchestra’s Second Century, a handful of shared values and promises are central to serving this great city in the years ahead: Believing in the Value of Excellence: Everything we do is built on a foundation of doing it well. The Cleveland Orchestra’s reputation for excellence is a direct reflection of the values of this community, built on the firm belief that there is a difference between good, better, and best. We employ and expect the best in order to present the the highest quality musical experiences. The Orchestra’s excellence leads by example — for young and old alike. Quality matters. Sharing the Power and Passion of Music: The Cleveland Orchestra’s fundamental mission is to share great musical experiences. We are striving to play more music for more people, because we believe that music enriches lives, augments learning, and inspires creativity and understanding. Music matters. Inspiring Future Generations: Education has been at the forefront of The Cleveland Orchestra’s mission since the very beginning, by teaching music and helping students learn life skills through music. Today, we are redoubling our efforts — to touch the lives of young people throughout the region through powerful performances, free tickets, and compelling education initiatives. Education matters. Celebrating Community: Each and every year, we work to fulfill the promise of those who created The Cleveland Orchestra — through quality, sharing, education, and celebration. Our greatest strength is the people of Northeast Ohio, who created this Orchestra and continue to expect and demand great things from us. We believe in the power of music because you do. Your support and belief in us carries us forward. Music is about sharing and joining together. Community matters. Throughout this season, let us revel in the great music-making onstage, in the enthusiam we share, in the power of music to make the world a better place.

Richard K. Smucker President

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André Gremillet Exective Director

Welcome: 1OOth Season

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.

Cuyahoga County

Together We Thrive Office of County Executive Armond Budish

Autumn 2017 Dear Friends, As the world has changed in remarkable ways over the past 100 years, The Cleveland Orchestra has grown in stature to become one of the world’s most-renowned and lauded musical organizations. The Cleveland Orchestra attracts the finest orchestral players from around the globe. Orchestra musicians have made Northeast Ohio their home, where they raise their families, and enjoy the quality of life that Cuyahoga County has to oﬀer. Arts and culture are key to our quality of life in the region. Cuyahoga County is a place bursting at the seams with arts, music, sports, great food, festivals, waterfront recreation, unique neighborhoods, distinctive places — all converging in one vibrant, dynamic, diverse community. Music plays a critical role in achieving a well-balanced life in Northeast Ohio and beyond. The Orchestra’s greatest strength is the community and people of Northeast Ohio, who support and believe in the Orchestra as one of the area’s finest examples of quality, creativity, and inspiration — for students, children, families, and adults. The Cleveland Orchestra enriches lives by creating extraordinary musical experiences for all. We can all proudly support what The Cleveland Orchestra has achieved in its first hundred years — and we look forward to even more memorable music-making in the future. Bravo Cleveland Orchestra!! My best always,

Armond Budish Cuyahoga County Executive

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From the County Executive: 1OOth Season

PLEASE STAY AWAKE

DURING THE SYMPHONY, THERE WILL BE TIME TO REST LATER.

(And we’ve got just the place.)

The majestic beauty of Lake View Cemetery has been bringing people together for nearly 150 years. And that’s why all denominations and walks of life are represented here. With its blooming daffodils, pristine pond, and lush trees, you won’t ﬁnd a more serene or moving finale.

Your Grounds for Life. 12316 Euclid Avenue, Cleveland, Ohio | 216-421-2665 | LakeViewCemetery.com

2017-18 100th Season Dear Fellow Citizens: I am pleased and proud to congratulate The Cleveland Orchestra on their 100th Anniversary season. This orchestra was created here in Cleveland 100 years ago by local citizens who insisted on the very best for our city. Quality is one of Cleveland’s trademarks and The Cleveland Orchestra is one of our city’s greatest success stories. Conceived with trust and support, built on ambition and drive, focused on quality and service to the community, The Cleveland Orchestra is a cultural anchor of this great city. Music touches people of all ages, races, lifestyles, and backgrounds. And there are significant developmental, academic, and social benefits for young people who study music, especially from an early age. The Orchestra’s concerts and education programs, which have introduced over 4 million young people to symphonic music, are often the first chapter in a lifelong passion. The Cleveland Orchestra proudly carries the name of Cleveland while touring internationally and domestically, shining a positive light on Cleveland around the world. But no matter where they perform each week, The Cleveland Orchestra is and always will be Cleveland’s Orchestra. Throughout this season, please join me in celebrating The Cleveland Orchestra and all of its accomplishments, today and tomorrow. Sincerely,

Mayor M yor Frank G.. Jackson Ma

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From the Mayor: 1OOth Season

T H E

C L E V E L A N D

Franz Welser-Möst M U S I C D I R E C TO R

CELLOS Mark Kosower*

Kelvin Smith Family Chair

SECOND VIOLINS Stephen Rose * 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

Katherine Bormann Analisé Denise Kukelhan

Alfred M. and Clara T. Rankin Chair James and Donna Reid Chair

Bryan Dumm Muriel and Noah Butkin 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 Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Chair

Yun-Ting Lee Jiah Chung Chapdelaine VIOLAS Wesley Collins* Chaillé H. and Richard B. Tullis Chair 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 The Morgan Sisters Chair

Eliesha Nelson Joanna Patterson Zakany Patrick Connolly

The GAR Foundation Chair

Charles Bernard 2 Helen Weil Ross Chair

Emilio Llinás 2

Lynne Ramsey

Louis D. Beaumont Chair

Richard Weiss 1

The Musicians

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

2O1 7-18

O R C H E S T R A FLUTES Joshua Smith * Elizabeth M. and William C. Treuhaft Chair

Saeran St. Christopher Marisela Sager 2 Austin B. and Ellen W. Chinn Chair

Mary Kay Fink PICCOLO Mary Kay Fink Anne M. and M. Roger Clapp Chair

OBOES Frank Rosenwein * Edith S. Taplin Chair

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

Robert Walters

Samuel C. and Bernette K. Jaffe Chair

CLARINETS Afendi Yusuf * Robert Marcellus Chair

Robert Woolfrey Victoire G. and Alfred M. Rankin, Jr. Chair

Daniel McKelway

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 Steelman 2 James P. and Dolores D. Storer Chair

Michael Miller CORNETS Michael Sachs *

ENGLISH HORN Robert Walters

Robert R. and Vilma L. Kohn Chair

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 2017-18

CENTENNIAL SEASON

Mary Elizabeth and G. Robert Klein Chair

PERCUSSION Marc Damoulakis* Margaret Allen Ireland Chair

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

Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair

LIBRARIANS Robert O’Brien Joe and Marlene Toot Chair

!Donald Miller

Michael Miller

ENDOWED CHAIRS CURRENTLY UNOCCUPIED

TROMBONES Massimo La Rosa *

Sidney and Doris Dworkin Chair Sunshine Chair George Szell Memorial Chair

Gilbert W. and Louise I. Humphrey Chair

Richard Stout Alexander and Marianna C. McAfee Chair

Shachar Israel 2 BASS TROMBONE Thomas Klaber

* Principal § 1 2

Associate Principal First Assistant Principal Assistant Principal

EUPHONIUM AND BASS TRUMPET Richard Stout

CONDUCTORS Christoph von Dohnányi

TUBA Yasuhito Sugiyama*

Vinay Parameswaran

Nathalie C. Spence and Nathalie S. Boswell Chair

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

MUSIC DIRECTOR LAUREATE ASSISTANT CONDUCTOR

Elizabeth Ring and William Gwinn Mather Chair

Lisa Wong ACTING DIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

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

The Musicians

Whether we are feeding the hungry, comforting the sick, or caring for the elderly, our Jewish values inspire us to act. With the stock market at an all-time high, now is the time to donate appreciated securities to the Jewish Federation of Cleveland. To realize potential tax beneďŹ ts in 2017, make this transfer before December 31, 2017*.

Take an active role in helping meet needs in the Jewish and general communities, today and in the future. To transfer securities, contact Kari Blumenthal at 216-593-2893 or kblumenthal@jcfcleve.org. *Ask your ďŹ nancial advisor for details.

www.jewishcleveland.org

2O1 7-18 CENTENNIAL SEASON

Concert Previews

LEARNING MORE ABOUT THE MUSIC

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.

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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.

Autumn Previews: November 3, 4, 5 “Making a Mark on History” (musical works by Beethoven and Elgar) with guest speaker Cicilia Yudha, associate professor of piano, Youngstown State University

November 9, 10, 11 “Naked Knees and Nebulous Nicknames” (musical works by Vivaldi, Haydn, Mendelssohn) with guest speaker Timothy Cutler, professor of music theory, Cleveland Institute of Music

November 17, 18 “Creative Leaps ” (musical works by Mozart, Rameau, Gluck) with Rose Breckenridge, lecturer and administrator, Cleveland Orchestra Music Study Groups

November 24, 25, 26 “Fateful Encounters” (musical works by Copland, Paulus, Tchaikovsky) with guest speaker Meaghan Heinrich, Chair, Woodwind, Brass, & Percussion Wisconsin Conservatory of Music

November 30, December 2 “New Concerto, Romantic Symphony” (musical works by Sciarrino, Bruckner) with guest speaker Lorenzo Salvagni, composer and pianist

Concert Previews

AVAILABLE IN SMITH LOBBY pre-concert, during intermission, and post-concert at Severance Hall or shop from your seat at ClevelandOrchestraStore.com View the full line of collaborative Cleveland Orchestra wearables, created in a collaborative partnership between The Cleveland Orchestra and Cleveland Clothing Co., on-line or in-person in the Smith Lobby on the groundfloor during concerts. Centennial designs and signature items.

THE

CLEVELAND ORCHESTRA FR ANZ WELSER- MÖST

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

Severance Hall

Friday evening, November 3, 2017, at 8:00 p.m. Saturday evening, November 4, 2017, at 8:00 p.m. Sunday afternoon, November 5, 2017, at 3:00 p.m.

2O1 7-18 CENTENNIAL SEASON

Vladimir Ashkenazy, conductor EDWARD ELGAR (1857-1934)

Serenade for Strings in E minor, Opus 20 1. Allegro piacevole 2. Larghetto 3. Allegretto

LUDWIG VAN BEETHOVEN (1770-1827)

Piano Concerto No. 1 in C major, Opus 15 1. Allegro con brio 2. Largo 3. Rondo: Allegro EMANUEL AX, piano

INTER MISSION EDWARD ELGAR

Enigma Variations, Opus 36 (Variations on an Original Theme) Theme: Enigma (Andante) Variation I: “C.A.E.” (L’istesso tempo) Variation II: “H.D.S.-P.” (Allegro) Variation III: “R.B.T.” (Allegretto) Variation IV: “W.M.B.” (Allegro di molto) Variation V: “R.P.A.” (Moderato) Variation VI: “Ysobel” (Andantino) Variation VII: “Troyte” (Presto) Variation VIII: “W.N.” (Allegretto) Variation IX: “Nimrod” (Adagio) Variation X: “Dorabella” (Intermezzo: Allegretto) Variation XI: “G.R.S.” (Allegro di molto) Variation XII: “B.G.N.” (Andante) Variation XIII: “***–Romanza” (Moderato) Variation XIV: “E.D.U.” (Finale: Allegro Presto)

Emanuel Ax’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from Mrs. Paul D. Wurzburger.

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Concert Program — Week 4

November 3, 4, 5

2O1 7-18 CENTENNIAL SEASON

THI S WE E KE ND'S CONCE RT Restaurant opens: FRI 5:00 SAT 5:00 SUN 12:00

Concert Preview: BEGINS ONE HOUR BEFORE CONCERT

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

Severance Restaurant Reservations for dining suggested:

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

CONCERT PREVIEW

“Making a Mark on HIstory” with guest speaker Cicilia Yudha member of the piano faculty, Youngstown State University

ELGAR Serenade for Strings . . . . . . . . . . . . . . . . . . . . . . Page 39 (12 minutes)

BEETHOVEN Piano Concerto No.1 . . . . . . . . . . . . . . . . . . . . . . Page 41 (35 minutes)

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

INTERMISSION

facebook.com/clevelandorchestra

(20 minutes)

twitter: @CleveOrchestra instagram: @CleveOrch

ELGAR Enigma Variations . . . . . . . . . . . . . . . . . . . . . . . . Page 45 (30 minutes) Concert ends: (approx.)

FRI 9:45 SAT 9:45 SUN 4:45

Severance Restaurant and Opus Café Duration times shown for musical pieces (and intermission) are approximate.

This Week’s Concerts

The Cleveland Orchestra

INTRODUCING THE CONCERT

Music, Family & Friends

T H I S W E E K E N D ’ S C O N C E R T S offer early works by two well-known

composers, performed by The Cleveland Orchestra in collaboration with two legendary guest artists. The program begins and ends with musical works by Edward Elgar, whose rise to fame at the end of the 19th century coincided with these two pieces — and with the British Empire’s full command as a global power. If later Elgar works came to symbolize Britishness in music, these two earlier works afford us a view of a younger composer, brilliantly finding his own voice. The Serenade for Strings, premiered in 1896, is filled with emotional color and musical talent. This music is often quiet and intensely focused — and remained one of the composer’s favorites to older age. In the center of the concert is Beethoven’s First Piano Concerto, which, in fact, was written after what we know as his Second. Evenso, this is a work filled with youthful power, charm, and a sense of general happiness. Here, Beethoven took the model of Mozart’s concertos and makes it his own. While some see (and hear) it as very Mozartian, many find the telltale signs of Beethoven’s burgeoning genius and the beginnings of a more daring use of musical language — thrilling, entertaining, contemplative, and unifying. The evening ends with Elgar’s great Enigma Variations, premiered in 1899. Here the composer wrote a series of loving musical portraits of his circle of close friends. The clarity of the depictions is still remarkably fresh more than a hundred years later — with the intensity of some of the relationships and personalities utterly discernible. This is music of great range, from the poignant intimacy to the everyday, from boisterous pomp to romping good fun. (The dog “barking” in Variation 11 is one of my favorite moments.) These are variations to enjoy and cherish. Joining us this week are two long-time friends of The Cleveland Orchestra, conductor Vladimir Ashkenazy (who has played and recorded all of Beethoven’s concertos here in Cleveland), and pianist Emanuel Ax. Their presence adds extra sparkle to this special 1OOth musical season. —Eric Sellen LIVE RADIO BROADCAST

Saturday evening’s concert is being broadcast live on WCLV Classical 104.9 FM. The concert will be rebroadcast as part of regular weekly programming on WCLV on Saturday evening, December 30, at 8:00 p.m.

