The Cleveland Orchestra January 11, 12, 13, 18, 19, 20 Concerts by Live Publishing

THE

CLEVEL AND ORC HE STR A

2O1 7-18 CENTENNIAL SEASON

FRANZ WELSER-MÖST

Perspectives page 7 Week 10 January 11, 12, 13

Mahler’s Ninth Symphony page 29

Week 11 January 18, 20

Haydn’s The Seasons page 61

Week 11a January 19

Heroic Beethoven page 81

SEVERANCE HALL

WINTER

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.

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. Drive

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2O1 7-18 CENTENNIAL SEASON

TA B L E

CONTENTS

THIS BOOK THE CLEVELAND ORCHESTRA

About the Orchestra

PAGE

Week 10 and 11/11a Perspectives: From the President and Executive Director . . . 7 From the Start: The Cleveland Orchestra . . . . . . 13 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Patron Information . . . . . . . . . . . . . . . . . . . . . . . . . . . 107 Upcoming Concerts . . . . . . . . . . . . . . . . . . . . . . . . . . 110 WEEK

MAHLER’S NINTH SYMPHONY Concert: January 11, 12, 13 . . . . . . . . . . . . . . . . . . . 29 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 31

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

One of the earliest photographs of The Cleveland Orchestra, onstage at Grays Armory, 1919

Copyright © 2018 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

STAUD

Stromab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 MAHLER

Symphony No. 9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Conductor: Franz Welser-Möst . . . . . . . . . . . . . . . . . 21 Mahler Visits Cleveland: The Year 1910 . . . . . . . . . 45 NEWS WEEK

Cleveland Orchestra News . . . . . . . . 53

HAYDN’S THE SEASONS Concert: January 18, 20 . . . . . . . . . . . . . . . . . . . . . . 61 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 63 HAYDN

The Seasons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 Conductor: Franz Welser-Möst . . . . . . . . . . . . . . . . . 21 Soloists and Chorus . . . . . . . . . . . . . . . . . . . . . . . . . 74-77 WEEK

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.

11a

HEROIC SYMPHONY Concert: January 19 . . . . . . . . . . . . . . . . . . . . . . . . . . 81 Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . 83

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

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

BEETHOVEN

Overture to The Creatures of Prometheus . . . . . 84 BEETHOVEN

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

Symphony No. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 BEETHOVEN

Symphony No. 3 (“Eroica”) . . . . . . . . . . . . . . . . . . 88 Conductor: Franz Welser-Möst . . . . . . . . . . . . . . . . . 21

Support Second Century Sponsors . . . . . . . . . . . . . . . . . . . . . 16 Annual Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Table of Contents

The Cleveland Orchestra

10 0

RE ASON S

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.

bakerlaw.com

“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

From the President and Executive Director

PERSPECTIVES

W E L C O M E T O Severance Hall for these first performances of 2018. We are delighted that you are joining us for The Cleveland Orchestra’s 1OOth season. This historic moment in time represents a special opportunity to consider and celebrate all that has come before and all that we dream for our orchestra and our community in the future.

RICHARD K. SMUCKER

H O M E T OW N O RC H E S T R A : B U I LT O N S T R E N G T H

The 1OOth season is a milestone anniversary not just for The Cleveland Orchestra, but for the community that created and sustains it. A century of hard work has connected all of us together through decades of memorable musical experiences — including daytime school concerts for literally millions of students, and evening and weekend performances for millions more adults. We are recommitting this institution to continue bringing great musical experiences to Northeast Ohio for the next hundred years and beyond. In doing so, we believe that a handful of shared values and promises are central to serving this great city in the years ahead:

ANDRÉ GREMILLET

2O1 7-18 CENTENNIAL SEASON

Believing in the Value of Excellence Sharing the Power and Passion of Music Inspiring Future Generations Celebrating and Serving Community The Cleveland Orchestra has championed these values for a hundred years, and we begin our Second Century with a renewed commitment to upholding these promises for our home community. To ensure that we are moving forward on the strongest possible footing — and making the best possible choices for this orchestra and this community — we have taken a long and concentrated look at how far we’ve come and how far we have yet to travel. By evaluating the successes and challenges of the past century, and especially in examining the trends of the past decade, we are embarking on a clear course forward into what we know will be a vibrant and successful Second Century. T H E C L E V E L A N D O R C H E S T R A T O DAY: E N V I S I O N I N G T H E F U T U R E

Today, we can say without reservation or hesitation that The Cleveland Orchestra has never been stronger artistically. The past decade has also seen success and achievement across the financial components of our operations — realizing that even a strong institution cannot be entirely free from challenges and occasional setbacks. Over the past year, we have been examining our strengths alongside areas of our operations and service that can be re-examined and advanced in the years ahead: Achieving Acclaim — At Home and Abroad. Under Franz Welser-Möst’s artistic leadership, Cleveland’s Orchestra is second to none. The recent European Tour in October 2017 was just the latest in a decades-long string of performances, internationally and

Severance Hall 2017-18

Launching the Second Century

T H E

C L E V E L A N

around the United States, that reaffirms the enduring artistic strength and vibrancy of The Cleveland Orchestra and the incredible partnership that Franz and the Orchestra have formed. We are proud to carry the name of Cleveland around the globe, as testament to our hometown’s ongoing strengths and potential. Responding to Change. To meet the evolving needs of our audience and community while maintaining focus on our mission and core values, we are working to bring new perspectives and fresh thinking to our work. Within a framework of stability and evolution, we have implemented leadership changes for both staff and board — with a clear focus on how to best serve the Northeast Ohio community. Reaffirming Our Commitment to Education and Community. Education and community programming — which today reaches more than 100,000 people of all ages each year — has always been an essential part of what The Cleveland Orchestra is and does — and the importance of these offerings will only continue to grow. Growing Audiences of All Ages. With new programs implemented in the past decade, we are attracting young audiences at a rate that has caught the attention of every other orchestra in the country. The explosion in the number of young audience members attending Cleveland Orchestra concerts has helped add to the vibrancy of performances and fuels renewed confidence in our artform. Serving More People Across Northeast Ohio. Here at home, more people are enjoying more music performed by Cleveland Orchestra musicians than ever before through diversified programming across a variety of formats, concert lengths, and venues; enhanced amenities before and after concerts; and flexible attendance options, from a build-your-own ticket series to monthly-ticketing memberships to shorter performances for popular Friday evening concert series. Blossom, the Orchestra’s summer home, continues to attract concertgoers of all ages, and will reach its own milestone 5Oth Anniversary season this year. A Tradition of Generosity and Support. The people of this community — our donors and concertgoers — are the lifeblood of this institution. The past decade in particular has seen renewed growth in donor support, in numbers and dollars. In particular, the Orchestra’s Annual Fund has grown to support both innovative new programs and timetested initiatives that continue impacting lives. CRE ATING RE NE WE D AND LO NG -TE RM FINANC IAL S TRE NGTH

The support of many has carried us to worldwide renown and unrivalled artistic achievement, with a continuing commitment at home to inspire future generations through the power of music. The generosity of past and current generations of donors has helped create The Cleveland Orchestra as it stands today. We weathered the international financial crisis of a decade ago, and have moved forward to build for a renewed future. Even within the context of such major achievement — artistically and institutionally — we occasionally fall short of a balanced budget, as we did the past two years. Such deficits are not indicative of long-term trends, but they are a sober reminder of the careful balancing act required to sustain and strengthen The Cleveland Orchestra’s financial future. The Orchestra’s Endowment has achieved notable growth in recent years through well-managed investments and a series of important gifts — and this past summer was valued at an historic high of $192 million. Despite this good news, the Orchestra’s Endowment has long been undersized and remains too small to truly secure the Orchestra’s future finances. Increasing the Endowment — thus increasing its contribution toward each year’s budget — is a necessary step toward guaranteeing the sustainability of this Or-

Launching the Second Century

The Cleveland Orchestra

O R C H E S T R A chestra for the longterm. Coupled with ongoing growth in the Annual Fund and increased ticket sales in recent years, we are poised, with a strong commitment from everyone who loves The Cleveland Orchestra and its hometown community, to create a sustainable financial basis to carry this institution forward in our Second Century. ROADMAP FORWARD: PL ANNING FOR CONTINUING SUCCE S S

The Cleveland Orchestra completed a year-long strategic planning process in March 2017, reaffirming the Orchestra’s shared goals and values of who we are and what we do. This collaborative process resulted in a renewed understanding of the Orchestra’s mission as it relates to today, tomorrow, and the decades ahead. To help ensure that we focus on the Orchestra’s core mission to serve the Northeast Ohio community, we have established new metrics to measure progress and power the institution forward. These metrics will help monitor and focus our work across artistic planning, audience and community engagement (including education programs), and financial health. Together, these goals and measurable targets set a clear picture of financial needs and opportunities. Importantly, they also expand our planning windows across a range of artistic and community initiatives to ensure strategic advancement of the Orchestra’s mission and vision. The five-year financial plan now in place includes strategies for propelling ongoing increased annual fundraising goals and successfully driving strong growth to the Endowment. This roadmap forward gives us clear direction and meaningful goals toward being as successful financially as we are artistically, but it will require hard work and diligence from all involved — board, musicians, staff, volunteers, audiences, and donors. WORKING TOGE THE R: TOWARD AN E X TRAORDINARY FUTURE

In commemorating the Orchestra’s centennial, we are celebrating the special relationship between The Cleveland Orchestra and its home community — and looking ahead to the bright future that awaits all of us together. Afterall, The Cleveland Orchestra is a product and a promise of great partnerships, between music director and musicians, staff and volunteers, senior leadership and trustees, all of us and our hometown community, everyone together. These bonds have created and fueled the Orchestra’s greatness and placed it among the world’s best. There is no limit to what we can accomplish together through commitment of time, energy, and financial resources. Our success will set the stage for new generations to experience extraordinary music-making — in unrivalled performances onstage, in the classroom, and around the community. With hard work and dedication from everyone who loves this Orchestra and believes in the life-changing power of music, an extraordinary future — built on excellence, innovation, dedication, and collaboration — is ours for the making.

Richard K. Smucker President

André Gremillet Executive Director

This message was adapted from the Orchestra’s Annual Report, published in December 2017. The full report can be read and perused online by visiting: clevelandorchestra.com/publications.

Severance Hall 2017-18

Launching the Second Century

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

United Way of Greater Cleveland | 1331 Euclid Avenue, Cleveland, OH 44115 | 216-436-2100

MUSICAL ARTS ASSOCIATION

as of January 2018

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 Alexander M. Cutler Hiroyuki Fujita David J. Hooker Michael J. Horvitz Douglas A. Kern

Norma Lerner, Honorary Chair Hewitt B. Shaw, Secretary Beth E. Mooney, Treasurer

Virginia M. Lindseth Nancy W. McCann Larry Pollock Alfred M. Rankin, Jr. Audrey Gilbert Ratner

Barbara S. Robinson Jeffery J. Weaver Meredith Smith Weil Paul E. Westlake Jr.

R E S I D E NT TR U S TE ES 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 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 Milton S. Maltz Nancy W. McCann Stephen McHale Thomas F. McKee Loretta J. Mester Beth E. Mooney John C. Morley Meg Fulton Mueller Katherine T. O’Neill Rich Paul Larry Pollock Alfred M. Rankin, Jr. Clara T. Rankin Audrey Gilbert Ratner

Charles A. Ratner Zoya Reyzis Barbara S. Robinson Steven M. Ross Luci Schey Spring Hewitt B. Shaw Richard K. Smucker James C. Spira R. Thomas Stanton Russell Trusso 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 (New York) Wolfgang C. Berndt (Austria)

Laurel Blossom (California) Richard C. Gridley (South Carolina)

Herbert Kloiber (Germany) Paul Rose (Mexico)

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 Dr. Ronald H. Bell David P. Hunt 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 Robert P. Madison Gay Cull Addicott Robert F. Meyerson Charles P. Bolton The Honorable John D. Ong Allen H. Ford James S. Reid, Jr. Robert W. Gillespie Dorothy Humel Hovorka* Alex Machaskee * deceased

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

“Simply stupendous” – BOSTON ARTS FUSE

THREE DUELS and a Wedding

Renowned soprano Amanda Forsythe, now a Billboard Classical best-selling artist, returns to sing the beloved Wedding Cantata RI - 6 %DFK $) PXVLFLDQV VHW VSDUNV Á\LQJ ZLWK WKUHH GXHOLQJ double-concertos: Bach’s Brandenburg Concerto no. 6, his Concerto for Violin & Oboe, and Telemann’s Concerto for Flute & Violin.

SATURDAY, FEBRUARY 10, 8:00PM The Temple-Tifereth Israel (Beachwood)

Additional performances February 8-9 & 11 around N.E. Ohio

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CLEVELAND ORCHESTRA THE

December 1919, Grays Armory

From the Start

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

2O1 7-18 CENTENNIAL SEASON

cclaimed for decades among the world’s top symphonic ensembles, The Cleveland Orchestra celebrates its 1OOth year during the 2017-18 season. Such fame and acclaim did not come without a plan. From the very beginning, the private citizens who created this public institution fully intended to foster a great musical ensemble that would carry the exceptional can-do spirit of the city of Cleveland far and wide. Generations have carried through on the hard work required to forge and sustain the Orchestra’s mission to share extraordinary musical experiences, to foster a love of music in students of all ages, and to proudly carry the name of the city it represents. The Early Decades: Creation, Growth, and the Construction of Severance Hall At the time the ensemble was created, in 1918, Cleveland was a rising industrial metropolis heavily involved in the steel industry and rivalling Detroit in car manufacturing. Rich magnates put the money together for the Orchestra’s early seasons, including John L. Severance, an acquaintance of John D. Rockefeller. Unusually for the era, a woman, Adella Prentiss Hughes, was the

Severance Hall 2017-18

About the Orchestra

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

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

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

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

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

Severance Hall 2017-18

About the Orchestra

2O1 7-18

THE CLEVELAND ORCHESTRA

CENTENNIAL SEASON

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

Presenting Sponsors

Leadership Sponsors

Sponsors

Ruth McCormick Tankersley Charitable Trust

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

Westfield Insurance KPMG LLP PwC

Global Media Sponsor

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

Second Century Sponsors

The Cleveland Orchestra

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

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

— 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

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.

EDWINS

Leadership & Restaurant Institute

Eat Well. Do Good. Open for pre- and post-concert dining.

Shaker Square, Ohio 44120 | 216.921.3333 Severance Hall 2017-18

About the Orchestra

Just 10 minutes from Severance Hall.

