The Cleveland Orchestra Nov 30, Dec 2, 7, 8, 9 Concerts

THE

CLEVEL AND ORC HE STR A

2O1 7-18 CENTENNIAL SEASON

FRANZ WELSER-MÖST

Week 8 November 30, December 2

Bruckner’s Fourth Symphony page 31

Week 9 December 7, 8, 9

Brahms First Symphony page 59

From the Executive Director page 7

SEVERANCE HALL

AUTUMN

We help keep the orchestra feeling sharp.

As the official health insurer of The Cleveland Orchestra, Medical Mutual is honored to provide continuous support and applause to one of the world’s most respected musical ensembles.

Ohio’s Health Insurance Choice Since 1934 © 2016 Medical Mutual of Ohio

MedMutual.com/Arts

Music colors their world.

That’s why we’re proud supporters of The Cleveland Orchestra’s music education programs for children, making possible the rewards and benefits of music in their lives.

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2O1 7-18 CENTENNIAL SEASON

TA B L E

OF

CONTENTS

THIS BOOK THE CLEVELAND ORCHESTRA

8 and 9

About the Orchestra

PAGE

Week

Perspectives: From the Executive Director . . . . . . 7 From the Start: The Cleveland Orchestra . . . . . . 11 1OOth Season Welcomes . . . . . . . . . . . . . . . . . . 19-25 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Severance Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Patron Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Upcoming Concerts . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

COVER: PHOTOGRAPHY BY ROGER MASTROIANNI (RIGHT) AND THE CLEVELAND ORCHESTRA ARCHIVES (LEFT):

George Szell standing outside Severance Hall with his new Buick, circa 1946.

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

8 BRUCKNER’S FOURTH Concert: Nov 30, Dec 2 . . . . . . . . . . . . . . . . . . . . . . . 31 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 33 WEEK

SCIARRINO

Il sogno di Stradella . . . . . . . . . . . . . . . . . . . . . . . . . 37 BRUCKNER

Symphony No. 4 (“Romantic”) . . . . . . . . . . . . . . . 43 Conductor: Fabio Luisi . . . . . . . . . . . . . . . . . . . . . . . . . 35 Soloist: Jonathan Biss . . . . . . . . . . . . . . . . . . . . . . . . . 41 NEWS

Cleveland Orchestra News . . . . . . . . 49

9 BRAHMS FIRST SYMPHONY Concert: December 7, 8, 9 . . . . . . . . . . . . . . . . . . . . 59 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 61 WEEK

ANDERSON

Incantesimi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

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.

MOZART

Piano Concerto No. 18 . . . . . . . . . . . . . . . . . . . . . . 67

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

BRAHMS

Symphony No. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

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

Conductor: Mikko Franck . . . . . . . . . . . . . . . . . . . . . . 63 Soloist: Richard Goode . . . . . . . . . . . . . . . . . . . . . . . . 71

Support Second Century Sponsors . . . . . . . . . . . . . . . . . . . . .

Annual Support Individual Support . . . . . . . . . . . . . . . . . . . . . . . . . .

Corporate Support . . . . . . . . . . . . . . . . . . . . . . . . . .

Foundation and Government . . . . . . . . . . . . . . .

4

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.

20 78 85 87

Table of Contents

The Cleveland Orchestra

10 0

RE ASON S

TO

CE LE BR ATE

No. 29 The Cleveland Orchestra has introduced more than 4 million young people to symphonic music through live performances.

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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“It’s wonderful living next to such a great university.”

—Kerstin and Leonard Trawick, Judson residents since 2013

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

Perspectives from the Executive Director November-December 2017 This is a special time of year, as we gather to reflect on the past year amidst the joy of family and friends. All of us in The Cleveland Orchestra family — you here in the audience, supporters near and far, musicians and staff, and the entire community of Northeast Ohio — have a great deal to celebrate and be thankful for. The news of Richard and Emily Smucker’s generous $15 million gift is a recent and shining example (more details of their gift can be found on page 49 of this book). We are deeply fortunate not only to have Richard’s insightful and enthusiastic leadership as board president, but also to have his generous support leading the charge toward a vibrant and successful future as the Orchestra begins its second century.

The Cleveland Orchestra has never been stronger. Under Franz Welser-Möst’s artistic leadership, Cleveland’s orchestra is second to none. Our recent concert tour to Europe brought unrivaled acclaim for artistry, innovation, and excellence (a sampling of tour review excerpts is on page 53). At home, more people across Northeast Ohio are enjoying more music performed by Cleveland Orchestra musicians than ever before, and we are attracting young audiences at a rate that has caught the attention of every other orchestra in the country. We are proud to have expanded our education and community offerings, to have increased ticket sales, and to have inspired growing donor support over the past decade. That we are beginning our second century from a position of strength is good cause for celebration.

Looking to the future. As we commend the achievements of the past and present, we must also continue to look to the future. An orchestra of Cleveland’s caliber, one that serves its hometown community at such a high level and with programs for so many, costs real money. For all the progress made in the past decade, each year presents challenges. The power of music to inspire must be offered to new generations in positive and creative ways.

Dreams must become reality through careful and effective planning. The art of music must be balanced with available resources of time and budget. Our ongoing and future success is assured only through creativity, continuing excellence, and the committed support of everyone involved — musicians, donors, students, volunteers, community leaders, ticket buyers, and citizens from across Northeast Ohio.

Smucker Second Century Challenge. The extraordinary gift just announced from Richard and Emily Smucker is a strong vote of confidence in this Orchestra’s future — and in the power of this community to ensure ongoing success. Part of their gift is designated to challenging the community to expand and grow its support. Richard and Emily invite everyone who loves the Orchestra — everyone who believes that Cleveland deserves to call the world’s best orchestra its own — to join in their spirit of generosity, and they will double your gift, large or small. Each new or increased gift to the Annual Fund will be matched in full. Your $25 or $100 will unlock the same amount from the Smuckers’ challenge grant. As you give thanks for the blessings in your life, I hope your gratitude for The Cleveland Orchestra will inspire you to join with Richard and Emily Smucker to help ensure the Orchestra’s future.

With this year’s holiday season, I am personally grateful to be part of this Orchestra and this proud, devoted, supportive community. Thank you for being a part of the ongoing story of Cleveland’s extraordinary orchestra.

Severance Hall 2017-18

André Gremillet

7

Together, we’re greater.

HELP US IMPROVE LIVES IN OUR COMMUNITY

For more than 100 years, United Way has led change for the good in Greater Cleveland by creating solutions that best address the community’s basic needs, education, financial stability and health concerns. We connect people from all walks of life and all generations to advance Greater Cleveland by investing in one another.

We’ve seen how far we’ve come. We envision how far we will go. And we know that UNITED is the only way we can continue to achieve the Greater Cleveland we all believe in. Please join us. Together, we’re greater.

Donate Today UnitedWayCleveland.org/Give

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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

9

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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

A

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

11

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-

12

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

13

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 Orchestra’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 eventually 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

15

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 usable (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

16

— first into the new millennium 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

Severance Hall 2017-18

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 nine), 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.

About the Orchestra

17

“Glistening and exuberant”

– THE PLAIN DEALER

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

FR ANZ WELSER-MÖST

Autumn 2017 Dear Friends, 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

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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

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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 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 enthusiasm we share, in the power of music to make the world a better place.

Richard K. Smucker President

Severance Hall 2017-18

André Gremillet Executive Director

Welcome: 1OOth Season

21

Mc Gregor

Supporting Seniors in Need and Those Who Serve Them Since 1877 14900 Private Drive • Cleveland 44112 • 216-851-8200 www.mcgregoramasa.org Proudly supporting The Cleveland Orchestra.

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2O1 7-18 CENTENNIAL SEASON

FRANZ WELSER-MÖST

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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

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The Cleveland Orchestra

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

Severance Hall 2017-18

From the County Executive: 1OOth Season

23

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

Severance Hall 2017-18

From the Mayor: 1OOth Season

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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 Richard and Nancy Sneed Chair

Lembi Veskimets The Morgan Sisters Chair

Eliesha Nelson Joanna Patterson Zakany Patrick Connolly

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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

2

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

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DECEMBER 14th-17th HANNA THEATRE / PLAYHOUSE SQUARE

PRESENTS

FOR TICKETS VISIT PLAYHOUSESQUARE.ORG OR CALL 216-241-6000 CLEVELAND BALLET SUBSCRIBERS CALL 216-640-8799 Illustration by Alexandra Brin.

Patron’s dress rehearsal with open bar and appetizers on December 14th at 7 pm (cocktail reception begins at 6 pm).

Visit CLEVELANDBALLET.ORG for additional information.

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.

Severance Hall 2017-18

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 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 “Sciarrino and Bruckner: Odd Couple” (musical works by Sciarrino, Bruckner) with guest speaker Lorenzo Salvagni, music director, Holy Rosary Church

December 7, 8, 9 “The Path to Brahms’s First Symphony” (musical works by Anderson, Mozart, Brahms) with guest speaker David Rothenberg, chair, department of music Case Western Reserve University

Winter Previews: January 11, 12, 13 “Mahler’s Ninth Symphony” with guest speaker Rabbi Roger C. Klein, The Temple – Tifereth Israel

Concert Previews

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About Il sogno di Stradella The composer has provided these comments about this new work:

“This is not a collection of sounds, but of resonances, near and distant.

The soloist withdraws, denying that position’s usual superiority, to reaffirm it on other levels. This does not seem to be a strange idea, for it touches upon and speaks to the transcendent essence of language/thought.

As an instrument of consciousness, art can transform us.

As I wrote years ago: ‘Music is the emanation and ornamentation of silence. The transfiguration of sound, the approach of the obscure, causes anxiety — that of not knowing how to distinguish between presence and absence.’

The anxiety of learning is essential for the discovery of the universe, which is parent to us all.”

—Salvatore Sciarrino, 2017

THE

CLEVELAND ORCHESTRA FR ANZ WELSER- MÖST

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

Severance Hall

Thursday evening, November 30, 2017, at 7:30 p.m.

Saturday evening, December 2, 2017, at 8:00 p.m.

