The Cleveland Orchestra February 22, 23, 24, March 1, 2, 3, 4 Concerts

THE

CLEVEL AND ORC HE STR A

2O1 7-18 CENTENNIAL SEASON

FRANZ WELSER-MÖST

Week 14 February 22, 23, 24

All Ravel page 27

Week 15 March 1, 2, 3, 4

Beethoven and Elgar page 61

Perspectives: Looking toward the Second Century page 7

SEVERANCE HALL

WINTER

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2O1 7-18 CENTENNIAL SEASON

TA B L E

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CONTENTS

THIS BOOK THE CLEVELAND ORCHESTRA

About the Orchestra

PAGE

Week 14 and 15 Perspectives: From the President and Executive Director . . . 7 From the Start: The Cleveland Orchestra . . . . . . 13 By the Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Severance Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Patron Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Upcoming Concerts . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

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

Cleveland Orchestra members on tour, most from a two-week trip eastward in February 1941.

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

14 ALL RAVEL Concert: February 22, 23, 24 . . . . . . . . . . . . . . . . . 27 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 29 WEEK

RAVEL

Suite from Mother Goose . . . . . . . . . . . . . . . . . . . . 31 RAVEL

Piano Concerto for Left Hand . . . . . . . . . . . . . . . . 35 RAVEL

Daphnis and Chloé (complete ballet music) . . 41 Guest Conductor: Matthias Pintscher . . . . . . . . . . . 47 Guest Soloist: Jean-Yves Thibaudet . . . . . . . . . . . . 49 Cleveland Orchestra Chorus . . . . . . . . . . . . . . . . . . . . 51 NEWS

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

15 BEETHOVEN AND ELGAR Concert: March 1, 2, 3, 4 . . . . . . . . . . . . . . . . . . . . . . 61 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 63 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.

BEETHOVEN

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

Piano Concerto No. 5 (“Emperor”) . . . . . . . . . . . 65 ELGAR

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

Symphony No. 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 Guest Conductor: Nikolaj Znaider . . . . . . . . . . . . . . 75 Guest Soloist: Yefim Bronfman . . . . . . . . . . . . . . . . . 77

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.

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

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

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

Foundation/Government Support . . . . . . . . . .

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Table of Contents

The Cleveland Orchestra

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RE ASON S

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CE LE BR ATE

No. 14 The Orchestra has received eight Grammy Awards and 31 Grammy nominations.

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.

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From the President and Executive Director

PERSPECTIVES

WELCOME TO

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

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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.

C RE ATI NG RE N E WE D AN D LONG -TE RM FI NAN C 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-

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Launching the Second Century

The Cleveland Orchestra

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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.

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D I O C E S E

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C L E V E L A N D

www.clecem.org

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

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The Cleveland Orchestra

CLEVELAND ORCHESTRA THE

December 1919, Grays Armory

From the Start

A Mission for Greatness in Community, Education, & Music

by E R I C S E L L E N

A

2O1 7-18 CENTENNIAL SEASON

cclaimed for decades among the world’s top symphonic ensembles, The Cleveland Orchestra celebrates its 1OOth year during the 2017-18 season.

Such fame and acclaim did not come without a plan. From the very beginning, the private citizens who created this public institution fully intended to foster a great musical ensemble that would carry the exceptional can-do spirit of the city of Cleveland far and wide. Generations have carried through on the hard work required to forge and sustain the Orchestra’s mission to share extraordinary musical experiences, to foster a love of music in students of all ages, and to proudly carry the name of the city it represents.

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

Unusually for the era, a woman, Adella Prentiss Hughes, was the

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About the Orchestra

13

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-

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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.

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About the Orchestra

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2O1 7-18

THE CLEVELAND ORCHESTRA

CENTENNIAL SEASON

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

Presenting Sponsors

Leadership Sponsors

Sponsors

Ruth McCormick Tankersley Charitable Trust

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

Westfield Insurance KPMG LLP PwC

Global Media Sponsor

Series and Concert Sponsors We also extend thanks to our ongoing concert and series sponsors, who make each season of concerts possible: American Greetings Corporation BakerHostetler Buyers Products Company Dollar Bank Foundation Eaton Ernst & Young LLP Forest City Frantz Ward LLP The Goodyear Tire & Rubber Company Great Lakes Brewing Company Hahn Loeser & Parks LLP Hyster-Yale Materials Handling, Inc. NACCO Industries, Inc. Jones Day KeyBank The Lincoln Electric Foundation Litigation Management, Inc. The Lubrizol Corporation Materion Corporation Medical Mutual MTD Products, Inc. North Coast Container Corp.

Ohio Savings Bank Olympic Steel, Inc. Parker Hannifin Foundation PNC Bank Quality Electrodynamics (QED) RPM International Inc. The J. M. Smucker Company Squire Patton Boggs (US) LLP The Sherwin-Williams Company Thompson Hine LLP Tucker Ellis

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Second Century Sponsors

The Cleveland Orchestra

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

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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

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— 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

EDWINS

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.

Subject of the 2018 OSCAR® Nominee “Knife Skills”

Leadership & Restaurant Institute

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Documentary (Short Subject)

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.

19

1918

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

16th

1l1l 11l1 l1l1 1

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

SEVERANCE HALL, “America’s most beautiful concert hall,” opened in 1931 as the Orchestra’s permanent home.

40,000

each year

Over 40,000 young people attend Cleveland Orchestra concerts each year via programs funded by the Center for Future Audiences, through student programs and Under 18s Free ticketing — making up 20% of audiences.

52 53%

Over half of The Cleveland Orchestra’s funding each year comes from thousands of generous donors and sponsors, who together make possible our concert presentations, community programs, and education initiatives.

4million

Follows Followson onFacebook Facebook(as (asofofJune Jan 2018) 2016)

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

129,452 133,797

1931

150

concerts each year.

The Orchestra was founded in 1918 and performed its first concert on December 11.

The Cleveland Orchestra performs over

THE CLEVEL AND ORCHESTRA

BY THE NUMBERS

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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

22

The GAR Foundation Chair

Charles Bernard 2 Helen Weil Ross Chair

Emilio Llinás 2

Lynne Ramsey

Louis D. Beaumont Chair

Richard Weiss 1

The Musicians

Tanya Ell Thomas J. and Judith Fay Gruber Chair

Ralph Curry Brian Thornton William P. Blair III Chair

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

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

Mark Atherton Thomas Sperl Henry Peyrebrune Charles Barr Memorial Chair

Charles Carleton Scott Dixon Derek Zadinsky HARP Trina Struble * Alice Chalifoux Chair This roster lists the fulltime members of The Cleveland Orchestra.

The number and seating of musicians onstage varies depending on the piece being performed.

The Cleveland Orchestra

2O1 7-18

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

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

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

OBOES Frank Rosenwein * Edith S. Taplin Chair

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

Robert Walters

Samuel C. and Bernette K. Jaffe Chair

CLARINETS Afendi Yusuf * Robert Marcellus Chair

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

Daniel McKelway

HORNS Michael Mayhew § Knight Foundation Chair

Jesse McCormick Robert B. Benyo Chair

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

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

Michael Miller CORNETS Michael Sachs *

ENGLISH HORN Robert Walters

2

Robert R. and Vilma L. Kohn Chair

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

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

Gareth Thomas Barrick Stees 2 Sandra L. Haslinger Chair

Jonathan Sherwin CONTRABASSOON Jonathan Sherwin

Severance Hall 2017-18

CENTENNIAL SEASON

Mary Elizabeth and G. Robert Klein Chair

PERCUSSION Marc Damoulakis* Margaret Allen Ireland Chair

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

Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair

LIBRARIANS Robert O’Brien Joe and Marlene Toot Chair

Donald Miller

Michael Miller

ENDOWED CHAIRS CURRENTLY UNOCCUPIED

TROMBONES Massimo La Rosa *

Sidney and Doris Dworkin Chair Sunshine Chair George Szell Memorial Chair

Gilbert W. and Louise I. Humphrey Chair

Richard Stout Alexander and Marianna C. McAfee Chair

Shachar Israel 2 BASS TROMBONE Thomas Klaber

* Principal § 1 2

Associate Principal First Assistant Principal Assistant Principal

EUPHONIUM AND BASS TRUMPET Richard Stout

CONDUCTORS Christoph von Dohnányi

TUBA Yasuhito Sugiyama*

Vinay Parameswaran

Nathalie C. Spence and Nathalie S. Boswell Chair

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

MUSIC DIRECTOR LAUREATE ASSISTANT CONDUCTOR

Elizabeth Ring and William Gwinn Mather Chair

Lisa Wong ACTING DIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

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

The Musicians

23

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: February 22, 23, 24 “Revelling in Ravel” (musical works by Ravel) with guest speaker Jerry Wong, associate professor of piano, Kent State University

March 1, 3, 4 “What’s in a Key?” (musical works by Beethoven and Elgar) with guest speaker Cicilia Yudha, associate professor, Youngstown State University

March 2 (morning) “Nostalgia for Delight” (Elgar’s Second Symphony) with Rose Breckenridge, lecturer and administrator, Cleveland Orchestra Music Study Groups

March 8, 9, 10 “Russian Matters, Musical Masters” (musical works by Stravinsky, Prokofiev, and Tchaikovsky) with guest speaker Caroline Oltmanns professor, Youngstown State University

March 15, 16, 17 “The Wow Factor!” (musical works by Dvořák and Barber) with speaker Rose Breckenridge

Severance Hall 2017-18

Concert Previews

25

Committed To Excellence As another As another long-established long-established Cleveland Cleveland institution institution with aa global for excellence, with global reputation reputation for excellence, we we are support for for The are delighted delighted to to continue continue our our support Cleveland Orchestra in itsincentenary year.year.

The Cleveland Orchestra its centenary

47 Offices in 20 Countries 47 Offices in 20 Countries squirepattonboggs.com squirepattonboggs.com

Local Connections. Global Inuence.

Local Connections. Global Inuence.

THE

CLEVELAND ORCHESTRA FR ANZ WELSER- MÖST

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

Severance Hall

Thursday evening, February 22, 2018, at 7:30 p.m.

Friday evening, February 23, 2018, at 8:00 p.m.

Saturday evening, February 24, 2018, at 8:00 p.m.

2O1 7-18 CENTENNIAL SEASON

Matthias Pintscher, conductor MAURICE RAVEL (1875-1937)

Suite from Mother Goose 1.

2.

3.

4.

5.

Pavane of the Sleeping Beauty Tom Thumb Laideronnette, Empress of the Pagodes Conversations between Beauty and the Beast The Fairy Garden

Piano Concerto in D major for the Left Hand Lento — Andante — Allegro — Tempo primo (in one movement, played without pause)

JEAN-YVES THIBAUDET, piano

INTER MISSION

Daphnis and Chloé, Choreographic Symphony in Three Parts part one Introduction and Religious Dance — Danse générale — — Dorcon’s Grotesque Dance — Daphnis’s Light and Graceful Dance — Lycéion’s Entrance — Slow and Mysterious Dance of the Nymphs (Nocturne) part two Interlude — War Dance — Chloé’s Dance of Supplication part three Daybreak (Introduction) — Pantomime (The Love of Pan and Syrinx) — Danse générale (Bacchanale) CLEVELAND ORCHESTRA CHORUS Lisa Wong, acting director

This weekend’s concerts are supported through the generosity of the Squire Patton Boggs (US) LLP Cleveland’s Own Series sponsorship.

Jean-Yves Thibaudet’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from Eleanore T. and Joseph E. Adams.

Severance Hall 2017-18

Concert Program — Week 14

27

February 22, 23, 24

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

“Revelling in Ravel” with guest speaker Jerry Wong, Kent State University

RAVEL Suite from Mother Goose . . . . . . . . . . . . . . . . . . . . . . . . . Page 31 (15 minutes)

RAVEL Piano Concerto for the Left Hand . . . . . . . . . . . . . . . . Page 35 (20 minutes)

INTERMISSION

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

(20 minutes)

RAVEL Daphnis and Chloé (complete ballet music) . . . . . . . . Page 41 (50 minutes)

Concert ends: (approx.)

