THE CLEVELAND ORCHESTRA FRANZ WELSER-MÖST
Franz Welser-Möst Q&A
2O18 SEASON 2O19 AUTU M N
. . . . . . page 8
September 20, 22 Tchaikovsky’s Swan Lake WEEK 1 —
WEEK 2 — September
. . . . page 27
27, 30 Bartók and Prokofiev . . . . . . . . page 57
SEVERANCE HALL
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THE CLEVELAND ORCHESTRA
PROGRAM BOOK
Y E A R S
TA B L E
OF
Weeks
CONTENTS
1
AND
About the Orchestra
2 PAGE
1 9 18 -2 O1 8
Perspectives from the Executive Director . . . . . . . 7 Q&A with Franz Welser-Möst . . . . . . . . . . . . . . . . . . . 8 Musical Arts Association . . . . . . . . . . . . . . . . . . . . . . . 13 About The Cleveland Orchestra . . . . . . . . . . . . . . . 15 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Music Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Patron Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Severance Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
TCHAIKOVSKY’S SWAN LAKE
2O18 SEASON 2O19 COVER: PHOTOGRAPHY BY ROGER MASTROIANNI
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
Concert: September 20, 22 . . . . . . . . . . . . . . . . . . . 27 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 29 Distinguished Service Award . . . . . . . . . . . . . . . . . . 30 RATHBUN
Pantheon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 ABRAHAMSEN
Left, alone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 TCHAIKOVSKY
Suite from Swan Lake . . . . . . . . . . . . . . . . . . . . . . . 45 Conductor: Franz Welser-Möst . . . . . . . . . . . . . . . . . 21 Soloist: Alexandre Tharaud . . . . . . . . . . . . . . . . . . . . 43
NEWS
Cleveland Orchestra News . . . . . . . . . 49
BARTÓK AND PROKOFIEV Concert: September 27, 30 . . . . . . . . . . . . . . . . . . . 57 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 59
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.
PROKOFIEV This program is printed on paper that includes 50% recycled content.
Classical Symphony . . . . . . . . . . . . . . . . . . . . . . . . . 61 BARTÓK
Piano Concerto No. 2 . . . . . . . . . . . . . . . . . . . . . . . 63
50%
PROKOFIEV
Symphony No. 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 Conductor: Franz Welser-Möst . . . . . . . . . . . . . . . . . 21 Soloist: Yefim Bronfman . . . . . . . . . . . . . . . . . . . . . . . 67
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 Severance Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 Second Century Sponsors. . . . . . . . . . . . . . . . . . . . . . 72 Annual Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74-85 Heritage Society . . . . . . . . . . . . . . . . . . . . . . . . . . . 87-89
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All unused books are recycled as part of the Orchestra’s regular business recycling program.
Table of Contents
The Cleveland Orchestra
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Perspectives from the Executive Director Autumn 2018 Welcome to our new season and to the continuing journey of The Cleveland Orchestra. Now in our 101st season, the discovery and musicmaking continue, second to none in the world. The Orchestra’s ongoing partnership with music director Franz Welser-Möst continues to grow, deepen, and offer extraordinary musical experiences — for those onstage and for audiences across Northeast Ohio and around the world. Last season’s Centennial celebrations brought great success and widespread acclaim. The season featured magnificent performances, creative and collaborative education offerings, and unsurpassed achievements by the Orchestra’s musicians and Franz. Two extraordinary and ambitious festival presentations ended the season, with acclaimed performances of The Ecstasy of Tristan and Isolde followed by The Prometheus Project, a thought-filled and invigorating re-examination of Beethoven’s symphonies and music within the context of the composer’s own time — and its relevance and relationship to today’s world. From the Centennial’s first notes a year ago in the inspiring Education Concert “Beethoven & Prometheus: A Hero’s Journey,” which saw students from the Cleveland School of the Arts sharing the stage at Severance Hall, and across the “Around the Region Celebration,” which further shared performances and music-making, our landmark 100th Season repeatedly showcased the extraordinary talent and collaborative spirit that this institution devotes to sharing the power of music in multiple ways throughout Northeast Ohio. The celebrations — and success — continued across the summer, first with our official 100th Birthday free community concert in downtown on July 6, followed by an enormously successful Blossom Music Festival season commemorating the 50th Anniversary of our beloved outdoor summer home. Record ticket revenue was matched with attendance that also approached record levels, and welcomed 20,000 more people to Blossom than the year before. The excitement and passion continue with our new season, including the 100th Anniversary Gala on September 29, which is being filmed for broadcast as part of PBS’s Great Performances series later this season. The annual gala is devoted to raising vital funding for The Cleveland Orchestra’s ongoing education and community programming — to ensure that the power of music continues to inspire future generations, promotes learning for all, and proudly unites the communities we serve. Everything we do, every note The Cleveland Orchestra plays, every child we inspire, every student we motivate, every heart we touch — is only possible through the attention, care, interest, enthusiasm, and generosity of thousands. As you can see from the many people listed on pages of this program book, from our Second Century Sponsors to the Honor Rolls of each year’s donors, many passionate people and organizations help ensure that The Cleveland Orchestra’s music-making happens on time and on budget. Among these, I’d like to call particular attention to members of the Heritage Society, whose foresight and devotion make specific provisions for the Orchestra in their wills and estate plans. Nearly twenty-five years after the creation of this program, such legacy gifts are making a real difference each year in helping to ensure The Cleveland Orchestra’s financial strength for the future. Enjoy the new season!
André Gremillet Severance Hall 2018-19
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Q&A Q
2O18 SEASON 2O19
Franz Welser-Möst
Q: Please talk about your thoughts about The Cleveland Orchestra’s 101st season.
talks about the new season, growing with Cleveland’s Orchestra, exploring and presenting new perspectives, and rediscovering older masterpieces . . . Learn more by attending the CONCERT PREVIEW on September 20 and 22, with Franz Welser-Möst discussing the season with executive director André Gremillet. Or visit clevelandorchestra.com to view a Preview video in the coming weeks.
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Franz: I very much look forward to the start of every season at Severance Hall, and to welcoming audiences to continue our journey together for musical discovery. Of course, this year is unique, and we kept this in mind during our planning. What does one do after a oncein-a-lifetime 100th season?! The party is over, but life continues the next day. We must continue to grow and to look for new and different experiences. Some choices were obvious. For example, after “The Prometheus Project,” we will take a little break away from Beethoven. After the very big orchestra and seriousness in Wagner’s Tristan and Isolde, this year I have chosen an opera with a much smaller orchestra — and one that has more fun inside of it. Part of Strauss’s Ariadne auf Naxos is a comedy. Instead of wrestling with the big questions of life and love that were in Tristan, in this opera Strauss slyly looks at the value of the arts in our lives, and how serious art and comic art complement and comment on one another. So that I think the very real and very
Exploring the 2018-19 Season
The Cleveland Orchestra
easy answer to what comes after a Centennial season is more music. And more new discoveries, more examinations of favorite pieces and neglected masterworks. And more hard work — for the Orchestra and me. These musicians always amaze me. Their dedication and incredible focus remain unmatched anywhere in the world. The coming year brings some big pieces, of course, some favorites like Mahler’s Second Symphony and Tchaikovsky’s Fifth, and some new works and new composers we haven’t heard before. And we also begin a serious exploration and re-examination of the works of two composers: Franz Schubert and Sergei Prokofiev. Some of their works are very well known, but some are not, and I want to rediscover these and share the incredible artistry and creativity of these two composers. We have a sophisticated audience in Cleveland. I am always looking for music that isn’t played often enough, that may have been neglected, so we can discover something new together.
Q: Please comment on your overall philosophy for programming.
Franz: I think it is important to “think big,” to be daring and try things. You do not grow by doing the same things in the same way again and again. And I think this is why The Cleveland Orchestra is
Severance Hall 2018-19
unique. When I look around the classical music world, so much has become tame and playing it safe. And that makes things dull and boring, and you take everything for granted, and you become dull and boring. There are pieces we come back to again and again. How do you make them come to life in performance? Some people call these “warhorses,” which is not always intended as a compliment. But a “warhorse,” in the real sense of the word is alive with feeling and purpose, and you can count on it to carry you through the journey, even into battle. We looked at Beethoven’s music — his “warhorses” — last season with new eyes and ears. And I think doing that opened many people’s eyes and minds to new ways of hearing those pieces. I want audiences to be open to hearing new music and old music with that same curiosity and intensity.
Q: What can you tell us about Ariadne auf Naxos, this year’s opera presentation?
Franz: Ariadne auf Naxos is part of a series of operas which I have programmed to expand and challenge the Orchestra as they continue to grow artistically. And Richard Strauss’s Ariadne auf Naxos does exactly this. Instead of a very large Wagnerian orchestra, Ariadne is scored for a chamber group of 35 musicians. After the dark seriousness of Wagner, Ariadne features comic
Franz talks about the 2018-19 Season
9
elements. It is a wonderful opera, funny and serious at the same time, with beautiful music. In essence, it is a contest between classical art and comedy. There is a play within the play, or really an opera within an opera. The similarities and contrasts — what is happening and what the characters want to happen — are very telling. I really love this opera, and I am eager to hear the musicians of The Cleveland Orchestra interpret this music. Strauss’s writing includes marvelous solos — for flute and oboe and cello, for instance — that will be truly vibrant and meaningful when played by the principal players in Cleveland. The music is unbelievably beautiful, so much so that some passages literally bring me to tears. I have always admired and enjoyed Strauss’s musical genius. As time passes, I find that I appreciate his approach to music-making more and more. This opera spans, as the saying goes, ‘from the sublime to the ridiculous — from beauty to humor.’ And audiences will love it.
Q: Can you talk about how the opera is being presented and staged?
Franz: Ariadne is the next of our madefor-Cleveland productions. With it, we are introducing a new stage director, Frederic Wake-Walker. I worked with him in Milan a couple years ago, and he is exactly the kind of director that we look for — with a creative mind that brings new ideas, who wants to re-examine old works and to discover new meaning or perhaps to find the original meaning but from the perspective of being alive today, to shine light on the core meanings written into a work. His ideas will incorporate Severance Hall — and its classic beauty — into the staging,
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embracing the fact that we are presenting this opera here in this beautiful hall. We have a superb cast. Andreas Schager is singing the all-but-impossible role for tenor. And Tamara Wilson will be incredible as Ariadne. Daniela Fally will be amazing with the challenging vocal gymnastics written for the role of Zerbinetta. And, of course, we have a great orchestra, who will be involved onstage, too. All of this will come together to offer audiences something very special and unique. It will be meaningful and engaging, with touches of humor. The music, as I said, is just incredibly beautiful.
Q: Any closing thoughts? Franz: The musicians of The Cleveland Orchestra are a group of gifted and extraordinarily talented people. They are curious about music and everything they do. I believe that it is very important, in the arts, that we try new things and that we find new ways of looking at the things that are familiar to us. If you don’t risk something, if you don’t take unexpected turns, if you don’t question what you know, you will become tired and bored — and boring. Think big! Nurture the people around you. Listen with open ears and minds! The experience will reward you.
Exploring the 2018-19 Season
The Cleveland Orchestra
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“Sorrell is a true Mozartian... a near-perfect blend of dramatic cogency and the ability to sing.” – FANFARE Record Magazine
Magnificent
MOZART MOZART Overture to La Finta Semplice MOZART Symphony no. 40 in G Minor +$<'1 &RQFHUWDQWH LQ % ÁDW 0DMRU VW PYW
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These concerts are generously sponsored by Karen & Richard Spector
35 virtuoso AF musicians bring their signature energy and passion to these masterpieces – a rare chance to hear this music with the sparkling clarity of period instruments. FRIDAY, OCTOBER 12, 8:00PM Cleveland Museum of Art (Gartner Auditorium) SUNDAY, OCTOBER 14, 4:00PM Cleveland Institute of Music (Kulas Hall) Additional performance October 13 in Akron
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MUSICAL ARTS ASSOCIATION
as of August 2018
operating The Cleveland Orchestra, Severance Hall, and Blossom Music Festival O F F I C E R S A ND E XE C 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.
RE S I D E NT TR U S TE E S 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 TRUS 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 R U S TE E S E X- O F FI 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 R U S TE E S E M E R I T I 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 The Honorable John D. Ong Charles P. Bolton James S. Reid, Jr. Allen H. Ford Robert W. Gillespie * deceased Alex Machaskee
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 2018-19
André Gremillet, Executive Director
Musical Arts Association
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OCTOBER 19 & 20
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THE
CLEVELAND ORCHESTRA
its Centennial Season in 2017-18 and across 2018, The Cleveland Orchestra begins its Second Century hailed as one of the very best orchestras on the planet, noted for its musical excellence and for its devotion and service to the community it calls home. The coming season will mark the ensemble’s seventeenth year under the direction of Franz Welser-Möst, one of today’s most acclaimed musical leaders. Working together, the Orchestra and its board of trustees, staff, volunteers, and hometown have affirmed a set of community-inspired goals for the 21st century — to continue the Orchestra’s legendary command of musical excellence while focusing new efforts and resources toward fully serving its hometown community throughout Northeast Ohio. The promise of continuing extraordinary concert experiences, engaging music education programs, and innovative technologies offers future generations dynamic access to the best symphonic entertainment possible anywhere. The Cleveland Orchestra divides its time across concert seasons at home — in Cleveland’s Severance Hall and each summer at Blossom Music Center. Additional portions of the year are devoted to touring and intensive performance residencies. These include a recurring residency at Vienna’s Musikverein, and regular appearances at Switzerland’s Lucerne Festival, in New York, at Indiana University, and in Miami, Florida. Musical Excellence. The Cleveland Orchestra has long been committed to the pursuit of musical excellence in everything that it does. The Orchestra’s ongoing collaboration with Welser-Möst is widely-acknowledged among the best orchestraconductor partnerships of today. Performances of standard repertoire and new works are unrivalled at home and on tour across the globe, and through recordings and broadcasts. Its longstanding championship of new composers and commissioning of new works helps audiences experience music as a living language that grows with each new generation. Fruitful re-examinations and juxtapositions of traditional repertoire, recording projects and tours of varying repertoire and in different locations, and acclaimed collaborations in 20th- and 21st-century masterworks together enable The Cleveland Orchestra the ability to give musical performances second to none in the world. Serving the Community. Programs for students and engaging musical explorations for the community at large have long been part of the Orchestra’s PHOTO BY ROGER MASTROIANNI
WITH CE LE BRATION S THROUGHOUT
Severance Hall 2018-19
The Cleveland Orchestra
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PHOTO BY ROGER MASTROIANNI
commitment to serving Cleveland and surrounding communities. All are being created to connect people to music in the concert hall, in classrooms, and in everyday lives. Recent seasons have seen the launch of a unique series of neighborhood residencies and visits, designed to bring the Orchestra and the citizens of Northeast Ohio together in new ways. Active performance ensembles and programs provide proof of the benefits of direct participation in making music for people of all ages. Future Audiences. Standing on the shoulders of more than nine decades of presenting quality music education programs, the Orchestra made national and international headlines through the creation of its Center for Future Audiences in 2010. Established with a significant endowment gift from the Maltz Family Foundation, the Center is designed to provide ongoing funding for the Orchestra’s continuing work to develop interest in classical music among young people and to develop the youngest audience of any orchestra. The flagship “Under 18s Free” program has seen unparalleled success in increasing attendance and interest — with 20% of attendees now comprised of concertgoers age 25 and under — as the Orchestra now boasts one of the youngest audiences attending regular symphonic concerts anywhere. Innovative Programming. The Cleveland Orchestra was among the first American orchestras heard on a regular series of radio broadcasts, and its Severance Hall home was one of the first concert halls in the world built with recording and broadcasting capabilities. Today, Cleveland Orchestra concerts are presented in a variety of formats for a variety of audiences —
Each year since 1989, The Cleveland Orchestra has presented a free concert in downtown Cleveland, with this past summer’s on July 6 as the ensemble’s official 100th Birthday bash. Nearly 3 million people have experienced the Orchestra through these free performances.
including casual Friday night concerts, film scores performed live by the Orchestra, collaborations with pop and jazz singers, ballet and opera presentations, and standard repertoire juxtaposed in meaningful contexts with new and older works. Franz Welser-Möst’s creative vision has given the Orchestra an unequaled opportunity to explore music as a universal language of communication and understanding. An Enduring Tradition of Community Support. The Cleveland Orchestra was born in Cleveland, created by a group of visionary citizens who believed in the power of music and aspired to having the best performances of great orchestral music possible anywhere. Generations of Clevelanders have supported this vision and enjoyed the Orchestra’s performances as some of the best such concert experiences available in the world. Hundreds of thousands have learned to love music through its education programs and have celebrated important events with its music.