2O1 7-18 CENTENNIAL SEASON

Fabio Luisi, conductor SALVATORE SCIARRINO (b. 1947)

Piano Concerto: Il sogno di Stradella [The Dream of Stradella] Co-commissioned by the Saint Paul Chamber Orchestra, The Cleveland Orchestra, and Ensemble Intercontemporain

JONATHAN BISS, piano

INTER MISSION ANTON BRUCKNER (1824-1896)

Symphony No. 4 (“Romantic”) in E-flat major (1880 version, edited by Leopold Nowak)

1. Bewegt, nicht zu schnell [With motion, but not fast] 2. Andante — Andante quasi allegretto 3. Scherzo: Bewegt — Trio: Nicht zu schnell 4. Finale: Bewegt, doch nicht zu schnell [With motion, but not too fast]

Fabio Luisi’s appearance this weekend with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from Roger and Anne Clapp.

Jonathan Biss’s appearance this weekend with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from the late Dr. Frank Hovorka in honor of Dorothy Humel Hovorka.

CLEVELAND ORCHESTRA RADIO BROADCASTS

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

Severance Hall 2017-18

Concert Program — Week 8

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Nov 30, Dec 2

2O1 7-18 CENTENNIAL SEASON

THI S WE E KE ND'S CONCE RT Restaurant opens: THUR 4:30 SAT 5:00

Concert Preview: BEGINS ONE HOUR BEFORE CONCERT

Concert begins: THUR 7:30 SAT 8:00

Severance Restaurant Reservations for dining suggested:

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

CONCERT PREVIEW

“Sciarrino and Bruckner: The Odd Couple” with guest speaker Lorenzo Salvagni, music director, Holy Rosary Church

SCIARRINO Piano Concerto: Il sogno di Stradella . . . . . . . . . . . . Page 37 (15 minutes)

INTERMISSION

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

(20 minutes)

BRUCKNER Symphony No. 4 (“Romantic”) . . . . . . . . . . . . . . . . . . . Page 43 (65 minutes)

Share your memories of the performance and join the conversation online . . . facebook.com/clevelandorchestra twitter: @CleveOrchestra Concert ends:

instagram: @CleveOrch

(approx.)

THUR 9:10 SAT 9:40

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

Severance Restaurant and Opus Café Post-concert desserts and drinks

32

This Week’s Concerts

The Cleveland Orchestra

INTRODUCING THE CONCERT

Imagination& Romance

T H I S W E E K E N D ’ S C O N C E R T S offer two very different musical works. One was an early success by a composer who had already reached middle age, and whose symphonies are today considered towering masterpieces from the 19th century. The other is a brandnew work by a composer who, at age 70, continues to defy categorization in his musical style(s) and whose long career has been widely acclaimed — but whose music is unknown to Severance Hall audiences.

The concert begins with Il sogno di Stradella, or “The Dream of Stradella,” a concerto given its world premiere performances in Minnesota just two months ago. It is part of an ongoing commissioning project, “Beethoven/5,” involving our guest soloist Jonathan Biss — of five new works inspired by Beethoven’s five piano concertos. Italian composer Salvatore Sciarrino’s imagination led him to create something quite different in this instance, with connections also to the Baroque composer Alessandro Stradella — perhaps as a dream of might-have-beens or yet-mayA silhouette cut-out of Bruckner conducting. be’s. Listen with ears open and minds in anticipation.

Guest conductor Fabio Luisi concludes these concerts with the Fourth Symphony of Anton Bruckner. Premiered in 1881, this was one of the composer’s first real successes, at age 56. This hour-long symphony is filled with the kind of horncalls, rhythms, and arching musical lines that Bruckner is well-known for — and melodies that build up and compound their force in performance.

It is nicknamed “Romantic” for reasons that . . . remain somewhat elusive. Bruckner suggested picturing Teutonic knights and fair ladies at one point, but realized that the connection was more in his mind than as a useful image for most listeners. Suffice it to say, that this is big and bold music that gathers you up in strength as it plays itself through.

—Eric Sellen Above, Stradella and Beethoven.

Severance Hall 2017-18

Week 8 — Introducing the Concerts

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Fabio Luisi

Severance Hall 2017-18

Guest Conductor

Orchestra, Philadelphia Orchestra, and London’s Philharmonia Orchestra. He also leads performances of Verdi’s Falstaff at Opéra de Paris and Tchaikovsky’s Francesca da Rimini at La Scala, and chairs the jury for the Danish National Radio Symphony’s Malko Competition for Young Conductors.

Mr. Luisi is also an accomplished composer, and his Saint Bonaventure Mass was recently premiered at New York’s St. Bonaventure University and in the MetLiveArts series with the Buffalo Philharmonic and Chorus.

Mr. Luisi’s discography includes works by Bellini, Bruckner, Honegger, Liszt, Respighi, Rossini, Salieri, Franz Schmidt, Richard Strauss, and Verdi. His work received a Grammy Award in 2013 for the final two operas of Robert Lepage’s production of Wagner’s The Ring of the Nibelung for the Met Opera. The full cycle, recorded live by Deutsche Grammophon, was named Best Opera Recording of 2012. Mr. Luisi also records for Philharmonia Records.

For more information, please visit www.fabioluisi.net.

Photo: BARBARA LUISI

Italian conductor Fabio Luisi serves as general music director of Zurich Opera, principal conductor of the Danish National Symphony Orchestra, and music director of the Opera di Firenze. He made his Cleveland Orchestra debut in November 2011 and most recent appearance here in March 2015.

Born in Genoa in 1959, Fabio Luisi began piano at age four. He received his diploma in piano from the Conservatorio Niccolò Paganini, and later studied conducting with Milan Horvat at the Graz Conservatory. He made his American debuts with the New York Philharmonic and Lyric Opera of Chicago in 2000.

From 2011 to 2017, Mr. Luisi served as principal guest conductor of New York’s Metropolitan Opera. He began his directorship with Zurich Opera in 2012, and each year also leads a number of orchestral performances with the Philharmonia Zurich. His previous leadership posts include lead artistic and conducting positions with the Dresden Staatskapelle and Saxon State Opera, Graz Symphony, MDR Sinfonieorchester in Leipzig, Orchestre de la Suisse Romande, Japan’s Pacific Music Festival, Vienna’s Tonkünstler Orchestra, and the Vienna Symphony.

Fabio Luisi’s recent and upcoming guest conducting engagements include Kurt Weill’s Rise and Fall of the City of Mahagonny and Verdi’s La forza del destino with Zurich Opera, as well as appearances with Beijing’s China NCPA Orchestra, Czech Philharmonic, Dallas Symphony

35

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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

Piano Concerto: Il sogno di Stradella [The Dream of Alessandro Stradella] composed 2016-17

At a Glance

by

Salvatore

SCIARRINO born April 4, 1947 Palermo, Sicily, Italy living in Città di Castello, Umbria, Italy

Sciarrino wrote this piano concerto in 2016-17, titling it Il sogno di Stradella, or “The Dream of Stradella,” referring to the Baroque composer Alessandro Stradella. The work is a co-commission by the Saint Paul Chamber Orchestra, The Cleveland Orchestra, and Paris’s Ensemble Intercontemporain.

The world premiere performances took place on September 21-23, 2017, in St. Paul, led by conductor Matthias Pintscher, with Jonathan Biss as the soloist.

The concerto runs about 15 minutes in performance. Sciarrino scored it for a chamber orchestra of flute, oboe, clarinet, horn, trumpet, and trombone, plus 8 violins (divided firsts and seconds), 3 violas, 2 cellos, and bass, percussion (bass drum), and the solo piano.

The Cleveland Orchestra is performing music by Salvatore Sciarrino for the first time with this weekend’s concerts.

About the Music “Music is emotional — it touches you intimately.

Yet not everyone enjoys intimate contact. We live in a time of great diffidence, frigidity, and lack of joie de vivre, so music can become embarrassing. It embarrasses because it touches you, and being touched is erotic. It is music’s most beautiful trait.”

—Salvatore Sciarrino T H I S N E W C O N C E R T O , somehow, connects together the ge-

nius of Beethoven’s Fourth Piano Concerto with the murdered Baroque composer Alessandro Stradella, alongside realities of the world in time and space. Listen with your ears open.

We should, of course, not be surprised to discover just how very many composers there are or have been in the world, actively writing “classical” music. Thousands toiling, writing, living lives in ways big and small, productive or in poverty, lovingly or commercially (or both) — and creating an astoundingly wide range of kinds and styles of music. The variety is intoxicating, the discovery of new voices can be mesmerizing.

That someone like Salvatore Sciarrino has lived and worked for decades and been widely acclaimed across Europe, but is only this week making his musical debut with The Cleveland Severance Hall 2017-18

About the Music

37

Orchestra is the challenge. So many composers, so few weeks of concerts. We all learn to accept, sooner or later . . . that there isn’t time in life to sample or savor everything on offer in this world.

Sciarrino traces his musical lineage to many parts of the past.

His intense interest in silence as one of music’s main ingredients connects him with such modernists as John Cage and Morton Feldman (among others). His heartfelt belief in the emotional impact of music — and even the scandalous side of humanity (love, jealousy, mayhem, murder) in his dramatic works — ties him to the Romantics (as opposed to more cerebral classicists). He has long been fascinated with Medieval, Renaissance, and Baroque subjects — for his paintings (an early stab toward The title of this new a career), for his operas, for his chamber music, concerto refers to the and simply for stimulating his mental curiosity.

Baroque composer His polymathical and wide-ranging interests fit him to be the creator of many different sounds.

Alessandro Stradella, This week’s new piano concerto comes whose myriad works from a commissioning project of the Saint Paul ranged across many Chamber Orchestra, who is working with five difgenres, and whose ferent composers to create works inspired by or in some way connected with each of Beethoven’s murder (after earlier five piano concertos. Sciarrino’s work takes as its assassination attempts) inspiration aspects of Beethoven’s Fourth Piano and life of profligate Concerto, but the relationship is tangential and infidelities have given more a basis for creation than for listening to the result. Sciarrino’s concerto was given its world his music added attenpremiere earlier this year, in September, in St. tion across the years.

Paul, with Jonathan Biss as soloist.

The title of the concerto, Il sogno di Stradella, refers to the Baroque composer Alessandro Stradella (1639-1682), whose myriad works ranged across many genres, and whose murder (after earlier assassination attempts) and life of profligate infidelities have given him (and his music) added attention across the years. In his own era, he influenced many other composers, helping to set the stage for later Baroque masters, including Vivaldi and Corelli.