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

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

Severance Restaurant and Opus Café Post-concert desserts and drinks

facebook.com/clevelandorchestra twitter: @CleveOrchestra instagram: @CleveOrch (Please note that photography is prohibited during the performance.)

28

This Week’s Concerts

The Cleveland Orchestra

INTRODUCING THE CONCERT

Elegance & Elan

M A U R I C E R A V E L stands as a towering but enigmatic figure

in 20th century music. He studied with the old-school Gabriel Fauré and was a mainstay in new-school Claude Debussy’s musi-cal circle of younger composers, but chose his own path forward. Elegantly dressed, he was a fussy man and diminutive in stature (the French Army rejected him for military ili service due to his short height). He was a masterful orchestrator and colorist, an inventive and elegant pianist.

He produced many fewer pieces than other comparablyaged composers, focusing his perfectionism on each to ensuring every last note was the right and only choice.

He was worldly in outlook, but guarded in his personal life. He was acclaimed as a French national treasure — and died tragically from an operation intended to halt or reverse a degenerative brain disease that had robbed him of signing his own name. He was . . . Maurice Ravel.

Our concerts this week are but a sampling of his great orchestral works, reminding us of both his creativity and his sensitive understanding of human emotions.

Mother Goose was originally conceived as a set of piano pieces, with episodes loosely based on widelyknown and beloved fairytales, as a gift for the children of friends in Paris. The pieces were too difficult for the youngsters to perform, and had to be premiered by other, younger (and more gifted) children. Ravel later orchestrated the pieces as a suite, in which his keen sense of musicality and intense abilities to color sounds shine through.

A terrifically-conceived Piano Concerto is next, written especially for left hand alone. Commissioned by Paul Wittgenstein, who had lost his right arm in the carnage of the First World War, it is filled with artfulness and artistry — alongside apprehension, appreciation, and authenticity. In listening, it is often difficult to believe that only one hand is playing.

After intermission comes the music for Maurice Ravel’s ballet Daphnis and Chloé, premiered in 1912. It depicts a classic Greek legend of tender love, with an at times absurd storyline created with many moments for dancing, filled with daring adventures and pastoral scenery. Here the composer weaves a rhapsodic tapestry infused with his usual touches of imaginative and creative orchestration (including a wordless chorus). Not to be missed is one of the best sunrises ever composed. p —Eric Sellen Severance Hall 2017-18

Week 14 — Introducing the Concerts

29

All the news that was fit to paint.

Centuries before Instagram, Twitter, or even photography, view paintings recorded history as it happened. This exhibition is your chance to travel back in time to be an eyewitness to the most significant events in 18th-century Europe.

February 25 – May 20, 2018

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King Charles III Visiting Pope Benedict XIV at the Coffee House of the Palazzo del Quirinale (detail), 1746. Giovanni Paolo Panini (Italian, 1691–1765). Oil on canvas; 124 × 174 cm. Napoli, Museo di Capodimonte, 205. Image: Scala / Ministero per i Beni e le Attività culturali / Art Resource, NY

Suite from Mother Goose composed for piano duet 1908-10, orchestrated 1911

At a Glance

by

Maurice

RAVEL born March 7, 1875

Ciboure, Basses-Pyrénées died December 28, 1937 Paris

Severance Hall 2017-18

Ravel composed Ma Mère l’Oye (“Mother Goose”) as a five-movement suite for piano duet in 1908-1910. He orchestrated the suite in 1911, then expanded it further as a ballet score in 1911-12 — adding two movements and reordering the original five.

The original piano duet suite was premiered in 1910 at a concert of the Société Musicale Indépendante in Paris, by Jeanne Leleu and Geneviève Durony (six and seven years old, respectively). The ballet version was first presented in January 1912, at the Théâtre des Arts in Paris, conducted

by Gabriel Grovlez and with choreography by Jeanne Hugard.

The five-movement suite runs just over 15 minutes in performance.

Ravel scored it for 2 flutes, piccolo, 2 oboes, english horn, 2 clarinets, 2 bassoons, contrabassoon, 2 horns, timpani, percussion (triangle, cymbals, bass drum, tam-tam, xylophone, and glockenspiel), celesta, harp, and strings.

The Cleveland Orchestra has often played the five-movement suite from Mother Goose, including a set of concerts in 1928 under the composer’s direction. The complete ballet music was most recently presented in March 2013, conducted by Alan Gilbert.

About the Music M A U R I C E R A V E L’ S “Mother Goose” is two steps removed from what many of us know of childhood’s English nursery rhymes. This Mother Goose — or Ma Mère l’Oye — is French, and has been known for her fairytales since the late 17th century. In 1697, Charles Perrault (1628-1703) collected some old and new tales in a book that became known popularly as Mother Goose.

This collection contained, among others, the stories of “Sleeping Beauty” and “Little Red Riding Hood,” and it is from these French tales that the English version took its name (and from which some, but not all, of its stories came). Fortunately for us, Ravel’s musical “translation” masterfully bridges any divide between languages.

Ravel was inspired by Perrault’s collection and other fairytales when, in 1908, he wanted to write a short suite for piano duet, intended as a gift for Mimi and Jean Godebski, the children of his friends Cipa and Ida Godebski. He orchestrated the suite in 1911, and also expanded it into a ballet score. The work is more often performed in the original suite form, consisting of the orchestrations of the five movements for piano duet.

1. Pavane of the Sleeping Beauty [Pavane de la Belle au Bois dormant]. A pavane is a type of slow dance of Spanish origin.

About the Music

31

Jack’s mother came in, And caught the goose soon, And mounting its back, Flew up to the moon.

From Mother Goose’s Nursery Rhymes, published

by George Routledge & Sons, London and New York, 1877.

32

Ravel had earlier written his famous Pavane for a Dead Princess.

This new Pavane for Mother Goose is rather brief, consisting of a single motif, soft and delicate, repeated by various instruments of the orchestra.

2. Tom Thumb [Petit Poucet]. The printed score includes a short excerpt from Perrault’s story for this movement: “He thought he would be able to find the path easily by means of the bread he had strewn wherever he had walked. But he was quite surprised when he couldn’t find a single crumb; birds had eaten them all!”

Tom Thumb’s wanderings are depicted here by a steady motion in eighth-notes in the strings, over which the woodwinds play a quiet “walking” melody. The birds referred to in the story are represented by a solo violin playing harmonic glissandos (sliding) against a twittering flute and piccolo.

3. Little Homely, Empress of the Pagodes [Laideronnette, Impératrice des Pagodes]. The story on which this movement is based was written by the Countess d’Aulnoy, a contemporary of Perrault.

The heroine is a beautiful princess, made ugly by a wicked witch. She travels to a distant country inhabited by tiny, munchkin-like people called “pagodes.”

(Eventually, as one might expect, she is restored to her original beauty and finds her Prince Charming.)

As in the previous movement, Ravel concentrated on a single image from the story, and he wrote it down at the head of the score: “She undressed and got into the bath. Immediately the pagodes and pagodesses began to sing and to play instruments.

Some had theorbos [large lutes] made from walnut shells; some had viols made from almond shells; for the instruments had to be of a size appropriate to their own.”

This music is a study of what, a century ago, was called “Orientalism.” It has a lively pentatonic melody (playable on the black keys of the piano), colorfully orchestrated. In a more serious middle section, Little Homely dances with a Green Serpent (who will turn out to be Prince Charming, also disguised by an evil spell). The dance of the “pagodes” then returns.

4. Conversations of Beauty and the Beast [Les entretiens de la Belle et de la Bête]. Of course, this story is quite well known, but few actually remember the name of its author, Marie Leprince de Beaumont (1711-1780). Again, the words relevant to the music are reprinted in the score: About the Music

The Cleveland Orchestra

“When I think of your good heart, you don’t seem so ugly.”

“Oh, I would say so! I have a good heart, but I am a monster.”

“There are many who are more monstrous than you.”

“If I were witty, I would pay you a great compliment to thank you, but I am only a beast.” . . .

“Beauty, would you like to be my wife?”

“No, Beast!” . . .

“I die happy, for I have the pleasure of seeing you again.”

“No, my dear Beast, you shall not die. You shall live to become my husband.” . . . The Beast was gone, and she beheld at her feet a prince more handsome than Amor, who was thanking her for having lifted his spell.

This movement is in the tempo of a slow waltz. Beauty is represented by the clarinet, Beast by the contrabassoon. The two instruments take turns at first, and then join in a duet that becomes more and more impassioned. After a fortissimo climax and a measure of silence, an expressive violin solo (played with harmonics) brings the movement back to its original tempo as the Beast is transformed into a handsome prince.

5. The Fairy Garden [Le jardin féerique]. This movement does not seem to be based on any particular fairytale. It is a celebration of the splendor of this miraculous garden, where the sun never goes down and everyone lives a blessed and happy life. The music is a single crescendo, from a soft and low string sonority to a much louder feast of sound, resplendent with harp, celesta, and glockenspiel.

Both aspects — childhood and dance — converge in the orchestral music inspired by selected fairy-tales from Ma Mère l’Oye (“Mother Goose”). Ravel initially conceived this music as a piano duet for Mimi and Jean Godebski, children he had befriended. Their parents, a Polish couple who held salons that attracted a remarkable array of Parisian artists, provided a kind of alternative home for the composer.

—Peter Laki © 2018 Copyright © Musical Arts Association

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

Severance Hall 2017-18

About the Music

33

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Piano Concerto in D major for the Left Hand composed 1929-30

At a Glance

by

Maurice

RAVEL born March 7, 1875

Ciboure, Basses-Pyrénées died December 28, 1937 Paris

Severance Hall 2017-18

Ravel composed his Concerto for the Left Hand on commission from the one-armed pianist Paul Wittgenstein, who gave the first performance on January 5, 1932, in Vienna’s Grosser Musikvereinssaal, with Robert Heger conducting.

Wittgenstein, who had exclusive performing rights for six years, introduced the concerto to the United States in November 1934 with the Boston Symphony Orchestra.

This concerto runs about 20 minutes in performance. Ravel scored it for 3 flutes (third doubling piccolo), 2 oboes, english horn, 2 clarinets, small clarinet in E-flat, bass clarinet, 2 bassoons, contra-

bassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, strings, and the solo piano.

The Cleveland Orchestra first performed Ravel’s Concerto for the Left Hand in February 1939, with the work’s dedicatee, Paul Wittgenstein at the piano and Artur Rodzinski conducting. The most recent performance was given at Blossom in August 2009 with JeanYves Thibaudet under the direction of James Gaffigan. The most recent subscription performance at Severance Hall was in February 2010, with Pierre Boulez conducting and Pierre-Laurent Aimard as soloist.

About the Music L I K E M A N Y C O M P O S E R S , both before and after him, Ravel was a highly competent pianist. In the first half of his career, he frequently performed his own music (some performances survive in recordings). Thus, it is not entirely surprising that he should want to write a concerto; what is surprising is that it took him so long to do so — and when he did, he ended up writing two at the same time.

At around the age of thirty, Ravel spent some time thinking about a concerto based on Basque themes, from his native region in the Pyrénées. The projected work even had a title: Zaspiak-Bat, which means “The Seven Are One” in the Basque language — an allusion to the unity of the four Spanish and three French Basque provinces. But Zaspiak-Bat seems never to have progressed beyond the stage of initial sketches; World War I intervened, and Ravel, who had enlisted for military duty, complained in a letter to a friend: “Impossible to continue Zaspiak-Bat, the documents having remained in Paris.” For a decade after the war, the composer took up other projects instead.

It was in 1928, after his American tour (which included time in Cleveland, where he conducted his own works with The Cleveland Orchestra) that Ravel began seriously to think about a About the Music

35

concerto again. In the wake of this tour — and the recent, wildly successful premiere of Boléro — Ravel wanted to make the most of his popularity. He decided to return to the concert stage as a pianist, as his friend Igor Stravinsky had done with solid success a few years earlier. And so he began writing a concerto for himself.

Work on that score, a two-handed piece known as the Piano Concerto in G major, was interrupted, however, by a request from the one-handed pianist Paul Wittgenstein. Wittgenstein had lost his right hand to amputation in World War I, and had resumed his career by commissioning left-handed works from many of the era’s bestknown (or soon to be better known) composers. He had already commissioned left-handed concertos The Concerto for from Richard Strauss, Sergei Prokofiev, Erich WolfLeft Hand includes gang Korngold, and Benjamin Britten. (In the end, many jazz touches.