The Cleveland Orchestra
The Cleveland Orchestra
While strong ticket sales cover just under half of each season’s costs, it is the generosity of thousands each year that drives the Orchestra forward and sustains its extraordinary tradition of excellence onstage, in the classroom, and for the community. Evolving Greatness. The Cleveland Orchestra was founded in 1918. Over the ensuing decades, the ensemble quickly grew from a fine regional organization to being one of the most admired symphony orchestras in the world. Seven music directors have guided and shaped the ensemble’s growth and sound: Nikolai Sokoloff, 1918-33; Artur Rodzinski, 1933-43; Erich Leinsdorf, 1943-46; George Szell, 194670; Lorin Maazel, 1972-82; Christoph von Dohnányi, 1984-2002; and Franz WelserMöst, from 2002 forward. The opening in 1931 of Severance Hall as the Orchestra’s permanent home brought a special pride to the ensemble and its hometown. With acoustic refinements under Szell’s guidance and a building-wide restoration and expansion in 1998-2000, Severance Hall continues to provide the Orchestra an enviable and intimate acoustic environment in which to perfect the ensemble’s artistry. Touring performances throughout the United States and, beginning in 1957, to Europe and across the globe have confirmed Cleveland’s place among the world’s top orchestras. Year-round performances became a reality in 1968 with the opening of Blossom Music Center, one of the most beautiful and acoustically admired outdoor concert facilities in the United States. Today, concert performances, community presentations, touring residencies, broadcasts, and recordings provide access to the Orchestra’s acclaimed artistry to an enthusiastic, generous, and broad constituency around the world. Severance Hall 2018-19
MainStage series 7:30 p.m. at Akron’s EJ Thomas Hall $45 / $40 / $25 / free for students
Tuesday, October 16 Les Violons du Roy with Anthony Roth Costanzo, countertenor
Tuesday, January 22, 2019 Calidore String Quartet with Inon Barnatan, piano
Tuesday, February 12 Lawrence Brownlee, tenor Eric Owens, bass-baritone
more MainStage Tuesday, March 12 Chamber Music Society of Lincoln Center Thursday, March 28 Escher String Quartet
The Cleveland Orchestra
330-761-3460 tuesdaymusical.org 17
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
Virginia M. Lindseth, PhD, Chair
Jessica Lee ASSISTANT CONCERTMASTER
Clara G. and George P. Bickford Chair
Stephen Tavani ASSISTANT CONCERTMASTER
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 Zhan Shu
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Alfred M. and Clara T. Rankin Chair
The GAR Foundation Chair
Charles Bernard 2 Helen Weil Ross Chair
Emilio Llinás 2 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
Lynne Ramsey
Louis D. Beaumont Chair
Richard Weiss 1
1
Charles M. and Janet G. Kimball Chair
Stanley Konopka 2 Mark Jackobs Jean Wall Bennett Chair
Arthur Klima Richard Waugh Lisa Boyko Richard and Nancy Sneed Chair
Lembi Veskimets The Morgan Sisters Chair
Eliesha Nelson Joanna Patterson Zakany Patrick Connolly
The 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
1 9 18 -2 O1 8
Y E A R S
O R C H E S T R A FLUTES Joshua Smith * Elizabeth M. and William C. Treuhaft Chair
Saeran St. Christopher 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
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
ENGLISH HORN Robert Walters Samuel C. and Bernette K. Jaffe Chair
CLARINETS Afendi Yusuf *
CORNETS Michael Sachs * Mary Elizabeth and G. Robert Klein Chair
Michael Miller
Robert Marcellus Chair
Robert Woolfrey Victoire G. and Alfred M. Rankin, Jr. Chair
Daniel McKelway
HORNS Michael Mayhew §
2
Robert R. and Vilma L. Kohn Chair
E-FLAT CLARINET Daniel McKelway Stanley L. and Eloise M. Morgan Chair
BASSOONS John Clouser * Louise Harkness Ingalls Chair
Gareth Thomas Barrick Stees 2 Sandra L. Haslinger Chair
Jonathan Sherwin CONTRABASSOON Jonathan Sherwin
TROMBONES Massimo La Rosa * Gilbert W. and Louise I. Humphrey Chair
Richard Stout Alexander and Marianna C. McAfee Chair
Shachar Israel 2 EUPHONIUM AND BASS TRUMPET Richard Stout TUBA Yasuhito Sugiyama* Nathalie C. Spence and Nathalie S. Boswell Chair
TIMPANI Paul Yancich * Otto G. and Corinne T. Voss Chair
Tom Freer 2 Mr. and Mrs. Richard K. Smucker Chair
Severance Hall 2018-19
The Musicians
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 ENDOWED CHAIRS CURRENTLY UNOCCUPIED Austin B. and Ellen W. Chinn Chair Sidney and Doris Dworkin Chair Sunshine Chair George Szell Memorial Chair
* Principal § 1 2
Associate Principal First Assistant Principal Assistant Principal
CONDUCTORS Christoph von Dohnányi MUSIC DIRECTOR LAUREATE
Vinay Parameswaran ASSISTANT CONDUCTOR
Elizabeth Ring and William Gwinn Mather Chair
Lisa Wong DIRECTOR OF CHORUSES
Frances P. and Chester C. Bolton Chair
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P H O T O B Y J U L I A W E S E LY
Franz Welser-Möst Music Director Kelvin Smith Family Endowed Chair The Cleveland Orchestra
Franz Welser-Möst is among today’s most distinguished conductors. The 2018-19 season marks his seventeenth year as music director of The Cleveland Orchestra, with the future of this acclaimed partnership extending into the next decade. The New York Times has declared Cleveland under Welser-Möst’s direction to be the “best American orchestra“ for its virtuosity, elegance of sound, variety of color, and chamber-like musical cohesion. During The Cleveland Orchestra’s centennial last season — dedicated to the community that created it — Franz Welser-Möst led two ambitious festivals, The Ecstasy of Tristan and Isolde, examining the power of music to portray and create transcendence, followed by a concentrated look at the philosophical and political messages within Beethoven’s music in The Prometheus Project (presented on three continents, in Cleveland, Vienna, and Tokyo). His innovative approach to programming, introducSeverance Hall 2018-19
Music Director
ing new music, and rediscovering and re-examining older works continues this season, including a brand-new made-forCleveland production by Frederic WakeWalker of Richard Strauss’s opera Ariadne auf Naxos in January. Franz Welser-Möst and The Cleveland Orchestra are frequent guests at many prestigious concert halls and festivals around the world, including regular appearances in Vienna, New York, and Miami, and at the festivals of Salzburg and Lucerne. During Welser-Möst’s tenure, The Cleveland Orchestra has been hugely successful in building up a new and, notably, younger audience at home in Cleveland through groundbreaking programs involving families, students, universities, and cross-community partnerships. A series of established and newly created education offerings continue to energize and engage students throughout the region. As a guest conductor, Mr. WelserMöst enjoys a close and productive relationship with the Vienna Philharmonic. His recent performances with the Philharmonic have included a series of critically-acclaimed opera productions at the Salzburg Festival (Strauss’s Der Rosenkavalier in 2014, Beethoven’s Fidelio in 2015, Strauss’s Die Liebe der Danae in 2016, Reimann’s Lear in 2017, and Strauss’s Salome in 2018), as well as appearances on tour at New York’s Carnegie Hall, at the Lucerne Festival, and in concert at La Scala Milan. He has conducted the Philharmonic’s celebrated annual New Year’s Day concert twice, viewed by millions worldwide. Performances with the Philharmonic this year include appearances at the Salzburg, Grafenegg,
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“Franz Welser-Möst, music director of the subtle, responsive Cleveland Orchestra — possibly America’s most memorable symphonic ensemble — leads operas with airy, catlike grace.” —New York Times
22
PHOTO BY ROGER MASTROIANNI
and Glyndebourne festivals, and, in November, at Versailles and Tokyo’s Suntory Hall. He returns to Vienna in the spring to lead Mahler’s Eighth Symphony. Mr. Welser-Möst also maintains relationships with a number of other European orchestras and opera companies. His 2018-19 schedule includes concerts with the Czech Philharmonic and Dresden Staatskapelle. He leads performances of Mozart’s The Magic Flute in a new production directed by Yuval Sharon with the Berlin State Opera, and Strauss’s Ariadne auf Naxos at Milan’s Teatro alla Scala. From 2010 to 2014, Franz WelserMöst served as general music director of the Vienna State Opera. His partnership with the company included an acclaimed new production of Wagner’s Ring cycle and a series of critically-praised new productions, as well as performances of a wide range of other operas, particularly works by Wagner and Richard Strauss. Prior to his years with the Vienna State Opera, Mr. Welser-Möst led the Zurich Opera across a decade-long tenure, conducting more than forty new productions and culminating in three seasons as general music director (2005-08). Franz Welser-Möst’s audio and video recordings have won major awards,
including a Gramophone Award, Diapason d’Or, Japanese Record Academy Award, and two Grammy nominations. The recent Salzburg Festival production he conducted of Der Rosenkavalier was awarded with the Echo Klassik for “best opera recording.“ With The Cleveland Orchestra, his recordings include DVD releases of live performances of five of Bruckner’s symphonies and a multi-DVD set of major works by Brahms, featuring Yefim Bronfman and Julia Fischer as soloists. A companion video recording of Brahms’s German Requiem was released in 2017. In 2017, Mr. Welser-Möst was awarded the Pro Arte Europapreis for his advocacy and achievements as a musical ambassador. Other honors and awards include the Vienna Philharmonic’s “Ring of Honor” for his long-standing personal and artistic relationship with the ensemble, as well as recognition from the Western Law Center for Disability Rights, honorary membership in the Vienna Singverein, appointment as an Academician of the European Academy of Yuste, a Decoration of Honor from the Republic of Austria for his artistic achievements, and the Kilenyi Medal from the Bruckner Society of America. Music Director
The Cleveland Orchestra
THANKS TO THE CLEVELAND ORCHESTRA,
CLASSICAL MUSIC IS ALIVE AND WELL. Trust us, we would know.
For nearly 150 years, Lake View Cemetery has been the final resting place for people of all denominations and walks of life. The majestic beauty of the lush trees, rolling landscapes, and pristine pond have stood the test of time. And for what itâ&#x20AC;&#x2122;s worth, the headstones have, too.
Your Grounds for Life. 12316 Euclid Avenue, Cleveland, Ohio | 216-421-2665 | LakeViewCemetery.com
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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 as an online flip-book at clevelandorchestra.com, or by viewing on your mobile phone by visiting www.ExpressProgramBook.com.) The Orchestra’s Music Study Groups also provide a way of exploring the music in more depth. These classes, professionally led by Dr. Rose Breckenridge, meet weekly in locations around Cleveland to explore the music being played each week and the stories behind the composers’ lives. Free Concert Previews are presented one hour before most subscription concerts throughout the season at Severance Hall. The previews (see listing at right) t feature a variety of speakers and guest artists speaking or conversing about that weekend’s program, and often include the opportunity for audience members to ask questions.
Severance Hall 2018-19
Cleveland Orchestra Concert Previews are presented before every regular subscription concert, and are free to all ticketholders to that day’s performance. Previews are designed to enrich the concert-going experience. Concert Previews are made possible in part by a generous endowment gift from Dorothy Humel Hovorka.
Autumn Previews: September 20, 22 “2018-19: Season Overview” (musical works by Rathbun, Abrahamsen, and Tchaikovsky) Franz Welser-Möst in conversation with André Gremillet, executive director of The Cleveland Orchestra
September 27, 30 “New Wine, Old Wine Skins?” (musical works by Prokofiev and Bartok) with Rose Breckenridge lecturer and administrator, Cleveland Orchestra Music Study Groups
October 4, 5, 6 “Mahler’s Resurrection Symphony” (Mahler’s Symphony No. 2) with Rabbi Roger Klein, The Temple – Tifereth Israel
October 18, 19, 20 “From Far Away to Now” (musical works by Barber, Ginastera, and Rimsky-Korsakov) with Rose Breckenridge
October 25, 27 “Viennese Influences” (musical works by Webern, Berg, and Schoenberg) with Michael Strasser, professor of musicology, Baldwin Wallace University Conservatory of Music
Concert Previews
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1918
Seven music directors have led the Orchestra, including George Szell, Christoph von Dohnányi, and Franz Welser-Möst.
16 17th
1l1l 11l1 l1l1 1 1
The The2017-18 2018-19season seasonwill marks mark Franz Welser-Möst’s 16th 17th 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 Followers onon Facebook social media (as of (July June2018) 2016)
The Cleveland Orchestra has introduced over 4.1 million children in Northeast Ohio to symphonic music through concerts for children since 1918.
129,452 200,000
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
THE
CLEVELAND ORCHESTRA FR ANZ WELSER- MÖST
M U S I C D I R E C TO R
Severance Hall
Thursday evening, September 20, 2018, at 7:30 p.m. Saturday evening, September 22, 2018, at 8:00 p.m.
Franz Welser-Möst, conductor JEFFREY RATHBUN
(b. 1959)
HANS ABRAHAMSEN
(b. 1952)
2O18 SEASON 2O19
Pantheon (for orchestra) WORLD PREMIERE PERFORMANCES Commissioned by The Cleveland Orchestra
Left, alone (for piano and orchestra) UNITED STATES PREMIERE PERFORMANCES
Part I Very Fast — Slowly Walking — Presto fluente (like gentle rain, light and bubbly) Part II Slowly — Prestissimo tempestuoso — In a tempo from another time — In a time of slow motion — Suddenly in flying time, “Fairytale Time” ALEXANDRE THARAUD, piano
INTER MISSION D I S T I N G U I S H E D S E R V I C E AWA R D The Cleveland Orchestra’s Distinguished Service Award will be presented to Franz Welser-Möst prior to the second half of Thursday evening’s concert. (See pages 30-31)
PYOTR ILYICH TCHAIKOVSKY (1840-1893)
Suite from Swan Lake, Opus 20 Overture — Scene (No. 1) — Waltz — Scene (No. 10) — Dance of the Swans — Pas d’action: Odette and the Prince — Hungarian Dance: Csárdás — Spanish Dance — Neapolitan Dance — — Mazurka — Scene (No. 28) — Final Scene (No. 29) This weekend’s concerts are dedicated in memory of composer Oliver Knussen (1952-2018).
Severance Hall 2018-19
Concert Program — Week 1
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September 20, 22
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THI S WE E KE ND’S CONCE RT Restaurant opens: THUR 4:30 SAT 5:00
Concert Preview: BEGINS ONE HOUR BEFORE CONCERT
Concert begins: THUR 7:30 SAT 8:00
C E N T E N N I A L
Severance Restaurant Reservations (suggested) for dining:
216-231-7373 or via www.UseRESO.com
C O N C E R T P R E V I E W — Reinberger Chamber Hall
“2018-19 Season Overview” with Franz Welser-Möst in conversation with executive director André Gremillet
RATHBUN Pantheon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 35 (10 minutes)
ABRAHAMSEN Left, alone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 39 (20 minutes) Duration times shown for musical pieces (and intermission) are approximate.
INTERMISSION (20 minutes) Special Presentation Thursday only (following intermission): Presentation of The Cleveland Orchesta Distinguished Service Award.
TCHAIKOVSKY Suite from Swan Lake . . . . . . . . . . . . . . . . . . . . . . . . . Page 45 (40 minutes)
Concert ends: (approx.)
THUR 9:15 SAT 9:35
28
opus LO U N G E
Share your memories of the performance and join the conversation online . . . facebook.com/clevelandorchestra
Opus Lounge
twitter: @CleveOrchestra
This season, stop by our newlyredecorated lounge (with full bar service) for post-concert desserts, drinks, and convivial comra adery.
instagram: @CleveOrch (Please note that photography is prohibited during g the performance.)