P H OTO BY M I C H A E L P O E H N

Franz Welser-Möst Music Director Kelvin Smith Family Endowed Chair The Cleveland Orchestra

Franz Welser-Möst is among today’s most distinguished conductors. The 2017-18 season marks his sixteenth year as music director of The Cleveland Orchestra, with the future of this acclaimed partnership extending into the next decade. The New York Times has declared Cleveland under Welser-Möst’s direction to be the “best American orchestra“ for its virtuosity, elegance of sound, variety of color, and chamber-like musical cohesion. The Cleveland Orchestra has been repeatedly praised for its innovative programming, support for new musical works, and for its renewed success in semi-staged and staged opera productions. Franz Welser-Möst and The Cleveland Orchestra are frequent guests at many prestigious concert halls and festivals around the world, including regular appearances in Vienna, New York, and Miami, and at the festivals of Salzburg and Lucerne. In the past decade, The Cleveland Orchestra has been hugely successSeverance Hall 2017-18

Music Director

ful in building up a new and, notably, younger audience through groundbreaking programs involving families, students, and universities. As a guest conductor, Mr. WelserMöst enjoys a close and productive relationship with the Vienna Philharmonic. His recent performances with the Philharmonic have included critically-acclaimed opera productions at the Salzburg Festival (Strauss’s Der Rosenkavalier in 2014, Beethoven’s Fidelio in 2015, Strauss’s Die Liebe der Danae in 2016, and Reimann’s Lear in 2017), as well as appearances at New York’s Carnegie Hall, at the Lucerne Festival, and in concert at La Scala Milan. He has conducted the Philharmonic’s celebrated annual New Year’s Day concert twice, viewed by millions worldwide. This past season, he led the Vienna Philharmonic in performances in Vienna and on tour in the United States, featuring three concerts at Carnegie Hall. He returns to the Salzburg Festival in 2018. Mr. Welser-Möst also maintains relationships with a number of other European orchestras and opera companies. His 2017-18 schedule includes concerts with the Royal Stockholm Philharmonic, Zurich’s Tonhalle Orchestra, Orchestre de Paris, Leipzig Gewandhaus, Amsterdam’s Royal Concertgebouw, and Milan’s Filarmonica della Scala, as well as leading a gala with the Shanghai Grand Opera. From 2010 to 2014, Franz WelserMöst served as general music director of the Vienna State Opera. His partnership with the company included an acclaimed new production of Wagner’s Ring cycle and a series of critically-praised new pro-

ductions, as well as performances of a wide range of other operas, particularly works by Wagner and Richard Strauss. Prior to his years with the Vienna State Opera, Mr. Welser-Möst led the Zurich Opera across a decade-long tenure, conducting more than forty new productions and culminating in three seasons as general music director (2005-08). Franz Welser-Möst’s recordings and videos have won major awards, including a Gramophone Award, Diapason d’Or, Japanese Record Academy Award, and two Grammy nominations. The recent Salzburg Festival production he conducted of Der Rosenkavalier was awarded with the Echo Klassik for “best opera recording.“ With The Cleveland Orchestra, his recordings include DVD recordings of live performances of five of Bruckner’s symphonies and a multi-DVD set of major works by Brahms, featuring Yefim Bronfman and Julia Fischer as soloists. A companion video recording of Brahms’s German Requiem was released in 2017. This past summer, Mr. Welser-Möst was awarded the 2017 Pro Arte Europapreis for his advocacy and achievements as a musical ambassador. Other honors and awards include the Vienna Philharmonic’s “Ring of Honor” for his longstanding personal and artistic relationship with the ensemble, as well as recognition from the Western Law Center for Disability Rights, honorary membership in the Vienna Singverein, appointment as an Academician of the European Academy of Yuste, a Decoration of Honor from the Republic of Austria for his artistic achievements, and the Kilenyi Medal from the Bruckner Society of America.

ABOVE In December 2015, Franz Welser-Möst

led the prestigious Nobel Prize Concert with the Stockholm Philharmonic.

“Franz Welser-Möst, music director of the subtle, responsive Cleveland Orchestra — possibly America’s most memorable symphonic ensemble — leads operas with airy, catlike grace.” —New York Times “Franz Welser-Möst has managed something radical with The Cleveland Orchestra — making them play as one seamless unit. . . . The music flickered with a very delicate beauty that makes the Clevelanders sound like no other orchestra.” —London Times “There were times when the sheer splendor of the orchestra’s playing made you sit upright in awestruck appreciation. . . . The music was a miracle of expressive grandeur, which Welser-Möst paced with weight and fluidity.” —San Francisco Chronicle

Music Director

The Cleveland Orchestra

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T H E

C L E V E L A N D

Franz Welser-Möst 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

The GAR Foundation Chair

Charles Bernard 2 Helen Weil Ross Chair

Emilio Llinás 2

Lynne Ramsey

Louis D. Beaumont Chair

Richard Weiss 1

The Musicians

Tanya Ell Thomas J. and Judith Fay Gruber Chair

Ralph Curry Brian Thornton William P. Blair III Chair

David Alan Harrell Martha Baldwin Dane Johansen Paul Kushious BASSES Maximilian Dimoff * Clarence T. Reinberger Chair

Kevin Switalski 2 Scott Haigh 1 Mary E. and F. Joseph Callahan Chair

Mark Atherton Thomas Sperl Henry Peyrebrune Charles Barr Memorial Chair

Charles Carleton Scott Dixon Derek Zadinsky HARP Trina Struble * Alice Chalifoux Chair This roster lists the fulltime members of The Cleveland Orchestra. The number and seating of musicians onstage varies depending on the piece being performed.

The Cleveland Orchestra

2O1 7-18

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

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

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

OBOES Frank Rosenwein * Edith S. Taplin Chair

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

Robert Walters

Samuel C. and Bernette K. Jaffe Chair

CLARINETS Afendi Yusuf * Robert Marcellus Chair

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

Daniel McKelway

HORNS Michael Mayhew § Knight Foundation Chair

Jesse McCormick Robert B. Benyo Chair

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

Jack Sutte Lyle Steelman 2 James P. and Dolores D. Storer Chair

Michael Miller CORNETS Michael Sachs *

ENGLISH HORN Robert Walters

Robert R. and Vilma L. Kohn Chair

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

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

Gareth Thomas Barrick Stees 2 Sandra L. Haslinger Chair

Jonathan Sherwin CONTRABASSOON Jonathan Sherwin

Severance Hall 2017-18

CENTENNIAL SEASON

Mary Elizabeth and G. Robert Klein Chair

PERCUSSION Marc Damoulakis* Margaret Allen Ireland Chair

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

Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair

LIBRARIANS Robert O’Brien Joe and Marlene Toot Chair

Donald Miller

Michael Miller

ENDOWED CHAIRS CURRENTLY UNOCCUPIED

TROMBONES Massimo La Rosa *

Sidney and Doris Dworkin Chair Sunshine Chair George Szell Memorial Chair

Gilbert W. and Louise I. Humphrey Chair

Richard Stout Alexander and Marianna C. McAfee Chair

Shachar Israel 2 BASS TROMBONE Thomas Klaber

* Principal § 1 2

Associate Principal First Assistant Principal Assistant Principal

EUPHONIUM AND BASS TRUMPET Richard Stout

CONDUCTORS Christoph von Dohnányi

TUBA Yasuhito Sugiyama*

Vinay Parameswaran

Nathalie C. Spence and Nathalie S. Boswell Chair

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

MUSIC DIRECTOR LAUREATE ASSISTANT CONDUCTOR

Elizabeth Ring and William Gwinn Mather Chair

Lisa Wong ACTING DIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

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

The Musicians

OBERLIN COLLEGE & CONSERVATORY ARTIST RECITAL SERIES

ROOMFUL OF TEETH

Hear this Grammy Award-winning a cappella vocal group perform Caroline Shaw’s Pulitzer Prize-winning Partita for 8 Voices.

8 PM FRIDAY, FEBRUARY 16, 2018 FINNEY CHAPEL | RESERVED SEATING

“Fiercely beautiful and bravely, utterly exposed.” — NPR Supported by the Oberlin College Artist Recital Series, the Friends of the Artist Recital Series, and by:

BONICA AYALA

$35 ($30 seniors, military, OC faculty, staff, and alumni). All student tickets just $10. Call 800-371-0178 or visit www.oberlin.edu/artsguide.

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.

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.

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

January 18, 20 “Seasons of Nature, Seasons of Life” (Haydn’s “The Seasons”) with Rose Breckenridge, lecturer and administrator, Cleveland Orchestra Music Study Groups

February 8, 9, 10 “Alpha and Omega” (musical works by Mozart, Handel) with guest speaker Cicilia Yudha, associate professor of music, Youngstown State University

February 15, 16 (evening), 17 “Storm and Triumph: Major and Minor” (musical works by Rigel, Mendelssohn, Mozart) with guest speaker Eric Charnofsky, instructor, Case Western Reserve University

February 16 (morning) “The Meaning of Minor” (musical works by Mendelssohn, Mozart) with Rose Breckenridge

Severance Hall 2017-18

Concert Previews

Shining a spotlight on creativity.

The arts enrich all our lives and are an integral part of our culture and heritage. Itâ&#x20AC;&#x2122;s why we support arts organizations within our community. They inspire, entertain, move, and inform us in so many ways. Without the arts our community would not be the vibrant and diverse place we enjoy today.

KeyBank thanks The Cleveland Orchestra for making a difference.

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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, January 11, 2018, at 7:30 p.m. Friday evening, January 12, 2018, at 8:00 p.m. Saturday evening, January 13, 2018, at 8:00 p.m.

2O1 7-18 CENTENNIAL SEASON

Franz Welser-Möst, conductor JOHANNES MARIA STAUD (b. 1974)

Stromab [Downstream] UNITED STATES PREMIERE PERFORMANCES Co-commissioned by the Royal Danish Orchestra, The Cleveland Orchestra, Carnegie Hall, and the Vienna Konzerthaus.

INTER MISSION GUSTAV MAHLER (1860-1911)

Symphony No. 9 1. Andante comodo 2. Im Tempo eines gemächlichen Ländlers [In the tempo of a comfortable ländler-dance] Etwas täppisch und sehr derb [Somewhat awkward and quite rough] 3. Rondo Burleske: Allegro assai, sehr trotzig [very defiant] 4. Adagio: Sehr langsam und noch zurückhaltend [Very slow and yet reserved]

This weekend’s concerts are sponsored by KeyBank, a Cleveland Orchestra Partner in Excellence. The Friday performance is dedicated to Dr. Hiroyuki and Mrs. Mikiko Fujita in recognition of their extraordinary generosity in support of The Cleveland Orchestra’s Annual Fund. LIVE RADIO BROADCAST

Saturday evening’s concert is being broadcast live on WCLV Classical 104.9 FM. The concert will be rebroadcast as part of regular weekly programming on WCLV on Sunday afternoon, February 25, at 4:00 p.m.

Severance Hall 2017-18

Concert Program — Week 10

January 11, 12, 13

2O1 7-18 CENTENNIAL SEASON

THI S WE E KE ND'S CONCE RT 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

“Mahler’s Ninth Symphony” with guest speaker Rabbi Roger C. Klein, The Temple–Tifereth Israel

STAUD Stromab [“Downstream”] . . . . . . . . . . . . . . . . . . . . . . . Page 33 (15 minutes)

INTERMISSION

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

(20 minutes)

MAHLER Symphony No. 9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 37 (80 minutes)

Share your memories of the performance and join the conversation online . . . facebook.com/clevelandorchestra twitter: @CleveOrchestra instagram: @CleveOrch (Please note that photography is prohibited during the performance.)

Concert ends: (approx.)

THUR 9:30 FRI 10:00 SAT 10:00

Severance Restaurant and Opus Café Post-concert desserts and drinks

This Week’s Concerts

The Cleveland Orchestra

INTRODUCING THE CONCERT

Of Death & Understanding

T H I S W E E K E N D ’ S C O N C E R T S feature a famous last symphony and a brand-new work being given its United States premiere. One is about accepting death — and understanding life. The other was inspired by a story of strong, unsettled, terrifying feelings. The new work is Stromab by Johannes Maria Staud. Given its world premiere this past September in Copenhagen, it is a co-commission by The Cleveland Orchestra and three institutions including Carnegie Hall (where it will receive its New York premiere in two weeks with The Cleveland Orchestra under Franz Welser-Möst’s direction). Staud is familiar to Severance Hall audiences from his time as the Orchestra’s composer-in-residence a decade ago. In Stromab, which means “downstream” in German, he took inspiration from a popular horror story written a century ago, about a night spent on dunes amidst the flowing waters of the Danube River. Staud’s inspiration was as a starting point, from the story’s sense of apprehension and the unknown. Following intermission, Franz conducts Mahler’s Ninth Symphony, the last such work that Mahler completed. Superstitious (of many things), Mahler carefully left his manuscript unnumbered while writing this music — finally labelling it as “No. 9” toward the end of his labors. The ruse did not work; like Beethoven, Mahler’s ninth symphony would be his last. As Franz discusses in his program note about this great work, here Mahler was looking backward at his life, at the joys and sorrows, the pains and hopes. It is filled with emotional (and musical) depth and breadth, from GUSTAV MAHLER heartache (literally) and anger through triumph and sarDrawing by Enrico Caruso casm to . . . understanding. The end brings acceptance and even transcendence, beautifully and calmly portrayed in music slowly and naturally withering to silence. “It is a funny thing,” Mahler once wrote, “but when I am making music, all the answers I seek for in life seem to be there, in the music. Or rather, I should say, when I am making music, there are no questions and no need for answers.” —Eric Sellen

P.S. Mahler visited Cleveland in the flesh on one occasion, in 1910, just months before his death. You can read about that starting on page 45.

Severance Hall 2017-18

Week 10 — Introducing the Concerts

Immerse yourself in America’s cultural coming of age.

September 30, 2017–January 14, 2018 Presenting Sponsors

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ClevelandArt.org

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

Stromab [Downstream] composed 2016

At a Glance

Johannes Maria

STAUD

born August 17, 1974 Innsbruck, Austria living in Vienna

Staud wrote this work for large orchestra in 2016 on a co-commission from the Royal Danish Orchestra, Vienna Konzerthaus, The Cleveland Orchestra, and Carnegie Hall. It received its world premiere in Copenhagen on September 22, 2017, under the baton of Alexander Vedernikov. A further performance in Europe was presented on October 7 by the Vienna Symphony led by François-Xavier Roth. This week’s performances by The Cleveland Orchestra are the work’s United States premiere. The Orchestra and Franz Welser-Möst will also perform it later this month at New York’s Carnegie Hall. The work runs about 15 minutes in performance. Staud scored it for

a large orchestra of 2 flutes (second doubling bass flute), piccolo (doubling alto flute), 2 oboes (second doubling musette), english horn, 2 clarinets (second doubling basset horn), bass clarinet, 2 bassoons, contrabassoon, 2 saxophones (soprano doubling alto, tenor doubling bass), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, 4 percussion players (performing on castanets, snare drum, slit drum, 4 bongos, 2 congas, tenor drum, bass drum, guiro, 5 tam-tams, wooden boxes, flexatone, cabasa, crotales, tambourine, thunder sheet, cowbells, sleigh bells, tubular bells, 3 bell plates, vibraphone, 9 gongs, chinese opera gongs), harp, piano, celesta, and strings.

About the Music “. . . A rising river, perhaps, always suggests something of the ominous: many of the little islands I saw before me would probably have been swept away by the morning; this resistless, thundering flood of water touched the sense of awe. Yet I was aware that my uneasiness lay deeper far than the emotions of awe and wonder . . .” —excerpted from The Willows by Algernon Blackwood, 1907

The composer has written the following comments about this new work, titled Stromab (or “Downstream”): T H I S P I E C E WA S I N S P I R E D by Algernon Blackwood’s short story The Willows. One of the most beautiful and timeless tales of horror of all time, the novella details a canoe trip down the Danube River. The two young boaters are waylaid by high water and end up stranded in the marshy wetlands of a willow-populated island, seemingly pristine and untouched by civilization. Huddled in the tight space, they become enveloped in a strange web of Severance Hall 2017-18

About the Music

impending doom that keeps thickening, ultimately reaching nearly cosmic dimensions — accompanied throughout by a mysteriously circling, elusive sound that hovers over the scenery. It was not my intention to create program music. Instead, I wanted to explore the incredible vibrations that emanate from Blackwood‘s musically visionary prose and make literal musical sense of this image of a journey down the Danube.