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Week 4 — Introducing the Concert

Vladimir Ashkenazy

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Guest Conductor

phony Orchestra, NHK Symphony Orchestra, and London’s Philharmonia Orchestra. He regularly appears as a guest conductor with major orchestras around the world. Vladimir Ashkenazy’s Decca discography features a variety of awardwinning albums, in repertoire stretching across more than three centuries. His Grammy Award-winning albums include Beethoven’s Piano Concertos with the Chicago Symphony Orchestra and Georg Solti (1973), Ravel’s solo works (1985), and Shostakovich’s Preludes and Fugues (1999). To mark Mr. Ashkenazy’s 70th birthday in 2007 and his 50th anniversary as an exclusive Decca artist, Decca released a series of CDs and DVDs — featuring newly-recorded and reissued performances — which embraced his work as a pianist and conductor. He has continued to record since that time, including works by Bach, Howard Blake, Debussy, Rachmaninoff, and Ravel, including piano duo albums with his son Vovka Ashkenazy. His television projects include Ashkenazy in Moscow, which marked his 1989 visit to Russia — his first time there since leaving the Soviet Union in the 1960s. For more information, please visit www.vladimirashkenazy.com. Photo: KEITH SAUNDERS

Among the foremost musical figures of our time, conductor and pianist Vladimir Ashkenazy has built an extraordinary career, both as a revered pianist, and as an artist whose creative life encompasses a range of activities that offers inspiration to music-lovers around the world. He has a long and storied performance history with The Cleveland Orchestra, first appearing as a pianist in 1968 and as a conductor in 1983. His most recent performances here were in 2010. Born in Gorky in 1937, Vladimir Ashkenazy began playing the piano at age six and was accepted at the Central Music School two years later. Following graduation from the Moscow Conservatory, he won second prize in the 1955 International Frédéric Chopin Piano Competition, first prize in the 1956 Queen Elisabeth Music Competition, and joint first prize in the 1962 International Tchaikovsky Competition — launching on an international career as a renowned and much-recorded concert pianist. Mr. Ashkenazy’s work as a conductor came later, with him serving as chief conductor of London’s Royal Philharmonic (1987-94), principal conductor of the German Symphony Orchestra Berlin (1989-99), principal guest conductor of The Cleveland Orchestra (1987-94), chief conductor of the Czech Philharmonic (1998-2003), music director of the NHK Symphony Orchestra (2004-07), principal conductor and artistic advisor to the Sydney Symphony Orchestra (2009-13), and music director of the European Union Youth Orchestra (2000-15). Today, he is conductor laureate of the Iceland Sym-

OBERLIN COLLEGE & CONSERVATORY

ARTIST RECITAL SERIES 2017-18 A CELEBRATION OF THE ARTS AT OBERLIN SINCE 1878

SUNDAY, NOVEMBER 12 | 4 PM

SUNDAY, NOVEMBER 19 | 4 PM

BENJAMIN GROSVENOR, PIANO

TESSA LARK, VIOLIN ANDREW ARMSTRONG, PIANO

“Benjamin Grosvenor delivers virtuosity beyond his years. If you haven’t heard him, hear him now.” — LOS ANGELES TIMES

“She played with guts and great intensity.” — VIOLINIST.COM

FINNEY CHAPEL (90 NORTH PROFESSOR STREET, OBERLIN, OHIO 44074) TICKETS: $35 ($30 SENIORS, MILITARY, OC STAFF, FACULTY, ALUMNI, $10 STUDENTS) Partial-season subscription packages are available. For tickets and program information, visit oberlin.edu/artsguide or call 800-371-0178.

BE A FRIEND! Our season is made possible in part by Oberlin’s Friends of the Artist Recital Series. Please call 440-775-8200 to learn how becoming a Friend supports the arts at Oberlin.

Emanuel Ax

Severance Hall 2017-18

Guest Soloist

Since 1987, Mr. Ax has been an exclusive Sony Classical recording artist. His recent releases include Mendelssohn’s trios with Yo-Yo Ma and Itzhak Perlman, Richard Strauss’s Enoch Arden, and twopiano music by Brahms and Rachmaninoff with Yefim Bronfman. He has received Grammy Awards for two volumes of his cycle of Haydn’s piano sonatas and his albums of cello and piano sonatas by Beethoven and Brahms. He was given an Echo Klassik Award for his solo album, Variations. Mr. Ax’s discography also includes the piano concertos of Chopin, Liszt, and Schoenberg, solo piano music of Brahms, tangos by Astor Piazzolla, and John Adams’s Century Rolls with The Cleveland Orchestra. Mr. Ax also participated in a BBC documentary discussing and commemorating victims of the Holocaust. Emanuel Ax resides in New York City with his wife, pianist Yoko Nozaki. They have two children, Joseph and Sarah. He is a Fellow of the American Academy of Arts and Sciences and holds honorary doctorates of music from Yale and Columbia universities. For more information, please visit www.emanuelax.com. Photo: LISA MARIE MAZZUCCO

Pianist Emanuel Ax is renowned for his virtuosity, poetic temperament, and wideranging performing activity. His annual schedule includes concerts with major orchestras worldwide, along with recitals, chamber music collaborations, and the commissioning and performance of new music. Mr. Ax made his Cleveland Orchestra debut in January 1976 and most recently appeared with the Orchestra in October 2016. Born in modern day Lvov, Poland, Emanuel Ax moved to Winnipeg, Canada, with his family when he was a young boy. His studies at New York’s Juilliard School were supported by the sponsorship of the Epstein Scholarship Program of the Boys Clubs of America, and he subsequently won the Young Concert Artists Award. He also studied at Columbia University, where he was a French major. Mr. Ax captured attention in 1974 when he won the inaugural Artur Rubinstein International Piano Competition. He received the Michaels Award of Young Concert Artists in 1975, and the Avery Fisher Prize in 1979. A proponent of contemporary music, Mr. Ax has premiered works by John Adams, Samuel Adams, HK Gruber, Krzysztof Penderecki, Christopher Rouse, Bright Sheng, and Melinda Wagner. He has also commissioned works from Thomas Adès, Peter Lieberson, and Stephen Prutsman. As a frequent and committed partner for chamber music, Emanuel Ax has performed regularly with Young Uck Kim, Leonidas Kovakos, Jaime Laredo, Cho-Liang Lin, Yo-Yo Ma, Edgar Meyer, and Peter Serkin. He played frequently with violinist Isaac Stern prior to his death.

Immerse yourself in America’s cultural coming of age.

September 30, 2017–January 14, 2018 Presenting Sponsors

Marshall and Brenda Brown

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Bill and Joyce Litzler #1 Attraction in Cleveland

With Special Thanks to

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Howard Hanna Real Estate

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ClevelandArt.org

Co-organized by the Cleveland Museum of Art and Cooper Hewitt, Smithsonian Design Museum, New York Muse with Violin Screen (detail), 1930. Paul Fehér (Hungarian, 1898–1990), designer. Rose Iron Works (American, Cleveland, est. 1904). Wrought iron, brass; silver and gold plating; 156.2 x 156.2 cm. The Cleveland Museum of Art, On Loan from Rose Iron Works Collections, LLC. © Rose Iron Works Collections, LLC

Serenade for String Orchestra in E minor, Opus 20 composed 1892-93

At a Glance

Elgar wrote his Serenade for Strings in E minor in 1893, probably as a reworking of a now-lost earlier work, Three Pieces for String Orchestra, from 1888. The slow movement was first performed in Hereford, England on April 7, 1893; the first complete performance took place in Antwerp, Belgium, on July 23, 1896. This work runs just over 10 minutes in performance. Elgar scored it

for a string orchestra of first and second violins, violas, cellos, and basses. The Cleveland Orchestra first performed Elgar’s Serenade in June 1992 at the summertime Blossom Music Festival under the direction of Leonard Slatkin. It has been performed one other time, for a weekend of concerts in January 1996 led by Vladimir Ashkenazy.

Edward

ELGAR

About the Music

born June 2, 1857 Broadheath, England

I T W A S O N LY S L O W LY and gradually that Edward Elgar rose

died February 23, 1934 Worcester, England

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to fame as the foremost British composer. He first attempted to make his way in London’s musical circles in 1889, at the age of 32. The attempt gained him little. A little more than a year after moving to the capital, the composer and his wife Alice retreated to the country, disappointed by what seemed an utter lack of success. Elgar, who in the meantime had become the father of a baby girl, had to resume his old activities, playing violin in local orchestras and conducting amateur groups to give him some income. Fame (and fortune) remained elusive. Throughout these difficult years, Elgar never stopped composing. But none of his works from this period (mainly choruses and songs) did much to establish a reputation. Recognition would come only in 1897 with the Imperial March for Queen Victoria’s jubilee, followed shortly thereafter, in 1899, by the Enigma Variations, which quickly gave him name recognition throughout the classical music world. Written in 1892-93, the Serenade in E minor was an important milestone on this long road to success. It was a work of which Elgar thought most highly and remained one of his favorites even late in life. He was confident enough of its worth to offer it to a foreign publisher — Breitkopf & Hartel — for publication. (Central European music publishers were at the time considered the best and most prestigious; we may, of course, wonder why London’s publishers were not more interested in an unknown composer from their own country). The Serenade, About the Music

which received its premiere in Antwerp, Belgium, was one of the first works to make Elgar’s name known on the continent. The Serenade is in three movements, of which the central Larghetto is unquestionably the most important. It is framed by an Allegro piacevole (a “pleasant” allegro), and an equally charming Allegretto. The thematic materials of the opening and closing movements are related — the main melody of the Allegro piacevole comes back in the finale. Both outer movements are written in a lilting 6/8 or 12/8 meter. The melodies flow easily in both movements; the idyll is not disrupted by any discordant sounds. The middle Larghetto stands out as the most profound part of the serenade’s musical overall statement. It acts as a “song without words,” built upon a single beautiful melody, which keeps unfolding for the entire movement before reaching its peaceful conclusion. —Peter Laki © 2017 Copyright © Musical Arts Association

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Piano Concerto No. 1 in C major, Opus 15 composed circa 1797-98, or possibly 1793-95

At a Glance

Ludwig van

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

Exactly when Beethoven wrote his C-major Piano Concerto is unknown. He may have started as early as 1793, although it is generally thought that he wrote most of it in 1797 and 1798, with extensive revisions prior to publication in 1801. There is also continuing uncertainty as to when the concerto was first performed. Several possibilities are most likely, beginning with a handful of concert dates in 1798 in Prague. It is also possible that it was presented on one of three dates in 1795, although this would require that Beethoven had completed the work much earlier than some sources indicate. At each of these concerts, in 1795 and 1798, Beethoven played one of his own piano concertos. Contemporary documents (newspaper notices and reviews, letters, etc.) do not consistently distinguish between his C-major (No. 1) and B-flat major (No.

2) concertos, however. The two concertos were not numbered until they were published in 1801. Concerto No. 1 was published with a dedication to one of Beethoven’s students, a Hungarian countess named Babette de Keglevics, who by 1801 had become Princess d’Erba-Odescalchi. Beethoven’s Piano Concerto No. 1 runs about 35 minutes in performance. Beethoven scored it for flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings, in addition to the solo piano. Beethoven’s Piano Concerto No. 1 was first performed by The Cleveland Orchestra in March 1941 at an “AllStar Popular Concert” conducted by music director Artur Rodzinski and with Sergei Rachmaninoff as soloist. The Orchestra’s most recent performances were at Severance Hall in April 2014 and at Blossom in August 2013.

About the Music 2O1 7-18 CENTENNIAL SEASON

During this Centennial Season, we are occasionally choosing to reprint historical commentary from early decades of the Orchestra’s history. The following program note about Beethoven’s First Piano Concerto was written by George H.L. Smith and originally appeared in The Cleveland Orchestra’s program books in the 1940s and early ’50s. Smith’s views about Beethoven’s musical creativity vs. Mozart’s — and of Beethoven’s youthful lack of intentional direction — were typical of early 20th century thinking:

L T H O U G H the Concerto in C major is designated as

“No. 1” of Beethoven’s five well-known piano concertos, it is actually the second of the series, and was composed after the Concerto in B-flat major, the “No. 2,” which was published first. Beethoven actually wrote or worked on as many as eight piano concertos. There is an early Concerto in E-flat major, written at Bonn when he was a boy of fourteen. The first movement of a Concerto in D major, perhaps composed a few years later, was discovered by Guido Adler at Vienna in 1888; it may Severance Hall 2017-18

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or may not be authentic. The eighth of this list of concertos is an arrangement of the Violin Concerto for piano and orchestra. Very little is known about the early concertos, except that Beethoven unquestionably wrote them for his own use in playing with orchestras and for advancing his rising reputation as pianist and composer. The exact date of composition or of the first performance of the ConLittle is known about certo in C major is not known. Johann Wenzel Beethoven’s early conTomaschek, a Bohemian pianist, composer, and certos, except that he teacher, tells in his autobiography of a concert at unquestionably wrote Prague in 1798 (probably before October) in which Beethoven played the concerto with orchestra: them for his own use in “In the year 1798, in which I was continuing my playing with orchestras law studies, Beethoven, that giant among playand for advancing his ers, came to Prague. At a crowded concert in the rising reputation as Convict Hall he played his Concerto in C Major, Opus 15, and the Adagio and Rondo Grazioso pianist and composer. from the Sonata in A, Opus 2, and concluded The young Beethoven with an improvisation on a theme given him by had great admiration Countess Sch . . . , ‘Ah to fosti il primo oggetto,’ from Mozart’s Clemenza di Tito. His magnificent for the piano conplaying and particularly the daring flights in his certos of Mozart, and improvisation stirred me to the depths of my soul; took these works as indeed, I found myself so profoundly shaken that models for his own. for several days I could not bring myself to touch the piano. It was only my inextinguishable love for the art that, after much reasoning with myself, drove me back to the instrument with ever increasing industry.”