Wittgenstein preferred most of those other pieces better to Ravel’s, somehow unable to recognize the Ravel had been intermasterpiece that the French composer had created ested in this American for him — perhaps because Wittgenstein had stronartform since the ger preferences for Germanic musical sense and early 1920s, when it sensibilities; Ravel’s concerto was too far outside his comfort zone.) first became the rage

in the Parisian clubs that he frequented.

F O R T H E PA R I S P R E M I E R E of the Concerto for the Left Hand, Ravel made the following comments: “The initial idea for the concerto for the left hand, which I will soon conduct with the Paris Symphony Orchestra, dates from a trip I made to Vienna three years ago.

“During my stay in Vienna . . . I had the occasion to hear the Austrian pianist Paul Wittgenstein. His right hand had been amputated following a war injury, and he performed a concerto for the left hand alone by Richard Strauss.

“A severe limitation of this sort poses a rather arduous problem for the composer. The attempts at resolving this problem, moreover, are extremely rare, and the best known among them are the Six Etudes for the Left Hand by Saint-Saëns. Because of their brevity and sectionalization, they avoid the most formidable aspect of the problem, which is to maintain interest in a work of extended scope while utilizing such limited means.

“The fear of difficulty, however, is never as keen as the pleasure of contending with it, and, if possible, of overcoming it. That is why I acceded to Wittgenstein’s request to compose a concerto for him. I carried out my task with enthusiasm, and it was completed in a year, which represents a minimum delay for me.”

36

About the Music

The Cleveland Orchestra

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“For much of the concert, the audience had to remember to breathe . . . the exhilaration didn’t let up for a second until her hands came off the keyboard.”

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The Cleveland Orchestra

The Concerto for Left Hand includes many jazz touches. Ravel had been interested in this American artform since the early 1920s, when it first became the rage in the Parisian clubs that he frequented. He had included a “Blues” movement in his Sonata for Violin and Piano, written between 1923 and 1927. His enthusiasm grew considerably, however, with his visit to the United States in 1928. At a party given in New York in honor of his 53rd birthday, Ravel met George Gershwin, of whose Rhapsody in Blue (1924) he was very fond.

Gershwin asked Ravel to take him on as a pupil, but Ravel declined, saying, “You would only lose the spontaneous quality of your melodies and end up writing bad Ravel.”

In addition to the jazzy elements, the work projects an overall darkness to its sound. Dark colors predominate from the beginning, with the concerto opening, most unusually, with a contrabassoon solo. It is quite possible that the encounter with Wittgenstein brought back some of Ravel’s own war memories. Afterall, he had also served in the war — on the opposite side from Wittgenstein — as a truck driver. Ravel expert Arbie Orenstein sees the Concerto for the Left Hand as “a culmination of Ravel’s longstanding preoccupation, one might say obsession, with the notion of death.” It is certain that this concerto is a deeply tragic work — in stark contrast to its companion piece, the Concerto in G major that Ravel wrote at the same time.

Perhaps the simple fact that he was creating the two pieces simultaneously allowed the composer to take then in two very different directions.

Ravel gave the following formal outline of this work: “The concerto is divided into two parts which are played without Severance Hall 2017-18

About the Music

German pianist Paul Wittgenstein’s right arm was amputated from injuries during World War I. He reignited his career by commissioning a series of concertos for left hand alone from composers throughout Europe. Of these, Ravel’s is the best-known and most highly-regarded (although Wittgenstein never really liked the piece or understood its appeal).

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pause. It begins with a slow introduction, which stands in contrast to the powerful entrance of theme one; this theme will later be offset by a second idea, marked ‘espressivo,’ which is treated pianistically as though written for two hands, with an accompaniment figure weaving about the melodic line.

“The second part is a scherzo based upon two rhythmic figures. A new element suddenly appears in the middle, a sort of ostinato figure extending over several measures which are indefinitely repeated but constantly varied in their underlying harmony, and over which innumerable rhythmic patterns are introduced which become increasingly compact. This pulsation increases in intensity and frequency, and following a return of the scherzo, it leads to an expanded reprise of the initial theme of the work and finally to a long cadenza, in which the theme of the introduction and the various elements noted in the beginning of the concerto contend with one another until they are brusquely interrupted by a brutal conclusion.”

—Peter Laki © 2018 Copyright © Musical Arts Association

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About the Music

The Cleveland Orchestra

Daphnis and Chloé (complete ballet music) composed 1909-1912

At a Glance

by

Maurice

RAVEL born March 7, 1875

Ciboure, Basses-Pyrénées died December 28, 1937 Paris

Severance Hall 2017-18

Ravel composed the ballet Daphnis and Chloé between 1909 and 1912. It was premiered by Sergei Diaghilev’s Ballets Russes at the Théâtre du Châtelet in Paris on June 8, 1912. Pierre Monteux conducted; the choreography was

by Michel Fokine, who had adapted the storyline. Vaslav Nijinsky and Tamara Karsavina danced the main roles.

The complete score to Daphnis and Chloé runs about 50 minutes in performance, divided into three parts played without pause. Ravel scored it for 3 flutes (second and third doubling piccolos), alto flute, 2 oboes, english horn, small clarinet in E flat, 2 clarinets, bass clarinet, 3 bassoons, contrabassoon, 4 horns, 4 trumpets, 3

trombones, tuba, timpani, percussion (tam-tam, triangle, tambourine, snare drum, military drum, antique cymbals, castanets, cymbals, wind machine, bass drum, celesta, glockenspiel, xylophone), 2 harps, strings, plus a mixed choir singing without words.

Daphnis and Chloé received its United States premiere in 1935 with the Philadelphia Ballet. The Cleveland Orchestra first performed the complete ballet music to Daphnis and Chloé in April 1970, under the direction of Pierre Boulez. Excerpts and especially Suite No. 2 from the ballet have been presented frequently beginning as early as 1925.

About the Music U N L I K E M A N Y famous love stories — such as Tristan and

Isolde, Shanbo and Yingtai, or Romeo and Juliet — the tale of Daphnis and Chloé has a happy ending. It is a celebration of sensual love and beauty set in an imaginary world of ancient Greek shepherds. Many a secret dream, many an amorous fantasy is embodied in this luxuriant ballet score. Ravel created it at the request of the brilliant Russian impresario — and founder of Paris’s “Russian Ballet” or Ballets Russes — Sergei Diaghilev.

Ravel had come into contact with Diaghilev soon after the Ballets Russes made its Paris debut in 1908. As early as the next year, 1909, Diaghilev commissioned a ballet score from Ravel for his company. It was decided early on that the ballet would be based on the story of Daphnis and Chloé, a pastoral romance written by the Greek author Longus in the 3rd century A.D. The fable was known in France through a 16th-century translation

by Jacques Amyot.

The romance tells about the awakening of love between two orphaned young people, a shepherd and shepherdess who are tending their herds together. After various adventures, amorous rivalries, abductions by pirates, and other suitably dramatic intrigues, it turns out that both are children of aristocratic famiAbout the Music

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lies — and so they have a grand wedding and are prepared to live happily ever after.

The composition and orchestration of Daphnis and Chloé took Ravel a full three years, and the music for this ballet remained his most extensive work, both in terms of length and the size of the orchestra. By the time the long-awaited score was completed, the fast-moving Diaghilev had initiated so many new projects that Ravel’s effort seemed to be overshadowed by other productions, including a very controversial adaptation of Debussy’s Prelude to the Afternoon of a Faun, which opened just two weeks before Daphnis and Chloé.

Stravinsky’s The Firebird and Pétrouchka had received their premieres in 1910 and 1911, respectively; Debussy’s Jeux [Games] and Stravinsky’s The Rite of Spring were already in the making. Even the Greek topic had been stolen from Ravel with the ballet Narcisse — choreographed, like Daphnis, by Michel Fokine and with Vaslav Nijinsky in the title role, premiered in 1911 with music by Nikolai Tcherepnin.

Daphnis and Chloé was premiered on June 8, 1912, two days before the end of the season, and thus presented only twice before the company went on summer break.

The ballet caused Ravel additional grief in 1914, when Diaghilev’s troupe gave performances at London’s Drury Lane Theater.

Diaghilev wanted to cut costs and dispense with the wordless chorus that Ravel had included in the score — and it is true that the composer had made a practical version without chorus, but this was intended for minor venues only. Ravel was infuriated that Diaghilev should consider London a minor venue and protested angrily in an open letter. The matter was resolved when Diaghilev signed a written agreement stipulating the use of the chorus, but the public controversy did not help to establish Daphnis and Chloé in the ballet repertoire.

Ravel’s music has been much more successful in the concert hall, especially in the form of the two suites the composer extracted from the score. The first suite was identical to the second part of the three-part ballet, the second suite to the last part. The latter has become one of Ravel’s most popular works, while the remainder of the ballet is probably less known than it deserves to be — although recordings have, perhaps, made up for some of the neglect.

THE MUSIC

“My intention,” Ravel said, “was to compose a vast musical fresco in which I was less concerned with archaism than with faithfully reproducing the Greece of my dreams, which is very similar to that imagined

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About the Music

The Cleveland Orchestra

and painted by the French artists at the end of the 18th century.”

Diaghilev and his choreographer, along with the set and costume designers, had hoped for something more authentically historical. But, ultimately, Ravel’s music sweeps away all questions of Greek facts and faces to evoke a wonderfully Romantic world of pastoral landscapes and the triumph of love.

Ravel knew exactly why the chorus was indispensable in the soundscape of this ballet. The voices provide a special aural coloring that blends with the orchestra while at the same time standing out from the orchestral texture. In addition, few regular instruments capture the dream-like sensuality of this story better than the human THE STORY in brief voice. The chorus appears right at the beginning, Part One. Two orphaned young singing softly (in staged performances, behind people, a shepherd (Daphnis) and the scene) as the flute and horn solos introduce shepherdess (Chloé) are tending their two of the ballet’s main themes. They sing with herds together. Jealousy intervenes as mouths open, then with mouths closed, creata group of shepherdesses dance and ing two alternating sound characters whose difflirt with Daphnis. Meanwhile, a rough ferences become subtle orchestrational devices cowherd, Dorcon, woos Chloé. There similar to the presence or absence of mutes on is a dance contest. Lycéion, a woman, stringed instruments. also flirts with Daphnis. Pirates attack The ballet begins with a pastoral idyll that and abduct Chloé. Dapnhis falls to the shows the world of Daphnis and Chloé in its ground in despair. pristine, undisturbed state as the shepherds and shepherdesses pay tribute to the nymphs in a rePart Two. In the pirate camp, Chloé is ligious dance. Like every idyll, this one is soon to ordered to dance, but tries to escape. be disrupted; very gently and harmlessly at first, The earth opens and fantastical creawith the innocent games of love and jealousy intures scare everyone away. volving Dorcon and, later, Lyceion. By the end of Part Three. Sunrise at the Nymph’s the section, a far more serious danger appears grotto. Daphnis awakes, but cannot with the pirates who seize and carry off Chloé. It find Chloé. She appears, and together is a cycle of tensions and relaxations, delineated they reenact the love story of Pan and with great precision by Ravel’s music.

Syrinx. He plays the flute. She falls in For a dance contest between Daphnis and love with him. They pledge to marry.

Dorcon, Ravel wrote some deliciously heavyThere is a festive wedding celebration. footed music, with primitive rhythms and a great deal of percussion to suit the coarse cowherd Dorcon in utter contrast to the light and graceful dance of Daphnis, who moves in a more subtle rhythm and accompanied mostly by harps and woodwinds. The laughter greeting Dorcon’s performance is made palpable by the energetic Severance Hall 2017-18

About the Music

43

Léon Bakst’s scenery design for the original production of Ravel’s Daphnis and Chloé, Paris, 1912.

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staccato playing in the woodwinds and brass. The embrace of Daphnis and Chloé is marked by a repeat of the principal theme on strings playing in a high register. The Lyceion episode mixes gentle eroticism with a touch of irony, after which the sudden interruption of the pirates makes a stunning contrast.