ABOUT THE COMPOSER

—Johannes Maria Staud, February 2017

“When I start on a composition, I feel myself a bit like Ulysses in The Odyssey — I have the feeling of embarking on a voyage without knowing too much what shore I am steering toward. —Johannes Maria Staud

A N A N E C D O T E from early in his career tells us that

Johannes Maria Staud was stopped at a London airport and made to give up a tuning fork from his carry-on luggage. Security personnel didn’t understand what it was, couldn’t find it on any list (prohibited or allowed), and opted instead to force its surrender. New music and young composers too often find such lack of understanding — and are given too little benefit of doubt to simply go ahead and carry on. Yet Johannes Maria Staud took the incident all in stride, understanding it as a tale, a lesson, and a metaphor. Not everyone will be understanding, or interested, or helpful. Tell your story the way you want to tell it. And leave behind whatever (and even whomever) you must. Staud and his artistry have grown immeasurably in acclaim and international recognition since Cleveland audiences were first introduced to him a decade ago, during his two-year stint as the Orchestra’s Daniel R. Lewis Young Composer Fellow, 2007-09. That composer-inresidence fellowship resulted in a brand-new, made-for-Cleveland piece titled On Comparative Meteorology, as well as opportunity to get to know other of his compositions and the man himself. Since then, his career has only kept growing, startling and surprising and delighting audiences with new works of fresh thought and form, filled with contrasts and swarming with new sounds and About the Music

The Cleveland Orchestra

ideas. At the end of 2018, a new opera debuts with the Vienna State Opera. Tuning forks may (or may not) be on any particular lists these days, but Johannes Maria Staud surely is. His music is intellectually-based, often drawing or exploring a particular concept, a literary style or text, or even a philosophy, yet also always grounded in a musical language which — although spanning a large horizon — includes connections to music’s history and evolution. Thus, he is often welcomed by those interested in new music and those with a more traditional outlook. Since his time in Cleveland, his life has featured numerous performances around the world, along with receiving the Paul Hindemith Prize of the Schleswig-Holstein Music Festival in 2009 and a stint as composer-in-residence at the Lucerne Festival in 2014 (with the premiere of a new opera), as well as the upcoming premiere in Vienna. A new work should, of course, stand on its own merits — within Gustav Mahler’s own classic arguments for (and especially against) an explanation. Stromab (pronounced “STROHM-ab”), as Staud reveals in his own comments on the piece, was written in response to a classic tale of terror and paranoia (and the paranormal), set on desolate and wind-blown islet dunes of the Danube River. The author, Algernon Blackwood (1869-1951), was a British journalist and prolific writer of ghost stories. I remember reading Blackwood’s tale “The Willows” as a teenager — and being terror-ifically unsettled. And then being reminded of it again, as an adult, visiting that famous river myself. Musically, as Staud’s piece circles our ears, we too may not know what is happening around us, or what is lurking out of sight within the orchestra. Let yourself wonder, and enjoy the suspense. —Eric Sellen © 2017

GR E AT L A KES’ CANCERTO

“classical ballet with a dash of American modern dance”

February 3, 2018 8:00PM Celebrating Black History Month Breen Center for the Performing Arts

Severance Hall 2017-18

About the Music

verbballets.org

Photo: Bill Naiman

- International Dance Critic

â&#x20AC;&#x201D;Gustav Mahler

Mahler, in a photograph taken in 1907 in Vienna.

If a composer could say what he had to say in words, he would not bother trying to say it in music.

Symphony No. 9 composed 1909-11

At a Glance

Gustav

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

Mahler composed most of his Ninth Symphony between late June and early September 1909, although some sketches may have existed from earlier that year or as early as the year before. He completed the full orchestral draft later in 1909, and had finished the full score by the beginning of April 1910. He reviewed and marked a printer’s proof of the score in early 1911. The symphony was first performed more than a year after Mahler’s death, with Bruno Walter conducting the Vienna Philharmonic on June 26, 1912. The work was introduced to the United States in October 1931, by Serge Koussevitzky and the Boston Symphony Orchestra. This four-movement symphony runs about 80 minutes. Mahler scored it for piccolo, 4 flutes, 4 oboes (fourth doubling english horn), 3

clarinets, small clarinet in E-flat, bass clarinet, 4 bassoons (fourth doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani (two players), percussion (bass drum, snare drum, triangle, cymbals, tam-tam, glockenspiel, 3 low-pitched chimes), harp, and strings. The Cleveland Orchestra first performed Mahler’s Ninth Symphony in November 1948 under George Szell’s direction. It has been programmed occasionally since then, most recently in October 2005 under Franz WelserMöst’s direction. The Cleveland Orchestra and Christoph von Dohnányi recorded Mahler’s Ninth Symphony in 1997 for Decca. A live concert performance led by George Szell was included as part of the Szell Centennial Compact Disc Edition released by the Orchestra in 1997.

About the Music Franz Welser-Möst has prepared the following comments about Mahler’s Ninth Symphony: A L O T H A S B E E N W R I T T E N and said about Mahler’s Ninth.

It was the last symphony he completed — and is often viewed as his personal farewell. It is a mystical work, in which Mahler shares with us reflections on his search for transcendence in and from this world. Mahler composed his Ninth Symphony rather quickly and quietly across the summer of 1909. As he worked, he discussed this music with almost no one. This was a time of reflection and consideration. Mahler’s life had changed in many ways in the previous two years. Internal politics and intrigue had forced him to resign as general music director of the Vienna State Opera in 1907. That summer, one of his daughters died suddenly. At the same time, his own weakened heart was diagnosed — and his doctors advised him to stop taking the long, vigorous walks and swims he so Severance Hall 2017-18

About the Music

enjoyed and so counted on to clear his mind and help distill his thoughts. In the coming years, Mahler at times ignored his doctors’ advice. His own career as a conductor, afterall, was one of strenuous exertion, and he actively continued this work as he began a new chapter of his life in New York, first with the Metropolitan Opera and then with the New York Philharmonic. And we know now that his doctors were overly cautious in their concern — without the blood infection that Mahler suffered in 1911, he could have actively lived for a decade and more, even with his heart valve condition. After writing nothing in the troubled year of 1907, Mahler resumed his normal composiIn the 9th, Mahler uses tion schedule in the summer of 1908 — upon a surface of normality returning to Austria between seasons in New (what can be more usual York — to work on what he eventually titled Das Lied von der Erde [The Song of the Earth]. than a symphony in Subtitled a “symphony,” Das Lied features two four movements?) to vocal soloists, across six movements, who take lead us to deep levels turns singing about life’s joys and pains, and of the soul, and to wresmortality’s final farewell. Again in 1909, the Mahlers sailed back to tle with struggles for Europe for the summer. They stopped first in human fulfillment and Paris, where Mahler sat for Auguste Rodin, who understanding. Like all was to create a bust of this world-famous musiof his works, this symcian. He also corresponded about plans to conduct his Seventh Symphony in Amsterdam that phony is a journey. autumn, and about the premiere of his Eighth Symphony the following year. C R E AT I N G A N E W SY M PH O N Y

By June, Mahler had secluded himself in quarters of a rented house near Toblach in the southern Alps. The first part of the summer, Alma was in nearby Levico on the other side of the mountains, taking treatment at the famous spa there. This left Mahler to concentrate on his work (and to complain in letters to Alma about how and when and what food was served to him without her careful and thoughtful planning). By late June, Mahler had begun serious work on his next symphony, completing most of it by the beginning of September. Superstitious about writing a “Ninth” symphony, he did not give the score a title on paper, nor did he talk about it in any

About the Music

The Cleveland Orchestra

detail with friends who visited. (He finally labeled it as “Symphony No. 9” while completing the full orchestral score the next year.) For the Ninth, Mahler returned to a more traditional format for a symphony, of four movements. From this appearance of normality, however, he builds the work in unusual ways, both in order and in harmonic form. If we look at the work’s overall structure, we notice that Mahler arranges it with two outer slow movements surrounding two faster, more agitated, shorter movements. The long opening Andante movement is followed by a dance-filled Scherzo. Then comes a maniacal, sarcastic Allegro, followed by a lengthy — and intimate — concluding Adagio. Some of this he had done in previous symphonies. The Second and Third’s longest movements are at the start and finish. The Sixth, too, ends at length. And, like the Ninth, the Third ends in a large Adagio, seeking transcendence within Mahler’s long and repeated phrases. Earlier symphonies, too, had included themes shared, or shadowed, between movements. But the size and contrasts of the movements are only part of the story. In the Ninth, Mahler also signals to us his ideas and intentions through his key choices. When we look at the harmonic structure, we find something highly unusual, almost as if Mahler has finally tossed away the notion of harmonic unity and progression in a symphony: the first movement is in D major (human triumph), the second in C major (optimism), the third in A minor (melancholy), and the last one in D-flat major (bittersweet farewell). Here, as so often with Mahler, he is using a surface of normality (what can be more usual than a symphony in four movements?) Severance Hall 2017-18

About the Music

MAHLER the Conductor During his lifetime, Mahler was best known as a superstar conductor — and only incidentally as a composer of strange new music. Above, caricatures of Mahler on the podium, from a set of postcards drawn by Otto Böhler (1873-1913).

to lead us to deep levels of the soul, and to wrestle with struggles for human fulfillment and understanding. Like all of his works, this symphony is a journey. I am quite certain there is meaning in the tonal structure of D / C / a / D-flat. When I look at this, I believe the “DCA” stands for “da capo al” and is an unfinished “Da capo al fine” (literally Italian for “from the head” or, for musicians, “from the beginning”). In this context, in the understood meaning behind different keys, the Dflat major at the end stands for the mixed joys and sad sweetness of farewell, for the kind of poignantly mixed feelings that an ending brings — such as the closing moments of Wagner’s four-opera Ring of the Nibelung, ending in D-flat major. Every life begins and ends, and is filled with cherished moments, but also with things left unfinished.

Twice in the first movement, the musical development seems to be reaching toward a positive climax in a major key. But, instead, it results in a feeling of catastrophe. This sense of trying and not succeeding pervades the entire first movement.

MOVE ME NT BY MOVE ME NT

Let us now examine how this plays out across the four movements. At the opening of the first movement, Mahler begins with two notes played very softly in a rhythm that reminds us of a beating heart. Some have suggested that this is an irregular heartbeat, mirroring Mahler’s own, but almost all evidence suggests that Mahler’s heart valve problem did not manifest itself in an arrhythmical beat. Perhaps the irregular aspect of this rhythm is merely how Mahler portrays the idea of a heartbeat. This is followed by four notes played by the harp, an instrument often associated with heaven. Later in the symphony, these four notes turn out to be a musical symbol standing for death bells. But here at the start, they are immediately followed by a stopped horn (representing the pained human soul) uttering a musical motif of the cross, accompanied by trembling notes in the violas. Thus, in just the first few measures, we have musical symbols for mortality, heaven, death bells, the cross (or, more generally, burdens) that one carries in life, and anguish. All of this comes before and sets the stage for Mahler to write the movement’s first theme, which portrays farewell, quite literally, for in his sketches Mahler labeled it “Lebewohl” (or “farewell”), with the music quoting or mirroring the downward phrase directly from Beethoven’s Farewell Sonata. This and the phrasing of the music

About the Music

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suggest we are looking back. The end is the beginning, or the beginning shows us the end, and we are now going to review life’s journey in reverse. Twice in the first movement, the musical development seems to be reaching toward a positive climax in a major key. But, instead, it results in a feeling of catastrophe. This sense of trying and not succeeding pervades the entire first movement. At one point, Mahler quotes a waltz by Johann Strauss: Freuet euch des Lebens [“Enjoy Life,“ Opus 340]. Sarcastic? No, I don’t think so. Sarcasm will come later. This is merely irony, in the way that life brings together good with bad, or happiness mixed with sadness. Mahler has chosen to write in D major, the key of human triumph, but he undermines that basic meaning with opposite expressions — of farewell, of a funeral march, of depression, and anguish. From this mixture, examined and developed at length, he ends the movement in a state of uncertain melancholy and remembrance, with a last chord stated like a question mark. The second movement is a scherzo built on dance rhythms. Here Mahler uses three different ones: an opening Ländler (marked “Etwas täppisch und sehr derb” — “somewhat awkward and rather rough”), a waltz, and then a slow Ländler. All of this, in Mahler’s hands, becomes a caricature of a “dance of life.” This is merriment and fun, the “good times” portrayed with bitter and animated feelings — what Mahler called the “Lebenstrudel,” the commotion and bustling activity of everyday life. Here, indeed, we have sarcasm. The third movement is labelled “Rondo-Burleske,” to which Mahler added a cynical dedication to his “Brothers of Apollo,” meaning his composing colleagues, especially (as the music suggests through sarcasm) the ones he didn’t respect. This movement expresses much furor at the absurdity of the world, with the music taking or making unexpected turns and twisting commentary on itself. Part of this is as a fugue structure, amplifying the sarcasm against his colleagues by showing his own skill, even with such unusual musical material. (Of course, Richard Wagner had done much the same thing with his fugal treatment of themes in the Prelude to Die Meistersinger, thumbing his nose at critics who thought he was unlearned in music traditions.) Toward the end of the movement, Mahler focuses on a contrasting idea, of paradise. But, again through the music, we understand that such a paradise does not actually exist. Here, he also Severance Hall 2017-18

About the Music

Mahler, October 1909, at the time of conducting his Seventh Symphony in Amsterdam, and soon after completing the first full sketch of his Ninth Symphony.

introduces an “Überschlag” (or “somersault”), a kind of circling musical phrase, which Wagner had often used to represent love, for instance in Isolde’s “Liebestod” or Love-Death in Tristan and Isolde. But the musical context, here in the Ninth Symphony, tells us that love in paradise is not real. Indeed. And the movement lurches forward again, and we are given a wild, adamant, violently sarcastic ending. Then comes the last movement, built on an arching theme from an angelic chorale (“Abide My Lord”) across thirteen (!!!) variations, culminating with an important Coda. (Overall, this movement can be seen as both a continuation and completion of the Ninth’s first movement and as a parallel movement to the great long adagio ending Mahler’s Third, which also affirms life’s mystery and power, but in quite a different way.) First, there is a short introduction starting with a “godly” octave sweeping up, along with the “Überschlag,” again symbolizing Love. The chorale variations then commence and are juxtaposed with, or sometimes are twisted against or intertwined with, music of a rather ghostly and uncertain kind — low growls and high strains. The two musical worlds wrestle, to move forward or fall apart. Eventually, after Mahler has explored a range of emotions across the chorale’s thirteen variations, it seems that the music is reaching a

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climax. Against this, however, there are also conflicting feelings, of the music seeming to disintegrate or de-materialize, sometimes into single strands or voices. Then, in a long line, drawn out by the violins, Mahler quotes from his own heartbreaking song cycle Kindertotenlieder [“Songs on the Death of Children”], expanding the final line of the third song and phrasing over the words “Der Tag ist schön auf jenen Höh’n” [“The day is beautiful on yonder heights”]. Mahler is signaling that he is still looking for hope and purpose. Yet, at the same time, he also understands how uncertain life is for each of us, and especially, perhaps, for him personally. The time before his own death is limited — perhaps years lie ahead, perhaps much less. He does not know. But he understands that the end will come. He is accepting the fact of death. Slowly, in a beautiful, quietly-voiced agony of emotion, the music itself accepts the inevitable. The finality is underlined by the drawn out ending phrases, which lead us — slowly, quietly, almost imperceptibly — into a stillness that seems infinite. —Franz Welser-Möst © 2018 The 2017-18 season marks Franz Welser-Möst’s sixteenth year as music director of The Cleveland Orchestra.

Severance Hall 2017-18

About the Music

W H E N G U S TAV CA M E T O T OW N . . .