The young Beethoven had the greatest admiration for the piano concertos of Mozart, and it is not surprising that he took these works as models for his own, using Mozart’s orchestra and Mozart’s concerto-form with enthusiasm. His admiration for the work of his mighty predecessor was so great — and his own genius so strong — that he apparently felt no need to depart from the model or to try to show his originality by varying it; he simply accepted the form as he found it, and filled it with the best ideas he could command. Much has been written about the Mozartian influence — and the influence of Haydn — in Beethoven’s C major Concerto; much more might be written about the unmistakable stamp of

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Beethoven that appears on every page. If he does not quite capture the full subtlety of Mozart’s first-movement form, this was to be as true of his later concertos as of the early ones. Indeed, no composer, not even the contriving Brahms, has been able to improve upon — or to equal — Mozart’s constructive mastery. The concerto’s opening movement begins with an orchestral exposition in which the main themes of the movement are set forth. Strings first give out the principal theme, which is vigorously repeated by the full orchestra, and they also announce the second subject in the remote key of E-flat major. The closing theme is given to oboes and horns over the soft accompaniment of strings. Beethoven follows Mozart in giving the piano a new theme for its entry. A dialogue for piano and orchestra ensues on the material of the main theme, and the second subject is reintroduced, now in the expected key of G major, first by the orchestra, and then by the piano. The closing theme is heard again, and brilliant passage work introduces the development section, which the piano opens with another new theme. The movement’s development is episodic, as is customary in concertos, but the hand of Beethoven is clearly in evidence, particularly in the dramatic return to the first theme at the beginning of the recapitulation, which follows in traditional fashion. There is a short coda after the cadenza, written by Beethoven. The piano sings the opening strain of the theme of the slow movement; the second part belongs to the orchestra. This melody is varied and then restated with new ornamentations and fresh scoring — the clarinet being given unusual prominence. (Only pairs of clarinets, bassoons, and horns are used with the strings.) There is a long and eventful coda. The piano alone announces the witty theme of the concluding finale rondo, whose irregular rhythms and “unexpectedness” have often called up the name of Haydn. The second theme in the dominant, with its curious accents, has been compared to the Austrian folksong known as the “Andreas-Hofer Song.” After the return to the rondo theme, there is a fresh episode with two engaging subjects, the second of which is notable for its chromatic and polyphonic treatment. The coda is full of original quirks and surprises that call to mind both the high-spirited Haydn and the Beethoven of the First Symphony soon to come. All is handled with a boldness and sureness of touch, an effortless ease that are remarkable in so young and comparatively inexperienced a composer. —George H. L. Smith Copyright © Musical Arts Association

G.H.L. Smith served as program annotator for The Cleveland Orchestra, 1941-57.

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Enigma Variations, Opus 36 (Variations on an Original Theme) composed 1898-99

At a Glance

Edward

ELGAR born June 2, 1857 Broadheath, England died February 23, 1934 Worcester, England

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Elgar composed his Variations on an Original Theme in 1898-99. The work was first performed on June 19, 1899, at St. James’s Hall in London under the direction of Hans Richter. Elgar subsequently revised the orchestration and added a coda; he led the first performance of this version in September 1899 in Worcester. The score, published later that year, is dedicated “to my friends pictured within.” The word “Enigma” appears over the theme in the original manuscript. The Enigma Variations were introduced to the United States in 1902 by Theodore Thomas and the Chicago Symphony Orchestra.

The Enigma Variations run about 30 minutes in performance. Elgar scored the piece for 2 flutes (second doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (snare drum, bass drum, cymbals, triangle), organ (optional), and strings. The Cleveland Orchestra first performed the Enigma Variations in January 1934, under the direction of Artur Rodzinski. The most recent performances by the Orchestra were at Severance Hall in February 2014 and at Blossom in July 2015.

About the Music E L G A R ’ S Variations on an Original Theme is the work that —

almost overnight — made the 42-year-old into a famous composer. He had, in fact, had some success the year before with his cantata Caractacus, performed at the Leeds Festival. But Elgar did not conquer the musical life of London until one of the great conductors of the time, Hans Richter, presented what later became known as the Enigma Variations at St. James’s Hall on June 19, 1899. At the premiere, the work was greeted as the greatest composition for large orchestra ever written by an Englishman. And, for more than a century now, audiences have delighted in what Elgar had written. They have been equally intrigued by what he withheld, namely that the work had a secret that he refused to divulge beyond some carefully worded “enigmatic” clues. The story of the Enigma Variations began one night late in 1898 when Elgar was improvising at the piano at home in Worcestershire. His wife, Alice, was struck by a particular melody and asked her husband what it was. Elgar replied: “Nothing — but something could be made of it.” As he continued to develop his short theme, Elgar started to toy with the idea of how it could About the Music

be made to reflect the personalities of some of his friends. Out of this private little game grew what is arguably Elgar’s greatest masterpiece. On October 24, 1898, Elgar announced his new work in a letter to his close friend August Jaeger (who is depicted as “Nimrod” in Variation 9): “Since I’ve been back I have sketched a set of Variations (orkestry) on an original theme: the Variations have amused me because I’ve labelled ’em with the nicknames of my particular friends — you are Nimrod. That is to say I’ve written the variations each one to represent the mood of the ‘party’ — I’ve liked to imagine the ‘party’ writing the var; him (or her)self & have written what I think they wd. have written — if they were asses enough to compose — it’s a quaint idee & the result Elgar’s “Enigma” was is amusing to those behind the scenes & won’t affect greeted in 1899 as the the hearer who ‘nose nuffin’: What think you?” greatest composition With one exception, each of the fourteen variations that follow the theme is preceded by for large orchestra ever a heading that specifies the person behind the written by an Englishmusic. Although Elgar only wrote out monoman. The work has grams for each in the score, he quickly enough delighted for more than admitted who was who — and at various times openly commented about each person’s musical a century, and the largportrait. The names of all but one of the moveer enigma that Elgar ments had been identified publicly soon after only hinted lies within the premiere. it remains unsolved. At the premiere performance, the “anonymous” exception (Variation 13, or XIII) helped to reinforce the “enigmatic” nature of the overall work. Even more mysterious, however, were the implications of a statement Elgar made at the time of the premiere: “The Enigma itself I will not explain — its ‘dark saying’ must be left unguessed, and I warn you that the apparent connection between the Variations and the Theme is often of the slightest texture; further, through and over the whole set another and larger theme ‘goes,’ but is not played. . . . So the principal Theme never appears.” THE MUSIC

Before considering possible answers to the Enigma itself, let’s walk through the theme and variations themselves — and to Elgar’s “friends pictured within.” All the quoted words that follow here are by Elgar himself (unless indicated otherwise): The Theme (Andante, G minor, 4/4) consists of two ideas:

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an expressive string melody that is constantly interrupted by rests on the downbeat (and that fits the words “Edward Elgar” surprisingly well), and a second melody that is more continuous, and is built of parallel thirds played by strings and woodwinds. Variation 1. “C.A.E.” (L’istesso tempo [“the same tempo”] G minor, 4/4) is a portrait of Caroline Alice Elgar, the composer’s wife. “The variation is really a prolongation of the theme with what I wished to be romantic and delicate additions; those who know C.A.E. will understand this reference to one whose life was a romantic and delicate inspiration.” The little motif played by oboes and bassoons that acts as a counterpoint of sorts to the main theme was the signal Elgar used to whistle to let Alice know that he was home. Variation 2. “H.D.S-P.” (Allegro, G minor, 3/8). Hew David Steuart-Powell was a pianist and Elgar’s chamber music partner. “His characteristic diatonic run over the keys . . . is here humorously travestied in the semiquaver [sixteenth-note] passages; these should suggest a Toccata, but chromatic beyond H.D.S-P.’s liking.” The violins and woodwind instruments play the humorous sixteenth notes, while the main theme appears in the cellos and basses. Variation 3. “R.B.T.” (Allegretto, G major, 3/8). Richard Baxter Townshend, a writer and scholar who lived in Oxford, used to ride his tricycle around town with the bell constantly ringing. (He had a hearing problem.) He also participated in amateur theatrical performances, and the oboe solo in the variation is supposed to represent him as his voice occasionally cracked. In her book Memories of a Variation, Dora Penny (see variation 10), who later became Mrs. Richard Powell, wrote: “Elgar has got him with his funny voice and manner — and the tricycle! It is all there and is just a huge joke to anyone who knew him well.” Variation 4. “W.M.B.” (Allegro di molto, G minor, 3/4). William Meath Baker was “a country squire, gentleman and scholar. In the days of horses and carriages it was more difficult than in these days of petrol to arrange the carriages for the day to suit a large number of guests. This Variation was written after the host had, with a slip of paper in his hand, forcibly read out the arrangements for the day and hurriedly left the music-room with an inadvertent bang of the door.” This boisterous variation, lasting less than half a minute, is the shortest in the set. Variation 5. “R.P.A.” (Moderato, C minor, 12/8). Richard Penrose Arnold, son of the poet Matthew Arnold, was “a great lover of music which he played (on the piano-forte) in a self-taught Severance Hall 2017-18

About the Music

VARIATION I Elgar’s wife, Caroline Alice Elgar

VARIATION VII Arthur Troyte Griffith, an architect and close friend of Elgar’s

manner, evading difficulties but suggesting in a mysterious way the real feeling. His serious conversation was continually broken up by whimsical and witty remarks.” According to Mrs. Powell, the staccato (shortnote) figure in the woodwinds represents his characteristic laugh. Thus far, this is the longest and most elaborate of the variations. Variation 6. “Ysobel” (Andantino, C major, 3/2). Isabel Fitton was a viola player — hence the special treatment of the viola in this variation, both as a section and as a solo instrument. “The opening bar, a phrase made use of throughout the variation, is an ‘exercise’ for crossing the strings — a difficulty for beginners; on this is built a pensive, and for a moment, romantic movement.” Isabel was quite tall, a circumstance suggested by the wide leaps in the melody. Variation 7. “Troyte” (Presto, C major, 1/1 [i.e. a single beat per bar]). Arthur Troyte Griffith was an architect and a close friend of Elgar’s. “The uncouth rhythm of the drums and lower strings was really suggested by some maladroit essays to play the pianoforte; later the strong rhythm suggests the attempts of the instructor (E.E.) to make something like order out of chaos, and the final despairing ‘slam’ records that the effort proved to be in vain.” The “uncouth rhythm” is, in fact, a combination of triple meter in the bass with duple in the upper voices.

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Variation 8. “W.N.” (Allegretto, G major, 6/8). The initials stand for Winifred Norbury, but the variation was inspired more by the 18th-century house where this lady (co-secretary of the Worcestershire Philharmonic Society) lived — in the words of musicologist Julian Rushton, the “epitome of an ideal civilisation in a rural environment.” The theme is played by the clarinets in gentle parallel sixths. Variation 9. “Nimrod” (Adagio, E-flat major, 3/4). This is the most famous variation in the set, often performed separately in England as a memorial to deceased celebrities. “Nimrod” was August Jaeger, a German-born musician and Elgar’s closest friend. He worked for Novello, the publisher of Elgar’s music, and was the recipient of the composer’s above-quoted letter announcing the Variations as a work in progress. (Jäger or Jaeger means “hunter” in German, and Nimrod is the “mighty hunter” mentioned in Genesis 10:9.) Here, Elgar took the rests out of the original theme and created a hymn-like, soaring melody with a certain Beethovenian quality. Elgar and Jaeger shared a special love for Beethoven’s slow movements. Variation 10. “Dorabella” (Intermezzo: Allegretto, G major, 3/4). Dora Penny was a young woman in her early twenties, to whom Elgar gave an affectionate nickname taken from Mozart’s opera Così fan tutte. She later recollected the day he played through the entire work for her: “My mind was in such a whirl of pleasure, pride and almost shame that he should have written anything so lovely about me.” This movement is less a “variation” strictly speaking than a lyrical intermezzo; its melody is only very distantly related to the original theme. Variation 11. “G.R.S.” (Allegro di molto, G minor, 2/2). George Robertson Sinclair was organist of Hereford Cathedral. “The first few bars were suggested by his great bulldog Dan (a wellknown character) falling down the steep bank into the River Wye (bar 1); his paddling up stream to find a landing place (bars 2 and 3); and his rejoicing bark on landing (second half of bar 5). G.R.S. said ‘set that to music.’ I did; here it is.” Variation 12. “B.G.N.” (Andante, G minor, 4/4). Basil Nevinson was a cellist who, with Steuart-Powell (variation 2), often played trios with Elgar, a violinist. This is why in this variation the melody is entrusted to a solo cello, in “tribute to a very dear friend whose scientific and artistic attainments, and the wholehearted way they were put at the disposal of his friends, particularly endeared him to the writer.” Severance Hall 2017-18

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VARIATION IX Elgar’s friend August Jaeger