The dance of the three nymphs, who lead Daphnis to the god Pan to enlist his help, is introduced by a cadenza shared by the flute, the horn, and the clarinet. (The flute in particular plays a prominent role throughout the ballet, making it a special showpiece for the first flutist.) At the end of the slow and mysterious dance, there is a moment of complete silence, before Pan appears to his worshippers to the sound of an unaccompanied chorus.

In the next scene, we are in the camp of the pirates who are performing an animated and rough war dance; the rhythm of its first section recalls Dorcon’s grotesque dance from the previous tableau. The dance gets faster and wilder as it goes on, culminating in a gigantic crescendo enhanced by the fierce war cries of the male singers. Chloé’s entrance and her dance of supplication receive the lyrical, expressive music that has characterized the couple of lovers from the start. The warlike music temporarily returns when Bryaxis, the chief of the pirates, carries Chloé off. Then, suddenly, Pan’s magic begins to work, announced by the mysterious sounds of trembling tremolos and About the Music

The Cleveland Orchestra

sliding glissandos in the harps and strings. At the fortissimo climax, the menacing shadow of the god appears and defeats all the evil forces.

This is the point where the familiar music of the Second Suite begins with its wonderful representation of sunrise. Against a texture of lush figurations in flutes, clarinets, harps, and celesta, the basses and cellos begin a majestic tune, The composition gradually taken over by violas and violins. The first and orchestration of shepherd crossing the stage is portrayed by the Daphnis and Chloé took piccolo, the second by the equally high-pitched E-flat clarinet (both are on the stage in the original Ravel a full three years ballet version). The embrace of Daphnis and Chloé — and the music for is marked by an orchestral climax where the viothis ballet remained his lins reach their highest register. The music calms most extensive work, down as the old shepherd Lammon tells his story about Pan and Syrinx (oboe solo), which Daphnis both in terms of length and Chloé proceed to enact in a pantomime. When and in the size of the the god creates his flute, a panpipe created from orchestra involved. reed-stalks, we hear one of the most enchanting flute solos in the entire orchestral literature. (Actually, the melody is divided between the orchestra’s flute players, to give the musicians a chance to breathe!) Ravel’s melody follows no classical models — it hovers around a certain pitch to which it keeps returning, then moves and hovers around another pitch, but there seems to be no predetermined direction in which the melody progresses; nor does it respect any fixed metric structure.

Daphnis and Chloé embrace one more time, and the ecstatic Danse générale gets underway. Rather unusually for a ballet, large stretches of this dance were written in the asymmetrical meter of 5/4, to which dancers and musicians in 1912 were unaccustomed. (It is said that they had to scan the words Ser-gei Dia-ghi-lev, Ser-gei Dia-ghi-lev until they got the rhythm right.) This asymmetry and the use of ostinatos throughout this final section remind us that the energy and daring of Stravinsky’s The Rite of Spring is less than a year away. (Ostinatos, consisting of a repeating rhythmic figure or short melodic motif, were among Stravinsky’s favorite musical techniques. Both Daphnis and Chloé and The Rite of Spring end with similar effects — short rhythmic units repeated, varied, and stirred up to a paroxysm. The fact that Stravinsky was to carry this effect even further takes nothing away from the brilliance and excitement of Ravel’s finale.)

—Peter Laki © 2018 Copyright © Musical Arts Association

Severance Hall 2017-18

About the Music

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Matthias Pintscher German composer and conductor Matthias Pintscher is music director of the Ensemble Intercontemporain in Paris and principal conductor of the Lucerne Festival Academy. He was composer-in-residence with The Cleveland Orchestra 2000-02, and made his conducting debut with the Orchestra in May 2003. His most recent appearance here was in February 2017.

Matthias Pintscher began his musical training at the Hochschule für Musik in Detmold and later studied conducting with Peter Eötvös. In his early twenties, he started working with Hans Werner Henze, and composing took a more prominent role. Mr. Pintscher subsequently divided his time between the two disciplines.

Noted for his interpretations of contemporary music, he also has developed an affinity for repertoire of the late 19th and 20th centuries and the Second Viennese School.

Matthias Pintscher is artist-in-association with the BBC Scottish Symphony Orchestra and artist-in-residence with the Danish National Symphony Orchestra. As a composer, his works have been performed by the orchestras of Berlin, Chicago, Cleveland, Hamburg, London, New York, Paris, and Philadelphia, as well as at the Grafenegg, Lucerne, and Moritzburg festivals. His compositions are published

by Bärenreiter-Verlag, and can be heard in recordings on the ECM, EMI, Kairos, Teldec, Wergo, and Winter & Winter labels.

In recent seasons, Mr. Pintscher has conducted major orchestras across North

Severance Hall 2017-18

Guest Artist

America and Australia, as well as ensembles throughout Europe, including the Accademia Nazionale di Santa Cecilia, BBC Symphony Orchestra, Berlin Staatskapelle, Mahler Chamber Orchestra, Mariinsky Orchestra, Paris Opera Orchestra, Orchestre Philharmonique de France, Tonhalle Orchestra, and the Vienna Radio Symphony Orchestra.

Leading contemporary music ensembles with which Matthias Pintscher works regularly include Helsinki’s Avanti, the Ensemble contrechamps, Ensemble Modern, Klangforum Wien, Porto’s remix, and the Scharoun Ensemble. Since 2011, he has curated the music segment of the Impuls Romantik Festival in Frankfurt. He has also served as the artistic director of the Heidelberg Atelier for the Heidelberg Spring Festival since 2007, now called the Heidelberg Young Composer’s Academy.

Since September 2014, Mr. Pintscher has taught as a member of the composition faculty at the Juilliard School in New York City.

Matthias Pintscher makes his home in New York and Paris. For more information, visit www.matthiaspintscher.com.

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Jewish values teach us to care for future generations.

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Find out how you can become a member of the Jewish Federation of Cleveland’s Legacy Society by contacting Carol F. Wolf for a confidential conversation at 216-593-2805 or cwolf@jcfcleve.org.

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From Generation to Generation.

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www.jewishcleveland.org

Jean-Yves Thibaudet For more than three decades, French pianist Jean-Yves Thibaudet has performed world-wide, recorded dozens of albums, and built a reputation as one of today’s most sought-after pianists. He plays a range of solo, chamber, and orchestral repertoire — from Beethoven through Liszt, Grieg, and Saint-Saëns to Khachaturian and Gershwin, and on to such contemporary composers as Qigang Chen and James MacMillan.

From the start of his career, Mr. Thibaudet has delighted in music beyond the standard repertoire, from jazz to opera. His many professional friendships crisscross the globe and have led to a variety of fruitful collaborations in film, fashion, and visual art. He made his Cleveland Orchestra debut at the 1991 Blossom Music Festival. His most recent performances with the Orchestra were in March 2016 in Miami and at Blossom in July that year.

This season, Mr. Thibaudet’s schedule takes him to fourteen countries on three continents, for recitals (in Asia, Europe, and the United States) along with concerto performances with major orchestras. He also continues serving as artistin-residence with the Boston Symphony Orchestra and with the Colburn School of Music, and will be tour soloist across Europe with the Gustav Mahler Youth Orchestra.

Jean-Yves Thibaudet has recorded more than fifty albums. His artistry has earned two Grammy nominations, the Choc de la Musique, Diapason d’Or, Edison Prize, Gramophone Award, Schallplattenpreis, and two Echo awards. He was soloist on the Oscar and Golden Globe-award

Severance Hall 2017-18

Guest Artist

winning soundtrack of Atonement and the soundtracks of Pride & Prejudice (2005) and Extremely Loud & Incredibly Close (2011). His recent releases include Bernstein’s Age of Anxiety with the Baltimore Symphony Orchestra and Erik Satie’s solo piano music.

He is also featured on two jazz albums, performing the music of Duke Ellington and Bill Evans.

Born in Lyon, France, of French and German heritage, Jean-Yves Thibaudet began piano studies at age five and made his first public appearance at age seven. At 12, he entered the Paris Conservatory to study with Aldo Ciccolini and Lucette Descaves. At 15, he won the Premier Prix de Conservatoire and, three years later, the Young Concert Artists Auditions in New York City.

Today lauded around the world, Mr. Thibaudet’s honors include being awarded the Chevalier de l’Ordre des Arts et des Lettres in 2001 by the Republic of France. More recent accolades include the 2007 Victoire d’Honneur, a lifetime career achievement award and the highest honor given by France’s Victoire de la Musique, induction into the Hollywood Bowl’s Hall of Fame in 2010, and promotion to the title of Officier by the French Minister of Culture in 2012.

For additional information, visit www.jeanyvesthibaudet.com.

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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.

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Baldwin Wallace University does not discriminate on the basis of race, creed, age, disability, national origin, gender or sexual orientation in the administration of any policies or programs.

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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.

DAPHNIS AND CHLOÉ SOPRANOS

ALTOS

TENORS

BASSES

Amy F. Babinski Claudia Barriga Kimberly Brenstuhl 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 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 Kay Tabor Jane Timmons-Mitchell Sharilee Walker Mary Wilson Constance D. Wolfe

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 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

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 Bryant M. Bush Sean Cahill Kevin Calavan Peter B. Clausen Nick Connavino Kyle Crowley Christopher Dewald Jeffrey Duber 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

Severance Hall 2017-18

Cleveland Orchestra Chorus

= Shari Bierman Singer Fellow

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The Cleveland Orchestra

orchestra news

THE CLEVELAND ORCHESTRA

Blossom turns 50!

Northeast Ohio's landmark summer music park reaches half-century milestone — having entertained more than 20 million fans with concerts across all genres Orchestra announces special line-up for 2018 Blossom Music Festival, presented by The J.M. Smucker Company 50th Anniversary Celebration throughout the summer, presented by The Goodyear Tire & Rubber Company Blossom Music Center marks its 50th anniversary in 2018, and The Cleveland Orchestra is planning both a special season for the annual Festival at its summer home and a special season-long celebration for this milestone year.

Programming for the summer season was announced on February 11 — including the Orchestra’s 2018 Blossom Music Festival, presented

by The J.M. Smucker Company. Highlights include a special presentation on Sunday, July 8, of Roger Daltrey Performs The Who’s “Tommy” with The Cleveland Orchestra (details were announced on January 29, with that show going on sale early on February 2), as well as three movie presentations featuring the Orchestra performing the complete score soundtracks for each film, and a season-opening concert led by Franz Welser-Möst, plus the traditional Fourth-of-July band concerts led by Loras John Schissel.

As part of the Festival, The Cleveland Orchestra’s special Blossom 50th Anniversary Celebration, sponsored by The Goodyear Tire & Rubber Company, will offer special events and debut new special initiatives throughout the summer. These include a special Benefit Evening: A Symphony of Food & Wine on July 13 presented by Blossom Friends of The Cleveland Orchestra and featuring dinner onstage in the Pavilion with a wine auction and performance by members of the Orchestra.

Honorary Chairs for the benefit evening are Peter Van Dijk, who designed the music center’s awardwinning Pavilion, and his wife, Bobbi. Details of the summer’s 50th Anniversary celebrations are being announced throughout the spring.

Since it opened in 1968, Blossom Music Center has become one of our nation’s premier outdoor performing spaces for music of all genres, drawing more than 400,000 visitors each sumSeverance Hall 2017-18

BLOSSOM M U S I C F E S T I VA L

YEARS 1968- 2O18

mer, with cumulative attendance of more than 20 million in Blossom’s 50-year history. Enjoying picnics on the lush grounds while experiencing Cleveland Orchestra concerts highlighted by fireworks, stars, and/or fireflies has become a beloved Northeast Ohio tradition.

Blossom Music Center was created as the summer home of The Cleveland Orchestra and opened in July 1968 with performances of Beethoven’s Ninth Symphony conducted by George Szell. The 200-acre music park features the award-winning and acoustically-acclaimed Blossom Pavilion seating over 5,000 under cover.

The adjoining Blossom Lawn accommodates as many as 15,000 more outside on an expansive natural-bowl amphitheater of grass surrounded by bucolic woods.