Sciarrino has written a brief commentary about this work (see page 30) and, in a more extensive and similarly poetic (but equally enigmatic) preface printed in the score in Italian, he touches on Stradella’s forward-looking music experimentations. He almost suggests, maybe, perhaps, that the composer’s innovative way of thinking was taken up by composers of many later periods — and that the concerto itself is somewhat like a semi-conscious dream within Stradella’s mind,

38

About the Music

The Cleveland Orchestra

of musical possibilities from across many time periods. But . . . don’t believe any of this literally — it is more of a literary-intellectual idea for musical inspiration, and runs against the limitations of trying to use words to portray music’s most indescribable aspects.

Sciarrino’s musical language may remind listeners of other works and ideas — of different eras blended or juxtaposed together, of sounds being heard surreptitiously from next door, of classical sounds contrasted with mystical or new age soundings, of measured care and unwinding response, of tuning an old-fashioned radio across different stations. What may be more important to focus on, however, is not how it is similar to other music you have heard, but how it is unique — and how it connects your thoughts across time as you listen (and even afterward). Be intrigued. Enjoy.

ABOUT THE COMPOSER

—Eric Sellen © 2017 S A LVAT O R E S C I A R R I N O boasts of being self-directed as a composer and artist — and quite happy not to have been indoctrinated within a music school’s view of the world. He started composing, largely on his own, when he was twelve and held his first public concert three years later in 1962. Nevertheless, he considers all his works before 1966 to have been created during a learning apprenticeship — and only thereafter did his true personal style began to emerge. After classical studies and a few years of university at home in Palermo, he moved to Rome in 1969 and in 1977 to Milan. Since 1983, he has lived in Città di Castello, in Umbria.

What characterizes his music, he believes, is its ability to encourage a different way of listening, to “a global emotional understanding of reality” that touches one’s inner self. His works have been performed across Europe, including opera productions in Brussels, Frankfurt, London, Milan, Paris, Stuttgart, and Venice.

He was published by Ricordi from 1969 to 2004. Since 2005, Rai Trade has had exclusive rights for Sciarrino’s works.

Sciarrino’s discography is extensive and counts over 100 albums. His music has received many awards, including the 2003 Feltrinelli International Award. He was the first prizewinner of the newly-created Salzburg Music Prize in 2006. In 2008, the Salzburg Festival featured a portrait series of performances of his work.

Sciarrino taught at the Music Academies of Milan (1974-83), Perugia (198387) and Florence (1987-96). He has also led a variety of specialized courses and masterclasses. He was artistic director of Teatro Comunale di Bologna, and has worked closely with the Academia of Santa Cecilia (Rome), Academia of the Arts (Berlin), and Accademia Musicale Chigiana (Siena).

Severance Hall 2017-18

About the Music

39

Jonathan Biss

Severance Hall 2017-18

Guest Soloist

Pintscher; the program paired this new work with Beethoven’s Fourth Piano Concerto. Mr. Biss has also commissioned works by William Bolcom, Leon Kirchner, David Ludwig, Bernard Rands, and Lewis Spratlan.

As a chamber musician, in addition to his work at Marlboro, Mr. Biss has been a member of Chamber Music Society Two at Lincoln Center, and has collaborated with the Borromeo and Mendelssohn quartets, Midori, and cellist Johannes Moser.

Jonathan Biss’s recent albums for EMI won Diapason d’Or de l’année and Edison awards. He is currently involved in a nine-year, nine-album recording cycle of Beethoven’s complete piano sonatas.

The seventh volume is scheduled for release in 2018.

Mr. Biss’s many honors include the Leonard Bernstein Award presented at the 2005 Schleswig-Holstein Festival, Wolf Trap’s Shouse Debut Artist Award, the Andrew Wolf Memorial Chamber Music Award, Lincoln Center’s Martin E. Segal Award, an Avery Fisher Career Grant, the 2003 Borletti-Buitoni Trust Award, and the 2002 Gilmore Young Artist Award.

For additional information, visit www.jonathanbiss.com.

Photo: BENJAMIN EALOVEGA

American pianist Jonathan Biss is known internationally for his prodigious technique and diverse repertoire. He made his Cleveland Orchestra debut in November 2007 and most recent appearances here in December 2013.

Jonathan Biss represents the third generation of professional musicians in his family. His grandmother was cellist Raya Garbousova, and his parents are violinist Miriam Fried and violist-violinist Paul Biss.

Jonathan Biss began piano at age six, and later studied at Indiana University with Evelyne Brancart and at the Curtis Institute of Music with Leon Fleisher.

Jonathan Biss has forged ongoing relationships with a number of major orchestras, including those of Boston, Chicago, Leipzig, New York, and Philadelphia, as well as with London’s Philharmonia and Amsterdam’s Concertgebouw. He has also spent eleven summers with the Marlboro Music Festival. A member of the Curtis faculty since 2010, he leads a largescale open online course titled Exploring Beethoven’s Piano Sonatas, which will eventually cover all of the sonatas.

Beethoven/5 is Mr. Biss’s latest project, for which the Saint Paul Chamber Orchestra is co-commissioning five composers to write piano concertos, each inspired by one of Beethoven’s and premiered by Mr. Biss. The composers involved are Timo Andres, Sally Beamish, Salvatore Sciarrino, Caroline Shaw, and Brett Dean. Mr. Biss gave the world premiere of Sciarrino’s Il sogno di Stradella earlier this season, in September 2017, in St. Paul under the direction of Matthias

41

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Symphony No. 4 (“Romantic”) in E-flat major composed 1874, revised 1878-80 and 1886-88 performed in the 1880 version, edited by Leopold Nowak

At a Glance

by

Anton

BRUCKNER born September 4, 1824 Ansfelden, Upper Austria died October 11, 1896 Vienna

Bruckner first completed his Fourth Symphony in 1874. He revised it extensively between 1878 and 1880.

The first performance of the revised score — on February 20, 1881, with Hans Richter conducting the Vienna Philharmonic — was Bruckner’s first great success with the Viennese public; such moments remained rare during his lifetime. The first performance in the United States was given by Anton Seidl and the New York Philharmonic on April 4, 1888.

Bruckner revised the symphony beginning in 1886 and continuing into 1888, with help from three students: Ferdinand Löwe and brothers Franz and Joseph Schalk. Robert Haas created an edited score as part of the Critical Edition, published in 1936 and revised in 1944, which adheres closely to the score that existed in 1880 (with some slight changes made after the first performance in 1881). Leopold Nowak subsequently took over from Haas as the Critical Edition editor;

Nowak’s edition for this “1878/1880” version forms the basis for this weekend’s performances. (More recently, Franz Welser-Möst has led The Cleveland Orchestra in a newer edition, corresponding to Bruckner’s later edits for the score in 1888.)

This symphony, one of Bruckner’s shortest, runs about 65 minutes in performance. His orchestration calls for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, and strings.

Bruckner’s Fourth Symphony was first played by The Cleveland Orchestra at a pair of Severance Hall subscription concerts in April 1945, conducted by Erich Leinsdorf. The Orchestra’s most recent performances of the Nowak 1880 version were at Severance Hall in April 2007, led by Kurt Masur. Franz Welser-Möst led performances of a later edition, from 1888, in 2012; this is available as a Clasart Classica DVD, recorded at the Abbey of Saint Florian in Linz.

About the Music T H E L AT E B R I T I S H PH I L O S O PH E R Sir Isaiah Berlin titled one of his most celebrated literary essays The Hedgehog and the Fox, taking his cue from a specific fragment of ancient Greek writing: “The fox knows many things, but the hedgehog knows one big thing.”

Berlin applied this distinction to the history of literature, positing that the “hedgehog” types “relate everything to a single central vision, one system less or more coherent or articulate, in terms of which they understand, think and feel.” Foxes, on the other hand, “pursue many ends, often unrelated and even contradictory . . . seizing upon the essence of a vast variety of experiences and objects for what they are in themselves.” Berlin classified Dante, Plato, Dostoyevsky, Nietzsche, and Proust as hedgehogs, and Severance Hall 2017-18

About the Music

43

Shakespeare, Aristotle, Goethe, Balzac, and Joyce as foxes.

Among composers, Anton Bruckner was the quintessential hedgehog. His “one big thing” was to write large-scale symphonies. Each work, without being programmatic in the strict sense of the word, would strive to convey the composer’s spiritual worldview. This was quite an ambitious proposition, and one that hardly had a precedent in Western music. Beethoven’s Ninth is often cited as Bruckner’s principal source of inspiration, but the way Beethoven progresses from tragedy to joy in that great work was much more straightforward than the path of transcendent mysticism often taken by Bruckner.

The cornerstone of Bruckner’s existence was his strong, unwavering Catholic faith, which determined the direction of his evolution as a composer. He spent his formative years in the monastery of Saint Florian in Upper The vast spaces in Austria, a sumptuous architectural complex that Bruckner’s musical is one of the glories of Austrian Baroque archiedifices include echoes tecture. It has often been suggested that the of Austrian folk music grandiosity of St. Florian had a direct impact on the development of Bruckner’s artistic outlook. and the works of Franz But the vast spaces in Bruckner’s musical edifices Schubert (himself deeply are often filled out with ornamental elements influenced by folk muevoking the countryside around the monastery. sic). These elements acEchoes of Austrian folk music and the works of Franz Schubert (himself deeply influenced by count for more than folk music) account for more than a few builda few building blocks ing blocks in Bruckner’s expansive cathedrals in Bruckner’s expansive in sound. cathedrals in sound.

To listen to a Bruckner symphony is to experience the composer putting those blocks on top of one another until the building stands before us in all its splendor. A master of gradual, almost imperceptible changes, Bruckner moves slowly toward his appointed goal, which makes the triumph all the greater, once the goal has been reached.

EMERGING FROM THE MIST

Like several other Bruckner symphonies, No. 4 begins with soft string tremolos (very rapid notes being repeated) before a theme emerges from this mist of sound. But in this particular instance, the theme — played softly by the solo horn — proceeds more directly than usual to the first entrance of the full orchestra. The gentle inequality of the so-called “Bruckner rhythm”

44

About the Music

The Cleveland Orchestra

(in which the first half of the measure is divided into two and the second half into three) ensures continuity and coherence through much of the movement, except during the graceful second theme, which represents a Schubertian folklike moment.