VARIATION X Dora Penny, who Elgar jokingly called Dorabella

Variation 13. “***” (Romanza: Moderato, G major, 4/4). The identity of the person behind the asterisks is the first, and smaller, enigma in Elgar’s work. Elgar himself only said that the “asterisks take the place of the name of a lady who was, at the time of the composition, on a sea voyage. The drums suggest the distant throb of the engines of a liner . . .” Because some early manuscript sketches include the initials L.M.L., it is often assumed to refer to Lady Mary Lygon, an acquaintance of Elgar’s who was a member of the aristocracy, but several people who knew Elgar intimated that the variation had to do instead with a youthful “romanza” of the composer’s. The music is lyrical and gentle and, like variation 10, another female portrait, is only tenuously related to the theme, if at all. It contains a quote from Mendelssohn’s Calm Sea and Prosperous Voyage Overture, played by the first clarinet. Variation 14. “E.D.U.” (Finale: Allegro Presto, G major, 4/4). “Edu” was the nickname Alice Elgar had given to her husband, who disguised it as a set of initials to camouflage the fact that the last variation was a self-portrait. The theme is turned here into a march with a sharp rhythmic profile. There are two slower, lyrical episodes, after which the work ends with a grandiose climax. I N T H E C E N T U R Y A N D M O R E since its first performance, VARIATION XIV Elgar wrote a musical self-portrait in the last variation

many attempts have been made to elucidate Elgar’s words about what “large theme” may lie behind (or underneath or within) his Enigma Variations. Musical sleuths have tried to match the melodic outlines of different tunes with Elgar’s theme. Among those that have been proposed are “Auld Lang Syne” (a suggestion Elgar himself rejected), the slow movement of Beethoven’s “Pathétique” Sonata, various earlier works by Elgar himself, and, more recently, the slow movement of Mozart’s “Prague” Symphony. Others, knowing of Elgar’s interest in games and puzzles in general, have searched for answers in ciphers, equating letters with musical notes after the model of Bach’s use of his own name spelled in notes. Others have thought that the “larger theme” is not a musical one but some larger religious or philosophical issue. Finally, there are those who opine that the whole thing is a joke or a “leg-pull,” to quote an expression used by the famous musicologist and critic Ernest Newman. William Reed, who was probably as close to Elgar as anyone, wrote: “He was himself the About the Music

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enigma.” Julian Rushton, author of the Cambridge Music Handbook about Elgar’s Enigma Variations, has elaborated on this by saying that “the theme . . . may represent Elgar as he saw himself.” In any case, it is certain that the enigma will never be solved, as no suggested solution is likely to be proven conclusively now, so many years after the composer’s death. And this is probably a good thing, for any definitive answer would mean the end of a great mystery — which can too often be a letdown. One almost wishes Elgar hadn’t said anything about a “larger theme,” especially if he wasn’t ever going to reveal what it was. But this very ambivalence was central to his personality — he was at the same time an extroverted Romantic, eager to express his innermost feelings, and a reserved, very private man who would not allow anyone to know him completely. (The Enigma Variations were not the only time he made personal allusions whose full meaning he kept to himself — a similar mystery lies embedded in the music for his Violin Concerto.) For Elgar, communication and secrecy, confession and reticence are inseparable, and it is in part this unique co-existence of opposites that makes the Enigma Variations unusual and uniquely pleasurable. —Peter Laki © 2017 Copyright © Musical Arts Association

Peter Laki is a visiting associate professor at Bard College and a frequent lecturer and writer on music.

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New principal clarinet joins Orchestra for 2017-18

New assistant conductor begins with 2017-18 season

Afendi Yusuf joins The Cleveland Orchestra as principal clarinet with the start of the 2017-18 season. He holds the Robert Marcellus Principal Clarinet Endowed Chair. Born in Addis Ababa, Ethiopia, he has appeared as guest principal with a number of North American ensembles, including the Orpheus Chamber Orchestra, Canadian Opera Company, and the Toronto and Cincinnati symphony orchestras. As a guest ensemble musician, he has also performed with several orchestras across North America. Yusuf is winner of a variety of concerto competitions and has made solo appearances with a number of ensembles in the United States and Europe. He is an alumnus of the Aspen Music Festival and School, Brott Music Festival, National Youth Orchestra of Canada, and the National Arts Centre’s Young Artists Program. He has participated in the Marlboro Music Festival since 2016. Afendi Yusuf holds a bachelor of arts degree from Ontario’s Wilfrid Laurier University, where he was a student of Ross Edwards, and an artist diploma from the Glenn Gould School in Toronto, where he studied with Joaquin Valdepeñas. He also holds a master of music degree and professional studies certificate from the Colburn School’s Conservatory of Music in Los Angeles, where he was a student of Yehuda Gilad.

Vinay Parameswaran joins The Cleveland Orchestra as assistant conductor with the 2017-18 season. He holds the Elizabeth Ring and William Gwinn Mather Conductor Endowed Chair. In this role, he leads the Orchestra in a variety of concerts each season and many weeks serves as cover or backup conductor. He also serves as music director of the Cleveland Orchestra Youth Orchestra. Parameswaran comes to Cleveland following three seasons as associate conductor of the Nashville Symphony. This past summer, he was a Conducting Fellow at the Tanglewood Music Center. Mr. Parameswaran’s recent guest conducting engagements have included the Rochester Philharmonic, Milwaukee Symphony, National Symphony Orchestra, and the Vermont Symphony Orchestra. He has participated in conducting masterclasses with David Zinman at the National Arts Centre Orchestra in Ottawa, as well as with Marin Alsop and Gustav Meier at the Cabrillo Festival. A native of the San Francisco Bay Area, Vinay Parameswaran played as a student for six years in the San Francisco Symphony Youth Orchestra. He holds a bachelor of arts degree in music and political science from Brown University. He received a diploma from the Curtis Institute of Music, where he studied with OttoWerner Mueller.

Acting chorus directors appointed for 2017-18

Silence is golden

Lisa Wong has been appointed acting director of choruses for The Cleveland Orchestra with the 2017-18 season. She steps up with the conclusion in August of Robert Porco’s nineteen-year tenure. She has served as assistant conductor of choruses since 2010 and director of the Cleveland Orchestra Youth Chorus since 2012. Assistant director Daniel Singer will lead the Youth Chorus as acting director this season.

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

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

Cleveland Orchestra News

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THE CLEVELAND ORCHESTRA

Season begins with “A Hero’s Journey” — a collaborative multimedia music project and school concert presentation tied to Orchestra’s Beethoven Prometheus Project

On September 22, a collaborative education project with Cleveland Orchestra musicians and Cleveland School of the Arts (CSA) culminated in a live school performance led by Franz Welser-Möst. Centered around Beethoven’s music alongside ideas and ideals of heroism, the daytime Education Concert at Severance Hall was titled “Beethoven & Prometheus: A Hero’s Journey.” The creative journey toward this live concert began last spring, when Orchestra musicians and staff immersed themselves at CSA, working with students and teachers to explore a unique intersection of mythology and music. This “Prometheus Project for Students” was inspired by Welser-Möst’s “Prometheus Project,” a major concert festival in May 2018, to be presented as part of the Orchestra’s Centennial Season during 2017-18. Those public concerts will feature Beethoven’s symphonies alongside important overtures, examining Beethoven’s music through the metaphor of Prometheus, a daring Greek semi-god who defied Zeus to be-

stow the gift of fire on humanity. For Beethoven, this gifting of fire helped propel human civilization forward, providing a spark (literally and metaphorically) of creativity that has powered the imagination of generations. In Welser-Möst’s view, Beethoven saw Prometheus as a metphor for powering humanity’s quest for justice and goodness, for fighting for good, and the embrace of individual freedoms — themes that Beethoven incorporated directly into his music. Through an interdisciplinary curriculum codeveloped by The Cleveland Orchestra, Cleveland School of the Arts, and Fifth House Ensemble (a Chicago-based leader in arts-integration and audience engagement), CSA students engaged deeply with the stories, challenges, and accomplishments of Beethoven and Prometheus, and the way they served — or strived to serve — the greater good. Utilizing artistic mediums (visual and performing arts), engaging core curriculum (English/ language arts, science, and social studies), and using American scholar Joseph Campbell’s classic “Hero’s Journey” framework, students were asked to create works of their own that connect these themes to personal narratives — to create stories in art of their personal heroes and the ways in which each student envisions using their own gifts to shape their future world. A core group of ten Cleveland Orchestra musicians were involved throughout the project. On September 22 at Severance Hall, in a concert performed exclusively for students in the Cleveland Metropolitan School District (CMSD), select CSA student projects and creations were projected onto large screens surrounding the Orchestra, integrating them into “Beethoven & Prometheus: A Hero’s Journey.” The emotionally rich, multidisciplinary, multimedia concert experience was designed to illuminate connections from Beethoven’s music to the mythological Prometheus to the lives of today’s students. The concert will be repeated for additional schools in November. Above, a student artwork from this collaborative project exploring music, heroes and heroism, and humanity’s search for good.

Cleveland Orchestra News

The Cleveland Orchestra

orchestra news Read about the music on your cellphone before coming to the concert by visiting ExpressProgramBook.com Earlier this year, The Cleveland Orchestra launched a new website specifically for reading about the music ahead of time, easily and conveniently on your mobile phone. The new service, available online at ExpressProgramBook.com, provides the program notes and commentary about the musical pieces, along with biographies of the soloists and other artists in a simple-to-read format. “This is designed with a clear format and purpose,” comments program book editor Eric Sellen. “Just the basic information, no fancy layout, with text sized to make reading on a phone or other mobile device easy.” The service was tested for several months, and is now fully available, with information posted a few days prior to most concerts. The site features only the core musical content of each printed book. The complete program book is available online in a “flipbook” format, for view-

THE CLEVELAND ORCHESTRA

TH E CLE VE L AN D O RCH E STR A

ing on a desktop computer or tablet. But because the flipbook format is harder to read on a mobile phone, the Orchestra chose to work with its program book partner, Live Publishing Company, to create the ExpressBook for reading on phones. Flipbooks are available from the Orchestra’s main website at clevelandorchestra.com going back several years. The ExpressBook only has current season programs, beginning the week of any given concert and looking back several concerts. Feedback and suggestions are welcome and encouraged, and can be sent by emailing to esellen@clevelandorchestra.com. ExpressProgramBook.com

Mc Gregor

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Cleveland Orchestra News

orchestra news

THE CLEVELAND ORCHESTRA

Statue installed at Blossom celebrates family’s enduring partnership with The Cleveland Orchestra Visitors to Blossom Music Center this past summer may have noticed a new greeter at the Smith Plaza entrance to Emily’s Garden — a statue depicting the goddess Diana as a child. Created by American sculptor Wheeler Williams (1897-1972) as part of his series “Childhood of the Gods,” the statue was donated to The Cleveland Orchestra by the Blossom family “in memory and honor of those who have gone before.” People remembered included Harold Lecy, a devoted member of the Blossom Music Center horticultural staff. Emily’s Garden was created in 1992 to commemorate Emily (the second Mrs. Dudley S. Jr.) Blossom’s influential guidance for and support of the Orchestra’s summer home. The Music Center is named to honor the Blossom family’s roles as leaders and major supporters of The

Cleveland Orchestra across several generations. Dudley S. Blossom Sr. served as the Orchestra’s president (1936-38), his son Dudley Jr. served as a trustee (1946-61), and his granddaughter, Laurel Blossom, is a current trustee. In a special private gathering to welcome the statue to its new permanent home on July 22, 2017, Ms. Blossom spoke about the heirloom’s history within the family, evoking memories of the statue’s acquisition by her mother, Jean V. Blossom, for placement atop the bird bath in the driveway of the family home, and at subsequent locations under the loving care of other members of the family. Ms. Blossom expressed her hope that Diana — charmingly frozen as a youth by the sculptor’s artistry — will bring everyone who sees her in Emily’s Garden the same feelings of joy she has given the Blossom family over the years. Ms. Blossom concluded with the hope that Diana, goddess of nature and the moon, may long “guard this place and these people.”

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Cleveland Orchestra News

The Cleveland Orchestra

orchestra news Cleveland Orchestra volunteer group promotes the power of music for a new century The Orchestra’s flagship volunteer group — renamed earlier this year as Friends of The Cleveland Orchestra — is gearing up to celebrate the Orchestra’s 100th. Now in its tenth decade of service, the group is continuing its long tradition of raising funds to support the Orchestra and promote the institution’s education and community programs. Through social activities and raising awareness about the power of music to enhance lives, Friends of The Cleveland Orchestra OF THE are also looking to CLEVELAND ORCHESTRA grow the breadth and reach of the group’s membership for the Orchestra’s Second Century. Founded in 1921 as the Women’s Committee of The Cleveland Orchestra, the group has ably served the interests of the Orchestra across generations of women and men (men were first admitted for membership in the 1990s). The group was the brainchild of Adella Prentiss Hughes, the Orchestra’s first general manager, who envisioned a formation of volunteers promoting and advocating for the Orchestra’s musical mission. Education programs were among the group’s early initiatives and, in a very different era, the women also devoted much time to selling season ticket subscriptions. As Friends of The Cleveland Orchestra, the volunteers are continuing much of their longstanding work, while also looking to branch out with new ideas to help support the Orchestra financially and as advocates of music education and volunteering for the Orchestra. Ongoing programs include a series of Meet the Artist luncheons, benefit events, and scholarship initiatives to support Cleveland Orchestra Youth Orchestra members pursuing careers in music. As ambassadors for The Cleveland Orchestra, Friends strive to promote the Orchestra’s work, strengthen its relationships across Northeast Ohio, and to support the Orchestra financially. For information about becoming a Friend, contact Lori Cohen, Community Leadership Liaison, by calling 216-231-7557.