What did think of ? by ERIC SELLEN

G U S T A V M A H L E R made one trip to Cleve-

land, in December 1910 to conduct a concert of the New York Philharmonic Orchestra. Cleveland was the first stop on the Philharmonic’s first tour west from New York City; they’d gone east into New England previously, but agreed to come west for the first time at the invitation of Cleveland’s Adella Prentiss Hughes. (On the return trip home, they stopped to play at Pittsburgh, Buffalo, and Rochester.) Mahler was then in his second season as the Philharmonic’s music director (the customary title at the time was merely “conductor”). Mahler and the concert he would conduct in Cleveland were bally-hooed and championed to an unprecedented extent in the local papers. He played none of his own music, but rather presented his own “doctored” scorings of music by Bach and Beethoven. And then closed with Wagner. Afterward, the area’s critics were nearly unanimous in their praise. Mahler sailed for Europe four months later (a week later than he had originally planned). A month after that, he was dead. M A H L E R F I R S T C A M E to America in the fall of 1907, arriving just before

Christmas. He had resigned his post as artistic director of the Vienna State Opera the previous March, forced out by politics and intrigue. He was lured across the Atlantic by an enormous salary offer from the Metropolitan Opera. In addition to the proffered wages, the work in New York was to be limited to a few months each year, and Mahler looked forward to having more time for composing. He hoped that his heart would last. His condition had been diagnosed, almost by accident, in July 1907. What time he had was limited — Severance Hall 2017-18

Gustav Mahler in Cleveland: 1910

but so was his wealth (and what little his family would have if he died sooner rather than later). He hoped that after a few seasons of substantial wages at the Met, he could safely retire from the rigors of conducting and devote his time exclusively to composition. Mahler’s Met debut came on New Year’s Day, 1908, with Wagner’s Tristan and Isolde. But his hope for a few easy seasons of unencumbered opera conducting did not materialize. During 1908, the management of the Met changed hands from Heinrich Conried, who had hired Mahler, to Guilio Gatti-Casazza, who brought the young Arturo Toscanini with him. Nonetheless, in some fashion, and with many favorable reviews, Mahler conducted during three seasons at the Met. But Gatti-Casazza and the “Italians” (with Toscanini) were wielding more and more control. Early on in these struggles, Mahler began shifting his work in New York to orchestral conducting — first with New York’s Symphony Society and then with the New York Philharmonic Society. The Philharmonic, teetering on the brink of bankruptcy and disillusion, gambled on Mahler’s great box office appeal to save their orchestra. It was at this time that Adella Prentiss Hughes began coaxing the New York Philharmonic for a visit westward. Her Cleveland Symphony Concerts had premiered in the “Forest City” in 1901, and she had so far managed to bring four of the country’s great “Symphonic Six” orchestras to Cleveland: the Boston Symphony Orchestra, Cincinnati Symphony Orchestra, Theodore Thomas Orchestra (soon to be renamed the Chicago Sym-

phony Orchestra), and New York’s Symphony Society. The Philharmonic in 1910 would give her one more, so that Cleveland — already known as an orchestral center (even though it did not yet have its own orchestra) — would be the only city to hear these five in one season. (Philadelphia, the other of America’s turn-ofthe-century elite orchestras, would join the touring schedule the following season and make Mrs. Hughes the first presenter to have all six in one year.) In early September, Mrs. Hughes announced that the country’s oldest symphonic ensemble — the “Dean of American Orchestras” — would be included on the 1910-11 concert schedule, conducted by Gustav Mahler. The December concert of the New York Philharmonic would include Mahler’s modernized orchestration of Beethoven’s Eighth Symphony — “Beethoven as Mr. Mahler thinks it would be if Beethoven were alive today and acquainted with the larger scope of the instrumentation of the present day.” Throughout the fall of 1910, Cleveland newspapers kept local citizens apprised of Mahler’s every move. His sailing from Cherbourg on October 18 was duly noted, including the fact that his contract with the Philharmonic covered his travelling expenses (over $2,000 for his family’s five-day trans-Atlantic passage on the German liner Kaiser Wilhelm II). In November, one paper printed a firsthand report of a Philharmonic rehearsal in New York, which read in part: “In the midst of it all, an odd-looking nervous little man walked briskly onto the stage and picked his way to the center. He stood a moment chatting with the concertmaster, Theodore Spiering, then glanced at

Gustav Mahler in Cleveland: 1910

The Cleveland Orchestra

Caricature drawings of Mahler in action as the “hyper-Modern” conductor, by Hans Schliessmann.

his watch, picked up his small baton and mounted the conductor’s platform. A single light tap and the confusion ceased. The indiscriminate throng of men at practice felt instantly the influence of the master musician, and was transformed into an alert, expectant symphony orchestra.” On the eve of the concert, Cleveland’s Plain Dealer included a profile of Gustav Mahler: “The most nervous, tireless, imaginative of directors, whose spirit never seems to rest, has lived a half century in spite of his habit and distractions. He today commands as much musical youth as a 20-year-old. A whole school of directors and opera reformers are his followers, all of whom have umbrageous black hair, piercing eyes behind big eyeglasses, jerking shoulders and stamping feet . . .” For the concert, Beethoven’s Sixth Symphony, the “Pastoral,” was substituted for the originally announced Eighth, preceded by Mahler’s own arrangement of a Bach suite and followed by three Wagnerian orchestral opera excerpts. Reviews of the December 6 concert Severance Hall 2017-18

were almost universally positive: Town Topics: “An extraordinary concert had to be the issue after the unusual way in which both Mahler and his organization were advertised. It is no easy task to prove so much better than a busy press agent story proclaims one to be. Mahler exceeded all expectations. . . . Hereafter we shall consider a Mahler concert a standard.” Plain Dealer: “Little Mahler with the big brain. Little Mahler with the mighty force. Little Mahler with the great musical imagination. Little Mahler, whose gigantic power makes the other conductors seem like pygmies. . . . His strength, his mastery over his instrument, were obvious from the first. . . . The hearer is apt to be skeptical about arrangements by modern conductors of compositions by masters like Bach and Beethoven. But doubt vanishes in conviction under the hands of Mahler. . . . The fact that the orchestra came without a soloist to break the continuity of a program that was in itself a work of art is further cause for congratulation.” Leader: “. . . Mr. Mahler’s extraordinary genius shows itself in many ways. He certainly takes great liberties in the presentation of classic works to modern audiences, and if it may (as it surely does) make some of the sternly judicious grieve, it undoubtedly makes the average listener rejoice to hear the spirit though not the letter of the old texts given with the inspiration of modern genius . . .” (While Mahler survived Cleveland almost unscathed, elsewhere the press often attacked him mercilessly for his “tampering” and “modernizing” of Beethoven and others. On this subject, however, it is worth noting that Mahler at times advocated others doing the same

Gustav Mahler in Cleveland: 1910

to his own compositions after he died — so as to keep the musical language as “up-to-date” as possible. Beyond the several attempts to complete Mahler’s unfinished Tenth Symphony, of course, few have taken him at his word. Today’s artistic focus is most often at presenting a composer’s musical vision for a particular work — updating and popularizing has shifted out of the classical concert hall and into pops concerts and other musical genres, where new “covers” in jazz, rock, r&b, lounge, country, etc. give new interest, but in a different way.) I N J A N U A R Y 1 9 1 1 , the Plain Dealer reported rumors from New York that Mahler’s contract with the Philharmonic would be extended for three more years.

Mahler’s health, however, did not cooperate. A potentially fatal blood infection had taken hold (in an era prior to most antibiotics); he conducted his final concert on February 21. Shortly thereafter, he quarrelled with the Philharmonic’s operating committee, probably with intentional provocation on their part. In March, concertmaster Spiering succeeded Mahler “temporarily” as the group’s conductor. Expecting not to see New York again, Mahler sailed for Europe on April 8, 1911. Five weeks later, on May 18, he died in Vienna. Mahler’s own music first came to Cleveland three years later, when the Chicago Symphony Orchestra and its conductor, Frederick Stock, presented the First Symphony on December 15, 1914.

Gustav Mahler’s grave in Vienna’s Grinzing Cemetery.

Gustav Mahler in Cleveland: 1910

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

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The 2017-18 season will mark Franz Welser-Möst’s 16th year as music director.

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Martin Luther King Jr. celebrated in music on January 14 and in afternoon open house on Monday, January 15 On Sunday, January 14, The Cleveland Orchestra performs its 38th annual concert celebrating the spirit of Dr. King’s life, leadership, and service in music and community recognition. Music Director Franz Welser-Möst leads the performance, which features selections with the Martin Luther King Jr. Celebration Chorus, a group of volunteer singers from across Northeast Ohio assembled and prepared each year by William Henry Caldwell. This year’s concert also features actor James Pickens Jr. as narrator and baritone Ryan Speedo Green. This year’s multi-media concert is being produced in partnership with ideastream/PBS, explores Dr. King’s battle for justice and equality, and features excerpts from King’s speeches. The concert begins with the presentation of the annual Martin Luther King Jr. Community Service Awards, given jointly by The Cleveland Orchestra and the City of Cleveland in cooperation with the Greater Cleveland Partnership to individuals who are positively impacting Cleveland in the spirit of the teachings and example of Dr. King. Free tickets for the concert were made available this year through a public ticket lottery, with entries for over 10,000 tickets. Winners were then drawn and all tickets distributed through the Severance Hall Ticket Office. Those without tickets can experience the concert’s music and celebration by live radio broadcast over radio stations WCLV (104.9 FM) and WCPN (90.3 FM) — or watch at home by delayed telecast. The next day, on Monday, January 15, Severance Hall holds its sixteenth annual Martin Luther King Jr. Day Community Open House from 12 noon to 5 p.m. This day of free activities and performances features performances by a variety of Northeast Ohio community performing arts groups. For more complete details, visit clevelandorchestra.com. Severance Hall 2017-18

Cleveland Orchestra joins in national food drive this month For a tenth year, The Cleveland Orchestra is holding a food drive at the start of the calendar year, with goods donated locally. The event is part of Orchestras Feeding America, a national food drive held by America’s symphony orchestras. First started in ORCHESTRAS 2009, this project has involved over 250 orchestras from across the nation, AMERICA who have together collected over 500,000 pounds of food for their communities. The project is the single largest orchestra project organized at a national level, uniting musicians, audiences, staff, and volunteers to help alleviate hunger. This year’s drive in Cleveland takes place surrounding the Orchestra’s concerts at Severance Hall in January — including the Martin Luther King weekend, with collection of non-perishable food items at concerts and performances at Severance Hall. Unexpired food donations are being collected Thursday through Saturday evenings, and at Monday afternoon’s Martin Luther King Jr. Day Community Open House. Food collected this year by The Cleveland Orchestra is being donated to Greater Cleveland Food Bank, which works across six Northeast Ohio counties to provide food and training to more than 800 partner organizations.

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Food collection times at Severance Hall: Thursday, January 11, 6:00-7:30 pm Friday, January 12, 6:00-7:30 pm Saturday, January 13, 6:00-8:30 pm Sunday, January 14, 6:00-7:30 pm Monday, January 15, 11:30 am-5:30 pm Thursday, January 18, 6:00-7:30 pm Friday, January 19, 5:00-6:30 pm Saturday, January 20, 6:00-8:30 pm

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I.N M.E .M.O.R.I. A .M

Dorothy Humel Hovorka January 4, 1921 to December 21, 2017

Honorary Trustee for Life Dorothy Humel Hovorka died just before Christmas, at the age of 96. First elected in 1961, her name has been a part of The Cleveland Orchestra’s Board of Trustees listing for fifty-five seasons. She served as a member of the Executive Committee for many years and also as a Vice President. In 1996, she was the inaugural recipient of the Orchestra’s Distinguished Service Award. She was elected Honorary Trustee for Life in 2009. Dorothy’s name and advocacy are legendary — her indomitable spirit, her caring sincerity, her unfailing belief in the value of education, her enduring faith in Cleveland’s arts community, and especially her utmost love for Cleveland’s Orchestra. She was tireless in her efforts to promote and support The Cleveland Orchestra at home and around the world. She worked on the Orchestra’s behalf from every available angle and avenue: as an audience member (since childhood), as a talented pianist (appearing as soloist in six concerts with the Orchestra, in such challenging works as Tchaikovsky’s First Piano Concerto), as a member and then President of the Women’s Committee, and as a trustee. She helped ensure the future of the Orchestra’s Concert Preview series with a generous Endowment gift, and for many years chaired the leadership giving societies’ annual campaigns. She was also a strong advocate for understanding and documenting the institution’s history, leading an oral history project in the 1990s for The Cleveland Orchestra’s Archives and helping to interview many important figures whose association had begun decades earlier (including herself). Dorothy served as secretary, treasurer, and director of the family company, Humel Construction, for four decades. She was a graduate of Shaker Heights High School and later established the Dorothy Humel Hovorka Award with the Shaker Schools Foundation. She travelled widely, visiting 118 countries and the North Pole. In addition to her work with The Cleveland Orchestra, she served as a board member or officer with a wide number of cultural and educational organizations across Northeast Ohio, including Case Western Reserve University, Cleveland Music School Settlement, Lake Erie Opera Theater, Cleveland Women’s Orchestra, Cleveland Institute of Music, Robert Casadesus International Piano Competition, and the Women’s City Club Foundation. In every situation, Dorothy Humel Hovorka was aware of the big picture and of small details — and seemed to always know which was more important for that moment. She treated everyone like a colleague and a friend, but always demanded the best and utmost in return. In an era of different norms, being a woman was never an obstacle for Dorothy. With both grace and force, she could move people along and get things done. We are forever grateful to have been touched by her remarkable optimsim, her understanding judgement, and her enthusiastic love for Cleveland and music.

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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. â&#x20AC;&#x153;This is designed with a clear format and purpose,â&#x20AC;? comments program book editor Eric Sellen. â&#x20AC;&#x153;Just the basic information, no fancy layout, with text sized to make reading on a phone or other mobile device easy.â&#x20AC;? 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 â&#x20AC;&#x153;flipbookâ&#x20AC;? 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 Orchestraâ&#x20AC;&#x2122;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

Early Music on the Elbe

The Eternal Danube

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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

Cleveland Orchestra News

The Cleveland Orchestra

orchestra news

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 hometownâ&#x20AC;&#x2122;s orchestra. His artistry can be heard on many Cleveland Orchestra recordings created under the direction of George Szell, Pierre Boulez, Lorin Maazel, and Christoph von DohnĂĄnyi. In addition to his years of service with the Orchestra, he taught as head of the Cleveland Institute of Musicâ&#x20AC;&#x2122;s trumpet department, at the Oberlin Conservatory of Music, and, after retiring from Cleveland, at Indiana University.

Lawrence Angell, double bassist for forty seasons (1955-95), including 15 as principal bass (1981-95), died on December 3, 2017, at the age of 88. He is survived by his wife, Anita Pontremoli, and five children. He was studying with Oscar Zimmerman when called into military service, but returned to finish his studies at the Eastman School of Music. He headed the double bass departments at the Cleveland Institute of Music (1969-99) and Oberlin Conservatory (1980-90), and also taught as part of Kent/Blossom School and performed as a member of the Cleveland Octet. He participated in nearly 500 recordings. After retirement, his teaching activities included work with festivals in Florida and Nova Scotia.