The opening motif and the idea with the “Bruckner rhythm” have a built-in potential for massive crescendos leading to structural high points of great dramatic power. The folklike theme, by contrast, brings much-needed relief. Together they provide the musical material of the entire movement through an elaborate, constantly modulating development section, a considerably tightened recapitulation, and a masterful coda (which contains a breathtaking final crescendo). At the end, the opening mystical horn theme reappears as a glorious fanfare.

The mood of the second-movement “Andante quasi Allegretto” was best characterized by Robert Simpson, in his influential book The Essence of Bruckner, first published in 1967: “The Andante has something of the veiled funeral march about it, as if it were dreamt; sometimes we seem close to it, even involved, sometimes we seem to see it from so great a distance that it appears almost to stand still.” At times, it is almost as if the music is being played behind a veil. Longbreathed singing melodies, often featuring the cellos and violas, are the “essence of Bruckner” in this movement, accompanied by a steady pulse. The winds amplify the string melodies but do not actually come into their own until the final repeat of the themes, at which point the “veil” comes off and the melodies receive “royal” treatment from the entire orchestra. Then, a sudden diminuendo (decrease in volume) brings back the mystery in a brief and subdued coda.

The third movement is the celebrated “hunting” scherzo, so called because of the vigorous horncalls that open it. (Even these hunters use the duple/triple combination of the “Bruckner rhythm”!)

Anton Bruckner Arrives in Heaven — a silhouette by Otto Böhler (1873-1913).

Bruckner is being greeted (from left to right) by Liszt, Wagner, Schubert, Schumann, Weber, Mozart, Beethoven, Gluck, Haydn, Handel, and Bach (at organ).

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About the Music

45

The brass clearly dominates this movement, which, as in other Bruckner scherzos, almost rivals Classical sonata form in the complexity of its thematic development. (Bruckner may have been inspired to expand the scherzo form from studying the example in Schubert’s “Great” Symphony in C major.) The grandiosity of the scherzo contrasts with the rustic simplicity of the subsequent Trio section, a Ländler dance in the best Schubertian tradition (albeit with a few modulatory quirks à la Bruckner midway through). As always, the scherzo is repeated in its entirety after the Trio.

B U M P Y R OA D T O S A LVAT I O N

In writing the Fourth Symphony, Bruckner grappled mightily with how to create a suitable final movement.

His symphonic scheme placed almost superhuThe cornerstone of man demands on the finale, which has to serve Bruckner’s existence was as summation and culmination, the capstone to his strong, unwavera magnificent symphonic edifice. It must surpass ing Catholic faith, which in import and complexity three earlier, already also determined the disubstantial movements. Is it any wonder that symphonic finales presented Bruckner with exrection of his evolution treme musical challenges? While he managed a as a composer. Each of brilliant solution with his Symphony No. 5, at the his symphonies strives end of his life he was unable to write a finale for to convey the composer’s his Ninth Symphony, which remains incomplete spiritual worldview. as only three magnificent movements.

The finale of the Fourth Symphony proceeds by fits and starts as it retraces the symphonic journey of the earlier movements, from the mysterious opening through grandioso and rustico episodes to the concluding climax. Occasionally, the musical process seems to grind nearly to a complete halt. But if we can avoid the pitfall of superimposing our own expectations on what Bruckner chose to write, we may discover some deeper sense in what some commentators have dismissed as flaws. In fact, instead of moving ahead slowly but inexorably toward a goal, as he often did, Bruckner here opted for a more circuitous route. He allowed himself to voice what sometimes sound like doubts or uncertainties (especially in one particular, strangely fragmented slower section about two-thirds through the movement).

We may choose to see these moments of doubt as structural weaknesses, or we may see them as portrayals of a human weakness, which Bruckner felt were part of life’s journey toward salvation. Regardless of their meaning, Bruckner manages to put the many pieces

46

About the Music

The Cleveland Orchestra

back together in time for a glorious conclusion to the symphony. At the very end, the rhythmic pattern of the horncall that opened the first movement returns one final time to remind us of the journey we have just completed.

A R O M A N T I C SY M P H O N Y

Bruckner gave his Fourth Symphony the subtitle “Romantic.”

Although he sometimes referred to his Fifth as “the Fantastic,” the Fourth is the only Bruckner symphony to have been given a nickname in its printed score. This fact, and the name itself, has invited a lot of speculation. Bruckner explained the title to friends by alluding to medieval towns, knights, and hunting scenes. He may well have been haunted by such images of far away and long ago, of times and places that Romantic poets used to long for or write about. But he himself was hardly a Romantic in that kind of emotional sense.

The most obvious “Romantic” quality of the symphony is its prominent use of horns, an instrument evocative of a great outdoors so dear to the hearts of the Romantics. And yet, such consideration is a little vague for comfort. In the end, Robert Simpson may be right to dismiss the nickname as utterly irrelevant, stating that “the music is so much more than this! . . . We had better forget the title of No. 4; it leads us away from the music.”

—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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About the Music

47

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 216-231-7556.

clevelandorchestra.com

orchestra news

THE CLEVELAND ORCHESTRA

Smuckers pledge $15 million to Cleveland Orchestra Richard and Emily Smucker invite Greater Cleveland community to join them in supporting the Orchestra’s Second Century Richard and Emily Smucker have pledged $15 million to The Cleveland Orchestra in celebration of the 100th season and launch of the Orchestra’s Second Century. Their gift will be used to fund artistic and education programs, emphasizing programs for young people. A significant portion of their gift will also support funds for the Orchestra’s future, including the endowment.

Richard and Emily are designating $3 million of their total pledge as challenge grants, which will be used to inspire the Northeast Ohio community to support the Orchestra as the ensemble enters its Second Century of musical excellence and community engagement.

“Emily and I love The Cleveland Orchestra.

The work these musicians do inspires audiences and young people throughout our community, across the nation, and around the world,” stated Richard K. Smucker, board president of The Cleveland Orchestra. “From my own life experience, I know that music has the power to change lives. It has transformed how I think about the world, and I revel in the experience of sharing a performance with family and friends, all of us together. I find myself renewed through music.”

“This Orchestra has inspired me throughout my life,” continued Richard. “And I want to share that feeling and understanding. Emily and I want to encourage everyone who loves music, who loves this Orchestra, and who loves this great Cleveland community, to celebrate the 100th anniversary and to be part of launching the Orchestra’s Second Century.”

The Smuckers join a rich history of community leaders who have made transformational gifts to The Cleveland Orchestra, inspiring continuing and growing community support. The list of visionary leaders includes John L. Severance, who, when putting forth his own pledge in 1929, successfully challenged the community to match his support to build what is now one of the nation’s most prestigious concert halls, Severance Hall.

“Through their deep engagement and outstanding generosity, Richard and Emily are shining examples of how this community empowers the Orchestra to be the very best it can be for the benefit of the people of Ohio, commented André Gremi-

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llet, the Orchestra’s executive director.

Emily Smucker added, “We want to help ensure that The Cleveland Orchestra continues to inspire future generations, and that this music will be shared and enjoyed one hundred years from now.

Richard and I invite people from across Northeast Ohio to join us in championing the impact music can have on individual lives.”

“The Orchestra’s musicians and I are deeply moved by Richard and Emily Smucker’s support.

Their generosity and enthusiasm for the music we offer is deeply gratifying,” said Franz Welser-Möst, the Orchestra’s music director. “The Cleveland Orchestra is what it is today because of the community that created it. Richard and Emily are leading by example, reminding us that sharing and working together for good is a noble and empowering act.

They are deserving of thanks, not just from us today, but from future generations who will be inspired by The Cleveland Orchestra.”

Richard K. Smucker was elected as the thirteenth Board President of The Cleveland Orchestra in March 2017, and has served on the Board of Trustees since 1989. After serving in leadership positions with the family-owned J.M. Smucker Company for more than four decades, he now holds the title of Executive Chairman.

Join the SMUCKER SECOND CENTURY CHALLENGE today!

Richard and Emily Smucker have generously pledged up to $500,000 to match gifts to The Cleveland Orchestra’s Annual Fund through December 31, 2017.

If you’re giving to the Orchestra for the first time, coming back as a donor, or increasing your annual gift — your donation will be matched dollar for dollar! Please join in this challenge, using the attached envelope or by visiting clevelandorchestra.com online.

Questions? Contact us at 216-231-7556.

Cleveland Orchestra News

49

orchestra news

THE CLEVELAND ORCHESTRA

Heritage Society gathered 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 families 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

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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

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THE CLEVELAND ORCHESTRA

M . U . S . I .C . I . A . N S . A . L . U .T. E The Musical Arts Association gratefully acknowledges the artistry and dedication of all the musicians of The Cleveland Orchestra. In addition to rehearsals and concerts throughout the year, many musicians donate performance time in support of community engagement, fundraising, education, and audience development activities. We are pleased to recognize these musicians, listed below, who volunteered for such events and presentations during the 2016-17 season.

Mark Atherton Martha Baldwin Charles Bernard Katherine Bormann Lisa Boyko Charles Carleton Hans Clebsch John Clouser Kathleen Collins Ralph Curry Marc Damoulakis Alan DeMattia Vladimir Deninzon Scott Dixon Elayna Duitman Bryan Dumm Mark Dumm Tanya Ell Kim Gomez Wei-Fang Gu Scott Haigh David Alan Harrell Miho Hashizume Shachar Israel Mark Jackobs Dane Johansen Joela Jones Richard King Thomas Klaber Alicia Koelz Stanley Konopka Mark Kosower Analisé Kukelhan Paul Kushious Jung-Min Amy Lee Yun-Ting Lee Emilio Llinás

Cleveland Orchestra News

Takako Masame Eli Matthews Jesse McCormick Daniel McKelway Donald Miller Michael Miller Robert O’Brien Peter Otto Chul-In Park Joanna Patterson Zakany William Preucil Lynne Ramsey Jeffrey Rathbun Frank Rosenwein Marisela Sager Jonathan Sherwin Thomas Sherwood Emma Shook Joshua Smith Saeran St. Christopher Corbin Stair Lyle Steelman Richard Stout Yasuhito Sugiyama Jack Sutte Kevin Switalski Gareth Thomas Brian Thornton Isabel Trautwein Robert Walters Carolyn Gadiel Warner Scott Weber Richard Weiss Robert Woolfrey Derek Zadinsky Jeffrey Zehngut

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orchestra news

THE 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 Cleveland 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 (1980-95), 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

The Cleveland Orchestra

orchestra news

THE CLEVELAND ORCHESTRA

Orchestra wins praise and acclaim on European Tour Below are a selection of excerpts from the overwhelmingly positive reviews from The Cleveland Orchestra’s concerts on tour across Europe in October: “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 Symphony 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) THE

CLEVELAND CENTENNIAL SEASON

2O17

EUROPEAN TOUR

ORCHESTRA FR ANZ WE L S E R- M ÖST

“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 finale 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) “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.”