FRI ENDS

Severance Hall 2017-18

HE CLEVELAND ORCHESTRA

THE CLEVELAND ORCHESTRA

I.N M.E .M.O.R.I. A .M Please join in extending sympathy and condolences to the families and friends of these former Orchestra members:

Bernard Adelstein, principal trumpet for twenty-eight seasons (1960-88), died on September 30, 2017, in Sarasota, Florida, where he lived with his wife, Connie. He was 89. Born in Cleveland, he played trumpet with the Pittsburgh, Dallas, and Minneapolis symphonies prior to returning to his hometown’s orchestra. He taught at the Cleveland Institute of Music and Oberlin, and, after retiring from Cleveland, at Indiana University. William Hebert, principal piccolo for forty-one seasons (1947-88), died on June 16, 2017, in San Diego, California, at the age of 94. He and his wife, Olive, had just celebrated their 70th wedding anniversary. Bill was born on May 6, 1923, and later attended the Juilliard School of Music prior to coming to Cleveland. During his years in Cleveland, he taught at Baldwin Wallace for 45 years. Thomas Peterson, clarinet for thirty-two seasons (1963-95) and assistant principal clarinet (198095), died on February 28, 2017, at the age of 81. Tom graduated from Eastman School of Music and played as a member of the Buffalo Philharmonic prior to coming to Cleveland. His wife, Barbara, was a flutist who taught at Cleveland State University.

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Cleveland Orchestra News

Musicians Emeritus of

T H E

C L E V E L A N D

O R C H E S T R A

Listed here are the living members of The Cleveland Orchestra who served more than twenty years, all of whom now carry the honorary title of Emeritus. Appointed by and playing under four music directors, these 45 musicians collectively completed a total of 1589 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 SECOND VIOLIN Richard Voldrich 2001 — 34 years Stephen Majeske * 2001 — 22 years Judy Berman 2008 — 27 years Vaclav Benkovic 2009 — 34 years Stephen Warner 2016 — 37 years VIOLA Lucien Joel 2000 — 31 years Yarden Faden 2006 — 40 years 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

FLUTE/PICCOLO John Rautenberg § 2005 — 44 years Martha Aarons 2 2006 — 25 years OBOE Robert Zupnik 2 1977 — 31 years Elizabeth Camus 2011 — 32 years CLARINET Theodore Johnson 1995 — 36 years Franklin Cohen * 2015 — 39 years Linnea Nereim 2016 — 31 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 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 October 2017

Appreciation

The Cleveland Orchestra

orchestra news

THE CLEVELAND ORCHESTRA

Heritage Society gathers on October 16 at Severance Hall to share love of music and love of The Cleveland Orchestra On Monday, October 16, 2017, The Cleveland Orchestra’s Heritage Society convened at Severance Hall for their annual luncheon and chamber music performance. Prior to the concert, nearly 200 Society members enjoyed coffee and brief remarks from Joan Katz, The Cleveland Orchestra’s senior director for education and community programs, who shared insights into special community and school programming within the Orchestra’s 100th season. The morning’s live performance featured violinist Yoko Moore and pianist Natsumi Shibagaki playing Beethoven’s Violin Sonata in G major, Opus 30 No. 3. Many Society members have been supporters of The Cleveland Orchestra for decades and have come to know many of the musicians quite well. They were delighted to see Yoko Moore, former Cleveland Orchestra assistant concertmaster, return to the stage with a performance that ranged from grace and lyricism to rustic humor and virtuoso gymnastics. After

the concert, Society members enjoyed a seated luncheon in Smith Lobby, catching up with friends over wine and lunch. The Cleveland Orchestra’s Heritage Society recognizes the generosity of individuals, couples, and famlies who are committed to ensuring the future of music in Northeast Ohio by remembering the Orchestra in their estate plans. Benefits of Heritage Society membership include invitations to special events, a sterling silver lapel pin featuring the Heritage Society lotus blossom symbol, and recognition on the Heritage Society roster. For more information about becoming a legacy donor and joining the Heritage Society, please contact Dave Stokley, Legacy Giving Officer, by writing to dstokley@clevelandorchestra. com or calling at 216-231-8006. All inquiries are confidential.

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Cleveland Orchestra News

William Preucil William Preucil became concertmaster of The Cleveland Orchestra in April 1995 and has appeared over 100 times as soloist with the Orchestra in concerto performances at both Severance Hall and Blossom. Prior to joining The Cleveland Orchestra, Mr. Preucil served for seven seasons as first violinist of the Grammy-winning Cleveland Quartet, performing more than 100 concerts each year in the world’s major music capitals. Telarc International recorded the Cleveland Quartet performing the complete cycle of Beethoven’s 17 string quartets, as well as a variety of chamber works by Haydn, Mozart, Schubert, and Brahms. William Preucil served as concertmaster of the Atlanta Symphony Orchestra (1982-89), after previously holding the same position with the orchestras of Utah and then Nashville. During his tenure in Atlanta, he appeared with the Atlanta Symphony as soloist in 70 performances of 15 different concertos. He has premiered two works by composer Stephen Paulus written especially for him, the Violin Concerto No. 1 with the Atlanta Symphony Orchestra under Robert Shaw’s direction in 1987, and the Violin Concerto No. 3 with The Cleveland Orchestra under Giancarlo Guerrero in 2012. Mr. Preucil has also appeared as soloist with the symphony orchestras of Detroit, Hong Kong, Minnesota, Rochester, and Taipei. Mr. Preucil regularly performs chamber music, as a guest soloist with other orchestras, and at summer music festivals. His North American festival performances

have included Santa Fe, Sarasota, Seattle, and Sitka, with international appearances in France, Germany, and Switzerland. Each summer, he serves as concertmaster and violin soloist with the Mainly Mozart Festival Orchestra in San Diego. Mr. Preucil also continues to perform as a member of the Lanier Trio, whose recording of the complete Dvořák piano trios was honored as one of Time magazine’s top 10 compact discs at the time of its release. The Lanier Trio also has recorded the trios of Mendelssohn and Paulus for Gasparo Records. Actively involved as an educator, Mr. Preucil serves as Distinguished Professor of Violin at the Cleveland Institute of Music and at Furman University. He previously taught at the Eastman School of Music and at the University of Georgia. William Preucil began studying violin at the age of five with his mother, Doris Preucil, a pioneer in Suzuki violin instruction in the United States. At 16, he graduated with honors from the Interlochen Arts Academy and entered Indiana University to study with Josef Gingold (former concertmaster of The Cleveland Orchestra). He was awarded a performer’s certificate at Indiana University and also studied with Zino Francescatti and György Sebök.

Soloist and Leader

Photo: ROGER MASTROIANNI

Concertmaster Blossom-Lee Endowed Chair The Cleveland Orchestra

The Cleveland Orchestra

THE

CLEVELAND ORCHESTRA FR ANZ WELSER- MÖST

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

Severance Hall

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

2O1 7-18 CENTENNIAL SEASON

William Preucil, leader and violin ANTONIO VIVALDI (1678-1741)

Violin Concerto (“Il Favorito”) in E minor, Opus 11 No. 2 1. Allegro 2. Andante 3. Allegro

F. JOSEPH HAYDN (1732-1809)

Symphony No. 88 in G major 1. 2. 3. 4.

Adagio — Allegro Largo Menuetto: Allegretto — Trio Finale: Allegro con spirito

INTER MISSION FELIX MENDELSSOHN (1809-1847)

Symphony No. 3 (“Scottish”) in A minor, Opus 56 1. 2. 3. 4.

Introduction and Allegro agitato — Scherzo assai vivace — Adagio cantabile — Allegro guerriero and Finale maestoso

(played without pause)

The Thursday performance is dedicated to Mr. and Mrs. Alfred M. Rankin, Jr. in recognition of their extraordinary generosity in support of The Cleveland Orchestra’s Annual Fund.

Severance Hall 2017-18

Concert Program — Week 5

November 9, 10, 11

2O1 7-18 CENTENNIAL SEASON

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

Concert Preview: BEGINS ONE HOUR BEFORE CONCERT

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

Severance Restaurant Reservations for dining suggested:

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

CONCERT PREVIEW

“Naked Knees and Nebulous Nicknames” with guest speaker Timothy Cutler member of the music theory faculty, Cleveland Institute of Music

VIVALDI “Il Favorito” Violin Concerto . . . . . . . . . . . . . . . Page 65 (15 minutes)

HAYDN Symphony No. 88 . . . . . . . . . . . . . . . . . . . . . . . . . Page 69 (20 minutes)

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

INTERMISSION (20 minutes)

MENDELSSOHN Symphony No. 3 (“Scottish”) . . . . . . . . . . . . . . Page 73 (35 minutes)

Concert ends:

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

(approx.)

THUR 9:05 FRI 9:35 SAT 9:35

facebook.com/clevelandorchestra

Severance Restaurant and Opus Café post-concert desserts and drinks

twitter: @CleveOrchestra instagram: @CleveOrch

(Please note that photography during the performance is prohibited.)

This Week’s Concerts

The Cleveland Orchestra

INTRODUCING THE CONCERT

Leader, Colleague, Soloist T H E C L E V E L A N D O R C H E S T R A has long been renowned for the

chamber music qualities of its playing — for the unity and clarity of its sound, for the careful listening of the musicians to one another. This week’s concerts, led by William Preucil from his postion as the Orchestra’s concertmaster, showcase this reputation into a different reality. Two symphonies and a concerto are presented, without the customary coordinating hands (and eyes and ears) of a fulltime conductor. The conductor of an orchestra — as we know the position today — developed only in the first half of the 19th century. Previously, as chamber music groups were expanded to become “orchestras,” the coordination of performances most often came from within each group, with someone leading only as necessary — and everyone listening closely to one another. The leader was often the first violinist — in Great Britain, the concertmaster postion is still called “leader.” As the 18th century turned to the 19th, musical works were also becoming more complicated. In newer genres like opera, the coordinating figure was often the composer, conducting from the keyboard but still directly involved in actual music-making. Various methods were employed to keep everyone together, from tapping a staff in time against the floor on into varying early renditions of what we know today as conducting. Felix Mendelssohn, whose “Scottish” Symphony ends our concerts this week, is often hailed as one of the first great conductors. His deft artistry in shaping a performance helped establish the value of someone leading who was totally unencumbered by the need to simultanously play an instrument. In their lifetimes, composers Richard Wagner and Gustav Mahler were as renowned as supremely gifted conductors as for the music they wrote. Johann Strauss Jr. (and his brothers) were equally adept in the previous style, often leading their orchestras while playing solo violin and acting as concertmaster. This week’s offering is a rare treat to experience The Cleveland Orchestra’s famed unity, ensemble alone, together onstage. —Eric Sellen Above, silhouette of Johann Strauss Jr., leading his orchestra and acting as violin soloist. Severance Hall 2017-18

Week 5 — Introducing the Concert

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Violin Concerto (“Il Favorito”) in E minor, Opus 11 No. 2 composed circa 1720-1727

At a Glance

Antonio

VIVALDI born March 4, 1678 Venice died July 28, 1741 Vienna

Severance Hall 2017-18

Vivaldi completed or compiled a set of six concertos for violin in 1729. This set, along with an additional group of six published as Opus 12, were among the last of his concertos to be published during his lifetime. Opus 11, No. 2, nicknamed “Il Favorito,” had already been included in a set of concertos presented privately to King Charles VI in 1728. The exact chronology of when each of these various concertos was written — or

first performed — is uncertain. This concerto runs 15 minutes in performance. Vivaldi scored it for a string orchestra and figured bass or basso continuo (from the written score an improvised accompaniment would be derived in performance, often played on harpsichord), plus the solo violin. The Cleveland Orchestra is performing this concerto for the first time with this weekend’s concerts.

About the Music V I V A L D I ’ S M U S I C A L S T Y L E is well known throughout the world today — even to many well outside the classcial music realm. From concert hall performances to less than subliminal soundtracks underlying broadcast commercials for luxury automobiles, computers, and perfume, this composer’s readily recognizable Baroque sound world is firmly ingrained as part of our tonal consciousness. Even though Vivaldi’s reputation as the preeminent Italian composer of his generation is indisputable, it has not always been so. His descent into obscurity — and eventual return to popularity — began during the last years of his life as the usual consequence of ever-changing tastes. His best work was overtaken by new ideas and new trends among younger contemporaries, abetted by his own general failure at writing operas that caught fire with the public. Vivaldi spent much of his career teaching students at Venice’s Ospedale della Pietà, an institution that served as an oddly thriving orphanage, poorhouse, convent, and music school. There he had a ready talent pool for trying out new musical ideas with the student musicians. After three decades, however, he was forced out during the late 1730s. He left town in search of new patrons and commissions. Vivaldi’s death in Vienna in 1741 passed virtually unnoticed. The French classical scholar and historian Charles de Brosses stat-

About the Music

ed that Vivaldi’s music had fallen from fashion as early as 1739: “To my great astonishment I discovered that he is not as highly regarded as he deserves to be in this country (Italy), where everything has to be up-to-the-minute, where his works have been heard for too long, and where last year’s music no longer brings in money.” With few exceptions, the posthumous reception of Vivaldi’s work was a continuation of the same slow loss of interest that plagued his final years. His music all but disappeared from concert halls and intellectual circles, his scores were relegated to the mothballed seclusion of monasteries and libraries. The resulting silence, as they say, was deafening. R E N E W E D I N T E R E S T I N V I VA L D I