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Â&#x192;Â&#x2013;Â&#x2014;Â&#x201D;Â&#x2020;Â&#x192;Â&#x203A;ÇĄ Â&#x2021;Â&#x201E;Â&#x201D;Â&#x2014;Â&#x192;Â&#x201D;Â&#x203A; ÍľÂ&#x201D;Â&#x2020; Ěą ÍşÇŁÍ˛Í˛ Â&#x2019;Ç¤Â?Ç¤ Ěą Â&#x2021;Â&#x2DC;Â&#x2021;Â&#x201D;Â&#x192;Â?Â&#x2026;Â&#x2021; Â&#x192;Â&#x17D;Â&#x17D; Ěą Č&#x2039;Í´ÍłÍ¸Č&#x152; Í´ÍľÍłÇŚÍłÍłÍłÍł Severance Hall 2017-18

Cleveland Orchestra News

Musicians Emeritus of

T H E

C L E V E L A N D

O R C H E S T R A

Listed here are the living members of The Cleveland Orchestra who served more than twenty years, all of whom now carry the honorary title of Emeritus. Appointed by and playing under four music directors, these 44 musicians collectively completed a total of 1549 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 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 January 2018

Appreciation

The Cleveland Orchestra

orchestra news

THE CLEVELAND ORCHESTRA

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

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

Severance Hall 2017-18

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

Cleveland Orchestra News

Haydn, painted in London by Thomas Hardy in 1792

I listened more than I studied when I was young. In that way, little by little my knowledge and ability were developed. â&#x20AC;&#x201D;Joseph Haydn

THE

CLEVEL AND ORCHESTRA FR ANZ WELSER- MÖST

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

2O1 7-18

Severance Hall

Thursday evening, January 18, 2018, at 7:30 p.m. Saturday evening, January 20, 2018, at 8:00 p.m.

CENTENNIAL SEASON

Franz Welser-Möst, conductor

EASONS

(ORATORIO FOR SOLOISTS, CHORUS, AND ORCHESTRA) by f. joseph haydn (1732-1809) I. Spring Nos. 1-8

II. Summer Nos. 9-18

INTERMISSION III. Autumn Nos. 19-28

IV. Winter Nos. 29-39

GOLDA SCHULTZ, soprano — as hanne MAXIMILIAN SCHMITT, tenor — as lukas CHRISTIAN VAN HORN, bass-baritone — as simon CLEVELAND ORCHESTRA CHORUS Lisa Wong, acting director (Sung in German with projected English supertitles.)

Maximilian Schmitt’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from Mrs. Warren H. Corning. Christian van Horn’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from The Sherwick Fund. LIVE RADIO BROADCAST

Severance Hall 2017-18

Concert Program — Week 11

January 18, 20

2O1 7-18 CENTENNIAL SEASON

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

Severance Restaurant Reservations for dining suggested:

or via www.UseRESO.com

CONCERT PREVIEW

Concert Preview:

“Seasons of Nature, Seasons of Life”

BEGINS ONE HOUR BEFORE CONCERT

with speaker Rose Breckenridge lecturer and administrator, Cleveland Orchestra Music Study Groups

SPRING

Concert begins: THUR 7:30 SAT 8:00

216-231-7373

HAYDN The Seasons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 65 Parts One and Two: Spring and Summer (65 minutes)

| SUMMER

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

INTERMISSION

instagram: @CleveOrch

(20 minutes)

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

The Seasons AUTUMN

Parts Three and Four: Autumn and Winter (60 minutes)

| (approx.)

THUR 10:00 SAT 10:30

WINTER

Concert ends:

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

Severance Restaurant and Opus Café post-concert desserts and drinks

This Week’s Concerts

The Cleveland Orchestra

INTRODUCING THE CONCERT

Life, Death & Renewal

H AY D N ’ S “ T H E S E A S O N S ” is a work of great simplicity and startling depth. Its arching storyline across the year of a village — and the story’s underlying relation to the recurring cycles of nature, of birth, life, and death — bring forth universal perspectives within everyday matters. Approaching the age of 70, Haydn wrote The Seasons between 1799 and 1801, filled with the wisdom and experience of his own life. As his own winter and death neared, he remained optimistic and understanding of life’s joys and reasons, of natures renewal and rebirth. “In this work, Haydn created a wonderful picture of life in the fullest sense,” says Franz Welser-Möst. “In each movement there is a musical depiction of an animal or insect or situation. Here he creates a portrait of life, as small details build up one after another to tell the story of being alive in this world. He shows us just how rich life can be.” Three soloists act as our journey’s guides: a father and daughter, plus a young farmer, who each at times don other roles. Their interactions with the chorus (taking up various guises as villagers, farmers, hunters, etc.) amidst the evolving heather and heath, weather and whimsy created by the orchestra, provide us an extraordinary evening of plentiful abundance. And a thankfullness for life — for life’s ever-turning cycles, and life’s seasons of work and repast, creation and joy. —Eric Sellen

The originally-announced baritone soloist for these performances, Thomas Hampson, was advised by his doctor to cancel his appearances due to illness. We are grateful to Christian Van Horn for stepping in to sing on short notice. Above, paintings by Vincent van Gogh: Orchard in Blossom (1888) Wheatfield with Cypresses (1889) Two Peasant Women Digging in Field with Snow (1890)

Severance Hall 2017-18

Week 11 — Introducing the Concerts

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The Seasons [Die Jahreszeiten] composed 1799-1801

At a Glance

F. Joseph

HAYDN

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

Haydn composed The Seasons, one of his last major works, between 1799 and 1801, during a period when he was dealing with a decline in his health. The libretto (with versions in English and in German) had been assembled by Gottfried van Swieten, utilizing some parts of a volume of poetry by James Thomson. The composer led the first performance, for a select audience of aristocratic patrons, on April 24, 1801, and the general public premiere on May 29, both in Vienna. The Seasons runs about 140 minutes in performance (plus intermission). Haydn scored it for 2 flutes (first

doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, timpani, percussion (triangle, bass drum, cymbals), fortepiano, and strings, plus mixed chorus and three soloists (soprano, tenor, and bass). The Cleveland Orchestra first performed Haydn’s The Seasons during the 1922-23 season. Robert Shaw led performances during the 1965-66 season, at Severance Hall and at Carnegie Hall in New York. The most recent Cleveland Orchestra performances took place in April 2013, conducted by Franz Welser-Möst.

About the Music F O L L O W I N G T H E E N O R M O U S S U C C E S S of his visits to

London in the 1790s, it would have been easy enough for Joseph Haydn to rest on his laurels. He had labored for decades in obscurity, but this vote of confidence from the English public enhanced his international stature by several magnitudes and shored up the financial confidence of a composer who had spent the bulk of his career as a servant at the pleasure of his aristocratic patron. Even so, Haydn was eager to accept new creative challenges after he returned to Vienna in 1795. The London sojourn had exposed him to stirring encounters with Handel’s oratorios (in particular, Israel in Egypt and Messiah). A large-scale commemoration of Handel given in 1791 in Westminster Abbey in particular left a deep impression. Haydn “was struck as if he had been put back to the beginning of his studies and had known nothing up to that moment,” an early biographer recalled him remarking. “He meditated on every note and drew from those most learned scores the essence of true musical grandeur.” It wasn’t the music alone that Haydn found so awe-inspiring, but Handel’s remarkable ability to move a diverse audience as well. “I want to write a work that will give permanent fame to my Severance Hall 2017-18

About the Music

The Scottish poet James Thomson, whose volume of poetry The Seasons formed a basis for creating the libretto to Haydn’s musical work.

name in the world,” he was reported to have said. So when the opportunity to try his own hand at English-style oratorio arose, it’s not surprising that Haydn eagerly took it on. Thus the composer so often regarded as the founding father of the instrumental genres of the symphony and the string quartet crowned his glorious career with a final flowering of choral music. While Beethoven would incorporate the human voice into his final symphony, Haydn’s symphonic odyssey took him to a limit of expression beyond which he ventured directly into the oratorio. Johann Peter Salomon (1745-1815), the impresario who had organized Haydn’s lucrative series of London concerts, provided him with an English libretto recounting the biblical creation story — a libretto allegedly once offered to the old master Handel himself (which may have added a competitive thrill to Haydn’s undertaking). The decisive catalyst was provided in Vienna by the Baron Gottfried van Swieten (1733-1803), the music-loving diplomat, librarian, and artistic busybody who had earlier enlisted Mozart to retool several of Handel’s oratorios in a style more attractive to contemporary Viennese audiences (in order to present them for the first time in the Hapsburg capital). Van Swieten tailored the English libretto into a version suitable for Haydn, who set about composing The Creation in simultaneous German and English versions. In the 1770s, Haydn had had mixed success with his foray into the Italian-style oratorio in his Il ritorno di Tobia (“The Return of Tobia”). But The Creation, cast on a monumental scale in three parts, signaled an entirely new level of ambition, costing the composer great effort accompanied by a surprising degree of self-doubt. Nevertheless, The Creation earned Haydn even higher praise than before; its premiere in April 1798 in Vienna in fact marked the climactic triumph of his career. And the process of writing The Creation opened up new floodgates of inspiration and led soon thereafter to the idea of a companion oratorio, Die Jahreszeiten (in German) or The Seasons (in English), set, like The Creation, to both German and English versions of the libretto so that Haydn’s large English following could experience the work in their native language. Along with these late-period oratorios, Haydn continued with this outpouring of choral works in a series of Masses. All of these works combine to present a grand summation of Haydn’s artistry, including his mastery of the orchestra. By the time he began The Seasons, the sixty-something composer’s own longevity had made him a statistical anomaly About the Music

The Cleveland Orchestra

for this era. He had been born into the waning years of the Baroque and lived through the Enlightenment reforms introduced by Emperor Joseph II as well as the first stage of the old order’s reaction to the revolutionary changes unfolding in France. Napoleon was consolidating power and already campaigning in the Middle East and would soon invade the Austrian Empire itself. Haydn died just a few months after Vienna fell a second time to Napoleon’s Grande Armée in 1809. Perhaps the unsettling awareness of a changing world that formed the bass line of life during Haydn’s last decades encouraged thoughts of a counterThe score of The vailing stability, as represented by the recurring Seasons fuses Haydn’s patterns of nature. Even after composing The appreciation for the Creation — in which Haydn had undertaken to depict nothing less than the majesty of the cosrhetorical brilliance mos — his gift for representing nature in music of the high Baroque with was hardly exhausted. the Classical style that Like its predecessor, The Seasons is a testaHaydn himself had been ment to Haydn’s evolution as an artist and to the formidable scope of his genius. The score fuses so instrumental in his appreciation for the rhetorical brilliance of shaping — all in the the high Baroque with the Classical style Haydn service of the Enlightenhimself had been so instrumental in shaping — ment-inspired optimism all in the service of the Enlightenment-inspired optimism that radiates through his mature works. that radiates through The Seasons, moreover, anticipates something of his mature works. the sensibility of the new century being born. The sensational reception of The Creation, however, was not extended to The Seasons when it premiered in 1801, and ever since it has tended to be eclipsed by the earlier oratorio’s reputation. THE TEXT

While van Swieten began with a pre-existing English libretto for The Creation, in the case of The Seasons he himself designed the text using a popular, epic-length work by the Scottish poet and playwright James Thomson (1700-1748). Van Swieten inserted some extraneous sources as well into the final part. Beginning with Winter, Thomson originally wrote separate poems for each season (not in sequence) and then gathered and revised these as the epic The Seasons, totaling well over 4,000 lines of blank verse. It became popular throughout 18th-century Severance Hall 2017-18

About the Music

Europe. (Hadyn may even have read the poems as they were being published.) From this mass of material, van Swieten culled a few dramatic episodes sure to trigger Haydn’s musical imagination and simplified the verse. He also invented a trio of characters to be represented by the soloists: Simon, a farmer (bass); his daughter, Hanne (soprano); and a young farm worker, Lukas (tenor). These aren’t fully characterized individuals but human archetypes who contribute observations about nature and its effects to complement the ongoing commentary of the chorus. Hanne and Lukas play a pair of sweethearts in the “Summer” section. The rapport between Haydn and van Swieten, a sometime-composer himself, was The cycle of seasons by no means smooth sailing. The librettist felt no is seen to project an restraint in offering musical recommendations to allegory of the stages a composer of Haydn’s stature as to how best to set his text. And van Swieten made sure to include of human life and each an abundance of animal imagery (leaping lambs, individual’s inevitable milk-white steeds, and, most notoriously, croaking demise. What does all frogs) so as to capitalize on Haydn’s widely celthis experience on earth ebrated gift for uncannily eliciting pictorial detail in sound. To a colleague who prepared a piano amount to? Indeed, reduction of the score for rehearsal, Haydn indisHaydn, looking back creetly complained about the imitation of frogs over his own career, at the end of the “Summer” section, scribbling a appears to have innote that he “was forced to write this Frenchified trash.” Van Swieten got wind of this harsh cricluded in The Seasons tique, according to Haydn scholar H.C. Robbins elements of reflection Landon, though a potentially lasting break with and self-portraiture. the composer was apparently mended. For contemporary audiences, the text derived from Thomson’s poem can seem stilted, though Thomson wielded great influence among his own contemporaries and into the 19th century. Some of the difficulty has to do with van Swieten’s own problematic mangling of the original in his German version and in his “retranslation” of the latter back to English to fit the music. One novelty of the way Haydn introduced the score is that he insisted it be published in a bilingual edition, with the German and English versions side by side. THE MEANING AND THE MUSIC

Still, van Swieten designed a structure of neatly propor-

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HER ENERGETIC VIBE GIVES CLEVELAND AN EDGE With business assistance and funding support from JumpStart, Anjua Maximo’s FSYXMUYI ƼXRIWW WXYHMS +VSSZI6]HI HIPMZIVW LMKL IRIVK] [SVOSYXW XLEX QSXMZEXI QSVI TISTPI XS WE] ƈ]IWƉ XS 'PIZIPERH ,IV RI[ HS[RXS[R 'PIZIPERH PSGEXMSR FVMRKW XLI X]TI SJ H]REQMG ZMFI XLEX EXXVEGXW ]SYRK TVSJIWWMSREPW ERH KMZIW FYWMRIWWIW ERSXLIV TIVO XS LIPT VIXEMR XEPIRX See what entrepreneurship can do for Northeast Ohio at JumpStartImpact.org/orc Visit. Be inspired. Get involved.

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Sebastian Vrancx

The Seasons in art

The seasons of the year and nature’s changing/ recurring patterns have been studied and depicted by many visual artists across the centuries. The popularity of the subject has inspired many artists to create specific series of works, including multiple quadriptychs as well as sets of twelve monthly views. Among these was the Dutch painter Sebastian Vrancx (1573-1647), with four of his paintings — spring through winter, top to bottom — shown on this page, detailing changing needs and activities as the year progresses. Above, sketch drawing for a portrait of Vrancx by Antoon van Dyck.