—Hamburger Abendblatt

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Musicians Emeritus of

T H E

C L E V E L A N D

R

E

T

I

R

E

D

M

O R C H E S T R A

U

S

I

C

I

A

N

S

Listed here are the living members of The Cleveland Orchestra who served more than twenty years, all of whom now carry the 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

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Appreciation

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

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Cleveland Orchestra News

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T HE

CLEVEL AND ORC HE STR A

“We can’t think of a better way to use our resources than to support an organization that brings us such great pleasure.”

Tony and Pat Lauria believe in doing their part to cultivate and celebrate the extraordinary things in life — including wine, food, and music.

For today and for future generations.

Great music has always been important to Tony and Pat Lauria. They’ve been avid subscribers and donors to The Cleveland Orchestra for many years, and it has become such a major part of their lives that they plan international travel around the Orchestra’s schedule in order to enjoy more concerts at home and on tour. “It gives us great pleasure to be a part of The Cleveland Orchestra,” Pat says.

In addition to regularly attending concerts and giving to the annual fund, Tony and Pat have established several Charitable Gift Annuities through the Orchestra, which now pay them a fixed stream of income in return for their gifts. To anyone who is considering establishing a Charitable Gift Annuity, Tony says, “It’s a great investment — for yourself and the Orchestra!”

To receive a confidential, personalized gift annuity illustration and to join the Laurias in their support of The Cleveland Orchestra’s future, contact Dave Stokley, Legacy Giving Officer, at 216-231-8006 or email dstokley@clevelandorchestra.com.

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THE

CLEVELAND ORCHESTRA FR ANZ WELSER- MÖST

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

Severance Hall

Thursday evening, December 7, 2017, at 7:30 p.m.

Friday evening, December 8, 2017, at 8:00 p.m.

Saturday evening, December 9, 2017, at 8:00 p.m.

2O1 7-18 CENTENNIAL SEASON

Mikko Franck, conductor JULIAN ANDERSON (b. 1967)

WOLFGANG AMADÈ MOZART (1756-1791)

Incantesimi Piano Concerto No. 18 in B-flat major, K456 1. Allegro vivace 2. Andante un poco sostenuto 3. Allegro vivace RICHARD GOODE, piano

INTER MISSION JOHANNES BRAHMS (1833-1897)

Symphony No. 1 in C minor, Opus 68 1.

2.

3.

4.

Un poco sostenuto — Allegro Andante sostenuto Un poco allegretto e grazioso Finale: Adagio — Più andante — Allegro non troppo ma con brio

Richard Goode’s appearance this weekend with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from The Hershey Foundation.

The Saturday performance is dedicated to Mr. and Mrs. Richard K. Smucker in recognition of their extraordinary generosity in support of The Cleveland Orchestra’s Annual Fund.

CLEVELAND ORCHESTRA RADIO BROADCASTS

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

Severance Hall 2017-18

Concert Program — Week 9

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December 7, 8, 9

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

“The Path to Brahms’s First Symphony” with guest speaker David Rothenberg chair, department of music, Case Western Reserve University

ANDERSON Incantesimi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 65 (10 minutes)

MOZART Piano Concerto No. 18 . . . . . . . . . . . . . . . . . . . . Page 67 (30 minutes)

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

INTERMISSION (20 minutes)

BRAHMS Symphony No. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . Page 73 (45 minutes)

Concert ends:

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

(approx.)

THUR 9:25 FRI 9:55 SAT 9:55

facebook.com/clevelandorchestra

Severance Restaurant and Opus Café post-concert desserts and drinks

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twitter: @CleveOrchestra instagram: @CleveOrch

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

This Week’s Concerts

The Cleveland Orchestra

INTRODUCING THE CONCERT

Now, Soon & Eventually

Anderson, Mozart, and Brahms

T H I S W E E K E N D ’ S C O N C E R T S present three works from across more than 200 years of musical creativity. Separately, they represent golden moments from within each composer’s lives. Together, they weave a tapestry of varying soundworlds — unique, interesting, daring, reflective, energized, and enriched by their juxtaposition with one another. Each composer, in his own way, was (is) at the peak of his creative powers, at the ages of . . . 49, 28, or 43.

The concert begins with a newer work by British composer Julian Anderson, who served as The Cleveland Orchestra composer-in-residence a decade ago. Here, in Incantesimi [“Enchantments”] from 2016, he whirls together five musical ideas, which circle one another, in harmony and in contrast. The english horn at time shines forth, along with the participation of two distinctly Japanese percussion sounds.

In the middle comes one of Mozart’s elegantly fun piano concertos, written in a year (1784) in which this Viennese master composed six such works. In turns graceful, optimistic, touching, delightful, and masterful, this is Mozart at his creative best, happily sharing the music that filled his mind.

The concert concludes with Brahms’s great First Symphony. Premiered in 1876, this symphony was long anticipated — and caused Brahms much anxiety in its slow gestation.

It is filled with majesty and massive orchestral outbursts interspersed with quietly intense and intimate chamber music sections. The great tune of the finale was the composer’s own homage to history — and to Beethoven’s “Ode to Joy” Ninth Symphony.

—Eric Sellen

Christoph von Dohnányi, who was originally scheduled to conduct this weekend’s concerts, was advised by his physician not to travel at this time and, regretfully, was forced to cancel his appearance here. We are grateful to conductor Mikko Franck, who is leading these performances, with the musical selections and supporting artist as originally announced.

Severance Hall 2017-18

Week 9 — Introducing the Concerts

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Mikko Franck Finnish conductor Mikko Franck is the music director of Orchestre philharmonique de Radio France, and also serves as principal guest conductor of Rome’s Orchestra dell’Accademia Nazionale di Santa Cecilia.

His career spans between concert hall and opera stage — with a repertoire ranging across operas by Mozart, Mussorgsky, Puccini, and Wagner, alongside orchestral works by Rautavaara, Sibelius, and Tchaikovsky. He is making his Cleveland Orchestra debut with this weekend’s concerts.

Born in 1979 in Helsinki, Mikko Franck is the youngest of five children. He began violin at age five and entered the Sibelius Academy at age 13. His subsequent music studies were in Israel, New York, and Sweden. He conducted his first symphony orchestra at the age of 16, and later decided to study conducting. He worked privately with Jorma Panula before joining his conducting class at the Sibelius Academy, where he earned a diploma in only one year.

By 2002, Mr. Franck had conducted all of Scandinavia’s leading orchestras, as well as the Berlin State Opera, Israel Philharmonic Orchestra, London Symphony Orchestra, Munich Philharmonic Orchestra, and the Philharmonia Orchestra.

Earlier in his career, Mikko Franck served as music director and chief conductor of the Belgian National Orchestra (2002-07) and as music director of the Finn-

Severance Hall 2017-18

Guest Conductor

ish National Opera (2006-13). He has guest conducted widely across North America, Europe, and in Asia, including appearances with the orchestras of Bamberg, Berlin, Chicago, Munich, New York, San Francisco, and Tokyo, as well leading concerts of the Chamber Orchestra of Europe and the Mahler Chamber Orchestra.

His operatic engagements have included performances with New York’s Metropolitan Opera, Teatro alla Scala Milan, Paris’s Théâter des Champs-Elysées, and the Vienna State Opera.

Mr. Franck is a particular champion of the works of Einojuhani Rautavaara, and recorded a collection of works by that composer, titled Book of Visions, for Ondine.

He was artistic director of a festival honoring Rautavaara’s music in 2002 with the Helsinki Philharmonic. Mr. Franck’s debut Ondine recording, Sibelius’s En Saga and Lemminkäinen Legends, received a Grammy nomination.

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Incantesimi [Enchantments] composed 2015-16

At a Glance

ANDERSON

Anderson wrote Incantesimi [“Enchantments”] in 2015-16 on a commission from the Berlin Symphony Orchestra, Royal Philharmonic of London, and the Boston Symphony Orchestra. It was first performed on June 8, 2016, by the Berlin Philharmonic conducted by Simon Rattle.

This work runs approximately 10 minutes in performance. Anderson scored it for 2 flutes (second doubling piccolo) and piccolo, 2 oboes, english horn, 2 clarinets (second doubling bass clarinet), 2 bassoons (second

born April 6, 1967 London

About the Music

by

Julian

living in London

Severance Hall 2017-18

doubling contrabassoon), 4 horns, 2 trumpets (one doubling piccolo trumpet; the trumpets move on- and off-stage at differing moments of the piece), 3 trombones, 3 percussionists (performing on tubular bells, large tam-tam, clash cymbals, bass tom-tom, contrabass tom-tom, large bass drum, mokubio [miniature woodblock], and hyoshigi [kabuki clappers]), and strings.

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

F E W R E C E N T S Y M P H O N I C W O R K S have had such auspi-

cious launches as Julian Anderson’s Incantesimi in 2016. Commissioned by Simon Rattle and the Berlin Philharmonic Orchestra in conjunction with the Royal Philharmonic Society of London and the Boston Symphony Orchestra, it was performed in Berlin, Rotterdam, Lucerne, and London in the summer of 2016 and in Boston more recently, in 2017.

Cleveland is the second American city to hear this work in live performance, which is entirely fitting. Anderson is well known to audiences here from his time as The Cleveland Orchestra’s Daniel R. Lewis Young Composer Fellow (2005-07), including his work Fantasias, which was written for Cleveland and premiered here in 2009.