This Week’s Concerts
The Cleveland Orchestra
INTRODUCING THE CONCERT
Music, Alone & Together
T H I S W E E K ’ S C O N C E R T S mark the start of The Cleveland Orchestra’s
101st season, in the midst of our 100th birthday year of 2018. Last season’s Centennial celebrations continue at Severance Hall, on the radio, and wherever and whenever fans of this great Orchestra gather to talk and listen. This weekend’s opening concerts feature three musical works written across more than a century — a world premiere created by a member of The Cleveland Orchestra and a United States premiere by an acclaimed Danish composer, along with excerpts from one of Tchaikovsky’s most beloved ballet scores. As the saying goes, there’s plenty of “music to our ears,” in quality and quantity, variety and style — all performed with the inimitable artistry of an extraordinary hometown orchestra under the baton of its music director. The concert (and the season) begin with Pantheon, a brand-new work commissioned for the occasion. It was written by Jeff Rathbun, a member of the Orchestra’s oboe section, whose long-time interest (and ability) as a composer seems perfectly suited to creating this bespoke work. The title itself proclaims the reality of supreme artistry for which The Cleveland Orchestra is repeatedly acclaimed, at home and around the world. The evening continues with Left, alone, written in 2014-15 by Hans Abrahamsen as a concerto for lefthand alone. This composer’s unique musical point of view offers a stylish and fresh kind of modernity, within the long-evolving idea and ideals of how best to balance a solo instrument with — or within, or against, or in partnership with — full orchestra. Alexandre Tharaud is this week’s soloist. Following intermission — and, on Thursday night, after a special presentation — Franz Welser-Möst concludes with selections from Tchaikovsky’s masterful ballet score for Swan Lake. Written in 1875-76, the power of this music is too often relegated only to ballet companies. Yet, the composer’s skill at storytelling and heartache are telling — and tellingly good. Enjoy, and welcome to this season’s journey of music and adventure! —Eric Sellen
Severance Hall 2018-19
Week 1 — Introducing the Concerts
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The Cleveland Orchestra
Distinguished Service Award P H OTO BY R O G E R MA S T R O I A N N I
The Musical Arts Association is proud to honor Franz Welser-Möst as the 2018-19 recipient of the Distinguished Service Award, recognizing extraordinary service to The Cleveland Orchestra. PREVIOUS RECIPIENTS
Distinguished Service Award Committee Marguerite B. Humphrey, Chair Richard J. Bogomolny Dr. Jeanette Grasselli Brown Robert Conrad André Gremillet Dennis W. LaBarre Robert P. Madison Ambassador John D. Ong Clara Taplin Rankin
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Dennis W. LaBarre 2017-18 Robert Vernon 2016-17 Rosemary Klena 2015-16 James D. Ireland III 2014-15 Pierre Boulez 2013-14 Milton and Tamar Maltz 2012-13 Richard Weiner 2011-12 Robert Conrad 2010 -11 Clara Taplin Rankin 2009-10 Louis Lane 2008- 09 Gerald Hughes 2007- 08 John D. Ong 2006-07 Klaus G. Roy 2005 - 06 Alex Machaskee 2004 - 05 Thomas W. Morris 2003 -04 Richard J. Bogomolny 2002- 03 John Mack 2001- 02 Gary Hanson 2000-01 Christoph von Dohnányi 1999-2000 Ward Smith 1998-99 David Zauder 1997-98 Dorothy Humel Hovorka 1996-97
Distinguished Service Award
The Cleveland Orchestra
Presented to Franz
Welser-Möst
Presented by Richard K. Smucker during the concert of September 20, 2018
F R A N Z W E L S E R - M Ö S T first stood in front of The Cleveland Orchestra as a guest
conductor at Severance Hall in February 1993. Announcement of his appointment as the ensemble’s new leader followed six years later, with his tenure as the seventh Music Director beginning in September 2002. Having envisioned and led us through the tremendous success of our Centennial season, Franz now begins his seventeenth year of leadership and has, to date, clocked a quarter-century of collaboration with The Cleveland Orchestra. Franz’s charge from the beginning was to carry the ensemble forward, to build on the past and drive into the future — first to the new millennium and now into the Orchestra’s Second Century. His playbook has been to argue with passionate directness for music’s ongoing and renewed relevance in a changing world, and to nurture a welcoming spirit of collaboration among the artists onstage and the audiences engaged with the Orchestra’s music-making. Building on the achievements of his predecessors, Franz has expanded the ensemble’s repertoire while further honing the Orchestra’s flexibility within increasingly diverse styles of modern music. The Orchestra’s long operatic tradition has been intensified, witnessing the return of fully-staged opera productions to Severance Hall — including cutting-edge presentations filled with 21st-century technology and wonder, all in service to presenting the human emotions and truths embedded in a series of inspired operatic works, presented in compelling productions featuring superb casts. From the beginning, Franz has understood the power of community and institutions partnering together — for The Cleveland Orchestra to be more than a world-class musical ensemble, but to truly be Cleveland’s Orchestra, serving all the people in and around Cleveland, through expanded education offerings and a new diversity of programming. His strong belief that we harness the life-changing power of music to inspire has pushed us to pursue new directions and take risks, to create extraordinary and meaningful experiences such as The Prometheus Project and The Prometheus Project for Students. Franz’s vision that we touch every child with music has led to the creation of new programs that enable more children, especially those with the least access, to make music and reap its benefits and joys. His belief in music’s innate ability to transcend differences and bring people together has led to neighborhood initiatives and new concert formats. His advocacy has created annual in-school performances by The Cleveland Orchestra for the first time in decades, augmenting our ongoing School Concerts at Severance Hall with experiences in the students’ own neighborhoods. A series of interlocking initiatives aimed at families, children, and students has resulted in a notable increase of younger people attending performances, with 20% of Cleveland Orchestra classical audiences now aged 25 and younger. continues on next page
Severance Hall 2018-19
Distinguished Service Award
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continued from previous page
During his first twenty-five years associated with The Cleveland Orchestra, Franz has conducted nearly a thousand concerts — two-thirds of these here at home in Northeast Ohio. He has conducted over 500 works by nearly 150 different composers, including 16 complete opera scores. He has led performances with the Orchestra in 75 cities on three continents, with the Welser-Möst/Cleveland partnership appearing to unparalleled acclaim in ongoing residencies and national tours, and across 18 international tours to date. Counting this weekend’s performances, he has conducted 20 world premieres and 16 United States premieres with The Cleveland Orchestra. With a steady hand, admiring discernment, and focused guidance, Franz shaped The Cleveland Orchestra’s Centennial season to be a celebration not just of the institution and its music, but to illuminate and celebrate the community that created this world-class ensemble and has sustained it for a hundred years. His programming for the Centennial season moved through an ongoing arc of growth and interconnection to past concerts and future seasons. He rewarded audiences with a challenging and energizing re-examination of Beethoven’s music in the political context of Beethoven’s own life and beliefs with The Prometheus Project. He set Wagner’s epochal love story of Tristan and Isolde into the context of varying ecstatic and transcendent musical traditions. He revisited touchstone symphonic works, and juxtaposed them against new pieces — just as he does every year. Because he believes that each and every season should engage the emotions, bodies, and minds of audiences, and inspire everyone. Franz believes in the power of music — to tell stories, to propel ideas, to rally communities together in times of joy and to comfort in times of sadness or upheaval, to inspire children, people, ideas, and collaborative action. He believes that The Cleveland Orchestra epitomizes the best music-making possible anywhere. Through plan, action, and deeds, he repeatedly demonstrates his dedication and devotion to the music, the musicians, and the audiences and communities we serve. He believes in giving his utmost to deliver extraordinary musical experiences in the concert hall, to engage and nurture today’s audiences and to inspire future generations. In recognition of his exemplary achievements with and visionary leadership for The Cleveland Orchestra to date, in shaping this ensemble’s artistic and institutional path forward into the future, preserving the strength of tradition while embracing innovation, new technologies, and collaborative partnerships, for his unwavering focus on the education and inspiration of future generations, for his artistic integrity, uncompromising musicianship, and determined dedication in service to the Greater Cleveland community, the Musical Arts Association is extremely pleased — and wholeheartedly believes it perfectly fitting, during the Orchestra’s 100th birthday year of 2018 — to present Music Director Franz WelserMöst with this institution’s highest award for distinguished service.
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Distinguished Service Award
The Cleveland Orchestra
Caring for those in need never goes out of style. Whether we are feeding the hungry, comforting the sick, or caring for the elderly, our Jewish values have always inspired us to act. Those same values teach us to care for the next generation. By making a legacy gift, you leave your children and grandchildren a precious inheritance and a lasting testimony to your values. Find out how you can become a member of the Jewish Federation of Cleveland’s Legacy Society by contacting Carol F. Wolf for a confidential conversation at 216-593-2805 or cwolf@jcfcleve.org.
L’dor V’dor. From Generation to Generation. Create Your Jewish Legacy www.jewishcleveland.org
IN MEMORIAM
Oliver Knussen June 12, 1952 to July 8, 2018
The Cleveland Orchestra mourns the death this past summer of British composer Oliver Knussen at the age of 66. Knussen was a vibrant and colorful figure in today’s musical world as a composer, conductor, mentor, teacher, and colleague. His keen intellect, wide-spanning curiosity, and wry sense of humor were coupled with an impeccable and exacting understanding of musical modernism and classical style. He was a welcome guest with The Cleveland Orchestra at Severance Hall, conducting more than forty concerts across thirteen weekends between 1993 and 2009, in addition to making several recordings with the Orchestra. His programs featured many new works alongside a number of his own compositions, including his fantasy operas Higglety Pigglety Pop! and Where the Wild Things Are, two world premieres, and five United States premieres. As conducting and artistic duties took more and more time away from writing new music, Olly was well known for practicing his compositional craft slowly and to his own demanding standards. In the late 1990s, he agreed to write a commission for The Cleveland Orchestra, to be titled Cleveland Pictures and conceived as a modern-day take on Mussorgsky’s Pictures at an Exhibition but based on works hanging at the Cleveland Museum of Art; the work’s premiere was announced for three different seasons, but was repeatedly postponed and never completed — there are always more good ideas than life affords any of us time to experience or complete. Grateful for his friendship, musicianship, humor, and intense artistry, and for the time he shared here at Severance Hall, The Cleveland Orchestra dedicates this weekend’s season-opening performances in Olly’s memory.
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In Memoriam
The Cleveland Orchestra
Pantheon (for orchestra) composed 2017-18
At a Glance
by
Rathbun wrote this new work on a commission from The Cleveland Orchestra as part of the ensemble’s 100th Anniversary celebrations. He composed the music between July 2017 and January 2018. Pantheon runs just over 10 minutes in performance. Rathbun scored it for 2 flutes and piccolo, 2 oboes and english horn, 2 clarinets and bass clarinet, 2 bassoons and
contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (snare drum, tenor drum, bass drum, temple blocks, cymbals, triangle, glockenspiel, xylophone, marimba, crotales), harp, piano, and strings. The Cleveland Orchestra is playing the world premiere performances of Pantheon with this weekend’s concerts, on September 20 and 22, 2018.
Jeffrey
RATHBUN born March 17, 1959 Lockwood, Missouri resides in Richfield, Ohio
Severance Hall 2018-19
About the Music J E F F R A T H B U N is not a fulltime composer. He has a “day
job” as a ranking member — Assistant Principal Oboe — of The Cleveland Orchestra, which, of course, involves not just days, but many nights and evenings, too. Along with time spent teaching, his schedule of practicing, rehearsing, and performing keeps him plenty busy. And yet, as a composer, he’s managed to find time to create a solid body of varied works, many as chamber music and several for full orchestra. Rathbun became interested in composing early on. His interest in music was cultivated from a young age — by his parents, both musicians. The oboe was his performing choice, in part to be “different” from all the “clarinets and trumpets” his schoolmates were taking lessons on. He’d also fallen in love with the sound of the oboe solo in Benjamin Britten’s Young Person’s Guide to the Orchestra. (At the time, Jeff also liked the saxophone, but was quickly reminded that he wouldn’t be in the school orchestra if he chose that instrument.) Step by step, by plan and serendipity, he was aiming himself toward his adult career. As it turned out, Rathbun and the oboe made a good pairing, carrying him forward to summer camps and then to the University of North Texas for his bachelor’s degree — and to the Cleveland Institute of Music for a master’s. Cleveland was not by chance, as he’d spent a week two summers in a row attending the John Mack Oboe Camp in North Carolina, founded and run by The Cleveland Orchestra’s legendary principal oboist, who headed the Orchestra’s section for nearly forty years, 1965-2001. About the Music
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“From those weeks at his camp, I knew I wanted to study with John Mack,” says Rathbun. “Cleveland and CIM became my goal.” In high school, creating his own music had also taken hold of Rathbun as a serious interest. “I listened to many of the classical records in our local library, in Abilene, Texas, and was particularly drawn to Mahler and Shostakovich,” remembers Rathbun. “I even worked on several symphonies of my own, composed at the piano, which must have sounded like poor imitations of Shostakovich or Prokofiev. Fortunately, I didn’t actually write much of that music down — it was a way to learn and grow, but not ready for public performance.” Rathbun’s music brings “At the same time, I was writing smaller together elements pieces, and I even won a couple of contests in of a variety of styles — high school for music I wrote. One piece was called Vision, for piano, and people seemed to traditional tonal, newer like it. But practicing and becoming a better ideas of dissonance, oboe player was my main focus. Composing conflicting rhythms — but was more like a hobby, but still within the world of music that spoke to me so directly.” always with an ear for Fast forward to today and the oboe is the experience. Nothing still primary, composing secondary (but clearly is complex simply because more than a hobby). Writing music has even he could write it that way. played a role in guiding certain aspects of Rathbun’s trajectory in life. John Mack encouraged him directly, suggesting that he write a piece for two oboes — “why don’t you write us a duet?” Rathbun recalls him saying. Mack and Rathbun played the piece, 3 Diversions for 2 Oboes, together in fifteen performances across the years. It is, perhaps, Rathbun’s most well-known work. Mack also commissioned Rathbun to write a new piece for soprano, oboe, and piano for the Cleveland-based group Plymouth Trio, in which Mack was a founding member. Ten years later, Rathbun featured that same work, Aspiration, on one of his own faculty recitals at CIM. Needing a soprano, he asked a doctoral student, Anna Jungeun Oh, to sing the part — and, as things transpired in a serendipitous way, one piece led to a relationship and, in time, Anna became Rathbun’s wife. “John Mack was a great teacher,” comments Rathbun. “Of course, everyone knows he was a great oboist, as generations of audiences at Severance Hall heard. In person, he was larger-thanlife. Yet, as a teacher he was so attentive to all his students, at oboe camp or at CIM. He cared about us improving as musicians and
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About the Music
The Cleveland Orchestra
In the Composer’s Own Words Pantheon by Jeffrey Rathbun The composer has written the following comments about this piece: When The Cleveland Orchestra was announcing preparations for our 100th Anniversary celebrations a few years ago, I was excited for both the musicians and the entire organization. I knew that the recognition the Centennial would bring to this greatest of orchestras would be very meaningful for all of our fans and supporters as well. I wanted to contribute to this anniversary in some way, so I proposed writing a composition for The Cleveland Orchestra. I was thrilled that my proposal was accepted. I’ve been a member of this ensemble now for 28 out of those 100 years, and I thought that my familiarity with my distinguished colleagues’ abilities would help me in creating such a piece. A composer could never ask for a better ensemble to write for. The title of my finished work comes from several thoughts, and the word itself carries several meanings. Definition no. 4 in the Miriam Webster Dictionary states: “4. a group of illustrious or notable persons or things.” To this, one might add a quote from the American musicologist and writer Joan Peyser (1930-2011), who wrote (referring to orchestra concerts featuring the late classical/early romantic composers): “The orchestras acted as musical kingmakers; at their concerts a pantheon was formed.” My conception is to feature all of the different sections that make up the orchestra, both in individual solos and highlighting by section and combination of sections. While the composer is the creator of a musical work, it is the distinguished musicians onstage that bring it to life — the illustrious performers being, in essence, a pantheon of the highest artistic quality. Pantheon is in a simple A-B-A form, with the B section in a slower tempo and more tonal — basically diatonic with some unusual chord progressions on occasion. I hope that this slow part will also allow the listener to hear solos featuring some of our great musicians. The outer sections contain more dissonance and rhythmic activity, and the opening theme stated by the basses (F, up to B-flat, then descending two half steps to A and G-sharp) is the basic building block used for these opening and closing sections. The harmonic material is somewhat independent of the main theme, but there are some Bruckneriansounding chord progressions that evolve from it. After the last climax, there is a brief, peaceful coda that contains melodic fragments from the B section. —Jeffrey Rathbun, March 2018
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Jeffrey Rathbun: Pantheon
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LEARN MORE Read Jeffrey Rathbun’s biograpy by visiting clevelandorchestra.com
as oboe players — and in helping us overcome the difficulties of the instrument. Because the oboe has certain tendencies of its own, and you have to get beyond those to make good music.” Pantheon is the fourth orchestral work by Rathbun to be performed or premiered by The Cleveland Orchestra. These include Daredevil (1995) and Motions for cellos (2000), both premiered by Christoph von Dohnányi, and Three Psalms for Jerusalem, which Leonard Slatkin conducted at Blossom in 1998. Rathbun’s music brings together elements of a variety of styles — traditional tonal, newer ideas of dissonance, conflicting rhythms — but always with an ear for the experience. Nothing is complex simply because he could write it that way. “I make choices carefully, and thoughtfully,” he notes. “I want lines of melody or harmony to be heard. I don’t want to write anything to be harder or denser or more complicated than it needs to be.” Not unlike listening to music, Rathbun seems to be saying, playing music should be an exploration and adventure. Every moment driving a world-class sportscar (or orchestra) doesn’t have to be chest-hugging, strapped in by your seatbelts. Part of the time can — and should — be spent admiring the scenery and the car’s machinery. “The title for Pantheon first came to me while reading a book review on Hank Williams — it mentioned that Williams was ‘in the pantheon of country-western singers.’ The word struck me as the perfect title for a piece for The Cleveland Orchestra — for this group of amazing colleagues who are, well, not just second to none, but each is so talented in their own ways.” Pantheon is, in effect, a “concerto for orchestra,” with each section of the ensemble given its moment in the limelight. “After nearly three decades here, I think I know this orchestra and my colleagues pretty well. When I was writing this piece, I knew what they could do — and, well, frankly, there’s not much that any of them can’t do on their instruments. Of course, being an oboist, I gave my colleague and principal, Frank Rosenwein, the biggest solo — but many others and every section gets a special moment or two.” Asked if he wrote a role in Pantheon for himself, Rathbun says, “No, I wrote parts for my three oboe colleagues, but not myself because I want to be listening from outfront, in the audience. It’s a medium-sized orchestra, overall. So there’s nothing for me to do but experience this music with my ears and eyes and mind. I’m looking forward to it — and to hearing what others think, too.” —Eric Sellen © 2018
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About the Music
The Cleveland Orchestra
Left, alone (for piano and orchestra) composed 2014-15
At a Glance
by
Hans
Abrahamsen wrote this concerto in 2014-15 on a commission from Westdeutscher Rundfunk (WDR) and the WDR Symphony of Cologne in partnership with Britain’s City of Birmingham Symphony Orchestra, Danish National Symphony Orchestra, and the Rotterdam Philharmonic. It was first performed on January 29, 2016, in Cologne, with Ilan Volkov conducting and Alexandre Tharaud as soloist. Left, alone runs about 20 minutes
in performance. Abrahamsen scored it for 2 flutes (both doubling piccolo), 2 oboes, 2 clarinets and bass clarinet, 2 bassoons, 3 horns, 2 trumpets, 2 trombones, tuba, timpani, percussion (snare drum, bass drum, cymbal, claves, marimba, xylophone, vibraphone, tubular bells), harp, piano, celesta, and strings, plus the solo piano. The Cleveland Orchestra is performing this concerto for the first time with this weekend’s concerts.