Located 25 miles south of Cleveland just north of Akron, Ohio, Blossom is situated in the rolling hills of Cuyahoga Valley National Park, which preserves 33,000 acres of natural parkland along the Cuyahoga River. Blossom Music Center was named to honor the Dudley S. Blossom family, who have been major supporters of The Cleveland Orchestra throughout its history. Blossom lies within the city limits of Cuyahoga Falls, in Summit County.

Cleveland Orchestra News

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orchestra news A.R.O.U.N.D T.O.W.N Recitals and presentations featuring Orchestra musicians Upcoming local performances by members of The Cleveland Orchestra include: Cleveland Orchestra musician Beth Woodside (violin) presents an all-French recital program at lunchtime on Friday, March 9, at The Music Settlement’s main campus in University Circle (11125 Magnolia Drive). Woodside teaches at the Settlement. She will be joined in this performance by colleague musicians Charles Bernard (cello) and Trina Struble (harp) in a program featuring music by Ravel and Saint-Saëns.

The free hour-long presentation begins at noon.

The Cleveland Cello Society presents its 20th annual i Cellisti! concert on Friday evening, March 16. Three Cleveland Orchestra cellists — Mark Kosower, r Richard Weiss, and Martha Baldwin — and their students will be featured during the evening, along with the Orchestra’s Joela Jones on piano. The performance features

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THE CLEVELAND ORCHESTRA

cellist Alisa Weilerstein, who is in town that week as guest soloist with The Cleve eland Orchestra. (Weilerstein studied with h Weiss for seven years and was enrolled in n the Young Artist Program at the Cleveland Institute of Music, prior to embarkk ing on her international career.) Together, they will perform Menotti’s Suite for Two Cellos and Piano (with Jones).

Kosower and two of his students will perform an arrangement of Beethoven’s Trio in C major (Opus 87). Baldwin will play Georges Bizet’s Carmen Suite with four our of her students in an arrangement for cello quintet.

Additional cello teachers and their students from music conservatories and schools of music across Northeast Ohio will also perform, with the evening culminating in a grand finale of nearly three dozens cellists conducted by Cleveland Orchestra assistant conductor Vinay Parameswaran.

The concert begins at 8 p.m. in CWRU’s Harkness Chapel (11200 Bellflower Road). Tickets are $25 general admission, $100 for Patron seating. Visit www.clevelandcello.com to reserve tickets.

Cleveland Orchestra News

The Cleveland Orchestra

orchestra news

THE CLEVELAND ORCHESTRA

Orchestra wins acclaim in New York and Florida . . .

Below are a selection of excerpts from the many positive reviews of The Cleveland Orchestra’s recent concerts at New York’s Carnegie Hall and in Florida (Miami and Sarasota): “At 100, The Cleveland Orchestra May (Quietly) Be America’s Best! Sound the trumpets, peal the bells! The Cleveland Orchestra, which many consider one of the finest ensembles in the nation and the world, turns 100 this year. . . . The orchestra has long been renowned for its sound — precise, lithe and transparent, yet not lacking in power or color — and its disciplined work ethic, both honed by a series of strong maestros in the modern era. . . . Skeptics say that touring orchestras are steeled and on their mettle when they visit Carnegie Hall, adding, ‘They don’t play that way every week at home.’ The Cleveland Orchestra, as I learned during a season (1988-89) spent as its program annotator and editor, plays that way every week, no matter what or where.”

—James Oestreich, New York Times “To my ears, this performance of Mahler’s Ninth Symphony was bold, brave, even radical.

There was barely a hint of the regret, nostalgia and wallowing that has become the norm, as with Bernstein. Instead, at ferocious speeds and with dauntless control, there was anger, brutality and violence, on the way to an almost lonely, unwelcome death. No fond farewell, this: Mr. Welser-Möst looked physically and emotionally drained by the end.”

—David Allen, New York Times “I join my colleagues in having been deeply impressed by the Clevelanders’ Mahler, particularly the inner movements, which tingled with tension between rough-hewn aggression and Viennese elegance. I wish my colleague critics David Allen and James Oestreich could have been there on Wednesday for Haydn’s ‘The Seasons,’ its silky warmth a contrast with the previous evening’s discomfiting intensity. The dancing exuberance of Autumn was especially impressive; the Cleveland Orchestra Chorus — all-amateur! — sang with both airiness and pungency throughout.”

—Zachary Woolfe, New York Times “The profundity of the instrumental ensemble as a whole in Mahler’s Symphony No. 9 was astounding, the fluctuations from one mood to another, one tempo to another, were seamless and the ensemble sound was magical. This was the performance of the season.”

—Classical Musical Network (New York) “Rather than relying on the sheer weight and power of one of the world’s great orchestras, Welser-Möst emphasized a strong sense of forward momentum, transparent textures and carefully calibrated levels of intensity to express the force of Beethoven’s musical ideas. . . .

Under Welser-Möst’s baton, the orchestra took a fleeter, less obviously portentous approach than many interpretations, expressing the work’s energy through propulsive force rather than volume. . . . In Beethoven’s Eighth Symphony, the orchestra played with such dynamic and interpretative range that the performance carried unusual subtlety and depth.”

—South Florida Classical Review

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orchestra news Read about the music on your cellphone before coming to the concert by visiting ExpressProgramBook.com

THE CLEVELAND ORCHESTRA

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

ing on a desktop computer or tablet. But because the flipbook format is harder to read on a mobile phone, the Orchestra chose to work with its program book partner, Live Publishing Company, to create the ExpressBook for reading on phones.

Flipbooks are available from the Orchestra’s main website at clevelandorchestra.com going back several years. The ExpressBook only has current season programs, beginning the week of any given concert and looking back several concerts.

Feedback and suggestions are welcome and encouraged, and can be sent by emailing to esellen@clevelandorchestra.com.

ExpressProgramBook.com

Earlier this year, The Cleveland Orchestra launched a new website specifically for reading about the music ahead of time, easily and conveniently on your mobile phone. The new service, available online at ExpressProgramBook.com, provides the program notes and commentary about the musical pieces, along with biographies of the soloists and other artists in a simple-to-read format. “This is designed with a clear format and purpose,” comments program book editor Eric Sellen. “Just the basic information, no fancy layout, with text sized to make reading on a phone or other mobile device easy.”

The service was tested for several months, and is now fully available, with information posted a few days prior to most concerts. The site features only the core musical content of each printed book. The complete program book is available online in a “flipbook” format, for view-

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The Cleveland Orchestra

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

Musicians Emeritus of

T H E

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Listed here are the living members of The Cleveland Orchestra who served more than twenty years, all of whom now carry the honorary title of Emeritus. Appointed by and playing under four music directors, these 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

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Appreciation

The Cleveland Orchestra

orchestra news

THE CLEVELAND ORCHESTRA

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

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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

59

Sharing the gift of music for 100 years.

BakerHostetler is honored to share with The Cleveland Orchestra a 100-year history in Cleveland. We are proud of our long support of this world-class orchestra, and we celebrate its legacy of excellence.

bakerlaw.com

THE

CLEVELAND ORCHESTRA FR ANZ WELSER- MÖST

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

Severance Hall

Thursday evening, March 1, 2018, at 7:30 p.m.

Friday morning, March 2, 2018, at 11:00 a.m. * Saturday evening, March 3, 2018, at 8:00 p.m.

Sunday afternoon, March 4, 2018, at 3:00 p.m.

2O1 7-18 CENTENNIAL SEASON

Nikolaj Znaider, conductor LUDWIG VAN BEETHOVEN (1770-1827)

Piano Concerto No. 5 (“Emperor”) * in E-flat major, Opus 73 1. Allegro 2. Adagio un poco mosso — 3. Rondo: Allegro YEFIM BRONFMAN, piano

INTER MISSION * EDWARD ELGAR (1857-1934)

Symphony No. 2 in E-flat major, Opus 63 1.

2.

3.

4.

Allegro vivace e nobilmente Larghetto Rondo: Presto Finale: Moderato e maestoso

This weekend’s concerts are sponsored by BakerHostetler, a Cleveland Orchestra Partner in Excellence.

Sunday afternoon’s concert is co-sponsored by Great Lakes Brewing Company.

The Thursday evening performance is dedicated to Mr. William P. Blair III in recognition of his extraordinary generosity in support of The Cleveland Orchestra.

The Cleveland Orchestra’s Friday Morning Concert Series is endowed by the Mary E. and F. Joseph Callahan Foundation. * The Friday Morning concert is performed without intermission and features the Elgar Symphony No. 2 without the concerto.

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Concert Program — Week 15

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March 1, 2, 3, 4

2O1 7-18 CENTENNIAL SEASON

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

Severance Restaurant Reservations for dining suggested:

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

Concert Preview: BEGINS ONE HOUR BEFORE CONCERT

C O N C E R T P R E V I E W — THUR-SAT-SUN

P R E V I E W — Friday Morning

“What’s in a Key?”

“Nostalgia for Delight”

with guest speaker Cicilia Yudha, Youngstown State University

with Rose Breckenridge, Music Study Groups FRIDAY MORNING 11:00

BEETHOVEN Piano Concerto No. 5 . . . . . . . . . . . . . Page 65 (40 minutes)

ELGAR

BEEETHOVEN

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

Share your memories of the performance and join the conversation online . . . facebook.com/clevelandorchestra

INTERMISSION

twitter: @CleveOrchestra instagram: @CleveOrch

(20 minutes)

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

12:05

ELGAR

ELGAR Symphony No. 2 . . . . . . . . . . . . . . . . . . Page 69 (55 minutes)

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

Severance Restaurant Post-Concert Luncheon following the Friday Morning concert.

Concert ends: (approx.)

THUR 9:25 SAT 9:55 SUN 4:55

Severance Restaurant and Opus Café post-concert desserts and drinks . . .

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This Week’s Concerts

The Cleveland Orchestra

INTRODUCING THE CONCERT

Emperor & Empire

T H I S W E E K E N D ’ S P R O G R A M features two masterpieces created a

hundred years apart. One is extraordinarily well-known, the other too often overlooked among classical music’s many, many great works.

The performances begin — except for Friday Morning’s Concert — with Ludwig van Beethoven’s Piano Concerto No. 5. Premiered in 1811 and known (in English-speaking countries) by the nickname “Emperor,” this is Beethoven at his grandiloquent, masterful self. When he was creating this work, pianos had just recently gained increased volume and strength (from iron sounding boards), and in this concerto Beethoven matches the piano (and pianist) in a full-throated back-and-forth with the orchestra, as competitors and colleagues. This music shines with inventiveness, from its grand opening through the gentle ne qu uietude of its slow movement, to the fusillade of jo oy that bursts forth in the finale. Guest pianist Yefim Bronfman is our masterful soloist.

Y For the other piece, guest conductor Nikolaj Znaider has chosen Edward Elgar’s Symphony No. 2, premiered in 1911. Elgar had been catapulted to international fame only a dozen years before, with his Enigma Variations. He was quickly hailed as Britain’s greatest composer, and his ability to reflect the British mindset of the Edwardian era — mixing tenm der emotion with strong-willed determinad tion — gave Elgar a particularly high and notable place in music’s history. Even today, long after the dismantling of Britain’s once ubiquitous Empire, this composer’s music resonates with humanity’s unavoidable emotional turmoil and creative capacity.

Together, these two masterworks remind us of music’s power — to energize and inspire, to soothe and caress, to bond us together, and to bring pleasure even in reflection and sadness.

—Eric Sellen

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Week 15 — Introducing the Concerts

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N O T F R I DAY

NOT PERFORMED ON FRIDAY MORNING CONCERT

Piano Concerto No. 5 (“Emperor”) in E-flat major, Opus 73 composed 1809

At a Glance

by

Ludwig van

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

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Beethoven composed his Piano Concerto No. 5 in 1809. The first known performance was given in Leipzig on November 28, 1811, with Friedrich Schneider as soloist and Johann Philipp Christian Schulz leading the Gewandhaus Orchestra.

This concerto runs about 40 minutes in performance. Beethoven scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings, plus the solo piano.