Curiously enough, the first gasps of resuscitation of Vivaldi’s music came about during the mid-19th century, through work done by German scholars on performance editions of J. S. Bach’s scores. In Forkel’s 1802 biography of Bach, it was stated that Johann Sebastian’s musical thinking had been influenced by Vivaldi. Early in Bach’s career, during his mid-Weimar years (1713-14), he made transcriptions of several Vivaldi concertos — chiefly from the set of twelve published in 1711 as Opus 3, L’Estro armonico [“Harmonic Inspiration”] — in order to gain greater understanding of musical “logic.” In Forkel’s words, Bach felt that “there must be order, connection and proportion in the thoughts, and that to attain such objectives, some kind of guide was necessary. Vivaldi’s Concertos for the violin, which were just then published, served as a guide. . . . He conceived the happy idea of arranging them all for his clavier. He studied the chain of ideas, their relation to each other, the variation of the modulations, and many other particulars.” From this point forward, Vivaldi’s music, being connected with Bach (whose own renaissance was taking place), was given new recognition. Scholarly focus followed, with a new look at Italian music in general, especially in the mid-1920s when a huge collection of Vivaldi’s works came to light, culminating in a “Vivaldi Week” of performances in Siena in 1939. The Vivaldi reawakening had begun. A G A L A N T S T Y LE , A FAVO R I T E C O N C E R T O

Which brings us to Vivaldi’s Violin Concerto in E minor, Opus 11 No. 2, nicknamed “Il Favorito” and cataloged as RV277. Two sets of concertos (six in each set), designated as Opus 11

About the Music

The Cleveland Orchestra

and 12, were published in 1729. They were the last of his concertos printed during his lifetime. By 1729, Vivaldi’s star was no longer in the ascendant, he had reached and surpassed his zenith as a composer of opera, and it was becoming increasingly difficult for him to keep up with and write in the ever-changing musical fashions of the time. His influence, once substantial, was waning. He was quite aware of and increasingly influenced by younger composers, including Giuseppe Tartini (1692-1770), whose instrumental music was stylistically and formally representative of a new galant instrumental style derived from new trends in operatic writing. This galant style incorporated new simplicity — built on melody and rhythms — quite different from the spinning out and complex development of a single subject so characteristic of much earlier Baroque music. The new style was most notable for giving birth to an easing of formal structure, of presenting fresh and simplified textures and clear, simple melodies. Vivaldi’s “Il Favorito” concerto displays some of these new trends. It features a cantabile [“song-like”] melody, less-dense contrapuntal textures underlying the solo sections, and harmonic moments of “commentary.” The solo violin enjoys flights of fancy, supported by the orchestra, with tonal diversions and subtle thematic interplay. The movements follow the general fast-slow-fast pattern. The Allegro third movement begins with a minor version of an opening theme from the third movement of Vivaldi’s “Autumn” concerto from The Four Seasons. As is typical of a concerto finale, this one is filled with soloistic virtuosity. Included, too, are greater swings of mood and interplay between treble and bass instruments. As for the nickname? It is speculated that the concerto acquired it in 1728, when Vivaldi included it in a manuscript set of twelve concertos to present to Charles VI, the Holy Roman Emperor. Of these, it was (perhaps) Charles’s favorite. —Steve LaCoste © 2017 Steve LaCoste has served as archivist of the Los Angeles Philharmonic in addition to writing program notes for a variety of institutions.

Severance Hall 2017-18

About the Music

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Symphony No. 88 in G major composed circa 1787

At a Glance

F. Joseph

HAYDN

born March 31, 1732 Rohrau, Austria died May 31, 1809 Vienna

Severance Hall 2017-18

Haydn probably wrote his Symphony No. 88 in 1787. The same year that he completed — and dated the manuscript for — a companion work (creating a pair of symphonies to be published together); that symphony, now known as No. 89, included two movements adapted from a concerto completed in 1786, giving us fair certainty of when he was writing each). This symphony runs about 20 minutes in performance. Haydn

scored it for flute, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. The Cleveland Orchestra first performed this symphony in March 1935, under the direction of Rudolph Ringwall. It has been presented on only a few occasions since then, most recently at Severance Hall during a weekend of concerts in October 1997 and at Blossom in August 2001.

About the Music B E T W E E N T H E Y E A R of Haydn’s first symphony, 1761, and

the year he composed his last, 1795, the world of music changed quite substantially — not least as a direct result of the unparalleled craft and evolving creativity of Haydn’s own 100 and some symphonies. (The official catalog list of the composer’s numbered symphonies ends at 104, but some of those are now considered either not to be by Haydn or arrangements he made of other composers’ works as a method of study, while additional manuscripts suggest additional symphonic creations beyond the numbered set.) In 1761, the influence of the Baroque was still manifest in many areas of music. Bach and Handel had died only a few years earlier, and Mozart was only 5 years old. By 1795, however, Mozart had been dead for four years and the young Beethoven was introducing his first two piano concertos in Vienna. Mozart had given the world a vast range of concertos, symphonies, and other works, moving with — and helping to shape — changing audience expectations. The Baroque was done and over. The Classical era was at its height. Haydn’s Symphony No. 88 was probably written in 1787, at the behest of violinist-turned-businessman Johann Tost, a friend of the composer’s who intended to sell it to a publisher in Paris. Haydn was already quite popular in France, having recently completed his six “Paris” symphonies (Nos. 82-87) for a concert series there. In the end, however, No. 88 and a similarly-styled About the Music

companion work, Symphony No. 89, were printed not in Paris but in Vienna by Haydn’s regular publisher, Artaria. The hallmarks of Haydn’s mature symphonic style are all present in No. 88. It is built within a four-movement framework (the “symphony” form had evolved from dance suites of a varying number of movements). This structure is then outfitted with a customary sequence: a slow introduction, a songful slow movement, a folk-inspired minuet, and a spirited finale. Yet in this work Haydn treated the conventions of form (codified, to a large extent, through his dozens of symphonies) with the freedom of a genius, investing each work with an individual personality. Writing for the sophisticated audience of Paris — and, a few years later, that of London — The hallmarks he could be confident that his subtle jokes and surprising gestures would be readily recognized, of Haydn’s mature understood, and appreciated. symphonic style are There are many such jokes and surprises all present in No. 88. in Symphony No. 88. The main rhythmic idea of the opening movement Allegro appears in It is built within a foura great variety of melodic shapes, in different movement framework. keys, instrumentations, and degrees of loudness; This structure is then as you listen, it is very difficult to predict what outfitted with a customform it will take next. The second movement is in a slow Largo ary sequence: a slow tempo, as opposed to the more moderatelyintroduction, a songful paced “Andante” movements that Haydn often slow movement, a folkemployed in his symphonies. Aside from its inspired minuet, capped beautiful melody, the orchestration deserves special attention. The opening duet of a solo by a spirited finale. oboe and a solo cello (playing in octaves) is a unique touch, as is the sudden eruption of the trumpets and kettledrums (timpani) in the massive statement for full orchestra that follows the opening melody. Trumpets and kettledrums were almost never used in slow movements at the time; this was the first Haydn symphony to depart from that norm. (To emphasize this novelty, he omitted these instruments from the first movement, saving their first entrance for this unexpected spot.) The minuet third movement has the rustic character of the Austrian Ländler dance that Haydn loved so much (Gustav Mahler, a century later, also utilized this dance form regularly). In the movement’s Trio section (more or less the “middle section” of the movement), the bassoons and lower strings imitate

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bagpipes, for a fun and novel kind of sound. The main theme of the finale fourth movement resembles an Austrian contradance. Its highly ingenious development section culminates in a passage where the theme is played in canon (like “Row, Row, Row your boat” sung in overlapping squence), but with higher and lower strings just a beat apart. The resulting sense of unbounded and limitless energy — and careful ensemblework required — is a unique and fun-filled touch. —Peter Laki © 2017 Copyright © Musical Arts Association

Peter Laki is a visiting associate professor at Bard College and a frequent lecturer and writer on music.

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Symphony No. 3 (“Scottish”) in A minor, Opus 56 composed 1829-42

At a Glance

Felix

MENDELSSOHN born February 3, 1809 Hamburg died November 4, 1847 Leipzig

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Mendelssohn conceived the opening theme for this symphony while visiting the Holyrood Palace in Scotland in August 1829. He sketched out a plan for a full-length “Scottish” Symphony in 1830, and then worked on it sporadically over the next decade. He returned to it in 1841 and worked steadily on it throughout much of the year, completing the score in Berlin in early 1842. The first performance took place on March 3, 1842, at the Leipzig Gewandhaus, under the composer’s direction. Although Mendelssohn often referred privately to this work as his “Scottish” Symphony,

it was first presented and published without any such title. The score was published in 1842 with a dedication to Queen Victoria of England. This symphony runs about 35 minutes in performance. Mendelssohn scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, and strings. The Cleveland Orchestra first performed Mendelssohn’s Symphony No. 3 in November 1935, under Artur Rodzinski’s direction. The most recent performances were conducted at Blossom, by Nicholas McGegan in 2016 and by Jahja Ling in 2013.

About the Music F E L I X M E N D E L S S O H N ’s reputation as a composer has un-

dergone a steadily evolving course over the past century and a half. Upon his early death in 1847 — aged only 38 years — he was hailed as one of world’s greatest music practitioners. He was an accomplished pianist, an extraordinarily gifted organist, a celebrated composer, and one of the first great conductors. Add to these his keen interest in science and literature, his ability to draw and paint, and his well-practiced skills for entertaining and socializing — Mendelssohn was very much a quintessential renaissance man of the Romantic era. The next hundred years, however, saw his reputation tarnish and fade, and much of his music was all but forgotten. The German supremacist composer Richard Wagner began a violent attack — on Mendelssohn’s music (and family origins) — as early as 1850. Changing tastes and lush “new” music often made Mendelssohn’s pieces seem quaintly out of step. Only in the past fifty years or so, with more thoughtful and objective studying of Mendelssohn’s work and contributions to 19th-century music, have the depth and range of his art begun to shine anew. Born into a well-to-do German family (his father and uncle were bankers, his grandfather a famous Jewish philosopher), FeAbout the Music

lix’s early abilities at the piano and as a composer echoed so closely Mozart’s talents from fifty years before that he was hailed in his youth as the “second Mozart.” Before he was twenty years old, he had composed music of incomparable beauty and form (his Overture to A Midsummer Night’s Dream, his String Octet, and his Symphony No. 1 are but three of the youthful masterpieces created by the time he was 17). More daringly, as a student he had organized and led — against the advice of his own teacher — one of the first performances of the St. Matthew Passion in at least fifty years, helping to ignite a widespread revival of interest in Bach’s music. Within weeks of his success with Bach’s St. Matthew, the 20-yearold Mendelssohn departed Berlin for Great Britain on the first part of a planned “grand tour” around Europe. Arriving in London in April 1829, Felix was met by his childhood friend Karl Klingemann and set about getting acquainted with the city. Arranged introductions from his father, uncle, and teachers during the next three months gave Mendelssohn access to many of London’s finest musical artists and resulted in his successful London debuts both as a composer and as a piano soloist (performances included his own two-piano concerto and First Symphony, as well as Beethoven’s “Emperor” Concerto, played from memory). S C O T T I S H I N S P I R AT I O N

At the end of the London concert season, Mendelssohn and Klingemann set off to walk across parts of Scotland. Its “wild and rugged” landscapes held particular appeal for anyone with Romantic ideas of nature and art in the early 19th century, and the two friends filled the composer’s notebook — with Mendelssohn drawing landscape scenes and Klingemann writing accompanying poetic verses. From Edinburgh on July 30, Mendelssohn sent a letter to his family about his visit to the Palace of Holyrood House: “In the mists of twilight today, we went to the palace where Queen Mary lived and loved; the chapel . . . has now lost its roof . . . and it is at that broken-down altar that Mary was crowned Queen of Scots. Everything there is crumbling and decaying. . . . I think I may have found the beginnings of my Scottish Symphony.” In Mendelssohn’s notebook from that same day, he wrote out the musical phrase that now opens the symphony. Later that year, back home in Berlin, he created an outline for an entire “Scottish Symphony,” but it would be more than ten years before he managed to complete this new work. More quickly, he used impressions and musical sketches from his trip to Scotland to write the Hebrides

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Overture, at first known as Fingal’s Cave, which the composer premiered on his second trip to London, in 1832. (The success of Hebrides over the following decade, as well as its thematic similarities to the eventual symphony, hinted at the symphony’s Scottish-ness even before Mendelssohn publicly admitted any connection.) During the decade between 1830 and 1840, while occasionally trying to advance his Scottish symphony, Mendelssohn completed and premiered his three other mature symphonies (now known as Nos. 5, 4, and 2, numbered in the order in which they Mendelssohn’s were published rather than when they were written). Additionally, through his work as chief conductor “Scottish” Sympho— first in Düsseldorf and then of Leipzig’s Gewandhaus ny is not some kind Orchestra — Mendelssohn gained important practical of musical Braveperspective on how scores come to life in performance. heart, recounting In Leipzig, in addition to his own works, he conducted the symphonies of Beethoven, works by Mozart, Berin sound various lioz, and Weber, the posthumous premiere of Franz battles and victories Schubert’s newly discovered “Great” C-Major Symphony in history. Rather, in 1839, and the premiere of Robert Schumann’s First it is a classically Symphony in 1841. Thus, by the time Mendelssohn finally sat down formed symphony to complete his “Scottish Symphony” in 1841, he had agreeably touched achieved new understanding and maturity as an orchesby Romantic imprestral composer. The completion came easily. He signed sions from a visit the new score in mid-January 1842 and scheduled its premiere for the following month. It was first performed to Scotland. as “Symphony in A minor” and published later that year as “Symphony No. 3.” (Although Mendelssohn had always referred privately to the work as his “Scottish” Symphony, the title was not officially added until after his death.) THE MUSIC

To help underline the cohesiveness of his new symphony’s thematic materials, Mendelssohn instructed that the four movements be performed attacca, without pauses. The lack of customary breaks between movements caused some confusion for the audience at the premiere in Leipzig. The fact was so commented on in reviews that, at the work’s second performance three weeks later, the audience anticipated the breaks and stopped the performance with applause after each of the two middle movements, completely foiling the composer’s intentions. Later composers have picked up on the idea, however, and modern audiences are now much more