ABRAHAMSEN born December 23, 1952 Copenhagen, Denmark lives in Copenhagen
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About the Music H A N S A B R A H A M S E N , a leading figure in today’s Danish mu-
sical world, has been composing since he was sixteen. His first commission from the Berlin Philharmonic dates from 1971, but only in the past decade or so has he received sustained international attention and acclaim. Abrahamsen’s remarkable song-cycle, titled let me tell you, was enthusiastically embraced when presented at Severance Hall in 2016, performed by Barbara Hannigan under music director Franz Welser-Möst. The Cleveland Orchestra, Hannigan, and Welser-Möst repeated the work to similar acclaim at New York’s Carnegie Hall at that same time. The piano concerto Left, alone owes a large part of its conception to the fact that Abrahamsen himself was born with a palsy that has affected two fingers of his right hand. So that he has always felt an association with piano pieces and concertos written for the left hand alone. There is a remarkable set of lefthand concertos, created mostly in the 1920s and ’30s at the request of pianist Paul Wittgenstein, who lost his right arm from battlefield injuries during World War I; the best known of these is the one written by Maurice Ravel in 1932. (The Czech pianist Otakar Hollmann also commissioned several such works around the same time; his right hand had been injured in World War I.) Abrahamsen wrote a two-handed piano concerto in 1999 and a double concerto, for violin and piano (and a string orchestra), in 2011. But this newer one, he feels, is very much a comAbout the Music
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poser’s view of the left hand as a solo player, not a performer’s. As a result, it has a strongly personal character. It was commissioned jointly by the WDR Symphony of Cologne, Britain’s City of Birmingham Orchestra, Danish National Symphony Orchestra, and the Rotterdam Philharmonic Orchestra, all of whom performed it within the year 2016. Left, alone is divided into two parts with three short movements or sections in each. Abrahamsen belongs to the tradition of composers, prominent since the 1950s, whose music is incredibly complex on paper, especially in the spheres of rhythm and orchestration. Yet it sounds direct, even simple at times, with sharp distinctions of tempo and texture. As Welser-Möst has commented, the appearance of the score is belied by the music’s effect: “There’s no other way he could have written it,” he has said, “it has to be this way.” The percussion are active throughout, and an interesting feature of the orchestration is the inclusion of an orchestral piano part (for two hands) that relates teasingly to the solo part. The six movements (divided evenly between the two larger parts) can be characterized as follows: the first is wild and busy, first grumbling and then screaming. The soloist emerges with a threenote tune, mirrored in the clarinets, and closed by the double basses in restless argument. The second movement is elegantly sparse, with the piano in conversation with a pair of claves, and the third can only be compared to raindrops, sparkling and humorous. The fourth movement at the beginning of Part II is very short, with an exposed tune punctuated by odd notes peeking in from above and below. The fifth is an outburst of rage or vitality (or both), and the last movement is itself divided into three sections: one is empty and mysterious, the second is a series of long unison notes, and the last sounds more like a conventional piano concerto in the relation of soloist to orchestra than anything in the earlier movements. This last section has been compared to a plague of insects, which, far from denigrating the composer’s purpose, reflects well on his fantastical orchestral imagination. As Welser-Möst has said, of his own growing interest in Abrahamsen’s works, “he has created his own unique voice as a composer; once one learns to hear what he is saying, one wants more.” —Hugh Macdonald © 2018 Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis. He has written books on Beethoven, Berlioz, Bizet, and Scriabin.
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About the Music
The Cleveland Orchestra
In the Composerâ&#x20AC;&#x2122;s Own Words
Left, alone by Hans Abrahamsen The composer has written the following comments about this piece: I was born with a right hand that is not fully functional, and though it never prevented me from loving to play the piano as well as I could with this physical limitation, it has obviously given me an alternative focus on the whole piano literature and has given me a close relationship with the works written for the left hand by Ravel and others. This repertoire has been with me since my youth. My very first public performance of one of my own works was in autumn 1969. The piece was called October, and I played the piano with my left hand and the horn, my principal instrument (the only instrument that can be played with only the left hand). Part of the piece requires the performer to play natural harmonics of the horn directly into the open strings of the grand piano to create resonance. The pedal was kept down by an assistant lying on the floor. The idea of writing a larger work for piano left hand has been in my mind for decades. This new work is not written for a pianist with only one hand, but rather by a composer who can only play with the left hand. The title Left, alone contains all kinds of references, not only to the obvious fact that the left hand is playing alone. Left, alone is divided into two large parts, each consisting of three smaller movements â&#x20AC;&#x201C; in effect, six in total. The work was commissioned by Westdeutscher Rundfunk, and cocommissioned by City of Birmingham Symphony Orchestra, Danish National Symphony Orchestra, and Rotterdam Philharmonic. It was written for Alexandre Tharaud. â&#x20AC;&#x201D;Hans Abrahamsen, 2015
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Hans Abrahamsen: Left, alone
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Alexandre Tharaud French pianist Alexandre Tharaud is increasingly recognized among France’s new generation of classical artists. He is making his Cleveland Orchestra debut with this weekend’s concerts. Mr. Tharaud’s recent and upcoming engagements include a recital tour of North America, and appearances with Les Violons du Roy and the orchestras of Atlanta, Montreal, Philadelphia, Toronto, and Utah. In addition, he is performing in Germany, France, and European music capitals such as Amsterdam, Brussels, London, Rome, Vienna, and Zurich. His festival appearances include the Aix-enProvence, BBC Proms, Domaine Forget, Edinburgh International, Lanaudière, Nuits de Décembre de Moscou, Rheingau, Rimini, and the Schleswig-Holstein and the La Roque d’Anthéron and Ruhr piano festivals. Heralded for his bestselling albums, Alexandre Tharaud can be heard in works ranging from Bach, Beethoven, Chopin, Rameau, Rachmaninoff, Ravel, and Satie to music inspired by the 1920s Paris cabaret. His discography reflects an affinity for many musical styles, recorded for the Autograph, Erato/Warner Classics, Harmonia Mundi, Naïve, and Scarlatti labels. His Brahms album features his long-time chamber music partner, cellist Jean-Guihen Queyras. An advocate of new music, Mr. Tharaud performed the January 2016 world premiere of Hans Abrahamsen’s piano concerto for the left hand, Left, alone, with
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Guest Artist
the WDR Symphony Orchestra in Cologne. In 2014, he published his first book, Piano Intime, which was followed in early 2017 by a more personal narrative view on his career: Montrez-moi vos mains (“Show Me Your Hands”). He has also completed a new edition of Maurice Ravel’s complete solo piano works for the German publisher Bärenreiter. Alexandre Tharaud is featured in the films Amour, directed by Michael Haneke, and Le Temps Dérobé, directed by Raphaëlle AelligRégnier. Alexandre Tharaud’s mother was a dancer at the Paris Opera, and his father was an amateur director and singer of operettas. Their son began piano studies at age five and also began appearing in theater productions. He continued his musical education at the Paris Conservatory, working with Germaine Mounier and Théodor Paraskivesco. Mr. Tharaud’s honors include competition prizes in Spain and Italy, and second-place in the 1989 Munich International Competition. He was named a 2016 Commander of the Order of Arts and Letters in France. For more information, please visit www.alexandretharaud.com.
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Last chance! Weekly ticket sales occur every Monday through September via online and phone only. Info at cma.org/kusama. No on-site sales.
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Organized by the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC Installation view of Dots Obsessionâ&#x20AC;&#x201D;Love Transformed into Dots, (2007) at the Hirshhorn Museum and Sculpture Garden, 2017. Yayoi Kusama (Japanese, b. 1929). Mixed-media installation.Courtesy of Ota Fine Arts, Tokyo/Singapore; Victoria Miro, London; David Zwirner, New York. Š Yayoi Kusama. Photo by Cathy Carver
Suite from Swan Lake ballet composed 1875-76
At a Glance
by
Pyotr Ilyich
TCHAIKOVSKY born May 7, 1840 near Votkinsk, Russia died November 6, 1893 St. Petersburg
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Tchaikovsky wrote his first ballet score, Lebedinoye Ozero [“Swan Lake”], between August 1875 and August 1876 on a commission from the Imperial Theaters to a scenario by Vladimir Bergichev and Vasiliy Geltser. The first performance took place on March 4 (February 20 according to the Julian calendar still in use at that time in Russia), 1877, at the Bolshoi Theater in Moscow, with choreography by Julian Reisinger. The orchestral suite being presented at this weekend’s concerts, drawn from the full score, runs about 40 minutes in performance. Tchai-
kovsky scored the ballet for piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 2 cornets, 3 trombones, tuba, timpani, percussion (triangle, cymbals, bass drum), harp, and strings. The Cleveland Orchestra first performed music from Swan Lake in November 1928 under music director Nikolai Sokoloff. Selections from the ballet have figured on a variety of Orchestra programs since that time, including the most recent Severance Hall subscription concert presentation in April 2008 with Osmo Vänskä conducting.
About the Music O N E O F T H E M O S T F A M O U S of all ballets, Swan Lake was
composed in 1875 and 1876 at the request of the Bolshoi Ballet in Moscow, which gave its premiere in February 1877. Tchaikovsky had recently finished his Third Symphony and First Piano Concerto, but this was his first foray into ballet. This time period was a turning point in the composer’s personal life as well, for in 1876 he acquired both a wife, Antonina, and a patron, Nadezhda von Meck. Of the two women, the latter was the far more positive influence and encouraged him in compositional endeavors for many years to come. On the other front, Tchaikovsky and his wife spent only a short time together before the composer fled in anguish and distress. The couple soon separated. In time, Tchaikovsky came to accept his homosexuality, although he remained emotionally conflicted over his desires. Madame von Meck arrived just in time. Tchaikovsky certainly needed encouragement, because his music had not yet enjoyed much success. The premiere of Swan Lake brought something of a mixed critical reaction. It was given with various cuts to Tchaikovsky’s original score, and the conductor even substituted selections from other composers’ works to smooth out what he thought were musical problems — and also to make things easier for the dancers by giving them some familiar music. About the Music
45
One critic complained that the ballet centered on lengthy passages of virtuoso dancing that had little relationship to the plot. Perhaps the storyline was, in fact, difficult to follow, but accounts of the initial production suggest that much of the choreography just wasn’t fully coordinated with the music. Nevertheless, Swan Lake ran for an impressive 41 performances that season, and was revived twice within the next five years. It didn’t take hold in the repertoire, however, and was just an occasional success. In 1888, Tchaikovsky led a performance of excerpts from Swan Lake in Prague — and was delighted with his own music. Rather ironically, the work’s rise to become one of the most admired and beloved ballet scores began soon after the composer’s death five years later. A presentation of excerpts was given as a special Memorial Concert a year after Tchaikovsky’s funeral — with new choreography by Lev Ivanov, who fully understood the music and matched his dancers’ movements to its symphonic rhythms and idiosyncracies, instead of merely offering up standard dance sequences that were “close enough” in timing and measure. A year later, in January 1895, a new production of Swan Lake was introduced by choreographer Marius Petipa, who had worked with Tchaikovsky on his Sleeping Beauty ballet. Petipa’s commanding artistic vision and creative focus helped ensure that the storyline was understood by audiences — and immediately helped focus attention on the power of Tchaikovsky’s score. Many differing suites of dances have been extracted from Swan Lake over the years. For this weekend’s Cleveland Orchestra concerts, Franz Welser-Möst has selected music from each of the ballet’s four acts, in approximately the order in which they appear in the score. But however one sorts the individual numbers, the ballet’s story remains the same — a group of young women, enchanted by an evil sorcerer, is condemned to live their lives as swans. Prince Siegfried comes upon them in their enchantment and is enamored of their leader, Odette. He subsequently rejects his family’s attempts to unite him with any other young lady and contrives, despite the sorcerer’s attempts to distract him, to break the charm and free the girls, though at the cost of his own life. In this weekend’s suite, the first three selections are from Act One, the second three from Act Two (when Siegfried first sees the swan girls), the next four (all the national dances) are from Act Three, and the last two from the final act, Act Four. In the Act One Waltz, Tchaikovsky, so early in his career (he was not yet thirty-five) proved his ability to shape a powerful and
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About the Music
The Cleveland Orchestra
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“The Orchestra and Baldwin Wallace have a rich history of collaboration across many decades, in which Cleveland Orchestra musicians and administrators have taught and mentored new JHQHUDWLRQV RI DUWLVWV DQG DUWV DGPLQLVWUDWRUV 7KLV ZLOO EH WKH Ȩ UVW time The Cleveland Orchestra and Baldwin Wallace have formally WHDPHG XS IRU D VHDVRQ ORQJ SURJUDP RI Rȧ HULQJV ,W ZLOO EH D tremendous experience for everyone involved.” — André Gremillet, executive director, The Cleveland Orchestra
memorable melody. In the Act Two Swan scene, he crafted a poignant, lyrical theme that begins with the oboe before proceeding to other sections of the orchestra, growing in intensity as it moves. By contrast, the following dance for the “little” swans is light and playful, with much prominence for oboes and bassoons. In the ballet, the national dances present a procession of young ladies, one of whom, they each hope, will win Siegfried’s affections, with each striving to evoke their representative cultures. Note the Gypsy exuberance of the Hungarian dance, the castanets and tambourine of the Spanish, the tarantella energy of the Neapolitan, and the Polish rhythms of the mazurka. As the music reaches the ballet’s final scene, the poignant Swan theme from Act Two reappears, and soon builds to a mood of utmost urgency. These glorious final pages have led some choreographers to re-imagine the storyline to allow Siegfried and Odette to survive to live happily ever after. —Betsy Schwarm © 2018 Betsy Schwarm spent twenty years as a classical radio announcer and producer. She teaches music at Metropolitan State College of Denver, and has served as recording engineer for Colorado’s Central City Opera.
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About the Music
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Salutes THE CLEVELAND ORCHESTRA with its 23rd Season The Cleveland Opera will produce events to satisfy a variety of tastes and expectations.
OPERA FREE TO ALL: October 2018
Fall in Love with The Cleveland Opera a concert of favorites. November 2018
Romeo & Juliet a chamber rendition of Vincenzo Bellini’s I Capuleti e i Montecchi. OPERETTA: February 2019
Land of Smiles by Franz Lehár in collaboration with The Cleveland Women’s Orchestra. OPERA Splendid Classic! June 2019
Porgy & Bess by George Gershwin at The Ohio Theatre, Playhouse Square.
For information and updates, please subscribe to our e-announcements at theclevelandopera.org or call our info line at 216.816.1411. Images from June 2018 production of The Haunted Manor (Straszny Dwór)
orchestra news
THE CLEVELAND ORCHESTRA
Annual gala raises funds for education 100th Anniversary Gala on September 29 features pianist Lang Lang; performance being recorded for 2019 PBS Great Performances telecast
The Cleveland Orchestra’s 100th Anniversary Gala takes place on Saturday evening, September 29, 2018, beginning at 7:00 p.m. at Severance Hall. The annual gala raises crucial funding in support of the Orchestra’s education programs and community initiatives. This year’s performance features internationally-acclaimed guest pianist Lang Lang with a musical program offering works touching on more than a century of Viennese musical traditions — including works by Mozart, Richard Strauss, and Maurice Ravel. The performance under Franz Welser-Möst’s baton is being recorded for later telecast on America’s preeminent performing arts television series, PBS’s Great Performances. The concert is being recorded in association with Cleveland’s ideastream WVIZ, with the U.S. television broadcast created as a co-production of The Cleveland Orchestra, ideastream and Thirteen Productions LLC for New York’s WNET. This year’s gala evening at Severance Hall features the concert and a gala dinner, chaired by four prominent members of the Orchestra’s board of trustees: Norma Lerner (gala chair), r Nancy McCann (co-chair), r Beth Mooney (corporate co-chair), r and Richard K. Smucker (corporate co-chair). r The gala portion of the evening is sold out, but a few concert-only tickets may still be available for purchase by contacting Severance Hall Ticket Services. This concert marks the fourth time that The Cleveland Orchestra has been featured on the Great Performances series, most recently in 2006 when Franz Welser-Möst led the Orchestra in a Carnegie Hall Opening Night Concert. Additional appearances on the long-running series include concerts under music directors Lorin Maazel and Christoph von Dohnányi. “As The Cleveland Orchestra is about to commemorate its 100th birthday in December 2018,” notes André Gremillet, the Orchestra’s executive director, “this special television broadcast of our Anniversary Gala concert represents a great opportunity to showcase the Orchestra and its unique partnerr ship with music director Franz Welser-Möst. We are delighted to share with the world the kind of superb musical experiences we are so proud to offer our Severance Hall 2018-19
SEPTEMBER 29 THE CLEVELAND ORCHESTRA
Cleveland audience every week here at home.” “We are excited to be bringing viewers this milestone concert and to continue our relationship with The Cleveland Orchestra and ideastream. Here’s to another 100 years!” said David Horn, executive producer of Great Performances. The Cleveland Orchestra’s media activities are made possible, in part, through support from Clasart Classic, the Orchestra’s Global Media Sponsor and a co-producer of this Great Performances episode. The Orchestra also thanks Japan’s NHK Broadcasting, Bayerischer Rundfunk / 3sat, and Finland’s YLE for their partnership and participation. Great Performances is made possible by many generous sponsors and supporters, and by many thousands of contributing PBS viewers.
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orchestra news THE CLEVELAND ORCHESTRA
I.N M.E .M.O.R.I. A .M Please join us in extending sympathy and condolences to family and friends of Allen Kofsky, y who died on June 7, 2018, at the age of 92. Allen was a member of The Cleveland Orchestra’s trombone section for 39 seasons, joining in 1961 and retiring in 2000. He also served as assistant personnel manager for 20 seasons, 1974-94. He had started playing trombone at age 8, when he was particularly drawn to the instrument’s sliding mechanism. He served in the U.S. Navy Band during World War II, and subsequently attended the Cleveland Institute of Music with the GI Bill. He was principal trombone of the Kansas City Philharmonic for seven years before returning to Cleveland to help his father’s bricklaying business. He was appointed to The Cleveland Orchestra fulltime by George Szell.
THE CLEVELAND ORCHESTRA
Friends launches season of Meet the Artist programs on Friday, October 26 Friends of The Cleveland Orchestra presents its first Meet the Artist program of the season on Friday morning, October 26. The event takes place at Severance Hall and features Cleveland Orchestra percussionist Marc DamoulaOF THE CLEVELAND ORCHESTRA kis, who will talk about his work as an orchestral musician and section principal. The event begins at 10:30 a.m. in Severance Restaurant. The program includes brunch followed by a short performance by Damoulakis, who will then discuss his life as a musician with the Orchestra’s artistic administrator, Ilya Gidalevich. Reservations are required and tickets cost $50 for the event or $100 for premium tickets which include a post-performance reception. Visit the Orchestra’s website to make reservations at clevelandorchestra.com.