In addition to a variety of orchestral works, Anderson has written many pieces for chorus. His opera Thebans was commissioned by English National Opera in 2014. He was born in London and now teaches at the Guildhall School of Music in the City of London.

Of Incantesimi — the Italian word for “enchantments” — he has written: “I use five musical ideas that orbit each other in ever differing relationships, somewhat like planets in an orrery. The english horn plays a special role with recurring solo lines. The work is a ten-minute span of time on the outside, but it gives a sense of

About the Music

65

being much more expansive, which is an illusion only music can give.”

The idea of five distinct musical objects came to him when listening to Mozart’s “Jupiter” symphony conducted by Christoph von Dohnányi at Tanglewood in 2015 — the finale of that symphony famously combines five themes in a dazzling display of counterpoint. Here, in Anderson’s Incantesimi, the english horn’s steady, serene line stands apart and seems impervious to the much more irregular musical ideas that circle round it. The other four elements are identified by the composer as “high, soaring melodies for the violins; bells, real and imaginary; long, slowly unfolding chords in the bass; plus a fluttering dance in wind and strings.”

The “fluttering dance” of winds and strings acts somewhat like a traditional symphonic-style scherzo section in a piece that otherwise moves slowly with distinctive sounds in high and low registers. The low register stands out in particular, with contrabassoon, bass clarinet, and double basses sounding important contributions. (Interestingly, among the low instruments, there is no tuba in Incantesimi.)

Percussion, too, are distinctively grouped high or low, and the three repeated clicks on a small woodblock at the end are intended to recall the Japanese night watchman’s cry: “All’s well!”

—Hugh Macdonald © 2017 Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis. He has written books on Beethoven, Berlioz, Bizet, and Scriabin.

CONGRATULATIONS TO

The Cleveland Orchestra on celebrating their

CENTENNIAL SEASON

66

About the Music

The Cleveland Orchestra

Piano Concerto No. 18 in B-flat major, K456 composed 1784

At a Glance

MOZART

Mozart composed this piano concerto in B-flat major (designated long after his death with the Köchel number K456 and numbered as No. 18) in the summer and early autumn of 1784, recording it in his own catalog of works on September 30. The date of its first performance is unknown; Mozart introduced it to Vienna on February 12, 1785. It is sometimes given the nickname “Paradis” in honor of the blind pianist-composer Maria Theresia Paradis, for whom it may have been written; Ms. Paradis may have played the work’s premiere in 1784.

born January 27, 1756 Salzburg

B Y S E P T E M B E R 1 7 8 4 , Mozart had already composed four

by

Wolfgang Amadè

died December 5, 1791 Vienna

Severance Hall 2017-18

This concerto runs about 30 minutes in performance. Mozart scored it for flute, 2 oboes, 2 bassoons, 2 horns, strings, and solo piano.

The Cleveland Orchestra first performed this concerto in October 1949, with George Szell conducting and Leonard Shure as soloist. The most recent performances were in April 2014, at Severance Hall, with pianist Mitsuko Uchida conducting from the keyboard. The concerto was recorded in performance that weekend, and released by Decca on an album along with Concerto No. 19.

About the Music piano concertos that year. Revealing a remarkable obsession with the form, two more piano concertos were to follow before the year was out.

On the 21st of September, Mozart’s wife gave birth to their second child, Karl, and nine days later her husband completed yet another piano concerto, this one in B-flat major (eventually designated as “No. 18” in the numbering and cataloging of works done long after the composer’s death). Mozart entered the new concerto in his own catalogue of completed works.

It is almost certainly this concerto in B-flat major to which his father Leopold referred in a letter of February 17, 1785, written to his daughter from Vienna, where he was visiting: “On Sunday evening . . . Madame Laschi gave a concert in the theater, at which . . . your brother played a glorious concerto which he had composed for Mlle Paradis for Paris. I was sitting only two boxes away and had the great pleasure of hearing so clearly all the interplay of the instruments that for sheer delight tears came into my eyes. When your brother left the platform the Emperor waved his hat and called out ‘Bravo, Mozart!’ And when he came on to play there was a great deal of applause.”

If only Leopold had obliged us by identifying the concerto by key, for it remains only an educated guess that the concerto About the Music

67

he heard that evening was what we know as No. 18 and not one of the other five he had composed in 1784. The manuscript of the concerto includes cadenzas for the first and last movements, which points to the likelihood that the concerto was written for someone else — when Mozart played his concertos himself, he improvised cadenzas. It is known that two previous concertos (Nos. 14 and 17) were written for Barbara Ployer (those scores also include cadenzas). So, by logic, it must have been No. 18 that was written for “Mlle Paradis.”

Maria Theresia Paradis was celebrated in her time as a composer and virtuoso pianist, and her celebrity was truly based on her musical talent, not merely on the fact that she was blind. The Empress Maria Theresia was The manuscript of the her godmother, which was a good start. But of concerto includes caher relations with Mozart we know very little. denzas for the first and Mlle Paradis’s concert in Paris, to which Leopold obliquely refers in his letter, took place last movements, which earlier in 1784, before the concerto was compoints to the likelihood pleted. It is possible that Mlle Paradis played that the concerto was it instead in London, where she appeared after written for someone else Paris that autumn. It is equally possible that she never played it at all.

— when Mozart played

his concertos himself he improvised cadenzas.

THE MUSIC

This concerto illustrates Mozart’s delight in wind instruments. The second subject of the first movement, for example, has a little chirpy tune on two oboes in thirds, to which a flute and a bassoon respond two octaves apart in a smooth line, as if to say “you have your kind of playing, we have ours.” Although the soloist later plays this theme, its true point has been made by the wind instruments.

The second movement is a remarkable set of variations, not on a simple tune but on a strained, melancholy melody in the minor key with expressive sighs and chromatic harmony.

The tune sounds rather like a variation itself, especially in its second half. The variations each contain internal variations, so there could be said to be ten variations, not just five.

The first variation is given almost entirely to the piano, and the repeats are observed. The second has a statement by the orchestra, decorated by the piano. The third has a ferocious opening and a gentle response from the piano. The fourth turns to the major key, and the fifth involves both orchestra and solo-

68

About the Music

The Cleveland Orchestra

ist throughout. With its heartfelt close, this movement is one of the most elaborate and expressive in all the Mozart concertos.

The finale third movement, in contrast, is a relatively simple rondo (repetition of a “refrain” with alternating other material), with a sharp surprise in the middle when Mozart switches suddenly to B minor — a “remote” key to classical ears — and introduces 2/4 rhythms in conflict with the prevailing 6/8. This delicious effect looks far more complicated than it sounds, as Mozart well knew.

—Hugh Macdonald © 2017

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About the Music

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The Cleveland Orchestra

Richard Goode

Severance Hall 2017-18

Guest Soloist

age of 14, immersing himself into what the New Yorker magazine recently described as “the classical world’s most coveted retreat,” and played there across 28 summers. He is also a founding member of the Chamber Music Society of Lincoln Center, and is a faculty member at the Mannes College of Music.

An exclusive Nonesuch recording artist, Richard Goode has made more than two dozen albums, ranging from solo and chamber works to art song collaborations and concertos. He was the first American-born pianist to record the complete Beethoven sonatas, and in anticipation of the 25th anniversary in 2018-2019 of the debut of those albums, Nonesuch has re-released the recordings.

Mr. Goode received a Grammy Award for his album of Brahms Sonatas with clarinetist Richard Stoltzman. In addition, two of his albums of works by Beethoven received Grammy nominations. His discography also includes Bach’s Partitas, a duo recording with Dawn Upshaw, and Mozart piano concertos with the Orpheus Chamber Orchestra.

Richard Goode and his wife, violinist Marcia Weinfeld, live in New York City.

For additional information, visit www.richardgoodepiano.com.

Photo: STEVE RISKIND

American pianist Richard Goode is praised world-wide for his interpretations of Classical and Romantic repertoire, and for music-making of emotional power and expressiveness. He first performed with The Cleveland Orchestra in March 1992 and most recently here in December 2009.

A native of New York, Richard Goode studied with Elvira Szigeti, Claude Frank, and Nadia Reisenberg at the Mannes College of Music, and with Rudolf Serkin at the Curtis Institute of Music. Mr. Goode’s many honors include the Avery Fisher Prize, Jean Gimbel Lane Prize in Piano Performance, First Prize in the Clara Haskil Competition, and the Young Concert Artists Award.

A guest artist of the world’s major orchestras and music festivals, Richard Goode opened his 2017-18 season at the Pablo Casals Museum in San Salvador, Spain, and at the Verbier Festival in Switzerland. Orchestras he is appearing with this season include The Cleveland Orchestra, Los Angeles Philharmonic, New York String Orchestra, and, in Europe, with the London Philharmonic, Oslo Philharmonic, and BBC Philharmonic. As a recitalist, he will be heard in the Lincoln Center Great Performers Series, in Philadelphia, Berkeley, La Jolla, Madison, and in London and other European capitals. Recent recital engagements have included sold-out performances of the final three Beethoven sonatas in Berlin, London, and New York.

From 1999 through 2013, Richard Goode served with Mitsuko Uchida as co-artistic director of the Marlboro Music School and Festival in Marlboro, Vermont.

He initially participated in Marlboro at the

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Symphony No. 1 in C minor, Opus 68 composed 1862-76

At a Glance

by

Johannes

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

Brahms began sketches for his First Symphony as early as 1862. He completed the work in 1876. It was first performed on November 4, 1876, at Karlsruhe, with Otto Dessoff conducting. The symphony was first performed in the United States on December 15, 1877, in New York’s Steinway Hall, conducted by Leopold Damrosch.

This symphony runs about 45 minutes in performance. Brahms scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, timpani, and strings.

The Cleveland Orchestra has performed Brahms’s First Symphony regularly throughout the ensemble’s history. It was first presented during

the Orchestra’s third season, at a pair of subscription concerts in December 1920 conducted by Nikolai Sokoloff.

The most recent performances were led by Franz Welser-Möst at Severance Hall in August 2014, and immediately thereafter on tour in Europe.