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tioned contrasts that served the composer well. “Spring” presents a paean to nature that gravitates toward praise of the Creator, anticipating the utopian vision reached by the end of the work. But “Summer” introduces a contrastingly conflicting portrayal of nature as both triumphant and endangering, with its climactic thunderstorm at last yielding to idyllic repose. The remaining two seasons mirror this pattern — the unified focus on the bounty of the harvest in “Autumn” gives way to the divergent moods found in “Winter.” And the ambivalence of this last season is especially multilayered. Human community provides shelter from the bleakness outdoors, but with the triumph of Winter, “silent fear oppresses nature all around.” The oratorio’s focus subsequently turns toward the spiritual realm to find meaning in this endless cycle of birth and death. “Often, in pastoral music of the 18th century, the disruption of an idyll is represented merely as a misunderstanding between lovers or the arrival of bad weather — tempests, storms, lightning and thunder — soon followed by the return of calm,” writes Maynard Solomon in his insightful book Late Beethoven. He draws attention to the philosophical significance of Haydn’s approach to this pastoral subject matter: “At the loftiest level of this process, Haydn’s oratorios The Seasons and The Creation are versions of a rational Enlightenment pastoral that locates harmonious patterns everywhere in a divine hierarchical arrangement of the universe.” Van Swieten also supplied brief descriptions for what the purely instrumental introductions to each season should conjure. In part one, devoted to “Spring,” the first music we hear is, surprisingly, of a gloomy G-minor cast, suggesting “the passage from Winter to Spring.” The richness of invention in this prelude announces that Haydn intends to draw fully on his combination of craft and imagination as a symphonist. In terms of the Classical orchestra, the ensemble is remarkably expanded and includes a sizeable brass presence. This vividly energetic music stands as a microcosm of the ever-changing face of nature itself. And right from the beginning, Haydn establishes a fundamental tension that underlies The Seasons as a whole — nature’s bountiful and life-enhancing dimension is juxtaposed with a reminder of its darker power. The human voice at last enters as each of the soloists hails the departure of Winter. For all the variety of his moment-bymoment musical gestures, Haydn is a careful architect of the cuSeverance Hall 2017-18

About the Music

Gottfried van Swieten, who created the libretto for Haydn’s The Seasons.

mulative effect, always reinforcing the unity of his design over the large scale. The gentle, lilting first chorus is only the first stage of a gradual crescendo of joy registering the effects of Spring’s reawakening. This continues through Simon’s aria of the husbandman (here Haydn quotes the famous tune from the Andante movement of his “Surprise” Symphony No. 94, changing the surprise to the appearance of a “whistling” piccolo) and the marvelous catalog of creatures sung by the trio, right up to the invocation of the divinity at the end of “Spring.” With a dramatically abrupt shift in tonality (from D to B-flat major), Haydn moreover establishes another significant pattern. Focus on the manifestations of nature in the here and now is enlarged to embrace a cosmic, deistic perspective. It’s often been noticed that The Seasons provided Beethoven with a model for aspects of his Sixth Symphony (nicknamed “Pastoral”) — especially the storm sequence in “Summer” — but this harmonic gesture also looks ahead to a similarly awe-inspiring moment and shift of focus in the finale of Beethoven’s Ninth Symphony. The introduction to “Summer” also starts in a minor key (C minor) and gives us a picture of night yielding to dawn. This occasions a splendid instance of Haydn’s signature musical pictorialism (a full century before Richard Strauss’s primal sunrise at the start of Also Sprach Zarathustra) — the glorious arrival of the new day, which forms the first big climax of this second part. Yet however much this passage makes us think of “programmatic” musical feats of the later Romantics, Haydn literally puts his music first. An often-noted feature of The Seasons is that the musical image usually precedes the verbal one. Even more, Haydn’s music generates feelings of tension and release that have an inherent logic of their own, as we experience in the sluggish but anxious moments presaging the gathering of energy for the storm’s outburst and the newfound sense of peace as the day draws to its quiet close. Nature’s patterns and cycles, in a sense, almost seem to mimic musical ones. Beginning with “the farmer’s delight in the abundant harvest,” “Autumn” includes some of the most memorable genre painting of The Seasons. Despite its pious ode to labor, this is perhaps the most pagan of the oratorio’s four parts. Like a symphonic scherzo, it certainly contains the most unbridled revelry, and the fun begins in earnest with the innocent pleasure of the lovers, continuing on into the sequences of hunting and drinking. Thomson’s depiction of this hunting episode in his original poem was actually intended as a passionate protest against the practice, lamenting our capacity “to joy at

About the Music

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anguish, and delight in blood.” For his part, Haydn creates the musical equivalent of a Dutch master’s lively detail in evoking the fall of the shot bird and, in the quickening string figurations juxtaposed with the hunting calls of horns, the stag’s futile flight; the final wine-fueled carousel sets off an intensifying whirl of counterpoint. With yet another C-minor prelude — now suggesting “the dense fog which marks the beginning” of “Winter” — The Seasons launches its most revelatory section. As in Thomson’s poem, the cycle of seasons is seen to project an allegory of the stages of human life and its inevitable demise. What does all this gathered experience amount to? Haydn, looking back over his own career, seems to have included in The Seasons an element of self-portraiture. The genre scene in the inn (in which Haydn sets texts interpolated by van Swieten that were not in Thomson’s poem) offers momentary respite through the patterns generated by art, but the story told in “Winter” must return to the inescapable reality of our mortal nature. By contrast, The Creation had concluded with Adam and Eve still in Paradise, their fall still in the future. The tonal meandering of Simon’s final aria — a single voice left to contemplate life’s dissolution — conveys an extraordinary restlessness, into which Haydn introduces dramatically resonant silences. At last a resolution is achieved in the exultant concluding trio and double chorus. The journey has come full circle, but — as in a symphonic recapitulation, following a richly worked-through development — the perspective is new, hard won, sublime. Haydn’s love of nature expressed throughout The Seasons reaffirms his faith in a beneficent order behind its patterns, to which his music now gives reverberant voice. —Thomas May © 2018

Portraits of the seasons, from a famous series of paintings by the 16th-century Italian aritst Giuseppe Arcimboldo (1526-1593). Each head is built of objects, fruits, flowers, and vegetables indicative of that time of year.

Thomas May writes regularly about music and theater. His books include Decoding Wagner and The John Adams Reader.

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About the Music

PHOTO BY CHRISTIAN KARGL

PHOTO BY GREGOR ROHRIG

Golda Schultz

Maximilian Schmitt

South African soprano Golda Schultz is a rising star of her generation. She was a journalism major at Rhodes University when she began her music studies, later earning a graduate degree in music at the University of Cape Town and then spending two years with the Cape Town Opera. She is a graduate of New York’s Juilliard School, through which she was then admitted to the Young Artist Program at the Bayerische Staatsoper. Since that time, she has appeared throughout Europe, including performances with the Glyndebourne Festival, Musikfestival Heidelberger Frühling, Rheingau Musik Festival, Salzburg Festival, Staatsoper Hamburg, and Teatro alla Scala in Milan. Golda Schultz’s schedule this season includes debuts at the Dutch National Opera, New York’s Metropolitan Opera, and the New National Theater Tokyo. Recent seasons have featured concert appearances with the Deutsche Kammerphilharmonie Bremen, Finnish Radio Symphony, Iceland Symphony Orchestra, Leipzig Gewandhaus Orchestra, and the National Symphony Orchestra. Ms. Schultz is making her Cleveland Orchestra debut with this weekend’s concerts. For additional information, visit www.goldaschultz.com.

German tenor Maximilian Schmitt sings a wide variety of operatic roles, in concert, and in recital throughout Europe — with a repertoire ranging from Monteverdi and Mozart to Mendelssohn and Mahler. He discovered his love for music as a member of the Regensburger Domspatzen Boys’ Choir, and soon began studies at the Berlin University of the Arts. He began his career as a member of the Young Ensemble of Munich’s Bavarian State Opera. While there, he also made his debut in Salzburg singing Tamino in Mozart’s The Magic Flute. He was subsequently a member of the Ensemble of the Mannheim National Theater for four seasons. Recent performances have included Mahler’s Song of the Earth at the Zermatt Festival, his debut in the title role of Mozart’s Idomeneo in Strasbourg, and his Vienna State Opera debut as Don Ottavio in Mozart’s Don Giovanni, as well as singing in recital at London’s Wigmore Hall. His discography includes albums for BR Klassik, Decca, Harmonia Mundi, Oehms Classics, and Phi. He first sang with The Cleveland Orchestra in April 2013 and returned last year to sing the role of the Evangelist in Bach’s Saint John Passion. For additional information, visit www. maximilianschmitt.com.

Guest Artists

The Cleveland Orchestra

PHOTO BY SIMON PAULEY

Christian Van Horn American bass-baritone Christian Van Horn has appeared in many of the great opera houses of the world, from Chicago, Santa Fe, and San Francisco to Salzburg, Munich, and Rome. His schedule this season includes his return to New York’s Metropolitan Opera as Julio in the American premiere of Thomas Adés’s The Exterminating Angel as well as productions of Mozart’s The Magic Flute and Puccini’s La Bohéme. He also returns to the Lyric Opera of Chicago as Mephistopheles in Faust and to the Canadian Opera Company as the Emperor in Stravinsky’s The Nightingale. His concert repertoire ranges from Beethoven and Mozart to Tippett and other modern works. Mr. Horn has recorded the title role of Mozart’s The Marriage of Figaro for Sony Classical and also appeared in the MetOpera’s HD broadcast of Verdi’s Falstaff. He earned a master’s degree in music from Yale University and is a graduate of the Lyric Opera Center for American Artists at the Lyric Opera of Chicago. His many awards include winner at the Metropolitan Opera National Council Auditions in 2003. He is making his Cleveland Orchestra debut with this weekend’s concerts. For more information, please visit www.christianvanhorn.com. Severance Hall 2017-18

Guest Artists

THE PERFECT

PRELUDE Enjoy a special Cleveland Orchestra prix ﬁxe menu. Starting at $22.00 + tax & gratuity

Present Orchestra ticket for complimentary valet Call 216.707.4045 for reservations at InterContinental Cleveland 9801 Carnegie | tbl45.com | @TBL45

Lisa Wong Acting Director of Choruses Frances P. and Chester C. Bolton Endowed Chair The Cleveland Orchestra

Lisa Wong was appointed acting director of choruses for The Cleveland Orchestra with the start of the 2017-18 season. She had become assistant director of choruses for The Cleveland Orchestra in 2010. With the 2012-13 season, she took on the added position of director of the Cleveland Orchestra Youth Chorus. In addition to her duties at Severance Hall, Ms. Wong is an associate professor of music at the College of Wooster, where she conducts the Wooster Chorus and the Wooster Singers and teaches courses in conducting, choral literature, and music education. She previously taught in public and private schools in New York, Pennsylvania, and Indiana. Active as a clinician, guest conductor, and adjudicator, she serves as a music panelist for the National Endowment for the Arts. Recent accolades have included work at Kenyatta University in Nairobi, Kenya, as a part of Tunaweza Kimuziki, and as a conductor for “Conducting 21C: Musical Leadership for a New Century” in Stockholm, Sweden. Ms. Wong holds a bachelor’s degree in music education from West Chester University and master’s and doctoral degrees in choral conducting from Indiana University.

Cleveland Orchestra Chorus

The Cleveland Orchestra

Cleveland Orchestra Chorus Lisa Wong, Acting Director

Daniel Singer, Acting Assistant Director

Joela Jones, Principal Accompanist

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

ALTOS

TENORS

BASSES

Amy F. Babinski Claudia Barriga Kimberly Brenstuhl Florence Brodowski Yu-Ching Ruby Chen Susan Cucuzza Anna K. Dendy Emily Engle Lisa Rubin Falkenberg Lisa Fedorovich Sarah Gaither Samantha Garner Sarah Gould Rebecca S. Hall Lisa Hrusovsky Shannon R. Jakubczak Hope Klassen-Kay Adrienne Leska Kate Macy Jessica M. May Megan Meyer Julie Myers-Pruchenski S. Mikhaila Noble-Pace Jennifer Heinert O’Leary Lenore M. Pershing Cassandra E. Rondinella Meghan Schatt Monica Schie Samantha Smith Kay Tabor Jane Timmons-Mitchell Sharilee Walker Mary Wilson Constance D. Wolfe

Alexandria Albainy Emily Austin Laura Avdey Debbie Bates Julie A Cajigas Brianna Clifford Barbara J. Clugh Carolyn L. Dessin Marilyn Eppich Amanda Evans Diana Weber Gardner Ann Marie Hardulak Betty Huber Karen Hunt Sarah Hutchins Melissa Jolly Kate Klonowski Lucia Leszczuk Danielle S. McDonald Karla McMullen Clare Mitchell Peggy A. Norman Dawn Ostrowski Marta Perez-Stable Ina Stanek-Michaelis Rachel Thibo Martha Cochran Truby Gina L. Ventre Laure Wasserbauer Leah Wilson Debra Yasinow Lynne Leutenberg Yulish

Vincent L. Briley Gerry C. Burdick David Ciucevich Corey Hill  Daniel M. Katz Peter Kvidera Adam Landry Tod Lawrence Rohan Mandelia James Newby Ryan Pennington Matthew Rizer Ted Rodenborn John Sabol Lee Scantlebury James Storry Charles Tobias William Venable Michael J. Ward Allen White

Christopher Aldrich Tyler Allen Brian Bailey Jack Blazey Bryant M. Bush Sean Cahill Kevin Calavan Peter B. Clausen Nick Connavino Kyle Crowley Christopher Dewald Jeffrey Duber Matthew Englehart Thomas E. Evans Richard Falkenberg Kurtis B. Hoffman Jason Howie Joshua Jones David Keller Jason Levy Scott Markov Tyler Mason Roger Mennell Robert Mitchell Stephen Mitchell Tom Moormann Keith Norman Tremaine Oatman Francisco X. Prado John Riehl Jarod Shamp Wiley Livingston Smith James B. Snell Stephen Stavnicky

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

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Cleveland Orchestra Chorus

= Shari Bierman Singer Fellow

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.

TH E P RO M E TH E U S P ROJ E C T

BE ETHOVE N THE CLEVELAND ORCHESTRA

CLEVELAND May 1O-19 VIENNA May 24-28 TOKYO June 2-7 conducted by Franz Welser-Möst The Cleveland Orchestra’s Centennial Season ends with a special series of concerts on three continents. Franz Welser-Möst examines Beethoven’s nine symphonies through the story of PROMETHEUS, a titan of Greek mythology who defied Zeus to give fire to humanity — sparking imagination, civilization, learning, and creativity. Similarly, BEETHOVEN, a titan of classical music, pursued his own art and energies in service to Promethean beliefs — in the goodness of humanity, and the ongoing heroic struggle to create a better world, filled with justice and human worth. These Festival concerts are a not-to-be-missed experience to hear Beethoven’s genius in its glory and great goodness.

CLEVELAND S E V E R A N C E H A L L MAY 10 Symphonies Nos. 1 and 3 (“Eroica”) MAY 11 Symphonies Nos. 4 and 7 MAY 12 Symphonies Nos. 8 and 5 MAY 13 Symphonies Nos. 6 (“Pastoral”) and 2 MAY 17, 18, 19 Symphony No. 9 (“Choral”)

21 6-2 3 1-1111 clevelandorchestra.com TI CK E TS

Ludwig van Beethoven, 1815, painted by W. J. MĂ¤hler

Music is a higher revelation than all wisdom and philosophy. It is the wine of new creation and I am Bacchus who presses out this glorious wine for all and makes them drunk with the spirits. â&#x20AC;&#x201D;Ludwig van Beethoven

The Cleveland Orchestra

THE

CLEVELAND ORCHESTRA FR ANZ WELSER- MÖST

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

2O1 7-18 CENTENNIAL SEASON

Severance Hall

Friday evening, January 19, 2018, at 7:00 p.m.

Franz Welser-Möst, conductor LUDWIG VAN BEETHOVEN (1770-1827)

Overture to The Creatures of Prometheus, Opus 43 Symphony No. 1 in C major, Opus 21 1. 2. 3. 4.

Adagio molto — Allegro con brio Andante cantabile con moto Menuetto: Allegro molto e vivace Finale: Adagio — Allegro molto e vivace

INTERMISSION

Symphony No. 3 (“Eroica”) in E-flat major, Opus 55 1. 2. 3. 4.

Allegro con brio Marcia funebre: Adagio assai Scherzo: Allegro vivace — Trio — Coda Finale: Allegro molto — Poco andante — Presto

FRIDAYS@

The Cleveland Orchestra's Fridays@7 series is sponsored by KeyBank, a Cleveland Orchestra Partner in Excellence. The Friday evening concert will end at approximately 8:45 p.m.

Severance Hall 2017-18

Concert Program — Week 11a

January 19

2O1 7-18 CENTENNIAL SEASON

TONIGHT 'S CONCE RT Restaurant opens: FRI 5:00

Severance Restaurant Reservations for dining suggested:

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

Happy Hour: 5:30 TO 6:30

Concert begins: FRI 7:00

PRE-CONCERT

HAPPY HOUR

YS@ A ID FR

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

BEETHOVEN Overture to The Creatures of Prometheus . . . . . . . . . Page 84 (5 minutes)

BEETHOVEN Symphony No. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 85 (25 minutes)

INTERMISSION (20 minutes)

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

BEETHOVEN Symphony No. 3 (“Eroica” or “Heroic”) . . . . . . . . . . . Page 88 (50 minutes)

POST- CONCERT Smith Lobby Music and Mingling — with Hot Djang! performing live . . . Severance Restaurant Luca Mundaca performs live . . .