FRI ENDS
Celebrating Women & INSPIRE Awards A dynamic program featuring over 20 speakers Upscale Resource Marketplace I Healthy Breakfast Bar I Luncheon
Celebrating, Connecting & Inspiring Women Friday, September 28, 2018 I 8am - 2:30pm Cleveland Marriott Downtown at Key Center CelebratingWomenNEO.org
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Cleveland Orchestra News
The Cleveland Orchestra
orchestra news
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.W.E.L.C.O.M.E.
Two violinists join Cleveland Orchestra with 2018-19 season Two new musicians have joined The Cleveland Orchestra with the start of the 2018-19 season, appointed by Franz Welser-Möst through auditions this past spring: Stephen Tavani joins the Orchestra as assistant concertmaster. He has served as concertmaster for the Chamber Orchestra of Philadelphia since 2016 and recently also served as guest concertmaster for Jacksonville Symphony and the Louisiana Philharmonic. In the summer of 2016, he participated in his first season with the Marlboro Music Festival in Vermont, and returned to that renowned festival again in 2017. He has performed at the Dresden Music Festival, Music From Angel Fire, Philadelphia Chamber Music Society, Colburn Chamber Music Society, Curtis Recital Series, and with Curtis On Tour and the Curtis 20/21 Ensemble. As a soloist, Mr. Tavani’s performances have included appearances with the Youth Orchestra of the Americas, National Repertory Orchestra, American Youth Symphony, Brentwood West-
wood Symphony, and the Cleveland Philharmonic, among other ensembles. He’s also served as concertmaster for the Curtis Symphony Orchestra and Chamber Orchestra, Colburn Orchestra, Youth Orchestra of Americas during a 2015 tour of Canada, National Repertory Orchestra, American Youth Symphony, and the MasterWorks Festival Orchestra. Mr. Tavani holds an artist diploma from the Curtis Institute of Music in Philadelphia, where he studied with Ida Kavafian and Arnold Steinhardt. He earned a bachelor of music degree from the Colburn Conservatory in Los Angeles, where he studied with Robert Lipsett and Arnold Steinhardt. He has also studied in the Concertmaster Academy program at the Cleveland Institute of Music, working with William Preucil, concertmaster of The Cleveland Orchestra. Born into a musical family, Stephen Tavani grew up in Northern Virginia one of six brothers, including two cellists, another violinist, and a pianist. His mother is a voice teacher and lyric soprano, his father a family physician and pianist.
Zhan Shu joins the Orchestra as a member of the first violin section. Before coming to Cleveland, he had been a member of the Pittsburgh Symphony Orchestra since 2014. He was previously a member of the Milwaukee Symphony Orchestra, where he served as acting associate concertmaster for the 2008-09 season. He also served as concertmaster of the Terre Haute Symphony Orchestra and Symphony of Southeast Texas, and as guest concertmaster of the Quad City Symphony Orchestra in Iowa, Xian Symphony Orchestras in China, and Schleswig-Holstein Musik Festival Orchestra in Germany. Mr. Shu has appeared as soloist with the Pittsburgh Symphony Orchestra, Milwaukee
Symphony Orchestra, Midland-Odessa Symphony Orchestra, Pittsburgh Youth Symphony Orchestra, Indiana University Philharmonic, Texas Music Festival Orchestra, Mannes Orchestra, and the Hunan Symphony Orchestra in China. He has also participated in the Sarasota Music Festival, Toronto Summer Music Festival and Vietnam Connection Music Festival, and has performed regularly with Present Music in Milwaukee. A native of China, Mr. Shu received his early training from the Central Conservatory of Music in Beijing. He holds a bachelor of music degree from Mannes College of Music, where he studied with Lucie Robert, and received a master’s of music from the University of Houston under Emanuel Borok. He was subsequently a recipient of the Josef Gingold and Jascha Heifetz Scholarships from Indiana University, where he was an artist diploma student under the guidance of Mauricio Fuks and Alexander Kerr.
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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 now has a 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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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
DEPARTMENT OF ART HISTORY AND ART FREE FALL LECTURES THE FACTUM FOUNDATIONENSURING THE PAST IS PRESENT
THE SUBVERSIVE AFTERLIFE OF IMAGES: IMPLIED, ENSUING ACTION IN MEDIEVAL JEWISH VISUAL CULTURE
The Julius Fund Lecture in Ancient Art
Cleveland Museum of Art
The Julius Fund Lecture in Medieval Art
Cleveland Museum of Art
EX NIHILO/IN NIHILUM: CONTENDING WITH MEDIEVAL VOID
Marc Epstein
Adam Lowe, Factum Arte
September 26 | 5:30pm
Elina Gertsman
October 3 | 12:00pm Clark Hall 206
October 17 | 5:30pm Cleveland Museum of Art
BUILT ENVIRONMENTS AND PERFORMANCES OF POWER The 44th Annual Cleveland Symposium
Keynote: John Hopkins
October 26 | 10:00am-6:30pm Keynote | 5:45pm Cleveland Museum of Art
DESTRUCTION AND DEFIANCE IN LATE REPUBLICAN ROME Penelope J.E. Davies
November 7 | 5:30pm
THE PRAISEWORTHY ONE: DEVOTIONAL IMAGES OF THE PROPHET MUHAMMAD IN ISLAMIC TRADITIONS Christiane Gruber
December 7 | 5:30pm Cleveland Museum of Art
DIVINE, DESIRABLE, DEADLY: THE MIDDLE AGES THROUGH OBJECTS Lecture & book signing
Elina Gertsman and Barbara Rosenwein
December 12 | 6:00pm 216.368.4118
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Cleveland Museum of Art
Cleveland Orchestra News
The Cleveland Orchestra
orchestra news
THE CLEVELAND ORCHESTRA
BLOSSOM
Honoring The Cleveland Orchestra on the Fiftieth Anniversary of Blossom Music Center. WHEREAS, The members of the Senate of the 132nd General Assembly of Ohio are pleased to congratulate The Cleveland Orchestra on the auspicious occasion of the Fiftieth Anniversary of its summer home, Blossom Music Center; and :+(5($6 5HFRJQLWLRQ RI WKLV SUHVWLJLRXV PLOHVWRQH LV D ¿WWLQJ WULEXWH WR %ORVVRP 0XVLF &HQWHU IRU WKLV ¿QH IDFLOLW\ KDV DFKLHYHG D SUDLVHZRUWK\ UHFRUG RI VHUYLFH WR &X\DKRJD )DOOV the surrounding area, and all of Ohio. Opened in 1968 and named for the Dudley S. Blossom IDPLO\ WKH KLVWRULF ODQGPDUN KDV EHFRPH D MHZHO RI WKH FRPPXQLW\ VHUYLQJ DV KRVW WR D ZLGH YDULHW\ RI PXVLFDO FRQFHUWV ² RUFKHVWUDO URFN MD]] PRWRZQ UDS FRXQWU\ FRPHG\ DQG PRUH ² DQG VHUYHV RYHU YLVLWRUV HDFK \HDU 7KH FHQWHU LV WUXO\ ZRUWK\ RI DFNQRZOHGJHPHQW for it has enhanced the quality of life in our society by celebrating the beauty of live musical performances; and WHEREAS, The arts are invaluable for the development of the human spirit and provide D FRPPRQ JURXQG IRU DOO SHRSOH QHYHU FHDVLQJ WR UHQHZ HGXFDWH HQULFK DQG LOOXPLQDWH :H DUH FHUWDLQ WKDW DV %ORVVRP 0XVLF &HQWHU FRQWLQXHV WR EH GHGLFDWHG WR WKH DUWV LW ZLOO FRQWLQXH LQ WKH tradition of excellence that has long been its hallmark; and :+(5($6 $OO WKRVH DVVRFLDWHG ZLWK WKLV H[HPSODU\ IDFLOLW\ RYHU WKH \HDUV DUH WR EH DSSODXGHG IRU WKHLU IRUHVLJKW GHGLFDWLRQ DQG VHOÃ&#x20AC;HVV GRQDWLRQV RI WLPH HQHUJ\ DQG DELOLW\ IDU EH\RQG ZKDW ZDV UHTXLUHG RU H[SHFWHG ,QGHHG WKH\ KDYH JDLQHG WKH HVWHHP DQG DGPLUDWLRQ RI many and have set an example of concerned and responsible citizenship in upholding the traditions that have shaped a half century of entertainment in the region; therefore be it 5(62/9(' 7KDW ZH WKH PHPEHUV RI WKH 6HQDWH RI WKH QG *HQHUDO $VVHPEO\ RI 2KLR in adopting this Resolution, commend The Cleveland Orchestra and Blossom Music Center on WKH )LIWLHWK $QQLYHUVDU\ RI WKLV JUHDW VXPPHU DUWV SDUN DQG ORRN ZLWK RSWLPLVP WR WKH IXWXUH DQG be it further RESOLVED, That the Clerk of the Senate transmit a duly authenticated copy of this Resolution to The Cleveland Orchestra. , 9LQFHQW / .HHUDQ KHUHE\ FHUWLI\ WKDW WKH DERYH LV D WUXH DQG FRUUHFW FRS\ RI 6HQDWH Resolution Number 643, adopted by the Ohio Senate, July 5, 2018.
9LQFHQW / .HHUDQ Clerk of the Senate
Senator Larry Obhof President of the Senate
Senator Frank LaRose Senatorial District No. 27
Musicians Emeritus of
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Listed here are the living members of The Cleveland Orchestra who served more than twenty years, all of whom now carry the honorary title of Emeritus. Appointed by and playing under four music directors, these 44 musicians collectively completed a total of 1543 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 James De Sano * 2003 — 33 years Thomas Klaber 2018 — 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 August 2018
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Appreciation
The Cleveland Orchestra
orchestra news
HE 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 offer performance and coaching time in support of Orchestra’s education, community engagement, fundraising, and audience development activities. We are pleased to recognize these musicians, listed below, who offered their talents and artistry for such presentations during the 2017-18 season. Mark Atherton Charles Bernard Katherine Bormann Lisa Boyko Charles Carleton Jiah Chung Chapdelaine Hans Clebsch John Clouser Kathleen Collins Wesley Collins Marc Damoulakis Vladimir Deninzon Maximillian Dimoff Elayna Duitman Bryan Dumm Mark Dumm Tanya Ell Kim Gomez Wei-Fang Gu Scott Haigh David Alan Harrell Miho Hashizume Shachar Israel Dane Johansen Joela Jones Arthur Klima Alicia Koelz Stanley Konopka Mark Kosower Analisé Kukelhan Paul Kushious Massimo La Rosa Jung-Min Amy Lee Jessica Lee Yun-Ting Lee Emilio Llinás Takako Masame Eli Matthews Jesse McCormick Daniel McKelway Michael Miller
Ioana Missits Sonja Braaten Molloy Eliesha Nelson Robert O’Brien Peter Otto Chul-In Park Joanna Patterson Zakany Henry Peyrebrune William Preucil Lynne Ramsey Jeffrey Rathbun Stephen Rose Frank Rosenwein Michael Sachs Marisela Sager Jonathan Sherwin Thomas Sherwood Sae Shirajami Emma Shook Joshua Smith Saeran St. Christopher Corbin Stair Lyle Steelman Barrick Stees Richard Stout Trina Struble Yasuhito Sugiyama Jack Sutte Brian Thornton Isabel Trautwein Lembi Veskimets Robert Walters Carolyn Gadiel Warner Richard Waugh Richard Weiss Beth Woodside Robert Woolfrey Paul Yancich Afendi Yusuf Derek Zadinsky Jeffrey Zehngut
Severance Hall 2018-19
Special thanks to musicians for supporting the Orchestra’s long-term financial strength The Board of Trustees extends a special acknowledgement to the members of The Cleveland Orchestra for supporting the institution’s programs by jointly volunteering their musical services for several concerts each season. These donated services have long played an important role in supporting the institution’s financial strength, and were expanded with the 2009-10 season to provide added opportunities for new and ongoing revenuegenerating performances by The Cleveland Orchestra. “We are especially grateful to the members of The Cleveland Orchestra for this ongoing and meaningful investment in the future of the institution,” says André Gremillet, executive director. “These donated services each year make a measureable difference to the Orchestra’s overall financial strength, by ensuring our ability to take advantage of opportunities to maximize performance revenue. They allow us to offer more musical inspiration to audiences around the world than would otherwise be possible, supporting the Orchestra’s vital role in enhancing the lives of everyone across Northeast Ohio.”
Cleveland Orchestra News
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THE CLEVELAND ORCHESTRA
JOHN L. SEVERANCE SOCIETY Cumulative Giving The John L. Severance Society is named to honor the philanthropist and business leader who dedicated his life and fortune to creating The Cleveland Orchestra’s home concert hall, which today symbolizes unrivalled quality and enduring community pride. The individuals, corporations, foundations, and government agencies listed here represent today’s visionary leaders, who have each surpassed $1 million in cumulative gifts to The Cleveland Orchestra. Their generosity and support joins a long tradition of community-wide support, helping to ensure The Cleveland Orchestra’s ongoing mission to provide extraordinary musical experiences — today and for future generations.
Current donors with lifetime giving surpassing $1 million, as of September 2018
Gay Cull Addicott American Greetings Corporation Art of Beauty Company, Inc. BakerHostetler Bank of America The William Bingham Foundation Mr. William P. Blair III Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Irma and Norman Braman Jeanette Grasselli Brown and Glenn R. Brown The Cleveland Foundation The George W. Codrington Charitable Foundation Robert and Jean* Conrad Mr. and Mrs. Alexander M. Cutler Cuyahoga County residents through Cuyahoga Arts and Culture Eaton FirstEnergy Foundation Forest City GAR Foundation Mr. and Mrs. Richard T. Garrett The Gerhard Foundation, Inc. Ann and Gordon Getty Foundation The Goodyear Tire & Rubber Company The George Gund Foundation Francie and David Horvitz Mr. and Mrs. Michael J. Horvitz Hyster-Yale Materials Handling, Inc. NACCO Industries, Inc. The Louise H. and David S. Ingalls Foundation Martha Holden Jennings Foundation Jones Day Myra Tuteur Kahn Memorial Fund of the Cleveland Foundation The Walter and Jean Kalberer Foundation
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Mr. and Mrs. Joseph P. Keithley Mr. and Mrs. Douglas A. Kern KeyBank Knight Foundation Milton A. & Charlotte R. Kramer Charitable Foundation Kulas Foundation Mr. and Mrs. Dennis W. LaBarre Nancy Lerner and Randy Lerner Mrs. Norma Lerner and The Lerner Foundation Daniel R. Lewis Jan R. Lewis Peter B. Lewis* and Janet Rosel Lewis Virginia M. and Jon A. Lindseth The Lubrizol Corporation Maltz Family Foundation Elizabeth Ring Mather and William Gwinn Mather Fund Elizabeth F. McBride Ms. Nancy W. McCann William C. McCoy The Sisler McFawn Foundation Medical Mutual The Andrew W. Mellon Foundation Mr. and Mrs. Robert F. Meyerson* Ms. Beth E. Mooney The Morgan Sisters: Susan Morgan Martin, Patricia Morgan Kulp, Ann Jones Morgan John C. Morley John P. Murphy Foundation David and Inez Myers Foundation National Endowment for the Arts The Eric & Jane Nord Family Fund The Family of D. Z. Norton State of Ohio Ohio Arts Council The Honorable and Mrs. John Doyle Ong
Severance Society / Lifetime Giving
Parker Hannifin Foundation The Payne Fund PNC Julia and Larry Pollock PolyOne Corporation Raiffeisenlandesbank Oberösterreich Mr. and Mrs. Alfred M. Rankin, Jr. Mrs. Alfred M. Rankin, Sr. Mr. and Mrs. Albert B. Ratner James and Donna Reid The Reinberger Foundation Barbara S. Robinson The Sage Cleveland Foundation The Ralph and Luci Schey Foundation Seven Five Fund Carol and Mike Sherwin Mrs. Gretchen D. Smith The Kelvin and Eleanor Smith Foundation The J. M. Smucker Company Mr. and Mrs. Richard K. Smucker Jenny and Tim Smucker Richard and Nancy Sneed Jim and Myrna Spira Lois and Tom Stauffer Mrs. Jean H. Taber* Joe and Marlene Toot Ms. Ginger Warner Robert C. Weppler Janet* and Richard Yulman Anonymous (7)
* deceased
The Cleveland Orchestra
THE
CLEVEL AND ORCHESTRA FR ANZ WELSER- MÖST
M U S I C D I R E C TO R
Severance Hall
Thursday evening, September 27, 2018, at 7:30 p.m. Sunday afternoon, September 30, 2018, at 3:00 p.m.
Franz Welser-Möst, conductor SERGEI PROKOFIEV (1891-1953)
Classical Symphony y in D major, Opus 25 1. 2. 3. 4.
BÉLA BARTÓK (1881-1945)
2O18 SEASON 2O19
Allegro Larghetto Gavotta: Non troppo allegro Finale: Molto vivace
Piano Concerto No. 2 1. Allegro 2. Adagio — Presto — Adagio 3. Allegro molto YEFIM BRONFMAN, piano
INTER MISSION SERGEI PROKOFIEV (1891-1953)
Symphony No. 3 in C minor, Opus 44 1. 2. 3. 4.
Moderato Andante Allegro agitato Andante mosso — Allegro moderato
The Thursday evening performance is dedicated to Mary Alice Cannon in recognition of her generous gift to fund the purchase of The Cleveland Orchestra’s newest Steinway piano, which is making its debut with this weekend’s concerts.