The “Emperor” Concerto was the first of Beethoven’s five piano

concertos to be performed by The Cleveland Orchestra, in January 1922, with pianist Josef Hofmann under the direction of Nikolai Sokoloff. Since that time, it has been a frequent work on the Orchestra’s programs, at home and on tour, with many of the world’s greatest pianists, including Arthur Rubinstein, Artur Schnabel, Claudio Arrau, Rudolf Serkin, Rudolf Firkusny, Robert Casadesus, Leon Fleisher, Daniel Barenboim, Emil Gilels, Alicia de Larrocha, Murray Perahia, Vladimir Ashkenazy, Horacio Gutiérrez, and Radu Lupu.

About the Music I T I S I R O N I C that the last and grandest of Beethoven’s piano

concertos has acquired the title “Emperor,” for we can be sure he would not have called it this himself. The nickname is used exclusively in English-speaking countries — and we don’t really know when or why it came into use, although there are many proposals for its origins, including some far-fetched ideas that attempt to explain it all the way back to the work’s premiere.

Germans do not recognize the name “Emperor” Concerto, while clearly recognizing the name of Haydn’s “Kaiserquartett.” Nicknames for musical works are an oddly mysterious business — and, indeed, many from the late 18th and early 19th centuries were a matter of business, added by a publisher very much wanting to distinguish one piece from another in the public mind. The irony for Beethoven’s great last concerto comes from Beethoven’s fury on hearing that Napoleon had crowned himself Emperor, betraying the higher ideals of universal brotherhood and liberty that Beethoven so strongly believed in. Emperors, in Beethoven’s experience, were not to be admired.

Nevertheless, the title is unarguably appropriate, at least for the grandeur that differentiates this concerto from its siblings.

The others are wonderful, magnificent, inventive, and many other things. But this last concerto is uncontestably grand and About the Music

65

self-assured — which, of course, most emperors (among other of our fellow humans) believe themselves to be.

Beethoven had already composed a piano concerto in Eflat major in his youth, a work that could be classified as his “0th” concerto in a canon of six (or seven if we want to also include the arrangement for solo piano of the Violin Concerto). However, a great gulf separates that early work from the Emperor concerto, and a three-year gap separates the Emperor, composed in 1809, from the Fourth Piano Concerto and the Violin Concerto, both finished in 1806.

In that interval, Beethoven had completed the Fourth, Fifth, and Sixth Symphonies and was well forward in that majestic series of grand works that culminated in the Seventh and The composer Eighth Symphonies in 1812. In many ways, the Emperor Concerto is the most majestic of any, being enormous in never played this conception and range and making the heaviest technical last concerto demands on the pianist of any of Beethoven’s works — himself in public. except, perhaps, the Hammerklavier Sonata. The comBy the time of its poser never played this last concerto himself in public.

By the time of its premiere, his deafness made coordinapremiere in 1811, tion with the orchestra too difficult. His last public aphis deafness made pearance as a pianist was in the solo piano part in the coordination with Choral Fantasy in 1808, a work which nevertheless seems the orchestra to have helped prompt him to embark on this his last concerto. too difficult.

THE MUSIC

As in his Choral Fantasy, Beethoven commences with a resplendent cadenza displaying scales, arpeggios, trills, octaves, and all the armory of the virtuoso pianist, but no actual musical themes. As in the Fourth Concerto, the soloist thus enters at once but this time in a much more extroverted fashion.

As in the Violin Concerto, Beethoven writes an enormously long first movement — by allowing both orchestra and soloist to work their way through a full exposition each, and by allowing his themes (once introduced) to expand freely and his keys to range in all directions.

E-flat major had always been Beethoven’s key for broad, lyrical expansiveness — as the “Heroic” Third Symphony amply demonstrates. Yet oddly, such an enormous size was often the product of slender units or motifs, which one would not initially suspect of having such potential for growth.

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About the Music

The Cleveland Orchestra

The first subject of the first movement is indeed a strong statement, unmistakably positive and muscular, but the second, first heard in the minor in hesitant fragments and then in the major on a pair of horns, seems to be no more than the empty alternation of plain tonics and dominants. Yet for Beethoven this kind of theme is not plain. Rather, it was exactly the kind of challenge he needed, for his ingenuity and imagination. The movement builds and courses, bewitching us with its commandments and assurance.

For the slow second movement , the key moves to the remote landscape of B major — a key rarely explored in Beethoven’s era — and the solemn hymn-like tones of the strings’ opening pervade the movement, a high point of serenity. Beethoven makes special capital out of the top octave on the piano, a novelty that could be found on only the latest pianos of his day — showcasing new abilities, of both instrument and composer.

Delicate piano arpeggios accompany the winds’ statement of the theme. The music eventually comes to rest, but not to a halt, for with the plain intention of welding his musical thinking into a larger unified sequence, Beethoven repeats the effect so well managed in the Triple Concerto and the Fifth Symphony, with the music running — here, perhaps leaping! — directly into the finale third movement. In this transition, he goes a step further than those earlier works and actually traces the outline of the coming rondo theme while the mood of the Adagio is still hanging in the air. The foreshadowing is superbly calculated, and effective.

With its high trills and striding left-hand figures, the finale bursts with vigor and energy. There is not much room for harmonic subtlety, least of all in the theme itself, but the vital aim — of generating a new source of musical energy from the time-honored opposition of piano and orchestra — is amply achieved. The idea of a piano concerto was thereafter never the same again. The Romantic era has truly arrived, earnest and strong.

—Hugh Macdonald © 2018

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

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

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About the Music

67

ALL CONCERTS

Symphony No. 2 in E-flat major, Opus 63 composed 1903-04, 1909-11

At a Glance

by

Edward

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

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Elgar composed his Second Symphony 1909-11, including and expanding some sketch material he had written in 1903-04. He wrote the date February 28, 1911, on the completed symphony. The symphony was premiered on May 24 that same year, with Elgar conducting the Question’s Hall Orchestra as part of the London Festival. The United States premiere took place in November that year, with Leopold Stokowski leading the Cincinnati Symphony Orchestra.

This symphony runs about 55 minutes in performance. Elgar scored it for 3 flutes (third doubling piccolo),

2 oboes plus english horn, 3 clarinets plus bass clarinet, 2 bassoons plus contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, snare drum, cymbals, and optional tambourine), 2 harps, and strings The Cleveland Orchestra first performed Elgar’s Symphony No. 2 in January 1950, under the baton of William Steinberg. It has been programmed on only a few occasions since then, most recently for a weekend of concerts in November 1992, conducted by André Previn.

About the Music E D W A R D E L G A R sprang to fame relatively late in life, when

the “Enigma” Variations were first played in London in 1899.

He was 42, and his career until then had unfolded in one of the most provincial regions of a country often regarded by European musicians as itself irredeemably provincial. The world had long before given up much expectation that England — with its high Victorian belief in the inferiority of the artistic calling and in the suspect nature of aesthetic rapture — could ever produce a composer to equal the great figures of Germany or Italy, even of France.

In the 19th century, there had been a great surge of interest in musical education and musical scholarship in England, it is true, and London had long been one of the most actively musical cities on earth, as it still is. Yet the creative flame burned rather dimly in England, and the sudden appearance in 1899 of a new strong voice in music sent a ripple of astonishment around the critical fraternity (it truly was, or very nearly, all men in those days). For the next twenty years, the late-starter Elgar produced a stream of great works, including three oratorios, two symphonies, several overtures, the symphonic poem Falstaff, a violin concerto, a cello concerto, some chamber music, and a number of smaller works, including the famous Pomp and Circumstance About the Music

69

marches. He rose rapidly in public esteem, was knighted by King Edward VII in 1904, and became a national, indeed imperial, figure in the public mind. Especially surrounding and during World War I, Elgar represented England in the British mindset almost as clearly as the royal monarch on the throne.

But this was not the real Elgar, who was far from being a typical Edwardian. He was a shy and private man, utterly devoted to his wife, his daughter, his friends, his dogs, and his home. Yet he was expressing himself in music of an intensity and yearning unknown at that time in any music, not just in British music. There is a nostalgia and heartbreak in much of Elgar’s work, at the mere thought of which many pairs of eyes have brimmed with tears. He was remote from Victorian sentimentality, yet in touch with Among the tributes a very real sense of underlying emotional truth.

(If I overstate the power of his art, please forgive written into this score me, for I am British myself and grew up with Elis the symphony’s gar securely placed among the musical gods.) dedication in memoAs a deft instrumentalist, Elgar played the violin, the bassoon, and the trombone, and he ry of King Edward VII, had a natural grasp of what every instrument can who died while it was do, reinforced by his childhood experience in his being composed father’s music shop in Worcester. His Catholic and who Elgar both upbringing — in an Anglican country — kept him away from the cathedral milieu that deliked and admired. voured so many British musicians (turning out many well-equipped talents who continued past traditions rather than seeking new directions).

SYMPHONY AS HIGH ART

With the success of the “Enigma” Variations, conductor Hans Richter had urged Elgar to write a symphony. And, touching on immediacy and British resolve-under-fire, Elgar even hinted that he was composing a “Gordon Symphony.” Inspired by the exploits of General Charles George Gordon, the work never got very far. Frustrated, in 1901 Elgar spoke to Richter of “the Symphony I am trying to write,” discouraged and cautious no doubt by the widespread suspicion that the “real” leading modern composers, notably Strauss and Debussy, were turning away from the symphonic form.

At the time, England was almost entirely unaware of Mahler as a composer (he had appeared in London as an inspiring conductor). Sibelius’s impact as a creative symphonist was yet to be felt.

Yet in a lecture at Birmingham University, Elgar declared the pure

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About the Music

The Cleveland Orchestra

symphony — written without a storyline, or program — to be “the highest development of art,” a belief that sustained him strongly when he eventually came to set down his own first effort. He eventually composed two symphonies (and the bulk of a third), with sketches from 1904 relating to the first two.

INSPIRED BY FRIENDS AND PL ACES

Deeply attached though Elgar was to his homes, especially in the country, he was often inspired by places he visited. The First Symphony was finally really launched by a visit to Italy in December 1907 and completed within a year. Its first performances, in Manchester and London, were a huge success, followed by over a hundred performances worldwide within a year — an astonishing and nearly unrivaled record.

The euphoria of success spurred Elgar to embark on a Second Symphony almost immediately. This time it was Venice, which he and Lady Elgar visited in April 1909. A year later, in April 1910, with much of the symphony composed, they went on a motoring tour of Cornwall with Frank Schuster, a music-loving financier, and his sister, and spent a day at Tintagel, the legend-laden castle supposedly once inhabited by King Arthur. The two places, Venice and Tintagel, are named on the score of the symphony — as inspiration and location of creation, not described within its notes.

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About the Music

71

Elgar’s affection for places was as nothing, however, compared to his devotion to friends, as we know from the Enigma Variations, in which each variation is an affectionate portrait of an individual member of his social circle. (The mysterious unstated “theme” of the whole piece may well be friendship itself.) In the case of the Second Symphony, there is good reason to regard the slow second movement as a lament for Alfred Rodewald, a textile magnate from Liverpool who died aged 43 in 1903. “Rodey” was a gifted conductor who also played the double bass and shared Elgar’s cheeky sense of humor. Much of this movement was sketched in 1904 before either of the two symphonies was more than a vague idea.

The last movement of the symphony was created as a tribute to Frank Schuster, as Elgar admitted many years later: Elgar’s orchestral “I have said in music what I felt long ago, both in the key he loved most I believe (E-flat), warm and joyous with a style is rich and comgrave radiating serenity.” One of the tunes in this last plex, for he rarely movement is found in a sketch from 1903 marked “Hans allows a single himself!” — this being Hans Richter, who succeeded instrument to carry Charles Hallé as conductor of the Hallé Orchestra in Manchester and who had led the world premiere of a line. His unusual the Enigma Variations. textures are at the Yet another tribute comes in the form of the opposite extreme symphony’s dedication in memory of King Edward from Mahler’s wiry, VII, who died while it was being composed and who Elgar both very much liked and admired. transparent scoring.

Of course, closest of all the composer’s friends was his devoted wife Alice, whose diary reveals a man of many moods but unswerving integrity. On April 28, 1911, she wrote: “This is a day to be marked. E. finished his Symphony. It seems one of his very greatest works, vast in design and supremely beautiful . . . It is really sublime . . . it resumes our human life, delight, regrets, farewell, the saddest mood & then the strong man’s triumph.”