Concert ends: (approx.)

FRI 8:45

Smith Lobby post-concert drinks

Severance Restaurant and Opus Café post-concert drinks and desserts

This Evening’s Concerts

The Cleveland Orchestra

INTRODUCING THE CONCERT

Heroes &Myth — Music&Meaning

T H I S E V E N I N G ’ S C O N C E R T presents a strong dose of Beethoven, comprised of two symphonies and an overture. Here, Beethoven’s message of human worth and betterment, of freedom and justice, melds musical voice with meaning and substance. Beethoven was famously a grumpy man. Despite many successes, he’d gone from a challenging childhood (with an alcoholic father) to a superstar career as a performer whose hearing disappeared. Most importantly, however, as everyday sounds evaporated, Beethoven did not lose himself or his place in the world. And his musical voice continued, filled with strength and determination. The concert opens with an Overture to a ballet, The Creatures of Prometheus. This mythological storyline appealed directly to Beethoven’s view of life as a “fight for good.” Prometheus breathed life into human form, and gave fire to humanity as a gift (defying orders not to) — thus advancing civilization and understanding. In this overture, Beethoven himself shows daring, courage, and character. Beethoven’s First Symphony, from 1801, is often overlooked as an early (and “perfectly fine”) attempt at what Mozart and Haydn had already done. In fact, here he is already pushing boundaries and resetting expectations — and moving musical language forward. The concert closes with one of Beethoven’s biggest battle-works, the Third Symphony, nicknamed “Heroic.” This mighty piece, born from alternating thoughts of admiration and disgust for Napoleon Bonaparte, and conceived simultaneously as the composer wrestled fate’s choice of stealing his hearing away to deafness, did much to launch Beethoven’s greatness for posterity — and solidified his own resolve to fight for good through his music. Here politics and philosophy, heroics and will, might and right, are blended together into one of the greatest symphonies ever written. This is music filled with joy and heartache, fun and confrontation — and pure genius. —Eric Sellen

Above, 19th-century lithograph of Beethoven as a “gentleman.”

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Week 11a — Introducing the Concert

Overture to The Creatures of Prometheus from the ballet score, Opus 43 composed 1800-01 B E E T H O V E N W R O T E two ballets, a decade apart, during

Ludwig van

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

At a Glance Beethoven completed his music for Die Geschöpfe des Prometheus (“The Creatures of Prometheus”), an original dance scenario by Salvatore Viganò, in 1801. The ballet was premiered at the Burgtheater in Vienna on March 28, 1801. This overture runs about 5 minutes in performance. Beethoven scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings.

his early time in Vienna. For the first, in 1791, his patron Count Leopold Waldstein paid the young Beethoven to write some music that Waldstein could pass off as his own. Ten years later, Beethoven had taken his rightful place at the center of Viennese musical life, and the ballet master at the Imperial Court, Salvatore Viganò, asked him for something new. Viganò had been appointed two years earlier, and was setting out to add new works to the repertoire by commissioning music for an original dance work each season. For the ballet, Viganò chose a storyline drawn upon the ancient myth of Prometheus, who advanced human evolution, civilization, and understanding. There are several storylines to the Prometheus myth: in one he literally breathes life into inanimate forms, while in another he steals fire from the gods and bestows this powerful gift to humanity, sparking the advancements in civilization that fire brings (cooking, manufacturing, heating, science, etc.) The ballet’s storyline was directly related to Beethoven’s lifelong belief in the ultimate goodness of humanity — and the need both to “fight for good” and for heroes to lead us forward by example and sacrifice. It is, in fact, a philosophical outlook — of a hero fighting for right — that Franz Welser-Möst believes was central to Beethoven’s outlook on life and is embedded in much of his music. Music isn’t just something to be pretty, or interesting, or amusing, or relaxing. Music can be a call to arms — intellectually, spiritually, and even physically. (Franz closes the 2017-18 Season at Severance Hall with a two-week festival of Beethoven’s music titled “The Prometheus Project,” featuring all nine symphonies and a selection of telling overtures.) Often excerpted in concert on its own, the Overture to The Creatures of Prometheus shows Beethoven’s early dramatic leanings and ability — and helped propel him into further writing for the stage, including his only opera, Fidelio. Here, in Prometheus, the music is stirring and startling, with palpable strength and emotional struggle its musical outlines. —Eric Sellen © 2018

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Symphony No. 1 in C major, Opus 21 composed 1799-1800

Ludwig van

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

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N I N E I S N O T A M A G I C N U M B E R for symphonies. Mozart wrote more than fifty (including his similarly-built orchestral serenades and suites), Haydn over a hundred. Yet nine is all that Beethoven managed to write. Or, perhaps, all he actually needed in order to encode his changing — and revolutionary — thinking about what had become the quintessential form for orchestral music. Starting at age 29 and ending a quarter century later in 1824, Beethoven worked hard in each of his symphonies, to distill his changing understanding about how music works. Each is a step forward, from the “here” of what had gone before to the “there” that Beethoven wanted to find — of what music could become, of the music’s power to tell humanity’s struggles and triumphs, of our pleasures and possibilities. It is often said that there is little that is revolutionary in Beethoven’s First Symphony. Indeed, this work is too often dismissed merely as a natural outgrowth of symphonic traditions and evolution that had transpired through the works of Mozart and Haydn in the two previous decades. Yet this symphony isn’t just another symphony of the past, in small ways that make a difference. Choices that Beethoven made in this music clearly pointed forward, in part as ideas to try, but also as specific lines and traditions he was ready to cross. As Franz Welser-Möst says, “Beethoven’s First Symphony is already a step toward the Fifth. And that is how it should be played. That is how we should listen to it. It is not just a nice and happy and easy-going symphony. It has a direction, a kind of fire beneath the music that will carry us forward, from this beginning onward. The last movement is built with a kind of intense, fiery scale. Here Beethoven’s spark of genius is clearly showing, as part of his own journey forward.” Beethoven had written much by the time he started his first symphony, including ten piano sonatas, six string quartets, and two piano concertos. He had much experience and many lessons behind him. He had waited to tackle the symphony as a genre, but he was ready to begin the journey toward the future for music that his mind was telling him was possible. Symphony No. 1 turned out to be a good opening statement for Beethoven the symphonist, fully in command of the orchestra’s forces and voices — and not content to merely write About the Music

At a Glance Beethoven composed this symphony in 1799-1800. The first performance took place on April 2, 1800, in Vienna. The work was published with a dedication to Baron Gottfried van Swieten, one of Vienna’s most prominent music-lovers and patrons. The First Symphony runs about 25 minutes in performance. Beethoven scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. The Cleveland Orchestra first performed Beethoven’s Symphony No. 1 in March 1929. The most recent performances were in July 2017, led by Franz Welser-Möst.

“another” of what others had already written. He tightens everything up musically, and works hard to ensure that musical ideas are related and developed appropriately. He also adds a sense of the unexpected, and a sense of humor. These, of course, Haydn and Mozart had also expressed, but Beethoven’s choices are both more deliberate and a bit more daring. Even in the traditional format and form, his music says things are going to be different. The first movement begins with a chord of unexpected discord. It is an unstable sound, a question rather than a statement, with each chord resolving in new directions. Finally, the key stabilizes as it reaches the main Allegro section of the movement. Beethoven has given himself a touching “overture” and is now ready to begin. He builds the rest of the movement from a driven, aspiring forward momentum — occasionally sounding like Mozart, but more often speaking in clear Beethovenian syllables, sound colorings, dramatic sidesteps, and cascading passages. The second movement continues in Beethoven’s new symphonic voice. There is a clear melody, moving forward against subtle cross-currents and opening into wider paths of

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ideation. The timpani add intrigue at crucial moments, as the music slithers around obstacles and moments of repose. The woodwinds, too, play an important role along with the trumpets. The third movement is labelled a minuet, as Haydn or Mozart might have stated, but Beethoven’s is too fast to dance to. It is instead a “scherzo” of clear but modest proportions, giving us a sense of Beethoven’s comedic timing. The music steps forward, measure by measure, high and low, loud and soft, smiling and surprised. The finale fourth movement begins with a slow introduction, before scampering off with an angular scale burning with fire — gracefully combusting the ingredients that Beethoven lays out before us. Trumpets and drums again add fuel to the storyline, along with a merry tune of humorous questions and answers, which rather quickly carries us into a blazing momentum accompanied by sudden starts, stops, recurrence, and end. Beethoven presented the Symphony No. 1 in April 1800 at a concert he organized and financed himself. He dedicated the work to Baron Gottfried van Swieten, the Court Librarian to the emperor, who had helped introduce Beethoven to Vienna and to certain musical manuscripts in his first decade in the city. —Eric Sellen © 2018

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Symphony No. 3 (“Eroica”) in E-flat major, Opus 55 composed 1802-04

Ludwig van

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

E U R O P E H A S B E E N C H A N G I N G remarkably over the past forty years. The reality of a united continent has had some notable setbacks in the past decade, including the nail-bitingly close Brexit vote two years ago for Britain to leave the European Union. Still, it is amazing to consider just how far this disparate group of nations has come — a single currency (with a few notable holdouts, and perhaps some new question marks) and an extensive list of common regulations and cross-border agreements. All of this accomplished quietly, almost behind the scenes, largely by a group of new bureaucrats focussed on common goals and the common good. Whether the “people” can come to understand and embrace the long-term value of such shared commonality remains to be seen, with the Brexit vote now pushing the entire continent toward uncharted and untested paths forward. In 1803, things were swinging in different directions, too. Europe was intoxicated by ideas — or at least its artists and intellectuals were — and of a raucous kind. The interest then was Revolution, the Rights of Man, and the importance of the individual. Their central myth was that of Prometheus, a solitary man who defiantly brought fire (“power”) to the people. Real life is not so tidy as myth, and Napoleon Bonaparte was no Prometheus. Yet even as observers at the time suspected that Napoleon had hijacked the French Revolution and turned it into a war of global conquest, they were fascinated by his inexorable rise. What better emblem for the worth of the individual than this “little corporal” who bestrode the world? “He put me under a spell, as a snake does a bird,” the Austrian playwright and patriot Grillparzer recalled later. In 1806, the philosopher Hegel called Napoleon “a soul of worldwide significance.” Long after the general’s death, Goethe drew a musical analogy: “Napoleon played the world as Hummel his piano; both achievements appear miraculous . . . [yet] the whole is done before our eyes.” It is another musical analogy that we associate with Napoleon today, however — Beethoven’s Symphony No. 3 in E-flat major, or Sinfonia eroica, per festiggiare il sovvenire d’un gran’ uomo [“Heroic symphony, to celebrate the memory of a great man”], as the composer ultimately called it. The famous anecdote about Beethoven tearing up the title page dedicated

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to Napoleon, which eloquently expresses both Beethoven’s attraction to power and defiance of tyranny, is nevertheless only one chapter in the historical and personal saga that led to this revolutionary work of music, an “achievement” more “miraculous” than anything any of his contemporaries even imagined. C O N F RO N TAT I O N A N D C R I S I S

“I am not satisfied with my works up to the present time,” Beethoven confided to his friend Krumpholz in 1802. “From today I mean to take a new path.” That path necessarily led away from his teacher Haydn (whom Beethoven even began to avoid socially), away from such popular successes as the First and Second Symphonies and the Septet — away, in fact, from the entire musical old order. Like the policies of French First Consul Napoleon (who was just a year older than the composer), Beethoven’s path led toward confrontation and crisis. Beethoven’s feelings of isolation were deepened at this time by the first signs of advancing deafness. At a doctor’s suggestion, he escaped the stress of city life for six months in the bucolic village of Heiligenstadt. In October 1802, near the end of his stay there, Beethoven poured his despondent thoughts into an extraordinary confessional document, found among his papers after his death and now known as the Heiligenstadt Testament. This rambling discourse on his malady, ostensibly addressed to the composer’s two brothers, reads like a suicide note (“Farewell, and do not wholly forget me when I am dead”) yet rejects that solution (“I would have ended my life — it was only my art that held me back.”), yearning instead for “but one day of pure joy” in the life remaining to him. “Beethoven here enacted his own death in order that he might live again,” writes the astute biographer and psychoanalyst Maynard Solomon. “He re-created himself in a new guise, self-sufficient and heroic.” Death was a preoccupation of those times. Art, literature, and music were full of the deaths . . . of Mirabeau, Marat, Danton, and other heroes, from which the Revolution flamed up more brightly than ever. (In fact, death was nearly a prerequisite for enshrinement as a hero, which may explain why “Napoleon’s funeral” takes place less than halfway through Beethoven’s symphony for him, composed when the real-life Napoleon was alive and kicking and considering an invasion of Austria. In 1821, when Beethoven was told that Napoleon had died on the island of St. Helena, he said, Severance Hall 2017-18

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In 1803, Europe was intoxicated by ideas of a raucous kind. The new interest was Revolution, the Rights of Man, and the importance of the individual. A central myth was that of Prometheus, a solitary man who defiantly brought fire (“power”) to the people. As a composer, Beethoven was aflame with ambitious new ideas himself — musical and political.

At a Glance Beethoven composed his Third Symphony between 1802 and 1804. He conducted the first performance at a private concert in the home of Prince Lobkowitz, to whom the work is dedicated, in December 1804. The first public performance took place at the Theater-ander-Wien on April 7, 1805, again with the composer conducting. This symphony runs about 50 minutes in performance. Beethoven scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 3 horns, 2 trumpets, timpani, and strings. The Cleveland Orchestra first performed Beethoven’s “Eroica” Symphony in October 1920, under Nikolai Sokoloff’s direction. It is among the most frequently performed symphonies in the Orchestra’s repertoire, appearing often in Cleveland’s programming at home and in cities around the world. The Cleveland Orchestra has recorded Beethoven’s Third three times: in 1957 with George Szell, in 1977 with Lorin Maazel, and in 1983 with Christoph von Dohnányi.

“I have already composed the proper music for that catastrophe.”) Certainly Beethoven was aflame with ambitious new ideas on his return to Vienna. Two works in particular from 1803 vastly expand their polite Classical genres: the “Kreutzer” Sonata for violin and piano, Opus 47, and the new symphony that Beethoven was already calling “Buonaparte.” By the end of the year, he was at work on the opera Fidelio. And still more heroic overtures, named for their protagonists, would follow — Egmont, Coriolan, King Stephen, and finally a very noisy ode (full of canon and battle clash) to Napoleon’s nemesis, Wellington’s Victory. Beethoven had come through the crisis, and was striding purposefully along his “new path.” The Heiligenstadt Testament, as Maynard Solomon writes, had proved to be “the literary prototype of the Eroica Symphony, a portrait of the artist as hero . . . a daydream compounded of heroism, death, and rebirth.” Solomon’s description is echoed in a newspaper review of the symphony’s first public performance, which took place in the Theater-an-der-Wien on April 7, 1805, with the composer conducting: “This long composition, extremely difficult to perform, is in reality a tremendously expanded, daring, and wild fantasia.” The review continues, less flatteringly, “It lacks nothing in the way of startling and beautiful passages, in which the energetic and talented composer must be recognized; but often it loses itself in anarchy.” Beethoven’s pupil Carl Czerny recalled a self-appointed critic at the premiere who expressed himself succinctly from the gallery: “I’ll give another kreutzer if only the thing will stop!” These reactions were normal enough on first hearing a work that was twice as long as any previous symphony. In any case, the dissatisfaction that evening was mutual. “The public,” wrote another journalist, “thought the symphony too difficult, too long. . . . [Beethoven] did not deign to give even a nod to the part of the audience that was applauding. Beethoven, on the contrary, did not find the applause sufficiently enthusiastic.” And so Beethoven’s path forward was confirmed to be a lonely one. U L T I M A T E LY , the Symphony No. 3 needs no subtitle, no Na-

poleon, no Prometheus, no Heiligenstadt Testament. Even the proverbial person from Mars could not fail to be moved (or horrified, like some of those first hearers) by the organic force of the notes themselves. May familiarity never dull our awareness of the daring masterstrokes in the opening movement — the two mighty opening chords, like cosmic ticks of a god’s metronome, About the Music

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ABOVE AND BELOW — Differing accounts of Beethoven’s outrage at Napoleon.