Severance Hall 2018-19
Concert Program — Week 2
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September 27, 30
1 9 1 8 -2O18
THI S WE E KE ND’S CONCE RT Restaurant opens: THUR 4:30 SUN 12:00
Concert Preview: BEGINS ONE HOUR BEFORE CONCERT
Concert begins: THUR 7:30 SUN 3:00
C E N T E N N I A L
Severance Restaurant Reservations for dining suggested:
216-231-7373 or via www.UseRESO.com
C O N C E R T P R E V I E W — Reinberger Chamber Hall
“New Wine, Old Wine Skins?” with Rose Breckenridge, Cleveland Orchestra Music Study Groups
PROKOFIEV Classical Symphony . . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 61 (15 minutes)
BARTÓK Piano Concerto No. 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 63 (30 minutes)
Duration times shown for musical pieces (and intermission) are approximate.
INTERMISSION (20 minutes)
PROKOFIEV Symphony No. 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 69 (35 minutes)
Concert ends: (approx.)
THUR 9:15 SUN 4:45
opus LO U N G E
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Opus Lounge This season, stop by our newlyredecorated lounge (with full bar service) for post-concert desserts, drinks,, and convivial comradery.
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Share your memories of the performance and join the conversation online . . . twitter: @CleveOrchestra instagram: @CleveOrch (Please note that photography is prohibited during the performance.)
This Week’s Concerts
The Cleveland Orchestra
INTRODUCING THE CONCERT
Rethinking Music: New Styles & Borrowed Ideas T H I S W E E K ’ S C O N C E R T S offer three fascinating works from the first
half of the 20th century. Franz Welser-Möst begins and ends the performance with a symphony by Sergei Prokofiev — the first choosing to recreate some musical sense and sensibility from more than a century earlier, the latter borrowing musical ideas from an opera of his own to create something entirely different. In between, we have a forcefully original piano concerto by the great Hungarian composer Béla Bartók. The concert begins with a “Classical” symphony by Sergei Prokofiev, written in 1917. Here, the Russian composer utilized the smaller orchestra common from Haydn and Mozart’s time period more than a century earlier and, within common structural formats and elements from that same time, re-imagined what those older Classicists might have written in his own time. This “neo-classical” work is filled with detailing both old and new, vibrantly energized to entertain. Both Prokofiev and Bartók were talented and powerful pianists, and each wrote concerPortrait of Béla Bartók taken by Cleveland tos with his own abilities and showmanship in photographer Geoffrey Landesmann in mind. Bartók wrote the Second in 1930-31 to December 1940, when the composer played give himself another showpiece for the conhis Second Piano Concerto at Severance Hall. certs he gave around the world to make money (he appeared as a soloist at Severance Hall on several occasions, including performances of this concerto). Yefim Bronfman is this week’s soloist. To close, Franz has chosen Prokofiev’s Third Symphony. Here the composer took themes from an unproduced opera and convincingly reworked the material into symphonic form. This is not an “operatic” symphony, however. Rather than creating a suite of “melodies and moments,” Prokofiev instead used his opera as source material, borrowing themes and ideas to rework convincingly into a well-crafted and traditionally built symphony. It gets an all-too-rare Cleveland hearing with this week’s concerts. —Eric Sellen
Severance Hall 2018-19
Week 2 — Introducing the Concerts
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Classical Symphony in D major, Opus 25 composed 1916-17
At a Glance
by
Prokofiev wrote most of his Classical Symphony during the summer of 1917. He conducted the first performance on April 21, 1918, in St. Petersburg (renamed Petrograd at the time). The composer gave it the name “Classical Symphony” and only later reluctantly allowed it to be published with the designation “Symphony No. 1.” This symphony runs about 15 minutes in performance. Prokofiev scored
it for a classical orchestra of 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. The Cleveland Orchestra has played Prokofiev’s Classical Symphony quite frequently since presenting it for the first time in December 1933 under Artur Rodzinski’s baton. The Orchestra played it most recently at Severance Hall concerts in April 2014, conducted by Giancarlo Guerrero.
Sergei
PROKOFIEV
About the Music
born April 23, 1891 Sontsovka, Ukraine
BY T H E T I M E his ten years as a student at the Saint Petersburg Conservatory were over, Sergei Prokofiev had established a reputation for being a dangerous modernist as a composer. He was also known as a brash performer as a pianist, with a taste for violent, percussive sounds. His first two piano concertos, both performed in Saint Petersburg, aroused the alarm of critics. Prokofiev’s encounters with the ballet score that Igor Stravinsky created for Sergei Diaghilev’s Ballet Russe — The Rite of Spring, The Firebird, and Pétrouchka — brought out even more modernistic tendencies. The ballet he wrote for Diaghilev in 1915, Chout (although it was not performed at the time), and his opera The Gambler, of 1916, reinforced this energetic, impulsive and propulsive “bad boy” image. Taking a summer break in 1916, Prokofiev decided to try writing in a style as different as he could imagine from that of his recent music. He worked with pencil and paper, rather than sitting at his piano as he was accustomed. Utilizing an orchestral ensemeble in size and time-scale to Josef Haydn’s symphonies from more than a century previous, he came up with four short movements. The music’s harmony and rhythm are very Classical. A certain grace, hitherto missing in his music, predominant. Prokofiev expected to be derided for “contaminating the pure classical pearls with horrible Prokofievish dissonances,” but also knew that his true admirers would see that the style of the symphony was “precisely Mozartian classicism.” In the chaotic months after the October Revolution of 1917
died March 5, 1953 Moscow
Severance Hall 2018-19
About the Music
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in Russia, Prokofiev managed to put on a concert in what was then called Petrograd (and would soon be renamed Leningrad), in which he appeared as conductor for the first time. The new “Classical Symphony” was a great success. A month later, he traveled east across Russia to Japan and then to the United States, quite unaware that he would not go back to Russia to live for eighteen years. When Prokofiev conducted his Classical Symphony in New York soon after his arrival there, he was bewildered (as anyone might be) when the critics complained that it lacked “grace and melody.” The instruments may be the same as those Haydn used, but Prokofiev writes for them with much more freedom, as for example in the top range of the flute and the intricate writing for strings. The first movement is obedient to classical form, more or less, but the Larghetto second movement reminds us of Borodin’s Nocturne when the violins enter with a melody that Haydn and Mozart could not have dreamed of. On the other hand, the Gavotta third movement is a throwback to the Baroque, the gavotte as a dance being already obsolete by the time Haydn started writing symphonies. The finale is a virtuoso piece that taxes the most expert orchestras, especially at top speed, but it is hard to imagine that its scintillating exchanges between wind and strings could ever be seen as anything other than exhilarating. While thinking of his Classical Symphony as a spoof and commentary, Prokofiev unwittingly unleashed a popular style of modern music that endured for half a century, now referred to as “neoclassicism” and spear-headed by Stravinsky once he had turned his back on the excesses built within The Rite of Spring. Not only did Prokofiev inspire others to invoke the discipline and moderation of classical style, he drew out of himself a vein of charm and simplicity that leavened many of his youthful, brutalist inclinations. Here, in prototype, he created a new idealism or personal voice, from which he would acheive a perfect balance (of old and new) in such works as his future ballets Cinderella and Romeo and Juliet. —Hugh Macdonald © 2018
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About the Music
The Cleveland Orchestra
Piano Concerto No. 2 composed 1930-31
At a Glance
by
Béla
BARTÓK born March 25, 1881 Nagyszentmiklós, Hungary died September 26, 1945 New York
Severance Hall 2018-19
Bartók composed his Second Piano Concerto between October 1930 and October 1931. He performed as soloist in the world premiere on January 23, 1933, in Frankfurt, with Hans Rosbaud conducting the Frankfurt Radio Symphony Orchestra. This concerto runs about 30 minutes in performance. Bartók scored it for 3 flutes (third doubling piccolo), 2 oboes, 2 clarinets, 3 bassoons (third doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion
(snare drum, triangle, bass drum, cymbals), and strings, plus the solo piano. The Cleveland Orchestra first performed this concerto at Severance Hall concerts in December 1940, with the composer as soloist and Artur Rodzinski conducting. It has been programmed on a few weekends of concerts since that time, most recently with pianist Lang Lang, who performed it with the Orchestra in April 2012 under Franz Welser-Möst’s direction.
About the Music F O R M O S T O F H I S C A R E E R , Béla Bartók divided his time
between four professions: as composer, as pianist, as folklorist (musical ethnographist/anthropologist), and as teacher. Each activity required many hours of quiet, concentrated work. At the same time, each nurtured the others in innumerable ways, sometimes hidden, sometimes obvious — and nowhere more evident than in his music for piano solo and his three piano concertos. Of the four professions, playing the piano was the one that provided the best means of making a living, but it necessitated journeying on foreign tours, and it required a useful body of his own music to play. Bartók’s circumstances in the early 1920s forced him to perform regularly, both in Hungary and abroad, and although this did not stop him from producing an amazing quantity of ethnographic work at this time — recording and analyzing the folk music of many countries — he composed less. In part, he was discouraged by the poor reception of his groundbreaking stage works, Bluebeard’s Castle, The Wooden Prince, and The Miraculous Mandarin, all composed between 1911 and 1919. By the middle of the 1920s, however, Bartók realized that he needed more piano music for his own concerts. He had composed an amazing quantity for solo piano in his early years, but there had been nothing new since 1918 and, especially for larger gigs (and fees), a concerto with orchestra was needed. About the Music
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Bartók at the recording studios of Hungarian State Broadcasting, circa 1933.
In 1926, Bartók answered the need with his First Piano Concerto, which he performed in Frankfurt the following year (with Wilhelm Furtwängler conducting). He played it in a dozen European cities in the following years, and by 1930 he was feeling the need for another, different concerto. Newspaper critics at that time, almost without exception, regarded Bartók’s music as the ultimate suicide-note of classical music, so dissonant, noisy, and uncivilized as to be offensive to intelligent human beings. What so many of them did not see (or hear) was the extremely sensitive musician that lay behind the crackling brass and thumping piano, with an extremely attuned ear and artistry for the tiniest detail in the world around him — and an artistic integrity from which he never wavered. He was deeply wounded by the critics’ habitual incomprehension. Bartók began writing his Second Piano Concerto in Budapest in 1930, and it was completed in October 1931. This, too, he premiered in Frankfurt, in 1933, this time with conductor Hans Rosbaud. The circuit of European cities followed as before, except that Bartók was refusing to perform in Budapest, capital of his native Hungary, and, with the rise of the Nazis in Germany, the premiere of the Second Piano Concerto also became the last concert he ever gave in Germany. A Third Piano Concerto followed at the end of his life in 1945, written as an immigrant refugee in the United States as a gift to his wife; the premiere took place after the composer’s death. THE MUSIC
In some respects, Bartók‘s Second Piano Concerto is milder than the First, and certainly more tuneful — although the fistfuls of notes that the soloist hurls at the orchestra are no less blistering than before. The piano is rarely asked to play at a dynamic less than loud, and, except when delivering complex chromatic scales, with octave-wide chords in both hands. The concerto is cast in the traditional three movements, except that the middle movement is an Adagio with, at its core, a Presto that moves at the speed of light. Thus, the concerto feels, on first hearing, as if built with ideas for more than three movements. Wide contrast of speeds is also reflected in contrasts of texture,
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About the Music
Severance Hall 2018-19
for the slow parts of that middle movement are themselves divided between a celestial passage for strings alone, muted, playing without vibrato, very soft, in wide-spread harmony on the one hand, and on the other a curious dialogue between piano and timpani that has nothing in common with either the string passage or the Presto that interrupts the movement. The close of the movement is marked by a poetically imagined soft blow on the tam-tam. This second movement is also set apart from the opening movement, for until this central moment, the strings have been entirely silent, appearing for the first time in this hymn-like passage of celestial qualities. With an accompaniment of wind and percussion only and a machine-like rhythmic drive, the opening movement inevitably recalls Stravinsky and occasionally Bach. Here, as elsewhere, Bartók gives prominence to the timpani, and the brass are treated as virtuosi in anticipation of their similar future role in his Concerto for Orchestra written a decade later. The third movement brings new ideas and renewed energy, and utilizes the full orchestra in striking detail. In time, critics and audiences began to understand and appreciate Bartók’s musical ideas. His reputation was sufficiently established by the 1930s for him to compose almost entirely in response to commissions. He gave up his teaching post at the Budapest Academy of Music, and continued to extend his folk music research in different countries. In 1940, he left Hungary for the United States, where, despite his persistent homesickness, his final years produced some of his most enduring music. —Hugh Macdonald © 2018 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
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ENJOY THE INTIMATE SETTING OF ONE OF THE NATION’S BEST ACADEMIC ART MUSEUMS. LOCATED ON THE OBERLIN COLLEGE CAMPUS Free to the public since 1917, the Allen Memorial Art Museum presents an acclaimed collection of more than 15,000 objects from virtually every culture and time period. FIRST THURSDAY EVENING HOURS Galleries remain open until 7:30 p.m., with a free program: October 4, November 1, and December 6. Current Exhibitions THE RENDERING (H x W x D = )—Installation by New York-based artist Barbara Bloom commissioned for the FRONT International: Cleveland Triennial for Contemporary Art. WORLDS APART: NATURE AND HUMANITY UNDER DECONSTRUCTION—Works by three contemporary artists respond to environmental degradation in East Asia. RADICALLY ORDINARY: SCENES FROM BLACK LIFE IN AMERICA SINCE 1968—Works celebrating the black experience of the past 50 years. BARBARA BLOOM IN CONTEXT: WORKS FROM THE PICTURES GENERATION—Artists who came of age in the 1970s, saturated with mass media, explore the constructed nature of images.
Allen Memorial Art Museum 87 North Main St. Oberlin, Ohio
Open Tuesday to Saturday 10–5 Sunday 1–5 Closed Mondays and major holidays
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Yefim Bronfman Russian-American pianist Yefim Bronfman is regarded as one of today’s most talented piano virtuosos, praised for his technique and lyricism, and in demand for performances around the world. 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 earlier this year, in March 2018. 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
Severance Hall 2018-19
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, Jean-Pierre 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 WelserMöst 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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Symphony No. 3 in C minor, Opus 44 composed 1928-29, from musical material created 1919-27
At a Glance
by
Sergei
PROKOFIEV born April 23, 1891 Sontsovka, Ukraine died March 5, 1953 Moscow
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Prokofiev composed this symphony in 1928, basing its themes on music from his opera The Fiery Angel, which he had written in 1919-27. (At least one theme had also appeared in an unfinished string quartet from the years just before he began writing the opera.) The work was first performed on May 17, 1929, in Paris, with Pierre Monteux leading the Orchestre Symphonique de Paris. The score was published in 1931 with a dedication to Nikolai Miaskovsky, a close friend of the composer. This symphony runs approximately 35 minutes in performance.
Prokofiev scored it for 2 flutes, piccolo, 2 oboes, english horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, snare drum, tam-tam, tambourine, castanets, cymbals, bell), 2 harps, and strings. The Cleveland Orchestra has presented this symphony on only three previous occasions, for weekends of concerts in March 1976 led by Kirill Kondrashin, in February 1994 with conductor Valery Gergiev, and again in September 2013 under the baton of Vassily Sinaisky.
About the Music T E N Y E A R S A F T E R the premiere of the Classical Symphony in
1918 — and his impulsive departure from Russia in the throes of revolution — Prokofiev was still abroad and unsettled. Four years had been divided between Chicago and New York, followed by a spell in Bavaria, and then, after his marriage, a longer period in Paris. He was often on tour, including several return visits to the Soviet Union. His eventual return there, in 1936, was at least partially a reflection of his attachment to his roots and the neverending challenge of getting his operas performed onstage. Prokofiev wrote both his Third and Fourth Symphonies speedily, the Third in 1928 and the Fourth in 1930. The speed, however, was in large part because both were based on material from operas which had been in gestation for many years — and which were still awaiting performance. In the case of Symphony No. 3, its musical source material was the opera The Fiery Angel, which Prokofiev had started creating in 1919. Despite discussions with opera companies in Berlin and New York, the opera was never staged in the composer’s lifetime, and is still a rarity today. It portrays an unsettling story, of dark medieval forces in a nunnery with, for principal character, a woman possessed by the devil who is in a state of high About the Music
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hysteria throughout, making demands that few sopranos are able to meet or willing to attempt. The obsessive, expressionistic character of the opera is reflected in the Third Symphony. Prokofiev composed it, in part, as a reaction to Bruno Walter’s inability to get the Berlin Städtische Opera to stage it. Working to salvage some of the opera’s material — and perhaps continue generating interest in that work — the composer, rather than creating a straight-forward suite of its music, instead re-crafted musical material from it into symphonic form, repackaged and reimagined into a symphony’s traditional four-movement structure. Significantly, the composer chose not to give the symphony a title related to the opera, and, in fact, claimed that the symphony was separated from the opera’s storyline and meaning. Prokofiev’s Symphony No. 2 of 1925 had been inspired by the craze for machine music and factory music current at that time — including a sense of mechanical rhythms and related gearings. The Third Symphony is equally noisy and dissonant. What makes the music so absorbing is the incredible inventiveness of Prokofiev’s mind. There is not a single bar when something remarkable, even extraordinary, is absent. Throughout these four movements, the orchestration is intricate and very busy, giving few of the players any significant moments of respite. To use a metaphor that, admittedly, applies more specifically to the content of the Second Symphony, the Third is firing on all cylinders throughout. One difference with the previous symphony is the larger number of tunes, often plain-sounding and simple, which ride over the orchestral sound. These had important roles as motifs in the opera, but Prokofiev protested against any attempt to detect a program or story in the symphony, pointing out that the themes in question had always been conceived in an instrumental, not vocal, form. The symphony is nonetheless nothing if not dramatic. After a noisy introduction, the first true melody of the opening movement is laid out with unmistakable force by four horns and the violins. A second theme, which will be heard again in the finale, belongs to the first violins, milder in character, and, a third, of a forceful rising figure in the brass, provides material for the orchestral mayhem unleashed as the climax of this opening movement. At the end, there is stillness and quiet. The second movement reflects a less frantic aspect of the action, highly-colored and resourceful in the interplay of instruments, and full of melody. The third movement, in contrast, is a unique
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About the Music
The Cleveland Orchestra
Prokofiev described the origins of his Third Symphony:
“In Paris in 1928, Serge Koussevitzky led a performance of several exceprts from my opera. The selections were well received and I was sorry the opera had not been staged and that the score lay gathering dust on the shelf. I was about to make a suite out of it when I remembered that for one of the entr’actes I had used the development of themes from the preceding scene, and it occurred to me that this might serve as the kernel for a symphony. I examined the themes and found that they would make a good exposition for a movement in sonata allegro form. I found the same themes in other parts of the opera differently expressed and quite suitable for the movement’s recapitulation. In this way, the plan for the first movement of
the symphony worked out quite simply. The material for the Scherzo and Andante movements was also found without difficulty. The finale took a little longer. I spent far more time whipping the thing into final shape, tying up all the loose ends and doing the orchestration. But the result — the Third Symphony — I consider to be one of my best compositions. I do not like it to be called the ‘Fiery Angel’ Symphony. The main thematic material was composed quite independently of the opera. Used in the opera, it naturally acquired its coloring from the plot, but being transferred from the opera to the symphony, it lost that coloring, I believe, and I should therefore prefer the Third Symphony to be regarded as pure symphony.”