Alice’s words succinctly summarize the range of the work, better (if less poetically) expressed than the quotation from Shelley that Elgar placed at the front of the score: “Rarely, rarely comest thou, Spirit of delight!”

THE MUSIC

Elgar’s orchestral style is rich and complex, for he rarely allows a single instrument to carry a line. At the opposite extreme from Mahler’s wiry, transparent scoring, Elgar fashions timbre by devising ever new combinations of instruments, like a painter who avoids

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About the Music

The Cleveland Orchestra

unmixed paints. It is not unusual to hear a clarinet, a horn, and a section of strings sharing a melody, and then to find a different blend the next time it is heard. Being so completely familiar with orchestral instruments and orchestral players, he gives everyone onstage a supremely satisfying, though never simple, part to play. Like Mahler’s scores, Elgar’s are meticulously marked, his concern for expression uppermost in his mind. As in Mahler, too, this painstaking craftsmanship conveys the feelings of a vigorously beating heart.

There is no mistaking the positive spirit and exuberant energy of the opening movement, at least in its long opening section, which itself presents a host of melodic ideas, most of which create a longer melody by repeating a rhythm of just two or three notes. The contrasting middle section of the movement is not really a development, but rather a ghostly transformation of existing ideas, harmonized with sinister whole-tone scales.

With a view, perhaps, to the calm resignation of the work’s finale, the first movement closes in a riot of merry energy.

The second movement is not a funeral march, but it is certainly a lamentation full of those yearning phrases that so clearly mark Elgar’s style. Towards the end, these phrases turn into reminiscences of the first movement, as though looking back on lost happiness.

The third movement is a Rondo, with recurring episodes and statements. It is also a scherzo showpiece for a virtuoso orchestra, with even more tunes based on a single rhythm. Between recurrences of the Rondo music itself, Elgar gives us more relaxed music, so that even when the notes are flying past at great speed a glimpse of melancholy can still be felt.

The finale of a big symphony somehow has to sum up the message of the whole work, and perhaps no composer succeeded in that task as comprehensively as Elgar in this fourth movement. For here we grasp clearly the breadth of mood, from serenity to exuberance (with many stops in between), which represent the man himself. Its main theme is a one-bar motif whose rhythm is used to generate a long melody, followed by a group of other themes of varying character (not one of which could be by any other composer but Elgar). As he often said, he put the best of himself into his work, never trying to hide his moods or his pride.

—Hugh Macdonald © 2018

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Nikolaj Znaider Celebrated as both a violinist and conductor, Danish musician Nikolaj Znaider is among his generation’s most versatile artists. He made his Cleveland Orchestra debut in 1999 and most recently performed as violinist at Severance Hall in November 2011. He made his conducting debut in February 2014. His most recent appearance was as a concerto violinist in Miami in February 2017.

Since 2010, Nikolaj Znaider has served as principal guest conductor of the Mariinsky Theater Orchestra in St. Petersburg, Russia. He earlier held the same position with the Swedish Chamber Orchestra. He also has led performances with the Czech Philharmonic, Gothenburg Symphony, Halle Orchestra, Los Angeles Philharmonic, Munich Philharmonic Orchestra, Orchestra of Santa Cecilia Rome, Orchestre Philharmonique de Radio France, Pittsburgh Symphony Orchestra, Russian National Orchestra, and the Swedish Radio Symphony Orchestra.

Born in 1975 to Polish-Israeli parents, Nikolaj Znaider studied with Milan Vitek at the Royal Danish Academy of Music.

After receiving First Prize in the 1992 Carl Nielsen International Violin Competition, he worked with Dorothy Delay at the Juilliard School. He won First Prize at the 1997 Queen Elizabeth Competition, and later studied with Boris Kushnir at the Vienna Conservatory. Mr. Znaider is founder and former artistic director of the Nordic Music Academy for string players. He currently serves as president of Denmark’s Nielsen Competition.

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Guest Artist

Mr. Znaider regularly performs as violinist with the world’s leading orchestras, including those of Amsterdam, Chicago, Cologne, London, New York, Paris, Philadelphia, and Vienna. He has served as artist-in-residence with the Konzerthausorchester Berlin, and with the Dresden Staatskapelle and London Symphony Orchestra. As a chamber musician, he regularly collaborates with Daniel Barenboim and Yefim Bronfman.

For RCA Red Seal, Nikolaj Znaider has recorded the concertos of Beethoven, Brahms, Elgar, Korngold, and Mendelssohn and Brahms’s complete works for violin and piano. His album of Prokofiev’s and Glazunov’s violin concertos received the Editor’s Choice award from Grammophone magazine. Mr. Znaider’s discography for EMI Classics includes Mozart’s piano trios with Daniel Barenboim and the Nielsen and Bruch violin concertos. His current recording project with the London Symphony Orchestra involves performing and conducting Mozart’s violin concertos.

Nikolaj Znaider plays the “Kreisler” Guarnerius “del Gesu” 1741, on extended loan from the Royal Danish Theater via the generosity of the Velux Foundations and Knud Højgaard Foundation.

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CONGRATULATIONS TO

The Cleveland Orchestra on celebrating their

CENTENNIAL SEASON

MAY 9, 2018, 2 PM Stetson Chapel, Kalamazoo BACH Goldberg Variations, BWV 988

MAY 12, 2018, 8 PM Chenery Auditorium, Kalamazoo

Bringing great talent to Cleveland.

with the KALAMAZOO SYMPHONY ORCHESTRA BEETHOVEN Piano Concerto No. 4 in G Major, Op. 58

The Immigration Law Group at Nicola, Gudbranson & Cooper, LLC Brad Ortman | ortman@nicola.com Karen Moss | moss@nicola.com

216-621-7227 | nicolaimmigrationlaw.com

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The Cleveland Orchestra

Yefim Bronfman German Russian-American pianist Yefim Bronfman is regarded as one of today’s most talented piano virtuosos and praised for his technique and lyricism. He made his Cleveland Orchestra debut in April 1986, and has returned regularly since that time for musical collaborations with the ensemble. His most recent appearances were in January 2017.

Yefim Bronfman was born in 1958 in Tashkent. After moving to Israel with his family in 1973, he worked with Arie Vardi at Tel Aviv University. Following his family’s relocation to the United States in 1976, he studied at the Curtis Institute, Juilliard School, and Marlboro. His teachers included Rudolf Firkusny, Leon Fleisher, and Rudolf Serkin. In 1991, he returned to Russia for the first time since emigrating, to perform recitals with Isaac Stern. Mr. Bronfman’s honors include the Avery Fisher Prize in 1991 and an honorary doctorate from the Manhattan School of Music in 2015.

As a guest artist, Yefim Bronfman performs with the world’s most esteemed ensembles, from North America’s major orchestras to those of Amsterdam, Berlin, Dresden, Israel, London, Paris, Vienna, and Zurich, among others. He is a frequent guest at international festivals, and has served as artist-in-residence with Carnegie Hall, the Dresden Staatskapelle, Los Angeles Philharmonic, and the New York Philharmonic, and as artiste étoile in Switzerland.

A devoted chamber musician, Mr. Bronfman has collaborated with the

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Guest Artist

Cleveland, Emerson, Guarneri, and Juilliard quartets, as well as the Chamber Music Society of Lincoln Center. He also has performed with Emanuel Ax, Joshua Bell, Lynn Harrell, Magdalena Kožená, YoYo Ma, Shlomo Mintz, JeanPierre Rampal, Pinchas Zukerman, and many others, and presents solo recitals throughout Asia, Europe, and North America.

Mr. Bronfman’s recordings are highly praised. He is featured on The Cleveland Orchestra’s recent DVD release performing both Brahms piano concertos recorded with Franz Welser-Möst at Severance Hall. His album of Bartók’s three piano concertos won a 1997 Grammy Award, and both his album featuring Esa-Pekka Salonen’s piano concerto and recording of Magnus Lindberg’s second piano concerto have received Grammy nominations. His discography also includes the complete Prokofiev piano sonatas and concertos, Beethoven’s five piano concertos and triple concerto, Tchaikovsky’s Piano Concerto No. 1, and sonatas

by Bartók, Brahms, and Mozart recorded with Isaac Stern.

For additional information, visit www.yefimbronfman.com.

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THE CLEVELAND ORCHESTRA

Individual Annual Support The Cleveland Orchestra is sustained through the annual support of thousands of generous patrons.

The leadership of those listed on these pages (with gifts of $2,000 and more) shows an extraordinary depth of support for the Orchestra’s music-making, education presentations, and community initiatives.

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

gifts of $50,000 to $99,999

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

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

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George Szell Society

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

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

Individual Annual Annual Support Individual

The Cleveland Orchestra

Elisabeth DeWitt Severance Society

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

gifts of $25,000 to $49,999 Dr. and Mrs. Wolfgang Berndt (Europe) Mr. and Mrs. William W. Baker Dr. and Mrs. Wolfgang Berndt (Europe) Mr. and Mrs. Charles P. Bolton+ Mr. Yuval Brisker Mary Alice Cannon Mr. and Mrs. David J. Carpenter+ Jill and Paul Clark Robert and Jean* Conrad+ Judith and George W. Diehl George* and Becky Dunn Friends of The Cleveland Orchestra (formerly the Womenâ&#x20AC;&#x2122;s Committee of The Cleveland Orchestra) JoAnn and Robert Glick+ Mr. and Mrs. Geoffrey Gund Mr. and Mrs. Jeffrey Healy+ Mary and Jon Heider (Cleveland, Miami) Mrs. Marguerite B. Humphrey+ Junior Committee of The Cleveland Orchestra Mr. and Mrs. Joseph P. Keithley Mr. and Mrs. Douglas A. Kern Milton A. and Charlotte R. Kramer Charitable Foundation Margaret Fulton-Mueller+ Mrs. Jane B. Nord William J. and Katherine T. Oâ&#x20AC;&#x2122;Neill Julia and Larry Pollock+ Mr. and Mrs. James A. Ratner Marc and Rennie Saltzberg Larry J. Santon and Lorraine S. Szabo+ The Ralph and Luci Schey Foundation+ Hewitt and Paula Shaw Richard and Nancy Sneed+ Jim and Myrna Spira R. Thomas and Meg Harris Stanton+ Ms. Ginger Warner (Cleveland, Miami) Anonymous (2)

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

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

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

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

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

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

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

Individual Annual Support

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

The Cleveland Orchestra

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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

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Individual Annual Annual Support Individual

The Cleveland Orchestra

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

Severance HallOrchestra 2017-18 The Cleveland

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

Individual Annual Annual Support Support Individual

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

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

* deceased

Thank You 83 93

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84

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 LLP

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. Glenmede Adam Foslid/Greenberg Traurig (Miami) Gross Builders Huntington National Bank Littler Mendelson, P.C. Live Publishing Company Macy’s Miba AG (Europe) Northern Haserot Oatey Ohio CAT OMNOVA Solutions Oswald Companies Park-Ohio Holdings PolyOne Corporation RSM US, LLP Southern Wine and Spirits (Miami) Stern Advertising Struktol Company of America University Hospitals Ver Ploeg & Lumpkin (Miami) Anonymous (2)

87 85

Dreams can come true

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

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

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

THE CLEVELAND ORCHESTRA

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

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

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

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

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

Paul M. Angell Family Foundation Elizabeth Ring Mather and William Gwinn Mather Fund David and Inez Myers Foundation The Kelvin and Eleanor Smith Foundation $50,000 TO $99,999

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

The Cleveland Severance HallOrchestra 2017-18

$15,000 TO $49,999

The Abington Foundation The Batchelor Foundation, Inc. (Miami) Mary E. & F. Joseph Callahan Foundation The Helen C. Cole Charitable Trust The Mary S. and David C. Corbin Foundation Mary and Dr. George L. Demetros Charitable Trust The Char and Chuck Fowler Family Foundation The Helen Wade Greene Charitable Trust National Endowment for the Arts Sandor Foundation Albert G. & Olive H. Schlink Foundation Jean C. Schroeder Foundation The Sisler McFawn Foundation Dr. Kenneth F. Swanson Fund for the Arts of Akron Community Foundation The Veale Foundation The Edward and Ruth Wilkof Foundation