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About the Music

used to having movements conjoined for the greater sense of continuity it affords. The Symphony is cast in the customary four movements, with two shorter ones between the opening and finale. The second movement features a dance-like lilt, in contrast to the slower and quieter third movement. While no musical themes are actually shared between movements, the material throughout the symphony is thematically related and carries a strong unity of sound and atmosphere. In the preface to the printed score of the symphony, the composer suggested a particular way of listing the movements in a printed program, as shown on page 61 of this book. In this, he indicated tempo markings that A sketch by Felix Mendelssohn drawn in his travel notebook during his differ slightly from those that trek across Scotland in 1829. actually precede each movement, giving performers a nuance of additional information about his intentions. Mendelssohn quotes no actual Scottish melodies, although in the second movement he does make use of a rhythm known as a “Scottish snap.” This, and an overall feeling similar to his earlier Hebrides Overture, can give listeners a sense that the symphony is little more than some additional Scottish landscape painting in sound. But, like Mendelssohn’s sunny “Italian” Symphony, this work is more of an atmospheric piece about emotional feelings in and around Scotland than any attempt to depict actual places or — as has also been suggested — historic events. The “Scottish” Symphony is not, therefore, some kind of musical Braveheart, recounting in sound various battles and victories in Scottish history. Rather, it is a classically formed symphony agreeably touched by Romantic impressions from a visit to Scotland. Throughout the work, there are a number of passages that remind many listeners of the symphonies of Robert Schumann. The two men were certainly well acquainted with one another’s works, and Schumann’s First and Fourth Symphonies were premiered in Leipzig during the year that Mendelssohn was completing his “Scottish” Symphony (Schumann’s First was conducted by Mendelssohn

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himself). Exactly who was influencing whom would require an extensive discussion, however, and any similarities are more an indication of a common approach to some of the inherent challenges of symphonic writing in the footsteps of Beethoven and Schubert. Mendelssohn’s passages often feature an airiness of orchestration that took Schumann several more years to fully capture. Likewise, some energetic string writing about halfway into the “Scottish” Symphony’s first movement has strong pre-echoes of the sound of rain-filled windstorms depicted in Richard Wagner’s opera The Flying Dutchman, written only a few years later. In both the first and last movements, Mendelssohn succeeds in orchestrating passages that sound, as he wanted them to, “clear and strong, like a choir of men’s voices,” advancing his extensive interest in and knowledge of choral writing. Particularly spirited in the last movement, the “choir” leads directly into the work’s robust and cheer-filled ending. —Eric Sellen © 2017 2017-18 is Eric Sellen’s twenty-fifth season as The Cleveland Orchestra’s program book editor.

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Individual Annual Support The Cleveland Orchestra is sustained through the annual support of thousands of generous patrons. The leadership of those listed on these pages (with gifts of $2,000 and more) shows an extraordinary depth of support for the Orchestra’s music-making, education presentations, and community initiatives.

Giving Societies gifts during the year prior to July 1, 2017 Adella Prentiss Hughes Society

gifts of $50,000 to $99,999

gifts of $100,000 and more Musicians of The Cleveland Orchestra+ (in-kind support for community programs and opportunities to secure new funding) 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+ Dr. and Mrs. Herbert Kloiber (Europe) Mr. and Mrs. Dennis W. LaBarre+ Mrs. Norma Lerner and The Lerner Foundation+ Mrs. Emma S. Lincoln+ Milton and Tamar Maltz John C. Morley+ Mr. Patrick Park (Miami) Mr. and Mrs. Albert B. Ratner James and Donna Reid Mr. and Mrs. Richard K. Smucker+ Mr. and Mrs. Franz Welser-Möst+

With special thanks to the Leadership Patron Committee for their commitment to each year’s annual support initiatives: Barbara Robinson, chair Robert N. Gudbranson, vice chair Ronald H. Bell Iris Harvie James T. Dakin Faye A. Heston Karen E. Dakin Brinton L. Hyde Henry C. Doll David C. Lamb Judy Ernest Larry J. Santon Nicki N. Gudbranson Raymond T. Sawyer Jack Harley

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Christmas on Sugarloaf Mountain AN IRISH-APPALACHIAN

CELEBRATION

New program created by Jeannette Sorrell! Fiddlers, bagpipes, chorus, children’s voices, and dancers celebrate the Celtic roots of an Appalachian Christmas. The people of the mountains welcome Christmas with LOVE, SINGING, DANCING and PRAYER.

DECEMBER 2-3 & 8-10

At the Cleveland Museum of Art (12/8) Plus... Shaker Heights, Willoughby, Bay Village & Akron

^ CRQNNQUſTG QTI

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James Carpenter 2 seats (In memory of Christina) (Miami) Dr. Victor A. Ceicys Mr. and Mrs. James B. Chaney Dr. Ronald* and Mrs. Sonia Chapnick Mr. Gregory R. Chemnitz Mr. and Mrs. Homer D. W. Chisholm Dr. William and Dottie Clark Drs. John and Mary Clough Drs. Mark Cohen and Miriam Vishny Mr. and Mrs. Stanley Cohen (Miami) Mr. and Mrs. Mark Corrado Douglas S. Cramer / Hubert S. Bush III (Miami) Mr. and Mrs. Manohar Daga+ Karen and Jim Dakin Mrs. Frederick F. Dannemiller Mr. Kamal-Neil Dass and Mrs. Teresa Larsen+ Dr. Eleanor Davidson Mrs. Lois Joan Davis Michael and Amy Diamant Dr. and Mrs. Howard Dickey-White+ Dr. and Mrs. Richard C. Distad Maureen Doerner & Geoffrey White Carolyn J. Buller and William M. Doll Mr. George and Mrs. Beth Downes+ Ms. Mary Lynn Durham Mr. and Mrs. Ronald E. Dziedzicki Mrs. Mary S. Eaton Mr. and Mrs. Bernard H. Eckstein Esther L. and Alfred M. Eich, Jr.+ Erich Eichhorn and Ursel Dougherty Mr. S. Stuart Eilers Peter and Kathryn Eloff+ Harry and Ann Farmer

Mr. William and Dr. Elizabeth Fesler Mr. Paul C. Forsgren Richard J. Frey Mr. and Ms. Dale Freygang Peggy A. Fullmer Ms. Marilee Gallagher 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 Dr. and Mrs. Ronald L. Gould Dr. Robert T. Graf Nancy F. Green (Miami) Ms. Anna Z. Greenfield Drs. Erik and Ellen Gregorie Mr. and Mrs. Stephen Griebling Dr. and Mrs. Franklin W. Griff Candy and Brent Grover Nancy and James Grunzweig+ Mr. and Mrs. John E. Guinness Mr. Davin and Mrs. Jo Ann Gustafson Dr. Phillip M. and Mrs. Mary Hall Douglas M. and Amy Halsey (Miami) Mr. and Mrs. David P. Handke, Jr. Elaine Harris Green Lilli and Seth Harris Barbara L. Hawley and David S. Goodman Matthew D. Healy and Richard S. Agnes In Memory of Hazel Helgesen Mr. and Mrs. Jerry Herschman The Morton and Mathile Stone Philanthropic Fund Dr. Fred A. Heupler Mr. Robert T. Hexter Dr. and Mrs. Robert L. Hinnes

Composerâ&#x20AC;&#x2122;s Circle gifts of $2,000 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+ Mr. and Mrs. James B. Aronoff+ Art of Beauty Company, Inc. Ms. Patricia Ashton Steven Michael Auvil and Elise Hara Auvil Mr. and Mrs. Eugene J. Beer Dr. Ronald and Diane Bell Drs. Nathan A. and Sosamma J. Berger Mr. Roger G. Berk Barbara and Sheldon Berns Jayusia and Alan Bernstein (Miami) Margo and Tom Bertin John and Laura Bertsch Howard R. and Barbara Kaye Besser Ms. Deborah A. Blades Bill* and Zeda Blau Doug and Barbara Bletcher Georgette and Dick Bohr Mr. and Mrs. Richard H. Bole Irving and Joan M. Bolotin (Miami) Mrs. Loretta Borstein Lisa and Ronald Boyko Mr. and Mrs. David Briggs Mr. and Mrs. Henry G. Brownell Mrs. Frances Buchholzer J. C. Burkhardt Mr. and Mrs. Robert G. Busha Rev. Dr. Joan Brown Campbell and Rev. Dr. Albert Pennybacker Dr. and Mrs. William E. Cappaert John and Christine Carleton (Miami) Mrs. Millie L. Carlson+ Mr. and Mrs. Frank H. Carpenter

92 82

Individual Annual Annual Support Individual

The Cleveland Orchestra

Thomas and Mary Holmes Gail Hoover and Bob Safarz+ Dr. Keith A. and Mrs. Kathleen M. Hoover+ Dr. Randal N. Huff and Ms. Paulette Beech+ Ms. Laura Hunsicker Gretchen Hyland and Edward Stephens Jr. Ruth F. Ihde Dr. and Mrs. Scott R. Inkley William W. Jacobs Mr. and Mrs. Bruce D. Jarosz Robert and Linda Jenkins Dr. and Mrs. Donald W. Junglas Barbara and Michael J. Kaplan Mr. Donald J. Katt and Mrs. Maribeth Filipic-Katt Ms. Deborah Kaye The Kendis Family Trust: Hilary & Robert Kendis and Susan & James Kendis Bruce and Eleanor Kendrick Dr. Gilles* and Mrs. Malvina Klopman+ Fred* and Judith Klotzman Cynthia Knight (Miami) Drs. Raymond and Katharine Kolcaba+ Marion Konstantynovich Jacqueline and Irwin* Kott (Miami) Dr. Ronald H. Krasney and Vicki Kennedy+ Mr. Donald N. Krosin Alfred and Carol Lambo Mr. and Mrs. John J. Lane, Jr. + Mrs. Sandra S. Laurenson Dr. and Mrs. Arthur Lavin Michael Lederman Ronald and Barbara Leirvik Mr. and Mrs. Ernest C. Lemmerman Michael and Lois Lemr Irvin and Elin Leonard+ Mr. Alan R. Lepene Robert G. Levy+ Drs. Todd and Susan Locke Mary Lohman Ms. Mary Beth Loud Mrs. Idarose S. Luntz Damond and Lori Mace Ms. Linda Macklin David Mann and Bernadette Pudis Janet A. Mann Herbert L. and Ronda Marcus Martin and Lois Marcus 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 Dr. and Mrs. William A. Mast Mr. Julien L. McCall Ms. Charlotte V. McCoy William C. McCoy Mr. and Mrs. Christopher J. McKenna Mr. and Mrs. Tom McLaughlin Ms. Nancy L. Meacham Mr. and Mrs. James E. Menger Mr. and Mrs. Trent Meyerhoefer Ms. Betteann Meyerson+ Beth M. Mikes Abby and Jake Mitchell Mr. and Mrs. William A. Mitchell+

Severance HallOrchestra 2017-18 The Cleveland

Mr. and Mrs. Thomas W. Morris Bert and Marjorie Moyar+ Susan B. Murphy Randy and Christine Myeroff Steven and Kimberly Myers+ Ms. Megan Nakashima Joan Katz Napoli and August Napoli Richard B. and Jane E. Nash Deborah L. Neale Robert D. and Janet E. Neary Steve Norris and Emily Gonzales Marshall I. Nurenberg and Joanne Klein Richard and Jolene Oâ&#x20AC;&#x2122;Callaghan Mr. and Mrs. John Olejko Dr. and Mrs. Paul T. Omelsky Mr. Robert Paddock Mr. John D. Papp George Parras+ Dr. Lewis E. and Janice B. Patterson David Pavlich and Cherie Arnold Matt and Shari Peart Dr. and Mrs. Gosta Pettersson Henry Peyrebrune and Tracy Rowell Dr. Roland S. Philip and Dr. Linda M. Sandhaus+ Dale and Susan Phillip Maribel A. Piza (Miami)+ Mr. Carl Podwoski Dr. Marc A. and Mrs. Carol Pohl Brad Pohlman and Julie Callsen Mr. Robert and Mrs. Susan Price Ms. Sylvia Profenna Mr. Lute and Mrs. Lynn Quintrell Drs. Raymond R. Rackley and Carmen M. Fonseca+ Ms. C. A. Reagan Dr. Robert W. Reynolds Ms. Janet Rice David and Gloria Richards Ms. Carole Ann Rieck Mrs. Charles Ritchie Joan and Rick Rivitz Mr. D. Keith and Mrs. Margaret Robinson Mr. Timothy D. Robson+ Ms. Linda M. Rocchi Dick A. and Debbie Rose Mr. Kevin Russell (Miami) Mrs. Elisa J. Russo+ Fred Rzepka and Anne Rzepka Family Foundation Dr. Harry S. and Rita K. Rzepka+ Dr. Vernon E. Sackman and Ms. Marguerite Patton+ Fr. Robert J. Sanson Ms. Patricia E. Say+ Mr. Paul H. Scarbrough+ Robert Scarr and Margaret Widmar Bob Scheuer 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) Drs. Daniel and Ximena Sessler+ Mr. Kenneth and Mrs. Jill Shafer Donna E. Shalala (Miami) Ginger and Larry Shane

Individual Annual Annual Support Support Individual

Harry and Ilene Shapiro Ms. Frances L. Sharp Larry Oscar and Jeanne Shatten+ Dr. and Mrs. William C. Sheldon+ Terrence and Judith Sheridan Mr. Richard Shirey+ Mr. and Mrs. Reginald Shiverick+ Michael Dylan Short Mr. Robert Sieck Laura and Alvin A. Siegal Howard and Beth Simon Ms. Ellen J. Skinner Ms. Anna D. Smith Ms. Janice A. Smith Sandra and Richey Smith+ Mr. and Mrs.* Jeffrey H. Smythe Mrs. Virginia Snapp Ms. Barbara Snyder Mr. Marc Stadiem Ms. Sharon Stahler Dr.* and Mrs. Frank J. Staub Mr. Alan L. Steffen Mr. Eduardo Stern (Miami) Frederick and Elizabeth Stueber Mr. Taras G. Szmagala, Jr. Kathy* and Sidney Taurel (Miami)+ Dr. and Mrs. Thomas A. Timko Mr.* and Mrs. Robert N. Trombly Steve and Christa Turnbull+ Mrs. H. Lansing Vail, Jr. Bobbi and Peter van Dijk Mrs. Stasia M. Vavruska Brenton Ver Ploeg (Miami) Teresa Galang-ViĂąas and Joaquin Vinas (Miami) Mr. and Mrs. Les C. Vinney George and Barbara von Mehren Mr. Norman Wain Ms. Laure A. Wasserbauer+ Margaret and Eric* Wayne+ Alice & Leslie T. Webster, Jr. Mr. Peter and Mrs. Laurie Weinberger Michael and Danielle Weiner Dr. Paul R. and Catherine Williams Ms. Claire Wills Richard and Mary Lynn Wills Elizabeth B. Wright+ William Ronald and Lois YaDeau Rad and Patty Yates Ken and Paula Zeisler Dr. William Zelei Mr. Kal Zucker and Dr. Mary Frances Haerr Anonymous (3)+ Anonymous (8)

+ has signed a multiyear pledge (see information box earlier in this section)

* deceased

Thank You 83 93

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

THE PERFECT

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THE CLEVELAND ORCHESTRA

Corporate Support The Cleveland Orchestra extends heartfelt gratitude and partnership with the corporations listed on this page, whose annual support (through gifts of $2,500 and more) demonstrates their belief in the Orchestra’s music-making, education initiatives, and community presentations.