creation, frenzied and furious, with a recurrent passage in which the strings produce the eeriest whispery sounds possible, juxtaposed with sudden musical explosions. The middle section, while hardly relaxed, brings along a certain steadiness, with more tunes, artfully orchestrated. It is the finale fourth movement, though, that brings a definitive sense of character to the symphony. Here, an atmosphere of evil and diabolism is pervasive, clothed in orchestration of terrifying power. There is momentary easing, when the second movement’s theme is recalled, and again for a return of the second principal theme of the first movement, but the horrific dissonance on which the symphony ends can only be seen as an attempt to erase from our consciousness any sense of good manners and well being — negating, perhaps, the kinds of Classical values and proportions that the composer’s first symphony has brought into the world. —Hugh Macdonald © 2018
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About the Music
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1 9 18 -2 O1 8
Y E A R S
THE CLEVELAND ORCHESTRA
Second Century Celebration We are deeply grateful to the visionary philanthropy of those listed here who have given generously toward The Cleveland Orchestra’s 1OOth birthday celebrations 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 Ruth McCormick Tankersley Charitable Trust
Sponsors
Calfee, Halter & Griswold LLP National Endowment for the Arts The Sherwin-Williams Company
Westfield Insurance KPMG LLP PwC
Global Media Sponsor
Individuals
Mr. Allen Benjamin Amy and Stephen Hoffman Laurel Blossom Mr. and Mrs.* S. Lee Kohrman Mr. Allen H. Ford Elizabeth F. McBride Robin Hitchcock Hatch John C. Morley The Stair Family Charitable Foundation, Inc.
Series and Concert Sponsors We also extend thanks to our ongoing concert and series sponsors, who make each season of concerts possible: BakerHostetler
Buyers Products Company
Dollar Bank Foundation
Caffee, Halter & Griswold LLP
Eaton
Ernst & Young LLP
DLR Group | Westlake Reed Leskosky
Forest City
Frantz Ward LLP
The Giant Eagle Foundation
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 Lubrizol Corporation Medical Mutual MTD Products, Inc. North Coast Container Corp. Ohio Savings Bank Olympic Steel, Inc. Parker Hannifin Foundation PNC Quality Electrodynamics RPM International Inc. The Sherwin-Williams Company The J. M. Smucker Company Squire Patton Boggs (US) LLP Thompson Hine LLP United Airlines Weiss Family Foundation
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Second Century Sponsors
The Cleveland Orchestra
PHOTOGRAPHY BY ROGER MASTROIANNI
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 programs, and community initiatives.
Giving Societies gifts in the past year, as of August 31, 2018 Adella Prentiss Hughes Society gifts of $100,000 and more
gifts of $50,000 to $99,999
Musicians of The Cleveland Orchestra+ (in-kind support for community programs and opportunities to secure new funding) Mary Alice Cannon Mr. and Mrs. Alexander M. Cutler+ Rebecca Dunn Mr. Allen H. Ford Dr. and Mrs. Hiroyuki Fujita Mr. and Mrs. James A. Haslam III Mr. and Mrs. Michael J. Horvitz+ James D. Ireland IV The Walter and Jean Kalberer Foundation+ Dr. and Mrs. Herbert Kloiber (Europe) Mrs. Norma Lerner and The Lerner Foundation+ Mrs. Emma S. Lincoln* Mr. and Mrs. Alex Machaskee+ Milton and Tamar Maltz Elizabeth F. McBride Ms. Beth E. Mooney+ John C. Morley+ Rosanne and Gary Oatey (Cleveland, Miami)+ Mr. and Mrs. Alfred M. Rankin, Jr. Mr. and Mrs. Albert B. Ratner James and Donna Reid Mr. and Mrs. Richard K. Smucker+ Jenny and Tim Smucker+ Richard and Nancy Sneed+ Jim and Myrna Spira Mrs. Jean H. Taber* Ms. Ginger Warner Mr. and Mrs. Franz Welser-Möst+
+ 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: +
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George Szell Society
Dr. and Mrs. Wolfgang Berndt (Europe) Mr. William P. Blair III+ Blossom Friends of The Cleveland Orchestra Laurel Blossom Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski+ The Brown and Kunze Foundation Mr. and Mrs. John E. Guinness Mrs. John A Hadden Jr. Mr. and Mrs. Donald M. Jack, Jr. Mr. and Mrs. Douglas A. Kern Mr. and Mrs. Dennis W. LaBarre+ Toby Devan Lewis Virginia M. and Jon A. Lindseth Ms. Nancy W. McCann+ William J. and Katherine T. O’Neill The Honorable and Mrs. John Doyle Ong+ Mrs. Alfred M. Rankin, Sr. Charles and Ilana Horowitz Ratner+ Barbara S. Robinson (Cleveland, Miami)+ The Ralph and Luci Schey Foundation+ Sally and Larry Sears+ Dr. Russell A. Trusso Barbara and David Wolfort (Cleveland, Miami)+ Anonymous+
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
Individual Annual Support
The Cleveland Orchestra
Elisabeth DeWitt Severance Society gifts of $25,000 to $49,999
gifts of $15,000 to $24,999
Gay Cull Addicott+ Mr. and Mrs. William W. Baker Randall and Virginia Barbato Mr. Allen Benjamin Mr. and Mrs. Charles P. Bolton+ Irma and Norman Braman (Miami) Mr. Yuval Brisker Jeanette Grasselli Brown and Glenn R. Brown+ Mr. and Mrs. David J. Carpenter+ Jill and Paul Clark Robert and Jean* Conrad+ Friends of The Cleveland Orchestra JoAnn and Robert Glick+ Mr. and Mrs. Jeffrey Healy+ Mary and Jon Heider (Cleveland, Miami) Mrs. Marguerite B. Humphrey+ Elizabeth B. Juliano Mr. and Mrs. Joseph P. Keithley Giuliana C. and John D. Koch Milton A. & Charlotte R. Kramer Charitable Foundation Daniel R. Lewis (Miami) Jan R. Lewis Mr. Stephen McHale Margaret Fulton-Mueller+ Mrs. Jane B. Nord Julia and Larry Pollock Mr. and Mrs. James A. Ratner Mr. and Mrs. David A. Ruckman+ Marc and Rennie Saltzberg Larry J. Santon and Lorraine S. Szabo+ Rachel R. Schneider+ The SJF Foundation Music Mentors Program Donna E. Shalala (Miami) Hewitt and Paula Shaw+ Marjorie B. Shorrock+ The Star Family Charitable Foundation, Inc. R. Thomas and Meg Harris Stanton+ Paul and Suzanne Westlake Tony and Diane Wynshaw-Boris+ Anonymous
Listings of all donors of $300 and more each year are published annually, and can be viewed online at CLEVELANDORCHESTRA . COM
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Dudley S. Blossom Society
Art of Beauty Company, Inc. Mr. and Mrs. Dean Barry Dr. Christopher P. Brandt and Dr. Beth Sersig+ Dr. Ben H. and Julia Brouhard Irad and Rebecca Carmi Mr. and Mrs. William E. Conway Judith and George W. Diehl+ Mary Jo Eaton (Miami) Dr. and Mrs. Robert Ehrlich (Europe) Ms. Dawn M. Full Dr. Edward S. Godleski Drs. Erik and Ellen Gregorie Richard and Ann Gridley+ 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 Junior Committee of The Cleveland Orchestra Jonathan and Tina Kislak (Miami) Mr. Jeff Litwiller+ Mr. and Mrs. Stanley A. Meisel The Miller Family+ Sydell Miller Lauren and Steve Spilman Stacie and Jeff Halpern Edith and Ted* Miller+ Dr. Anne and Mr. Peter Neff Patricia J. Sawvel Mrs. David Seidenfeld+ Meredith and Oliver Seikel+ Seven Five Fund Kim Sherwin+ Mr. and Mrs. Alfred Umdasch (Europe) Tom and Shirley Waltermire+ Dr. Beverly J. Warren Mr. and Mrs. Fred A. Watkins+ Mr. and Mrs. Jeffery J. Weaver Meredith and Michael Weil Denise G. and Norman E. Wells, Jr. Max and Beverly Zupon Anonymous
Individual Annual Support
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Frank H. Ginn Society gifts of $10,000 to $14,999 Fred G. and Mary W. Behm Mr. and Mrs. Jules Belkin Mr. David Bialosky and Ms. Carolyn Christian+ Mr. D. McGregor Brandt, Jr. Robert and Alyssa Lenhoff-Briggs Dale and Wendy Brott Mr. and Mrs. Marshall Brown J. C. and Helen Rankin Butler+ Mr.* and Mrs. Hugh Calkins Richard J. and Joanne Clark Mrs. Barbara Cook Dr. and Mrs. Delos M. Cosgrove III Mrs. Barbara Ann Davis+ Dr. M. Meredith Dobyns Henry and Mary* Doll+ Nancy and Richard Dotson+ Dr. and Mrs. Lloyd H. Ellis Jr. Mr. Brian L. Ewart and Mr. William McHenry+ Dr. and Mrs. Adi Gazdar Albert I. and Norma C. Geller Mr. and Mrs. Robert W. Gillespie
Patti Gordon (Miami) Harry and Joyce Graham Robert K. Gudbranson and Joon-Li Kim+ Mr. Gregory Hall Amy and Stephen Hoffman Thomas H. and Virginia J.* Horner Fund+ James and Claudia Hower Mr. and Mrs. Brinton L. Hyde Mrs. Elizabeth R. Koch Rob and Laura Kochis Mr. James Krohngold+ Dr. Edith Lerner Dr. David and Janice Leshner Mr. Lawrence B. and Christine H. Levey+ Dr. and Mrs. Tom McLaughlin Mrs. Alice Mecredy* Mr. and Mrs.* William A. Mitchell+ Mr. Donald W. Morrison+ Mr. John Mueller Joy P. and Thomas G. Murdough, Jr. (Miami)+ Brian and Cindy Murphy+ Randy and Christine Myeroff Mr. J. William and Dr. Suzanne Palmer+
Dr. Roland S. Philip and Dr. Linda M. Sandhaus+ + Douglas and Noreen Powers Audra* and George Rose+ Paul A. and Anastacia L. Rose Steven and Ellen Ross Dr. Isobel Rutherford Mrs. Florence Brewster Rutter+ + Dr. and Mrs.* Martin I. Saltzmaan+ Carol* and Albert Schupp Mrs. Gretchen D. Smith+ Veit Sorger (Europe) Lois and Tom Stauffer Bruce and Virginia Taylor+ Mr. Joseph F. Tetlak Mr. and Mrs. Leonard K. Tower Dr. Gregory Videtic and Rev. Christopher McCann+ Pysht Fund Robert C. Weppler Sandy and Ted Wiese Sandy Wile and Joanne Avenmarg Dr. and Mr. Ann Williams+ Anonymous (6)
Joy E. Garapic Brenda and David Goldberg Mr. and Mrs. Randall J. Gordon+ Angela and Jeffrey Gotthardt Mr. and Mrs. James C. Gowe AndrĂŠ and Ginette Gremillet Mr. and Mrs. Stephen Griebling Nancy Hancock Griffith+ The Thomas J. and Judith Fay Gruber Charitable Foundation Robert N. and Nicki N. Gudbranson David and Robin Gunning Alfredo and Luz Gutierrez (Miami) Gary Hanson and Barbara Klante+ 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+ Dr. Fred A. Heupler Mary and Steve Hosier Elisabeth Hugh David and Dianne Hunt Pamela and Scott Isquick+ Donna L. and Robert H. Jackson Robert and Linda Jenkins Richard and Michelle Jeschelnig Joela Jones and Richard Weiss Barbara and Michael J. Kaplan
Andrew and Katherine Kartalis Milton and Donna* Katz Dr. Richard and Roberta Katzman Mr. and Mrs. Christopher Kelly Mrs. Natalie D. Kittredge Dr. Gilles* and Mrs. Malvina Klopman+ Tim and Linda Koelz+ Stewart and Donna Kohl Mr. and Mrs.* S. Lee Kohrman Elizabeth Davis Kondorossy* Cindy L. and Timothy J. Konich Mr. Clayton R. Koppes 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 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 Lugibihl Mrs. Idarose S. Luntz Elsie and Byron Lutman 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
The 1929 Society gifts of $5,000 to $9,999 Dr. and Mrs. D. P. Agamanolis Robert and Dalia Baker Mr. William Berger Dr. and Mrs. Eugene H. Blackstone Suzanne and Jim Blaser Mr. and Mrs. Richard H. Bole Mrs. Frances Buchholzer Frank and Leslie Buck+ Mr. and Mrs. Marc S. Byrnes Mr. and Mrs. Timothy J. Callahan Ms. Maria Cashy+ Drs. Wuu-Shung and Amy Chuang+ Martha and Bruce Clinton (Miami) Ellen E. & Victor J. Cohn+ Kathleen A. Coleman+ Diane Lynn Collier and Robert J. Gura Marjorie Dickard Comella Mr. and Mrs. Matthew V. Crawford Mr. and Mrs. Ralph Daugstrup Thomas S. and Jane R. Davis Pete and Margaret Dobbins+ Mr. and Mrs. Paul Doman Mr. and Mrs. Robert P. Duvin Mary and Oliver* Emerson Carl Falb+ William R. and Karen W. Feth+ Joseph Z. and Betty Fleming (Miami) Joan Alice Ford Mr. Paul C. Forsgren Michael Frank and Patricia A. Snyder Bob and Linnet Fritz Barbara and Peter Galvin
listings continue
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Individual Annual Support
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listings continued
C Claudia Metz and Thomas Woodworth+ Ms. Toni S. Miller Lynn and Mike Miller Drs. Terry E. and Sara S. Miller Curt and Sara Moll Ann Jones Morgan+ Mr. Raymond M. Murphy+ Deborah L. Neale Richard and Kathleen Nord Thury O’Connor Dr. and Mrs. Paul T. Omelsky Mr. and Mrs. Peter R. Osenar Mr. Henry Ott-Hansen Pannonius Foundation Robert S. Perry Dr. and Mrs. Gosta Pettersson Mr. and Mrs. Richard W. Pogue Dr. and Mrs. John N. Posch+ Ms. Rosella Puskas Mr. and Mrs. Ben Pyne Mr. and Mrs. Thomas A. Quintrell* Mr. and Mrs. Roger F. Rankin Ms. C. A. Reagan Amy and Ken Rogat Dick A. Rose Dr. and Mrs. Michael Rosenberg (Miami) Dr. and Mrs. Ronald J. Ross Robert and Margo Roth+
Fred Rzepka and Anne Rzepka Family Foundation Drs. Michael and Judith Samuels (Miami) David M. and Betty Schneider Mr. Eric Sellen and Mr. Ron Seidman Drs. Daniel and Ximena Sessler+ Kenneth Shafer Naomi G. and Edwin Z. Singer+ The Shari Bierman Singer Family Drs. Charles Kent Smith and Patricia Moore Smith+ Roy Smith Dr. Marvin and Mimi Sobel*+ Mr. and Mrs. William E. Spatz George and Mary Stark+ Mr. and Mrs. Donald W. Strang, Jr. Stroud Family Trust Frederick and Elizabeth Stueber Holly and Peter Sullivan Dr. Elizabeth Swenson+ Mr. Taras G. Szmagala, Jr. Robert and Carol Taller+ Kathy* and Sidney Taurel (Miami)+ Mr. and Mrs. John Taylor Bill and Jacky Thornton Mr.* and Mrs. Robert N. Trombly Robert and Marti Vagi+ Robert A. Valente and Joan A. Morgensten+
Walt and Karen Walburn Mr. and Mrs. Daniel P. Walsh Mr. and Mrs. Mark Allen n Wei Weigand+ Dr. Edward L. and d Mrs. Suzan uzanne Westbrook Tom aand Betsy Wheeler Richard Wiedemer, Jr.+ Bob and Kat Wollyung Anonymous (6)
Mr. and Mrs. Robert G. Busha Ms. Mary R. Bynum and Mr. J. Philip Calabrese Rev. Dr. Joan Brown Campbell and Rev. Dr. Albert Pennybacker Dr. and Mrs. William E. Cappaert Mrs. Millie L. Carlson+ Mr. and Mrs. John J. Carney Mr. and Mrs. Frank H. Carpenter Dr. Victor A. Ceicys Mr. and Mrs. James B. Chaney Dr. Ronald* and Mrs. Sonia Chapnick Mr. Gregory R. Chemnitz Mr. John C. Chipka and Dr. Kathleen S. Grieser Mr. and Mrs. Homer D. W. Chisholm The Circle — Young Professionals of The Cleveland Orchestra Drs. John and Mary Clough Drs. Mark Cohen and Miriam Vishny Douglas S. Cramer / Hubert S. Bush III (Miami) Mr. and Mrs. Manohar Daga+ Karen and Jim Dakin Dr. and Mrs. Thomas M. Daniel Mrs. Frederick F. Dannemiller+ Mr. Kamal-Neil Dass and Mrs. Teresa Larsen+ Bruce and Jackie Davey Mrs. Lois Joan Davis