$2,500 TO $14,999 The Ruth and Elmer Babin Foundation Dr. NE & JZ Berman Foundation The Bernheimer Family Fund of the Cleveland Foundation Eva L. and Joseph M. Bruening Foundation Cleveland State University Foundation The Cowles Charitable Trust (Miami) Elisha-Bolton Foundation The Harry K. Fox and Emma R. Fox Charitable Foundation The Jean, Harry and Brenda Fuchs Family Foundation, in memory of Harry Fuchs The Hankins Foundation The Muna & Basem Hishmeh Foundation Richard H. Holzer Memorial Foundation The Laub Foundation Victor C. Laughlin, M.D. Memorial Foundation Trust The Lehner Family Foundation The G. R. Lincoln Family Foundation The Jack, Joseph and Morton Mandel Foundation The Margaret Clark Morgan Foundation The M. G. O’Neil Foundation Paintstone Foundation Charles E. & Mabel M. Ritchie Memorial Foundation The Leighton A. Rosenthal Family Foundation SCH Foundation Miami-Dade County Public Schools (Miami) Harold C. Schott Foundation Kenneth W. Scott Foundation Lloyd L. and Louise K. Smith Memorial Foundation The South Waite Foundation The O’Neill Brothers Foundation The George Garretson Wade Charitable Trust The S. K. Wellman Foundation The Welty Family Foundation Thomas H. White Foundation, a KeyBank Trust The Wuliger Foundation Anonymous (2)

Foundation/Government Annual Foundation/Government Annual Support Support

85 87

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BACH’S Coffeehouse Orchestra

&DUQHJLH +DOO 6HQG RII Apollo’s Fire gears up for its Carnegie Hall debut with music that J.S. Bach performed at his favorite coffeehouse in Leipzig. The program includes Brandenburg Concertos no. 4 and 5, Telemann’s Don Quixote Suite, Sorrell’s acclaimed arrangement of Vivaldi’s La Folia (“Madness”), and more! Fiery strings, colorful recorders and a dizzying harpsichord solo… a memorable evening!

FRIDAY, MARCH 16, 8:00PM CLEVELAND Institute of Music Additional performances March 17-18 around N.E. Ohio

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11001 Euclid Avenue Cleveland, Ohio 44106

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

CLEVELANDORCHESTRA.COM

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

Severance Hall 2017-18

Severance Hall

Georgian exterior was constructed to harmonize with the classical architecture of other prominent buildings in the University Circle area. The interior of the building reflects a combination of design styles, including Art Deco, Egyptian Revival, Classicism, and Modernism.

An extensive renovation, restoration, and expansion of the facility was completed in January 2000. In addition to serving as the home of The Cleveland Orchestra for concerts and rehearsals, the building is rented by a wide variety of local organizations and private citizens for performances, meetings, and special events each year.

89

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AT SE V E R A N C E H A LL RESTAURANT AND CONCESSION SERVICE Pre-Concert Dining: Severance Restaurant at Severance Hall is open for pre-concert dining for evening and Sunday afternoon performances (and for lunch following Friday Morning Concerts). For reservations, call 216-231-7373, or online by visiting www.UseRESO.com.

Intermission & Pre-Concert: Concession service of beverages and light refreshments is available before most concerts and at intermissions at a variety of lobby locations.

Post-Concert Dining: Severance Restaurant is open after most evening concerts with à la carte dining, desserts, full bar service, and coffee. For Friday Morning Concerts, a post-concert luncheon service is offered.

OPUS CAFÉ The new Opus Café is located on the ground floor in the Lerner Lobby at the top of the escalator CAFE from the parking garage. Offering pre- and post-concert refreshments and light foods, the Café 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 Opus Café on the ground floor.

QUESTIONS

Severance Hall 2017-18

Guest Information

91

AT T H E CO NC E R T COAT CHECK Complimentary coat check is available for concertgoers. The main coat check is located on the street level midway along each gallery on the ground floor.

PHOTOGRAPHY AND SELFIES, VIDEO AND AUDIO RECORDING Photographs of the hall and selfies to share with others can be taken when the performance is not in progress. However, audio recording, photography, and videography are prohibited during performances. As courtesy to others, please turn off any phone or device that makes noise or emits light.

REMINDERS Please disarm electronic watch alarms and turn off all pagers, cell phones, and mechanical devices before entering the concert hall. Patrons with hearing aids are asked to be attentive to the sound level of their hearing devices and adjust them accordingly. To ensure the listening pleasure of all patrons, please note that anyone creating a disturbance may be asked to leave the concert hall.

LATE SEATING Performances at Severance Hall start at the time designated on the ticket. In deference to the

comfort and listening pleasure of the audience, late-arriving patrons will not be seated while music is being performed. Latecomers are asked to wait quietly until the first break in the program, when ushers will assist them to their seats. Please note that performances without intermission may not have a seating break. These arrangements are at the discretion of the House Manager in consultation with the conductor and performing artists.

SERVICES FOR PERSONS WITH DISABILITIES Severance Hall provides special seating options for mobility-impaired persons and their companions and families. There are wheelchair- and scooter-accessible locations where patrons can remain in their wheelchairs or transfer to a concert seat. Aisle seats with removable armrests are also available for persons who wish to transfer. Tickets for wheelchair accessible and companion seating can be purchased by phone, in person, or online.

As a courtesy, Severance Hall provides wheelchairs to assist patrons in going to and from their seats. Patrons can make arrangement by calling the House Manager in advance at 216-231-7425.

Infrared Assistive Listening Devices are available from a Head Usher or the House Manager for most performances. If you need assistance, please

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Guest Information

The Cleveland Orchestra

contact the House Manager at 216-231-7425 in advance if possible.

Service animals are welcome at Severance Hall.

Please notify the Ticket Office as you buy tickets.

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

T IC K E T SE RV IC ES

IN THE EVENT OF AN EMERGENCY Emergency exits are clearly marked throughout the building. Ushers and house staff will provide instructions in the event of an emergency.

Contact an usher or a member of the house staff if you require medical assistance.

SECURITY For security reasons, backpacks, musical instrument cases, and large bags are prohibited in the concert halls. These items must be checked at coat check and may be subject to search.

Severance Hall is a firearms-free facility. No person may possess a firearm on the premises.

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

TICKET EXCHANGES Subscribers unable to attend on a particular concert date can exchange their tickets for a different performance of the same 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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World-class performances.

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Guest Information

contact Live Publishing 216.721.1800 info@livepub.com

93

THE CLEVELAND C O N C E R T

C A L E N D A R

WINTER SEASON Mitsuko Uchida’s Mozart

All Ravel

Feb 8 — Thursday at 7:30 p.m.

Feb 9 — Friday at 8:00 p.m. <18s Feb 10 — Saturday at 8:00 p.m.

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.

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

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

MOZART Piano Concerto No. 5 HANDEL Suite from Water Music MOZART Piano Concerto No. 27

RAVEL Suite from Mother Goose RAVEL Piano Concerto for the Left Hand RAVEL Daphnis and Chloé (complete ballet music)

Sponsor: Quality Electrodynamics (QED)

American Greetings Family Concert

Sponsor: Squire Patton Boggs (US) LLP

Beethoven Lives Upstairs Feb 11 — Sunday at 3:00 p.m.

PNC Musical Rainbow

<18s

The Happy Horn

THE CLEVELAND ORCHESTRA Vinay Parameswaran, conductor with special guest Classical Kids Live!

Feb 23 — Friday at 10:00 a.m. <18s Feb 24 — Saturday at 11:00 a.m. <18s

This award-winning concert program is based on a lively exchange of letters between young Christoph and his uncle.

Its subject is the musical “madman” who has moved into the upstairs apartment of Christoph’s Vienna home — and the young boy’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.)

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

Sponsor: American Greetings

Feb 25 — Sunday at 7:00 p.m.

Mendelssohn’s Violin Concerto 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.

<18s

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 at Severance Hall, featuring works by Sibelius, Hanson, and Dvořák.

THE CLEVELAND ORCHESTRA Bernard Labadie, conductor Isabelle Faust, violin

Prelude Concert begins at 6 p.m. with Youth Orchestra and Youth Chorus members performing chamber music.

RIGEL Symphony No. 4* MENDELSSOHN Violin Concerto MOZART Symphony No. 40

Elgar & Beethoven* Mar 1 — Thursday at 7:30 p.m.

Mar 2 — Friday at 11:00 a.m. <18s * Mar 3 — Saturday at 8:00 p.m.

Mar 4 — Sunday at 3:00 p.m. <18s

* Not performed on Friday morning concert Sponsor: BakerHostetler

Under 18s Free FOR FAMILIES

with Hans Clebsch, horn

<18s

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

THE CLEVELAND ORCHESTRA Nikolaj Znaider, conductor Yefim Bronfman, piano

BEETHOVEN Piano Concerto No. 5 * ELGAR Symphony No. 2 * Not performed on Friday morning concert Sponsor: BakerHostetler

94

Concert Calendar

The Cleveland Orchestra

ORCHESTRA Tchaikovsky’s Pathétique

2O1 7-18 CENTENNIAL SEASON

I N

T H E

S P O T L I G H T

Mar 8 — Thursday at 7:30 p.m.

Mar 9 — Friday at 8:00 p.m. <18s Mar 10 — Saturday at 8:00 p.m.

THE CLEVELAND ORCHESTRA Michael Tilson Thomas, conductor Daniil Trifonov, piano

STRAVINSKY Scènes de ballet PROKOFIEV Piano Concerto No. 2 TCHAIKOVSKY Symphony No. 6 (“Pathétique”) Sponsor: Squire Patton Boggs (US) LLP

PNC Musical Rainbow

The Brilliant Bass

Mar 9 — Friday at 10:00 a.m. <18s Mar 10 — Saturday at 11:00 a.m. <18s with Henry Peyrebrune, bass

For ages 3 to 6, introducing instruments of the orchestra.

With solo selections, kid-friendly tunes, and sing-along participation.

Sponsor: PNC Bank

American Greetings Family Concert

Scheherazade!

Mar 11 — Sunday at 3:00 p.m.

<18s

THE CLEVELAND ORCHESTRA Vinay Parameswaran, conductor with special guest Enchantment Theatre Company Enjoy an afternoon of wonder as Scheherazade (our storyteller heroine) and her cast of fabulous characters sail on Sinbad’s ship to exotic lands, battle a giant dragon with the Kalandar Prince, and discover Aladdin’s lamp and the surprises hidden inside.

(Special Pre-concert Activities begin at 2:00 p.m.)

Sponsor: American Greetings

Dvořák’s Eighth Symphony Mar 15 — Thursday at 7:30 p.m.

Mar 16 — Friday at 11:00 a.m. <18s * Mar 17 — Saturday at 8:00 p.m.

Mar 18 — Sunday at 3:00 p.m. <18s

March 8 — Thursday at 7:30 p.m.

March 9 — Friday at 8:00 p.m. <18s March 10 — Saturday at 8:00 p.m.

THE CLEVELAND ORCHESTRA Michael Tilson Thomas, conductor Daniil Trifonov, piano

Michael Tilson Thomas returns to Severance Hall to lead a program of all-Russian music, featuring Tchaikovsky’s final, emotionally-laden last symphony. Pianist Daniil Trifonov plays Prokofiev’s fiery and brilliant Second Piano Concerto.

Concert Sponsor: Squire Patton Boggs (US) LLP

THE CLEVELAND ORCHESTRA Alan Gilbert, conductor Alisa Weilerstein, cello

DVOŘÁK The Watersprite * BARBER Cello Concerto DVOŘÁK Symphony No. 8

CLEVELAND ORCHESTRA TICKETS

* Not performed on Friday morning concert Sponsor: Squire Patton Boggs (US) LLP

Severance Hall 2017-18

Tchaikovsky’s Pathétique

PHONE

216 - 231-1111 800-686-1141

clevelandorchestra.com Concert Calendar

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Rainey Institute El Sistema Orchestra

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