Annual Support gifts during the year prior to July 1, 2017 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. PARTNERS IN EXCELLENCE $300,000 AND MORE

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

BakerHostetler Eaton Jones Day PNC Bank Raiffeisenlandesbank Oberösterreich (Europe) PARTNERS IN EXCELLENCE $100,000 TO $199,999

American Greetings Corporation Medical Mutual Nordson Corporation Foundation Squire Patton Boggs (US) LLP Thompson Hine LLP

The Cleveland Severance HallOrchestra 2017-18

$50,000 TO $99,999

DLR Group | Westlake Reed Leskosky Dollar Bank Foundation Forest City Litigation Management, Inc. Parker Hannifin Foundation Quality Electrodynamics (QED) Anonymous $15,000 TO $49,999

Buyers Products Company Case Western Reserve University Ernst & Young LLP Frantz Ward LLP The Giant Eagle Foundation Great Lakes Brewing Company Hahn Loeser & Parks LLP The Lincoln Electric Foundation The Lubrizol Corporation Materion Corporation MTD Products, Inc. North Coast Container Corp. Ohio Savings Bank, A Division of New York Community Bank Olympic Steel, Inc. RPM International Inc. The Sherwin-Williams Company Tucker Ellis

Corporate Corporate Annual Annual Support Support

$2,500 TO $14,999 Akron Tool & Die Company American Fireworks, Inc. BDI BestLight LED Brothers Printing Co., Inc. Calfee, Halter & Griswold LLP Cleveland Clinic Cleveland Steel Container Corporation The Cleveland Wire Cloth & Mfg. Co. Cohen & Company, CPAs Community Counselling Services Consolidated Solutions Cozen O’Connor (Miami) Dominion Energy Charitable Foundation Evarts Tremaine The Ewart-Ohlson Machine Company Arthur J. Gallagher & Co. Adam Foslid/Greenberg Traurig (Miami) Gross Builders Huntington National Bank Littler Mendelson, P.C. Live Publishing Company Macy’s Miba AG (Europe) Northern Haserot Oatey Ohio CAT OMNOVA Solutions Oswald Companies Park-Ohio Holdings PolyOne Corporation RSM US, LLP Southern Wine and Spirits (Miami) Stern Advertising Struktol Company of America University Hospitals Ver Ploeg & Lumpkin (Miami) Anonymous (2)

87 85

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The Cleveland Orchestra

THE CLEVELAND ORCHESTRA

Foundation/Government Support The Cleveland Orchestra is grateful for the annual support of the foundations and government agencies listed on this page. The generous funding from these institutions (through gifts of $2,500 and more) is a testament of support for the Orchestra’s music-making, education initiatives, and community presentations.

Annual Support gifts during the year prior to July 1, 2017 $1 MILLION AND MORE

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

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

Kulas Foundation John P. Murphy Foundation $100,000 TO $249,999

Paul M. Angell Family 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

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

The Cleveland Severance HallOrchestra 2017-18

$15,000 TO $49,999

The Abington Foundation The Batchelor Foundation, Inc. (Miami) Mary E. & 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 Sandor Foundation Albert G. & Olive H. Schlink Foundation Jean C. Schroeder Foundation The Sisler McFawn Foundation Dr. Kenneth F. Swanson Fund for the Arts of Akron Community Foundation The Veale Foundation The Edward and Ruth Wilkof Foundation

$2,500 TO $14,999 The Ruth and Elmer Babin Foundation Dr. NE & JZ Berman Foundation The Bernheimer Family Fund of the Cleveland Foundation Eva L. and Joseph M. Bruening Foundation Cleveland State University Foundation The Cowles Charitable Trust (Miami) Elisha-Bolton Foundation 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 Jack, Joseph and Morton Mandel 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 Miami-Dade County Public Schools (Miami) Harold C. Schott 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 Wuliger Foundation Anonymous (2)

Foundation/Government Annual Foundation/Government Annual Support Support

85 87

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 216-231-7522.

clevelandorchestra.com

11001 Euclid Avenue Cleveland, Ohio 44106

CLEVELANDORCHESTRA.COM

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

HAILED AS ONE OF

Severance Hall 2017-18

Severance Hall

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.

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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.

OPUS CAFÉ The new Opus Café is located on the ground floor in the Lerner Lobby as the top of the escalator CAFE from the parking garage. Offering pre- and post-concert refreshments and light foods, the Cafe is a perfect spot for meeting and talking with friends.

opus

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

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.

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 Friends of The Cleveland Orchestra.

RENTAL OPPORTUNITIES

CONCERT PREVIEWS

Severance Hall, a Cleveland landmark and home of the world-renowned Cleveland Orchestra, is the perfect location for business meetings

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

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

Severance Hall 2017-18

Guest Information

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. 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

CONGRATULATIONS TO

The Cleveland Orchestra on celebrating their

CENTENNIAL SEASON

70TH Anniver

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Guest Information

The Cleveland Orchestra

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.

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

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).

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 is no service charge for the five-day advance ticket exchanges. If a ticket exchange is requested within 5 days of the performance, a $10 service charge per concert applies. Visit clevelandorchestra.com for details.

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.

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THE CLEVELAND C O N C E R T

C A L E N D A R

AUTUMN SEASON

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THE CLEVELAND ORCHESTRA Richard Kaufman, conductor Hitchcock’s masterpiece accompanied by Bernard Herrmann’s original score played live by The Cleveland Orchestra. Gripping, suspenseful, and visually iconic, this late-period Hitchcock classic is one of the most popular spy thrillers of all time. Madison Avenue advertising man 5RJHU 7KRUQKLOO &DU\ *UDQW ÀQGV KLPVHOI WKUXVW LQWR WKH world of spies when he is mistaken for a man by the name of George Kaplan. He is pursued across America by a group of murderous agents and a mysterious blonde (Eva Marie Saint) — leading to a dramatic rescue and escape at the top of Mt. Rushmore.

THE CLEVELAND ORCHESTRA Vladimir Ashkenazy, conductor Emanuel Ax, piano

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MENDELSSOHN’S SCOTTISH SYMPHONY

Sponsor: PNC Bank

Nov 9 — Thursday at 7:30 p.m. Nov 10 — Friday at 8:00 p.m. <18s Nov 11 — Saturday at 8:00 p.m.

TCHAIKOVSKY’S FOURTH SYMPHONY Nov 24 — Friday at 8:00 p.m. <18s Nov 25 — Saturday at 8:00 p.m. Nov 26 — Sunday at 3:00 p.m. <18s

THE CLEVELAND ORCHESTRA William Preucil, violin and leader

VIVALDI Violin Concerto (“Il Favorito”) HAYDN Symphony No. 88 MENDELSSOHN Symphony No. 3 (“Scottish”)

MOZART & MORE Nov 17 — Friday at 11:00 a.m. <18s Nov 17 — Friday at 7:00 p.m. <18s Nov 18 — Saturday at 8:00 p.m.

Nov 30 — Thursday at 7:30 p.m. Dec 2 — Saturday at 8:00 p.m.

RAMEAU Suite from Dardanus MOZART Piano Concerto No. 9* GLUCK Suite from Don Juan ** MOZART Symphony No. 36 (“Linz”) * not part of Friday Morning Concert ** Fridays@7 concert features the works by Rameau and Mozart Sponsors: BakerHostetler KeyBank (Fridays@7)

THE CLEVELAND ORCHESTRA Fabio Luisi, conductor Jonathan Biss, piano

SCIARRINO new work — Piano Concerto: Il sogno di Stradella

(co-commissioned by The Cleveland Orchestra)

BRUCKNER Symphony No. 4 (“Romantic”) YOUTH ENSEMBLE

<18s

Many Cleveland Orchestra’s concerts are offered as part of our "Under 18s Free" ticketing program. This offers free tickets for young people attending with families (one ticket per fullprice adult ticket at Severance Hall on Fridays and Sundays). Funded through a generous Endowment gift to The Cleveland Orchestra from the Maltz Family Foundation.

COPLAND El Salón México PAULUS Grand Concerto (for organ and orchestra) TCHAIKOVSKY Symphony No. 4

BRUCKNER’S FOURTH SYMPHONY

THE CLEVELAND ORCHESTRA Nicholas McGegan, conductor Marc-André Hamelin, piano *

Under 18s Free FOR FAMILIES

THE CLEVELAND ORCHESTRA Giancarlo Guerrero, conductor Paul Jacobs, organ

CLEVELAND ORCHESTRA YOUTH ORCHESTRA Dec 1 — Friday at 8:00 p.m.

<18s

CLEVELAND ORCHESTRA YOUTH ORCHESTRA Vinay Parameswaran, conductor The Cleveland Orchestra Youth Orchestra is one of northern Ohio’s premier musical destinations for aspiring student musicians. It provides serious young music students of middle school and high school age with a pre-professional orchestral training experience in a full symphony

Concert Calendar

The Cleveland Orchestra

ORCHESTRA orchestra. The unique musical experiences that the Youth Orchestra offers include weekly coachings with members of The Cleveland Orchestra as well as rehearsals and performances at Severance Hall. Youth Orchestra performances are open to all ages — a perfect opportunity to introduce children to an orchestra concert.

2O1 7-18 CENTENNIAL SEASON

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Prelude Concert begins at 7 p.m. featuring Youth Orchestra members performing chamber music.

PNC HOLIDAY RAINBOW

CHRISTMAS BRASS QUINTET Dec 8 — Friday at 10:00 a.m. <18s Dec 9 — Saturday at 11:00 a.m. <18s with Michael Miller, trumpet with Jack Sutte, trumpet with Hans Clebsch, horn with Richard Stout, trombone with Kenneth Heinlein, tuba

For children of all ages. This special annual edition of our Musical Rainbow series welcomes in the holiday season through the virutuosic sounds of a brass quintet. Sponsor: PNC Bank

AT THE MOVIES

TIM BURTON’S NIGHTMARE BEFORE CHRISTMAS Dec 19 — Tuesday at 7:30 p.m. Dec 20 — Wednesday at 7:30 p.m. THE CLEVELAND ORCHESTRA Vinay Parameswaran, conductor “This year, Christmas will be ours!” Experience Tim Burton’s cult classic with the score by Danny Elfman performed live. When Jack Skellington, Halloweentown’s pumpkin king, accidentally stumbles on Christmastown, he plots to bring Christmas under his control by kidnapping Santa Claus and taking over the role. But Jack soon discovers even the bestlaid plans of mice and skeleton men can go seriously awry. Sponsor: PNC Bank Presentation licensed by Disney Concerts ©

WINTER SEASON MAHLER’S NINTH SYMPHONY Jan 11 — Thursday at 7:30 p.m. Jan 12 — Friday at 8:00 p.m. <18s Jan 13 — Saturday at 8:00 p.m.

Cleveland C l l d Orchestra O h t

CHRISTMAS

Thursday December 14 at 7:30 p.m. Friday December 15 at 7:30 p.m. Saturday December 16 at 2:30 & 7:30 p.m. Sunday December 17 at 2:30 & 7:30 p.m. Thursday December 21 at 7:30 p.m. Friday December 22 at 7:30 p.m. Saturday December 23 at 2:30 & 7:30 p.m. THE CLEVELAND ORCHESTRA Brett Mitchell, conductor Cleveland Orchestra Chorus and guest choruses Celebrate the holiday season with a favorite Cleveland tradition — with The Cleveland Orchestra and Chorus in these annual offerings of music for the Christmas Season. Including sing-alongs and holiday cheer, all in the festive yuletide splendor of Severance Hall. Sponsored by Dollar Bank

THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor

CLEVELAND ORCHESTRA TICKETS

STAUD Stromab — world premiere MAHLER Symphony No. 9

PHONE

. . . visit clevelandorchestra.com for complete schedule!

Severance Hall 2017-18

Concert Calendar

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clevelandorchestra.com

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