The Cleveland Orchestra has recorded the Brahms First Symphony six times: as an audio recording with George Szell in 1957 for Epic (monaural) and in 1966 for Columbia (stereo), with Lorin Maazel in 1975 for London/Decca, with Christoph von Dohnányi in 1986 for Teldec, in 1991 with Vladimir Ashkenazy for London/ Decca, and in 2014 as a video recording with Franz Welser-Möst, released on the Clasart Classic label.

About the Music T H E O P U S N U M B E R of Brahms’s First Symphony tells us

a whole story. Like Beethoven, Brahms came late to writing symphonies. Beethoven was thirty before his First Symphony appeared — and yet his “Opus 68” was already his Sixth (or “Pastoral”) Symphony.

Brahms was forty-three when his First Symphony appeared, with 67 substantial works to precede it.

Beethoven had perhaps been nervous of the great Haydn, living nearby in Vienna. Brahms, in similar fashion, was unquestionably nervous about the great Beethoven, whose shadow, was even more powerful historically than Haydn had been.

Beethoven’s nine symphonies were held up to be the ultimate standard against which all modern music should be compared, especially in Germany. Brahms, always conscious of his German heritage, took the competition seriously; he made sure that when he finally launched on such a voyage his ship would not founder.

Brahms played no orchestral instruments himself. He picked up his knowledge of the orchestra from his father (who played double bass and horn among other things) and from miscellaneous conducting experiences in Hamburg, Detmold, Severance Hall 2017-18

About the Music

73

and Vienna. These latter he did without any formal training as a conductor and without any official position in charge of an orchestra.

Brahms began work on his first concerto for piano (an instrument he played well) when he was twenty-one, and started to sketch a symphony the following year, probably the beginning of what would eventually emerge as his First Symphony. Two orchestral Serenades belonging to those early years reveal not the slightest incompetence in his handling of the orchestra. Indeed, Brahms seems to have begun his career as it ended, with a complete command of the language of music and a level of self-criticism and craft that ensured the quality of every work.

To write his first symIt was not the problem of writing for orchesphony, Beethoven tra that held Brahms back. His German Requiem had perhaps been (1868) and his Variations on a Theme by Haydn (1873) are completely accomplished works in that nervous of the great regard. In the First Symphony, Brahms accepted Haydn, living nearby the constitution of the orchestra as Beethoven left in Vienna. Brahms, in it. He showed little interest in the more colorful similar fashion, was instruments that most composers were delighting in at that time — no piccolo, no english horn, no unquestionably nerbass clarinet, no tuba, no harp, and no percussion vous about the great beyond the pair of timpani — although he does Beethoven, no longer ask for a contrabassoon to enrich the bass, and he living, but an even holds the trombones back until the last movement (as Beethoven had done to spectacular effect in his more powerful force Fifth Symphony). And even though Brahms clung as a shadow than to the old-fashioned hand-horns, not the valved Haydn had ever been. variety then in universal use, he wrote for them with assured mastery.

Nor could the problems of handling symphonic form be said to be any handicap. Brahms’s first 67 opus numbers include at least a dozen chamber works in the conventional four movements. These appear in sonata form, rondo form, or variations, and these standard models served him well, invariably enriched by seamless transitions, inventive surprises, superb command of keys and modulation, and a supply of finely crafted themes to build on.

Still, Brahms felt that his first symphonic effort should be weighty and substantial, without any frivolities such as the programs and suggestive titles that other living composers were attaching to their new symphonies. For Brahms, a symphony should be a strong and pure musical statement, without storyline or tale to tell. One way to achieve this weightiness was to delay the main substance

74

About the Music

The Cleveland Orchestra

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

It is not in fact so hard to compose. But what is fabulously difficult is to leave the superfluous notes under the table. —Johannes Brahms

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of the first and last movements with slow introductions. These are not themselves part of the musical “argument” itself, but instead prepare the ground (and the listener’s ears) for the stirring quicker music that is to come. In both cases, we hear outlines of themes, even themes themselves, that will play a part in the Allegro body of the movement (the “argument” made up of the formal sections of music). The seriousness with which these introductions signal the music to come is not to be underestimated.

MOVEMENT BY MOVEMENT

The heavy tread of the timpani at the opening of the first movement is one of Brahms’s simplest yet most impressive ideas, supporting the winds’ descending phrase and the strings’ complementary ascent. Melodies of the conventional kind are actually rare in the first movement, even after the Allegro begins. Instead, the material is mostly made up of motivic fragments that lend themselves well to energetic argument.

The second movement, in contrast, is rich in gorgeous melody.

The writing for strings is particularly powerful. Oboe and clarinet come forward with solo material and, at the end of the movement, a solo violin sings high above the orchestra, bathed in nostalgia.

Where Beethoven would usually write a scherzo, Brahms preferred a less hectic, medium-paced movement. This third movement takes us back to the relaxed serenades of Brahms’s early years, and although a middle section introduces some tension, the lovely clarinet melody returns, and the movement ends in tranquility.

Perhaps a slow, portentous introduction was then needed to draw the mind back to the important matter of a fourth-movement finale. No light Haydnesque solution was possible for Brahms, so he prefaced the main part of the movement with a series of dramatic tableaux, including some solemn entries for horns and trombones, before launching into the famous main tune. This has inevitably been likened to the “Joy” theme in Beethoven’s Ninth Symphony, but it has its own identity and it carves out its own course in a powerful movement that maintains its potency and drive to the very end.

Those who heard this work in 1876 were left in little doubt that no symphony of comparable range and impact had been heard since Beethoven’s famous Ninth. Brahms, characteristically taking no chances, had made sure that his First Symphony was the mightiest thing he had yet done. And, indeed, it remains one of the mightiest things he ever composed.

—Hugh Macdonald © 2017

Severance Hall 2017-18

About the Music

77

THE CLEVELAND ORCHESTRA

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

88 78

George Szell Society

Mr. William P. Blair III+ Blossom Friends of The Cleveland Orchestra The Brown and Kunze Foundation Jeanette Grasselli Brown and Glenn R. Brown+ Mr. and Mrs. Alexander M. Cutler+ Mrs. John A Hadden Jr. T. K. and Faye A. Heston Mr. and Mrs. Donald M. Jack, Jr. Elizabeth B. Juliano Giuliana C. and John D. Koch+ Toby Devan Lewis Virginia M. and Jon A. Lindseth Mr. and Mrs. Alex Machaskee+ Ms. Nancy W. McCann+ Ms. Beth E. Mooney+ Rosanne and Gary Oatey (Cleveland, Miami)+ The Honorable and Mrs. John Doyle Ong+ Mr. and Mrs. Alfred M. Rankin, Jr. Mrs. Alfred M. Rankin, Sr. Charles and Ilana Horowitz Ratner+ Barbara S. Robinson (Cleveland, Miami)+ Sally and Larry Sears+ Mary M. Spencer (Miami)+ Mrs. Jean H. Taber* Barbara and David Wolfort (Cleveland, Miami)+

+ Multiyear Pledges Multiyear pledges support the Orchestra’s artistry while helping to ensure a sustained level of funding. We salute those extraordinary donors who have signed pledge commitments to continue their annual giving for three years or more. These donors are recognized with this symbol next to their name: +

Individual Annual Annual Support Individual

The Cleveland Orchestra

Elisabeth DeWitt Severance Society

Dudley S. Blossom Society gifts of $15,000 to $24,999

gifts of $25,000 to $49,999 Dr. and Mrs. Wolfgang Berndt (Europe) Mr. and Mrs. William W. Baker Dr. and Mrs. Wolfgang Berndt (Europe) Mr. and Mrs. Charles P. Bolton+ Mr. Yuval Brisker Mary Alice Cannon Mr. and Mrs. David J. Carpenter+ Jill and Paul Clark Robert and Jean* Conrad+ Judith and George W. Diehl George* and Becky Dunn Friends of The Cleveland Orchestra (formerly the Women’s Committee of The Cleveland Orchestra) JoAnn and Robert Glick+ Mr. and Mrs. Geoffrey Gund Mr. and Mrs. Jeffrey Healy+ Mary and Jon Heider (Cleveland, Miami) Mrs. Marguerite B. Humphrey+ Junior Committee of The Cleveland Orchestra Mr. and Mrs. Joseph P. Keithley Mr. and Mrs. Douglas A. Kern Milton A. and Charlotte R. Kramer Charitable Foundation Margaret Fulton-Mueller+ Mrs. Jane B. Nord William J. and Katherine T. O’Neill Julia and Larry Pollock+ Mr. and Mrs. James A. Ratner Marc and Rennie Saltzberg Larry J. Santon and Lorraine S. Szabo+ The Ralph and Luci Schey Foundation+ Hewitt and Paula Shaw Richard and Nancy Sneed+ Jim and Myrna Spira R. Thomas and Meg Harris Stanton+ Ms. Ginger Warner (Cleveland, Miami) Anonymous (2)

Listings of all donors of $300 and more each year are published annually, and can be viewed online at CLEVELANDORCHESTRA . COM

Gay Cull Addicott+ Randall and Virginia Barbato Dr. Christopher P. Brandt and Dr. Beth Sersig+ Dr. Ben H. and Julia Brouhard Irad and Rebecca Carmi Mr. and Mrs. William E. Conway Mrs. Barbara Cook Mary Jo Eaton (Miami) Dr. and Mrs. Robert Ehrlich (Europe) Mr. Allen H. Ford Ms. Dawn M. Full Mr. and Mrs. Robert W. Gillespie Richard and Ann Gridley+ Robert K. Gudbranson and Joon-Li Kim+ Kathleen E. Hancock Sondra and Steve Hardis Jack Harley and Judy Ernest David and Nancy Hooker+ Joan and Leonard Horvitz Richard and Erica Horvitz (Cleveland, Miami) Allan V. Johnson Jonathan and Tina Kislak (Miami) Mr. Jeff Litwiller+ Mr. and Mrs. Thomas B. McGowan Mr. Thomas F. McKee Mr. and Mrs. Stanley A. Meisel The Miller Family+ Sydell Miller Lauren and Steve Spilman Stacie and Jeff Halpern Edith and Ted* Miller+ Mr. Donald W. Morrison+ Dr. Anne and Mr. Peter Neff Mr. and Mrs. James A. Saks Rachel R. Schneider+ Mrs. David Seidenfeld+ Kim Sherwin+ William* and Marjorie B. Shorrock+ Mr. and Mrs. Alfred Umdasch (Europe) Tom and Shirley Waltermire+ Mr. and Mrs. Fred A. Watkins+ Mr. and Mrs. Jeffery J. Weaver Meredith and Michael Weil Mr. and Mrs. Jeffrey M. Weiss Paul and Suzanne Westlake listings continue