The story tells of him tearing the paper in two. The manuscript (at top) shows a physical, maybe violent attempt to erase the word “Buonaparte.”

Bonaparte out, “Heroic” in “In this symphony, Beethoven had Buonaparte in mind, but as he was when he was First Consul. Beethoven esteemed him greatly at the time and likened him to the greatest Roman consuls. I as well as several of his more intimate friends saw a copy of the score lying upon his table with the word ‘Buonaparte’ at the extreme top of the title page, and at the extreme bottom ‘Luigi van Beethoven,’ but not another word. Whether and with what the space between was to be filled out, I do not know. I was the first to bring him the intelligence that Buonaparte had proclaimed himself emperor, whereupon he flew into a rage and cried out: ‘Is he then, too, nothing more than an ordinary human being? Now he, too, will trample on all the rights of man and indulge only his ambition. He will exalt himself above all others to become a tyrant!’ Beethoven went to the table, took hold of the title page by the top, tore it in two, and threw it on the floor. The page had to be rewritten, and only then did the symphony receive the title ‘Sinfonia eroica’.” — from Recollections of Ferdinand Ries

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Beethoven’s Third Symphony

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setting the pace for all that follows; the first theme, which seems placidly to affirm E-flat major, until it slides down to C sharp, opening a window onto a vast harmonic landscape; the graceful, wholly new theme that appears in the development in the remote key of E minor; the horn, unable to stand the suspense any longer, jumping the gun at the start of the recapitulation and seeming to come in four bars “early”; and the monumental architecture of this entire 691-bar first movement, in which the tiniest musical motifs are linked to form themes, then groups of themes, then sections, and finally a single great edifice. Like other great buildings, it is easy — and a pleasure — to get lost in this. The second-movement Marcia funebre [“Funeral March”], on the other hand, tells its story vividly and directly. One can almost picture the formal gait of the marchers, the drums that gently urge them on, the reveries of happier times in the major-key middle section, the bugle corps that snaps us back to reality with its dire fanfare. The “disintegration” of the theme in the coda section nearer the end is a metaphor for death that Beethoven had used before, in his Joseph Cantata. And what could be a greater contrast to all this than the jolly chase of the third-movement Scherzo?! Impressions of a chaotic hunting scene (or the exhilaration of battle?), full of cries and exclamations near and far, are reinforced by the bold horn calls (literally a “trio”) at mid-movement. Beethoven opens the fourth-movement finale, just as he did the first movement, with a proclamation of important events to come. Then, humorously, a barely audible bass line peeks around the corner. A countermelody is added, and finally the dance tune itself, which we now realize begins with the same notes as the opening theme of the first movement. Again, something is being built, the other foundation structure of the symphony’s triumphal arch, this time based on variation form, but with superimposed features such as a sonata-style development and rondo-like episodes. Near the end, there is a period of repose, marked with the tempo Poco andante, in which the hero — plainly Beethoven himself now — can survey his accomplishments at a distance, but even here the anxieties of the present intrude, and the symphony closes with a fresh burst of energy and determination. —David Wright © 2018

“From today I mean to take a new path,” wrote Beethoven in 1803. The path would have to lead away from his teacher Haydn, away from such popular successes as the First and Second Symphonies — away, in fact, from the entire musical old order. Like the policies of Napoleon (who was just a year older than the composer), Beethoven’s path led toward confrontation and crisis.

David Wright lives and writes in New Jersey. He previously served as program annotator of the New York Philharmonic.

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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 Oâ&#x20AC;&#x2122;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

Composerâ&#x20AC;&#x2122;s Circle gifts of $2,000 to $4,999 Mr. and Mrs. Charles Abookire, Jr. Ms. Nancy A. Adams Mr. and Mrs.* Robert J. Amsdell Mr. and Mrs. Jeffrey R. Appelbaum+ Mr. and Mrs. James B. Aronoff+ Art of Beauty Company, Inc. Ms. Patricia Ashton Steven Michael Auvil and Elise Hara Auvil Mr. and Mrs. Eugene J. Beer Dr. Ronald and Diane Bell Drs. Nathan A. and Sosamma J. Berger Mr. Roger G. Berk Barbara and Sheldon Berns Jayusia and Alan Bernstein (Miami) Margo and Tom Bertin John and Laura Bertsch Howard R. and Barbara Kaye Besser Ms. Deborah A. Blades Bill* and Zeda Blau Doug and Barbara Bletcher Georgette and Dick Bohr Mr. and Mrs. Richard H. Bole Irving and Joan M. Bolotin (Miami) Mrs. Loretta Borstein Lisa and Ronald Boyko Mr. and Mrs. David Briggs Mr. and Mrs. Henry G. Brownell Mrs. Frances Buchholzer J. C. Burkhardt Mr. and Mrs. Robert G. Busha Rev. Dr. Joan Brown Campbell and Rev. Dr. Albert Pennybacker Dr. and Mrs. William E. Cappaert John and Christine Carleton (Miami) Mrs. Millie L. Carlson+ Mr. and Mrs. Frank H. Carpenter

92 98

Individual Annual Annual Support Individual

The Cleveland Orchestra

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

Severance HallOrchestra 2017-18 The Cleveland

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

Individual Annual Annual Support Support Individual

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

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

* deceased

Thank You 99 93

Chamber Music Society of Lincoln Center Tuesday, January 23 | 7:30 p.m. EJ Thomas Hall, Akron Romanticism’s musical giants: DvoĜák & Brahms $45, $40, $25 / free for all students Get engaged: concert talk at 6:30 p.m.

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100

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)

87 101

Playhouse Square June 28-30

PRESENTED BY

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CONGRATULATIONS TO

The Cleveland Orchestra on celebrating their

CENTENNIAL SEASON

102

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

85 103

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

11001 Euclid Avenue Cleveland, Ohio 44106

CLEVELANDORCHESTRA.COM

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

Severance Hall 2017-18

Severance Hall

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

105

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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

107

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.

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.

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

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

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108

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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.

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

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

CHILDREN AND FAMILIES Regardless of age, each person must have a ticket and be able to sit quietly in a seat throughout the performance. Cleveland Orchestra subscription concerts are not recommended for children under the age of 8. However, there are several age-appropriate series designed specifically for children and youth, including: Musical Rainbows (recommended for children 3 to 6 years old) and Family Concerts (for ages 7 and older).

Our Under 18s Free ticket program is designed to encourage families to attend together. For more details, visit clevelandorchestra.com/ under18.

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

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

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THE CLEVELAND C O N C E R T

C A L E N D A R

WINTER SEASON Mahlerâ&#x20AC;&#x2122;s Ninth Symphony

Haydnâ&#x20AC;&#x2122;s The Seasons.

Jan 11 â&#x20AC;&#x201D; Thursday at 7:30 p.m. Jan 12 â&#x20AC;&#x201D; Friday at 8:00 p.m. <18s Jan 13 â&#x20AC;&#x201D; Saturday at 8:00 p.m.

Jan 18 â&#x20AC;&#x201D; Thursday at 7:30 p.m. Jan 20 â&#x20AC;&#x201D; Saturday at 8:00 p.m. THE CLEVELAND ORCHESTRA Franz Welser-MĂśst, conductor Golda Schultz, soprano Maximilian Schmitt, tenor Thomas Hampson, baritone Cleveland Orchestra Chorus

THE CLEVELAND ORCHESTRA Franz Welser-MĂśst, conductor

STAUD Stromab â&#x20AC;&#x201D; world premiere MAHLER Symphony No. 9 Sponsor: KeyBank

HAYDN The Seasons

Martin Luther King Jr. Celebration Concert

Beethovenâ&#x20AC;&#x2122;s Heroic Symphony Jan 19 â&#x20AC;&#x201D; Friday at 7:00 p.m.

Jan 14 â&#x20AC;&#x201D; Sunday at 7:00 p.m THE CLEVELAND ORCHESTRA Franz Welser-MĂśst, conductor James Pickens Jr., narrator Ryan Speedo Green, bass-baritone Martin Luther King Jr. Celebration Chorus William Henry Caldwell, chorus director

BEETHOVEN Overture to The Creatures of Prometheus BEETHOVEN Symphony No. 1 BEETHOVEN Symphony No. 3 (â&#x20AC;&#x153;Eroicaâ&#x20AC;?)

The Cleveland Orchestraâ&#x20AC;&#x2122;s 38th annual concert celebrating the spirit of Dr. Kingâ&#x20AC;&#x2122;s life, leadership, and vision. This yearâ&#x20AC;&#x2122;s concert explores King as a modern-day hero â&#x20AC;&#x201D; as part of the Orchestraâ&#x20AC;&#x2122;s Centennial Season â&#x20AC;&#x153;Prometheus 3URMHFW Âľ EXLOGLQJ RQ %HHWKRYHQÂˇV LGHD RI Â´Ă&#x20AC;JKWLQJ IRU JRRGÂľ and exploring Kingâ&#x20AC;&#x2122;s own battle for human rights, equality, freedom, and justice.

Sponsor: KeyBank

Mitsuko Uchidaâ&#x20AC;&#x2122;s Mozart Feb 8 â&#x20AC;&#x201D; Thursday at 7:30 p.m. Feb 9 â&#x20AC;&#x201D; Friday at 8:00 p.m. <18s Feb 10 â&#x20AC;&#x201D; Saturday at 8:00 p.m.

Sponsor: KeyBank

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

TICKETS: Admission is free, but tickets are required. A ticket lottery was held and all tickets distributed. LISTEN: The concert is broadcast live on Cleveland radio stations WCLV (104.9 FM) or WCPN (90.3 FM). WATCH: The concert is being recorded by PBS/ideastream for delayed telecast in Cleveland and throughout Ohio. PBS/WVIZ telecast: Friday, January 26, at 9 p.m. Check local listings for other stations, dates, and times.

Sponsor: Quality Electrodynamics (QED)

Beethoven Lives Upstairs Feb 11 â&#x20AC;&#x201D; Sunday at 3:00 p.m.

Jan 15 â&#x20AC;&#x201D; Monday from noon to 5 p.m. Severance Hall joins in the city-wide celebration of Martin Luther King Jr.â&#x20AC;&#x2122;s life and achievements with a free public open house featuring musical performances by groups from across Northeast Ohio. Details at clevelandorchestra.com. Sponsor: KeyBank

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

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MOZART Piano Concerto No. 5 HANDEL Suite from Water Music MOZART Piano Concerto No. 27 American Greetings Family Concert

Martin Luther King Jr. Day Severance Hall Open House

Under 18s Free FOR FAMILIES

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THE CLEVELAND ORCHESTRA Franz Welser-MĂśst, conductor

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THE CLEVELAND ORCHESTRA Vinay Parameswaran, conductor with special guest Classical Kids Live! This award-winning concert program is based on a lively exchange of letters between young Christoph and his uncle. Its subject is the musical â&#x20AC;&#x153;madmanâ&#x20AC;? who has moved into the upstairs apartment of Christophâ&#x20AC;&#x2122;s Vienna home â&#x20AC;&#x201D; and the young boyâ&#x20AC;&#x2122;s coming to understand the genius of Beethoven, the torment of his deafness, and the beauty of the music he gave to the world. (Special Pre-concert Activities begin at 2:00 p.m.) Sponsor: American Greetings

Concert Calendar

The Cleveland Orchestra

ORCHESTRA Mendelssohn’s Violin Concerto

2O1 7-18 CENTENNIAL SEASON

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S P O T L I G H T

Feb 15 — Thursday at 7:30 p.m. Feb 16 — Friday at 11:00 a.m. <18s Feb 16 — Friday at 8:00 p.m. <18s Feb 17 — Saturday at 8:00 p.m. THE CLEVELAND ORCHESTRA Bernard Labadie, conductor Isabelle Faust, violin

RIGEL Symphony No. 4* MENDELSSOHN Violin Concerto MOZART Symphony No. 40 * Not performed on Friday morning concert Sponsor: BakerHostetler

A Modern Hero

All Ravel

Martin Luther King Jr. Celebration Concert

Feb 22 — Thursday at 7:30 p.m. Feb 23 — Friday at 8:00 p.m. <18s Feb 24 — Saturday at 8:00 p.m.

Sunday January 14 at 7:00 p.m.

THE CLEVELAND ORCHESTRA Matthias Pintscher, conductor Jean-Yves Thibaudet, piano Cleveland Orchestra Chorus

RAVEL Suite from Mother Goose RAVEL Piano Concerto for the Left Hand RAVEL Daphnis and Chloé (complete ballet music) Sponsor: Squire Patton Boggs (US) LLP

PNC Musical Rainbow

The Happy Horn

Feb 23 — Friday at 10:00 a.m. <18s Feb 24 — Saturday at 11:00 a.m. <18s with Hans Clebsch, horn

For ages 3 to 6. Host Maryann Nagel gets attendees singing, clapping, and moving to the music in this series introducing instruments of the orchestra. With solo selections, kid-friendly tunes, and sing-along participation. Sponsor: PNC Bank

Youth Orchestra and Youth Chorus Feb 25 — Sunday at 7:00 p.m.

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CLEVELAND ORCHESTRA YOUTH ORCHESTRA Vinay Parameswaran, conductor CLEVELAND ORCHESTRA YOUTH CHORUS Daniel Singer, acting director Two of northern Ohio’s premier musical youth ensembles present their annual joint concert, featuring musical works by Sibelius, Hanson, and Dvořák. Prelude Concert begins at 6 p.m. with Youth Orchestra and Youth Chorus members performing chamber music.

Severance Hall 2017-18

Concert Calendar

THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor James Pickens Jr., narrator Ryan Speedo Green, bass-baritone Martin Luther King Jr. Celebration Chorus William Henry Caldwell, chorus director

The Cleveland Orchestra’s 38th annual concert explores Dr. King’s life and legacy, and his dedication to the struggle for racial equality — through the lens of Beethoven’s “fight for good.” Featuring music inspired by justice, caring, and freedom. TICKETS: Admission is free, but tickets

are required. A public ticket lottery was held and all tickets have been distributed. Concert Sponsor: KeyBank Broadcast live on WCLV and WCPN radio and by delayed telecast on PBS/ideastream. WVIZ telecast: Friday, January 26, at 9:00 p.m.

CLEVELAND ORCHESTRA TICKETS PHONE

216 - 231-1111 800-686-1141

clevelandorchestra.com

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Rainey Institute El Sistema Orchestra

A SYMPHONY OF

success

We believe that all Cleveland youth should have access to high-quality arts education. Through the generosity of our donors, we have invested nearly $2 million since 2016 to scale up neighborhood-based programs that now serve 1,500 youth year-round in music, dance, theater, photography, literary arts and curatorial mastery. Thatâ&#x20AC;&#x2122;s a symphony of success. Find your passion, and partner with the Cleveland Foundation to make your greatest charitable impact.

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