Severance Hall 2017-18

Individual Annual Support

79

Frank H. Ginn Society gifts of $10,000 to $14,999 Mr. and Mrs. Dean Barry Laurel Blossom Irma and Norman Braman (Miami)+ Mr. D. McGregor Brandt, Jr. Mr. and Mrs. Marshall Brown J. C. and Helen Rankin Butler+ Richard J. and Joanne Clark Mrs. Barbara Ann Davis+ Dr. M. Meredith Dobyns Henry and Mary* Doll+ Nancy and Richard Dotson+ Mr. and Mrs. Robert P. Duvin Dr. and Mrs. Lloyd H. Ellis Jr. Mr. Brian L. Ewart and Mr. William McHenry Carl Falb+ Bob and Linnet Fritz Albert I. and Norma C. Geller Dr. Edward S. Godleski Patti Gordon (Miami) Amy and Stephen Hoffman

Thomas H. and Virginia J.* Horner Fund+ James and Claudia Hower Mrs. Elizabeth R. Koch Stewart and Donna Kohl Dr. David and Janice Leshner Don H. McClung Joy P. and Thomas G. Murdough, Jr. (Miami)+ Brian and Cindy Murphy+ Mr. Raymond M. Murphy+ Mr. J. William and Dr. Suzanne Palmer Douglas and Noreen Powers Audra* and George Rose+ Paul A. and Anastacia L. Rose Steven and Ellen Ross Mr. and Mrs. David A. Ruckman Dr. Isobel Rutherford Dr. and Mrs.* Martin I. Saltzman+ David M. and Betty Schneider Carol* and Albert Schupp Mr. and Mrs. Oliver E. Seikel

Seven Five Fund Mrs. Gretchen D. Smith+ The Stair Family Charitable Foundation, Inc. Lois and Tom Stauffer Mr. and Mrs. Jonathan M. Steingass Bruce and Virginia Taylor+ Mr. Joseph F. Tetlak Rick, Margarita, and Steven Tonkinson (Miami)+ Gary L. Wasserman and Charles A. Kashner (Miami) Pysht Fund The Denise G. and Norman E. Wells, Jr. Family Foundation+ Robert C. Weppler Sandy and Ted Wiese Sandy Wile and Joanne Avenmarg Tony and Diane Wynshaw-Boris+ Max and Beverly Zupon Anonymous (4)

The 1929 Society gifts of $5,000 to $9,999 Robert and Alyssa Lenhoff-Briggs Dr. and Mrs. D. P. Agamanolis Susan S. Angell Mr. William App William Appert and Christopher Wallace (Miami) Robert and Dalia Baker Fred G. and Mary W. Behm Mr. and Mrs. Jules Belkin Daniel and Trish Bell (Miami) Mr. William Berger Howard Bernick and Judy Bronfman Mr. David Bialosky and Ms. Carolyn Christian+ Suzanne and Jim Blaser Robert and Alyssa Lenhoff-Briggs Dr.* and Mrs. Jerald S. Brodkey Frank and Leslie Buck+ Ms. Maria Cashy+ Drs. Wuu-Shung and Amy Chuang+ Ellen E. & Victor J. Cohn+ Kathleen A. Coleman+ Diane Lynn Collier and Robert J. Gura+ Marjorie Dickard Comella The Sam J. Frankino Foundation Mr. and Mrs. Matthew V. Crawford Mr. and Mrs. Ralph Daugstrup Mr. and Mrs. Thomas S. Davis Pete and Margaret Dobbins+ Carl Dodge Mr. and Mrs. Paul Doman Mary and Oliver* Emerson Dr. D. Roy and Diane A. Ferguson William R. and Karen W. Feth+

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Joseph Z. and Betty Fleming (Miami) Scott A. Foerster Joan Alice Ford Michael Frank and Patricia A. Snyder Barbara and Peter Galvin Joy E. Garapic Dr. and Mrs. Adi Gazdar Brenda and David Goldberg Mr. and Mrs. Randall J. Gordon+ Angela and Jeffrey Gotthardt Harry and Joyce Graham Mr. Paul Greig AndrĂŠ and Ginette Gremillet Ms. Nancy L. Griffith The Thomas J. and Judith Fay Gruber Charitable Foundation Robert N. and Nicki N. Gudbranson+ David and Robin Gunning Gary Hanson and Barbara Klante Mr. Robert D. Hart Clark Harvey and Holly Selvaggi+ Iris and Tom Harvie+ Henry R. Hatch Robin Hitchcock Hatch Dr. Robert T. Heath and Dr. Elizabeth L. Buchanan+ Janet D. Heil* Anita and William Heller+ Mr. Loren W. Hershey Patrick* and Jean Holden Steve and Mary Hosier Elisabeth Hugh+ David and Dianne Hunt Mr. and Mrs. Brinton L. Hyde

Individual Annual Support

Pamela and Scott Isquick+ Donna L. and Robert H. Jackson Mr. and Mrs. Richard A. Janus Joela Jones and Richard Weiss Andrew and Katherine Kartalis Milton and Donna* Katz Dr. Richard and Roberta Katzman Dr. and Mrs. Richard S. Kaufman Mr. and Mrs. Christopher Kelly Dr. and Mrs. William S. Kiser James and Gay* Kitson+ Mrs. Natalie D. Kittredge Rob and Laura Kochis Tim and Linda Koelz+ Mr. and Mrs.* S. Lee Kohrman Mr. Clayton R. Koppes Mr. James Krohngold+ Mr. and Mrs. Peter A. Kuhn+ Mr. and Mrs. Arthur J. Lafave, Jr. David C. Lamb+ Kenneth M. Lapine and Rose E. Mills+ Anthony T. and Patricia A. Lauria Dr. Edith Lerner Mr. Lawrence B. and Christine H. Levey+ Judith and Morton Q. Levin+ Dr. Stephen B. and Mrs. Lillian S. Levine+ Dr. Alan and Mrs. Joni Lichtin+ Mr. Rudolf and Mrs. Eva Linnebach+ Anne R. and Kenneth E. Love Robert and LaVerne* Lugibihl Elsie and Byron Lutman Ms. Jennifer R. Malkin Mr. and Mrs. Morton L. Mandel

The Cleveland Orchestra

Alan Markowitz M.D. and Cathy Pollard Mr. and Mrs. E. Timothy McDonel James and Virginia Meil Dr. Susan M. Merzweiler Loretta J. Mester and George J. Mailath Claudia Metz and Thomas Woodworth+ Lynn and Mike Miller+ Drs. Terry E. and Sara S. Miller Curt and Sara Moll Ann Jones Morgan+ Mr. John Mueller Lucia S. Nash Georgia and Carlos Noble (Miami)+ Richard and Kathleen Nord Thury O’Connor Mr. and Mrs. Peter R. Osenar Mr. Henry Ott-Hansen Mr. Robert S. Perry Nan and Bob Pfeifer+ Mr. and Mrs. Richard W. Pogue In memory of Henry Pollak Dr. and Mrs. John N. Posch+ Ms. Rosella Puskas Mr.* and Mrs. Thomas A. Quintrell

Mr. and Mrs. Roger F. Rankin Brian and Patricia Ratner Amy and Ken Rogat Carol Rolf and Steven Adler Dr. and Mrs. Michael Rosenberg (Miami) Dr. and Mrs. Ronald J. Ross Rosskamm Family Trust Robert and Margo Roth+ Dr. and Mrs. Robert C. Ruhl Mrs. Florence Brewster Rutter+ Drs. Michael and Judith Samuels (Miami) Patricia J. Sawvel Raymond T. and Katherine S. Sawyer Linda B. Schneider Dr. and Mrs. James L. Sechler Mr. Eric Sellen and Mr. Ron Seidman Vivian L. Sharp Mr. James E. Simler and Ms. Amy Zhang Naomi G. and Edwin Z. Singer+ The Shari Bierman Singer Family Drs. Charles Kent Smith and Patricia Moore Smith+ Roy Smith Mr. Eugene Smolik

Mr. and Mrs. William E. Spatz+ atz+ George and Mary Stark Mr. and Mrs. Donald W. Strang, rang, Jr. Stroud Family Trust Dr. Elizabeth Swenson+ Robert and Carol Taller+ Mr. and Mrs. Bill Thornton Dr. Russell A. Trusso Robert and Marti Vagi+ Robert A. Valente and Joan A. Morgensten+ Dr. Gregory Videtic and Rev. Christopher McCann Walt and Karen Walburn Dr. Beverly J. Warren Mr. and Mrs. Mark Allen Weigand+ Dr. Edward L. and Mrs. Suzanne Westbrook Tom and Betsy Wheeler Richard Wiedemer, Jr.+ Dr. and Mr. Ann Williams+ Bob and Kat Wollyung Anonymous

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

Composer’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 O’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

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84

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The Cleveland Orchestra

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

The Cleveland Orchestra guide to

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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

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The Cleveland Orchestra

11001 Euclid Avenue Cleveland, Ohio 44106

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

CLEVELANDORCHESTRA.COM

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

HAILED AS ONE OF

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.

89

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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

91

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

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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 weekâ&#x20AC;&#x2122;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, â&#x20AC;&#x153;turnbacksâ&#x20AC;? 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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Guest Information

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93

THE CLEVELAND C O N C E R T

C A L E N D A R

AUTUMN SEASON

AT THE MOVIES

North by Northwest

ELGAR’S ENIGMA AND EMANUEL AX

Nov 19 — Sunday at 7:00 p.m.

Nov 3 — Friday at 8:00 p.m. <18s Nov 4 — Saturday at 8:00 p.m.

Nov 5 — Sunday at 3:00 p.m. <18s

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 Roger Thornhill (Cary Grant) finds himself thrust into the 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

ELGAR Serenade for Strings BEETHOVEN Piano Concerto No. 1 ELGAR Enigma Variations

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.

94

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

I N

T H E

S P O T L I G H T

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 virtuosic 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

216 - 231-1111 800-686-1141

clevelandorchestra.com

95

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