Ms. Nancy J. Davis (Miami) Carol Dennison and Jacques Girouard Michael and Amy Diamant Dr. and Mrs. Howard Dickey-White+ Dr. and Mrs. Richard C. Distad Carl Dodge Maureen Doerner & Geoffrey White Mr. George and Mrs. Beth Downes+ Jack and Elaine Drage Mr. Barry Dunaway and Mr. Peter McDermott Mr. Patrick Dunster Ms. Mary Lynn Durham Mr. and Mrs. Ronald E. Dziedzicki+ Esther L. and Alfred M. Eich, Jr.+ Erich Eichhorn and Ursel Dougherty Mr. S. Stuart Eilers+ Peter and Kathryn Eloff+ Harry and Ann Farmer Dr. and Mrs. J. Peter Fegen Mr. William and Dr. Elizabeth Fesler Mr. Dean Fisher Carol A. Frankel Richard J. Frey Mr. and Ms. Dale Freygang Peggy A. Fullmer Morris and Miriam Futernick (Miami) Jeanne Gallagher Dr. Marilee Gallagher Mr. William Gaskill and Ms. Kathleen Burke
Composer’s Circle gifts of $2,000 to $4,999 Mr. and Mrs. Charles Abookire, Jr. Ms. Nancy A. Adams Mr. Francis Amato Susan S. Angell Stephen and Amanda Anway Mr. William App Mr. and Mrs. Jeffrey R. Appelbaum+ Mr. and Mrs. James B. Aronoff+ Ms. Patricia Ashton Mr. and Mrs. Eugene J. Beer Mr. and Mrs. Belkin Ms. Pamela D. Belknap Mr. and Mrs. James R. Bell III Dr. Ronald and Diane Bell Mr. Roger G. Berk Barbara and Sheldon Berns Margo and Tom Bertin John and Laura Bertsch Mitch and Liz Blair Bill* and Zeda Blau Doug and Barbara Bletcher Georgette and Dick Bohr Irving and Joan M. Bolotin (Miami) Jeff and Elaine Bomberger Lisa and Ronald Boyko+ Ms. Barbara E. Boyle Mr. and Mrs. David Briggs Mr. and Mrs. Henry G. Brownell Mr. Gregory and Mrs. Susan Bulone J.C. and H.F. Burkhardt
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Individual Annual Support
The Cleveland Orchestra
Mr. Wilbert C. Geiss, Sr. Ms. Suzanne Gilliland Anne and Walter Ginn Holly and Fred Glock Dr.* and Mrs. Victor M. Goldberg Mr. and Mrs. David A. Goldfinger Dr. and Mrs. Ronald L. Gould Donna Lane Greene Dr. and Mrs. Franklin W. Griff Candy and Brent Grover Nancy and James Grunzweig+ Mr. Scott R. Gunselman Mr. Davin and Mrs. Jo Ann Gustafson Scott and Margi Haigh Mark E. and Paula N. Halford Dr. James O. Hall Dr. Phillip M. and Mrs. Mary Hall Mr. and Mrs. David P. Handke, Jr. Elaine Harris Green + Barbara L. Hawley and David S. Goodman Matthew D. Healy and Richard S. Agnes Dr. Toby Helfand In Memory of Hazel Helgesen Jay L. and Cynthia P. Henderson Charitable Fund Ms. Phyllis A. Henry The Morton and Mathile Stone Philanthropic Fund T. K.* and Faye A. Heston Mr. Robert T. Hexter Dr. and Mrs. Robert L. Hinnes Mr. and Mrs. Stephen J. Holler Thomas and Mary Holmes Gail Hoover and Bob Safarz Dr. Keith A. and Mrs. Kathleen M. Hoover+ Ms. Sharon J. Hoppens Xavier-Nichols Foundation / Robert and Karen Hostoffer Dr. Randal N. Huff and Ms. Paulette Beech+ Ms. Laura Hunsicker Ruth F. Ihde Bruce and Nancy Jackson William W. Jacobs Mr. and Mrs. Richard A. Janus Mr. and Mrs. Bruce D. Jarosz Jaime and Joseph Jozic Dr. and Mrs. Donald W. Junglas David and Gloria Kahan Mr. Jack E. Kapalka Honorable Diane Karpinski Mr. Donald J. Katt and Mrs. Maribeth Filipic-Katt The Kendis Family Trust: Hilary & Robert Kendis and Susan & James Kendis Bruce and Eleanor Kendrick Howard and Mara Kinstlinger Dr. and Mrs. William S. Kiser James and Gay* Kitson+ Fred* and Judith Klotzman Drs. Raymond and Katharine Kolcaba+ Marion Konstantynovich Mrs. Ursula Korneitchouk Dr. Ronald H. Krasney and Vicki Kennedy+ Mr. and Mrs. Russell Krinsky Mr. Donald N. Krosin Stephen A. Kushnick, Ph.D. Bob and Ellie Scheuer+
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Alfred and Carol Lambo Mr. and Mrs. John J. Lane, Jr.+ Mrs. Sandra S. Laurenson Mr. and Mrs. Michael Lavelle Dr. and Mrs. Arthur Lavin Charles and Josephine Robson Leamy * Michael Lederman and Sharmon Sollitto Judy and Donnie Lefton (Miami) Ronald and Barbara Leirvik Ivonete Leite (Miami) Mr. and Dr. Ernest C. Lemmerman+ Michael and Lois Lemr Mr. Alan R. Lepene Mr. and Mrs. Roger J. Lerch Robert G. Levy+ Matthew and Stacey Litzler Drs. Todd and Susan Locke Ms. Susan Locke Mary Lohman Mr. and Mrs. Carlos Lopez-Cantera (Miami) Ms. Mary Beth Loud Damond and Lori Mace Mr. and Mrs.* Robert P. Madison Robert M. Maloney and Laura Goyanes David Mann and Bernadette Pudis Herbert L. and Ronda Marcus Martin and Lois Marcus Dr. and Mrs. Sanford E. Marovitz+ Ms. Dorene Marsh Dr. Ernest and Mrs. Marian Marsolais Mr. Fredrick W. Martin+ Ms. Amanda Martinsek Dr. and Mrs. William A. Mast Mr. Julien L. McCall Ms. Charlotte V. McCoy William C. McCoy Ms. Nancy L. Meacham Mr. and Mrs. James E. Menger Ruth and John Mercer Mr. Glenn A. Metzdorf Ms. Betteann Meyerson+ Beth M. Mikes Osborne Mills, Jr. and Loren E. Bendall David and Leslee Miraldi Ioana Missits Mr. and Mrs. Marc H. Morgenstern Mr. Ronald Morrow III Eudice M. Morse Bert and Marjorie Moyar+ Susan B. Murphy Steven and Kimberly Myers+ Joan Katz Napoli and August Napoli Richard B. and Jane E. Nash Robert D. and Janet E. Neary Georgia and Carlos Noble (Miami) Marshall I. Nurenberg and Joanne Klein Robert and Gail Oâ&#x20AC;&#x2122;Brien Richard and Jolene Oâ&#x20AC;&#x2122;Callaghan+ Mr. and Mrs. John Olejko Harvey and Robin Oppmann Mr. Robert Paddock Ms. Ann Page Mr. John D. Papp George Parras Dr. Lewis E. and Janice B. Patterson+ David Pavlich and Cherie Arnold Matt and Shari Peart Nan and Bob Pfeifer
Individual Annual Support
Mr. Charles and Mrs. Maryy Pfeiffer Dale and Susan Phillip Ms. Irene Pietrantozzi Maribel A. Piza (Miami)+ Dr. Marc A. and Mrs. Carol Pohl Brad Pohlman and Julie Callsen Peter Politzer In memory of Henry Pollak Mr. Robert and Mrs. Susan Price Sylvia Profenna Mr. Lute and Mrs. Lynn Quintrell Drs. Raymond R. Rackley and Carmen M. Fonseca+ Mr. Cal Ratcliff Brian and Patricia Ratner Dr. Robert W. Reynolds David and Gloria Richards Ms. Carole Ann Rieck Joan and Rick Rivitz Mr. D. Keith and Mrs. Margaret Robinson Mr. Timothy D. Robson+ Ms. Susan Ross Dr. and Mrs. Robert C. Ruhl Mr. Kevin Russell (Miami) Mrs. Elisa J. Russo+ Lawrence H. Rustin and Barbara C. Levin (Miami) Dr. Harry S. and Rita K. Rzepka+ Peter and Aliki Rzepka Dr. Vernon E. Sackman and Ms. Marguerite Patton+ Michael Salkind and Carol Gill Fr. Robert J. Sanson Ms. Patricia E. Say+ Mr. Paul H. Scarbrough+ Robert Scarr and Margaret Widmar Mr. Matthew Schenz Don Schmitt and Jim Harmon Ms. Beverly J. Schneider Ms. Karen Schneider John and Barbara Schubert Mr. James Schutte+ Mrs. Cheryl Schweickart Dr. John Sedor and Ms. Geralyn Presti Ms. Kathryn Seider Lee and Jane Seidman Charles Seitz (Miami) Rafick-Pierre Sekaly Ginger and Larry Shane 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+ Mrs. Dorothy Shrier Mr. Robert Sieck Laura and Alvin A. Siegal Mr. and Mrs. Bob Sill Jim Simler and Doctor Amy Zhang Howard and Beth Simon Ms. Ellen J. Skinner Robert and Barbara Slanina Ms. Anna D. Smith Bruce L. Smith David Kane Smith listings continue
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844-681-7500 columbiawoodlands.com 6593 McKracken Drive NW Dover, Ohio 44622
listings continued
Sandra and Richey Smith+ Mr. Eugene Smolik Mr. and Mrs.* Jeffrey H. Smythe Mrs. Virginia Snapp Ms. Barbara Snyder Dr. Nancy Sobecks Lucy and Dan Sondles Mr. John D. Specht Mr. Michael Sprinker Diane Stack and James Reeves* Mr. Marc Stadiem Dr.* and Mrs. Frank J. Staub Edward R. & Jean Geiss Stell Foundation Mr. Ralph E. String Michael and Wendy Summers Ken and Martha Taylor Mr. and Mrs. Philip L. Taylor Mr. Karl and Mrs. Carol Theil+ Mr. Robert Thompson Mrs. Jean M. Thorrat Dr. and Mrs. Thomas A. Timko Mr. and Mrs. Jonathan Tisch Erik Trimble Dr. and Mrs. Michael B. Troner (Miami) Drs. Anna* and Gilbert True Dr. Margaret Tsai Steve and Christa Turnbull+ Dr. and Mrs. Wulf H. Utian Bobbi and Peter van Dijk Brenton Ver Ploeg (Miami) Teresa Galang-Viñas and Joaquin Vinas (Miami) Mr. and Mrs. Les C. Vinney George and Barbara von Mehren Mr. and Mrs. Reid Wagstaff Mrs. Carolyn Warner Ms. Laure A. Wasserbauer+ Margaret and Eric* Wayne+ Mr. Peter and Mrs. Laurie Weinberger Judge Lesley Wells Dr. Paul R. and Catherine Williams Ms. Claire Wills Richard and Mary Lynn Wills Betty and Michael Wohl (Miami) Katie and Donald Woodcock Tanya and Robert Woolfrey Elizabeth B. Wright+ William Ronald and Lois YaDeau Rad and Patty Yates Ms. Ann Marie Zaller Mr. Jeffrey A. Zehngut Ken and Paula Zeisler Dr. William Zelei Mr. Kal Zucker and Dr. Mary Frances Haerr Anonymous (3)+ Anonymous (11)
+ has signed a multiyear pledge (see information box earlier in these listings)
Thank You The Cleveland Orchestra is sustained through the support of thoussands of generous patrons, including the Leadership donors listed on thesse pages. Listings of all annual donors of $300 and more each year are pubblished annually, and can be viewed online at CLEVELANDORCHESTRA .COM For information about how you can play a supporting role for The Cleveland Orchestra’s ongoing artistic excellence,, education programs, and community partnerships, please contact our Philanthropy & Advancement Office by phone: 216-231-7545 or email: miqbal@clevelandorchestra.coom
T HE
CLEVELAND ORC HE STR A FRANZ WELSER-MÖST
* deceased
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Individual Annual Support
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THE CLEVELAND ORCHESTRA
Corporate Support The Cleveland Orchestra extends heartfelt gratitude and partnership with the corporations listed on this page, whose annual support (through gifts of $2,500 and more) demonstrates their belief in the Orchestra’s music-making, education programs, and community initiatives.
Annual Supportt gifts in the past year, as of August 31, 2018 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 Anonymous PARTNERS IN EXCELLENCE $200,000 TO $299,999
BakerHostetler Jones Day PNC Raiffeisenlandesbank Oberösterreich (Europe) PARTNERS IN EXCELLENCE $100,000 TO $199,999
American Greetings Corporation Eaton Medical Mutual Nordson Corporation Foundation Squire Patton Boggs (US) LLP Swagelok Thompson Hine LLP Quality Electrodynamics
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$50,000 TO $99,999
Dollar Bank Foundation Forest City Parker Hannifin Foundation voestalpine AG (Europe) $15,000 TO $49,999
Buyers Products Company Case Western Reserve University DLR Group | Westlake Reed Leskosky 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 MTD Products, Inc. North Coast Container Corp. Ohio Savings Bank, A Division of New York Community Bank Olympic Steel, Inc. Park-Ohio Holdings RPM International Inc. The Sherwin-Williams Company Westfield Insurance United Airlines
Corporate Annual Support
$2,500 TO $14,999 American Fireworks, Inc. Applied Industrial Technologies BDI Blue Technologies Brothers Printing Co., Inc. Calfee, Halter & Griswold LLP Cleveland Steel Container Corporation The Cleveland Wire Cloth & Mfg. Co. The Cliffs Foundation Cohen & Company, CPAs Consolidated Solutions Deloitte & Touche LLP Dominion Energy Charitable Foundation Evarts Tremaine The Ewart-Ohlson Machine Company Arthur J. Gallagher & Co. Glenmede Trust Company Gross Builders Huntington National Bank Johnson Investment Counsel KPMG LLP Littler Mendelson, P.C. Live Publishing Company Materion Corporation Miba AG (Europe) Oatey Ohio CAT Oswald Companies PolyOne Corporation PwC RSM US, LLP Stern Advertising Struktol Company of America Ulmer & Berne LLP University Hospitals Ver Ploeg & Lumpkin (Miami) Anonymous (2)
The Cleveland Orchestra
THE CLEVELAND ORCHESTRA
Foundation/Government Support The Cleveland Orchestra is grateful for the annual support of the foundations and government agencies listed d 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, n education programs, and community initiatives.
Annual Supportt gifts in the past year, as of August 31, 2018 $1 MILLION AND MORE
Cuyahoga County residents through Cuyahoga Arts and Culture Elizabeth Ring Mather and William Gwinn Mather Fund $500,000 TO $999,999
The George Gund Foundation Ohio Arts Council $250,000 TO $499,999
The Louise H. and David S. Ingalls Foundation John P. Murphy Foundation $100,000 TO $249,999
Paul M. Angell Family Foundation William Randolph Hearst Foundation Kulas Foundation David and Inez Myers Foundation The Kelvin and Eleanor Smith Foundation Ruth McCormick Tankersley Charitable Trust Weiss Family Foundation $50,000 TO $99,999
The George W. Codrington Charitable Foundation The Mary S. and David C. Corbin Foundation The Jean, Harry, and Brenda Fuchs Family Foundation, in memory of Harry Fuchs GAR Foundation Martha Holden Jennings Foundation Myra Tuteur Kahn Memorial Fund of the Cleveland Foundation Miami-Dade County Department of Cultural Affairs (Miami) The Nord Family Foundation The Payne Fund
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$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 Cuyahoga Community College Mary and Dr. George L. Demetros Charitable Trust The Char and Chuck Fowler Family Foundation The Gerhard Foundation, Inc. The Helen Wade Greene Charitable Trust The Kirk Foundation (Miami) The Frederick and Julia Nonneman Foundation National Endowment for the Arts The Reinberger Foundation 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 The Bruening Foundation Cleveland State University Foundation The Cowles Charitable Trust (Miami) Elisha-Bolton Foundation The Harry K. Fox and Emma R. Fox Charitable Foundation Ann and Gordon Getty Foundation The Hankins Foundation The Muna & Basem Hishmeh Foundation Richard H. Holzer Memorial Foundation George M. and Pamela S. Humphrey Fund Lakeland Foundation The Laub Foundation Victor C. Laughlin, M.D. Memorial Foundation Trust The Lehner Family Foundation The G. R. Lincoln Family Foundation Peg’s Foundation Northern Ohio Italian American Foundation The M. G. O’Neil Foundation Paintstone Foundation Charles E. & Mabel M. Ritchie Memorial Foundation The Leighton A. Rosenthal Family Foundation SCH 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 Welty Family Foundation Thomas H. White Foundation, a KeyBank Trust The Wuliger Foundation Anonymous (2)
Foundation/Government Annual Support
83
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Cleveland Public Theatreâ&#x20AC;&#x2122;s STEP Education Program Photo by Steve Wagner
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T HE
CLEVEL AND ORC HE STR A
“We can’t think of a better way to use our resources than to support an organization that brings us such great pleasure.” Tony and Pat Lauria believe in doing their part to cultivate and celebrate the extraordinary things in life — including wine, food, and music. For today and for future generations.
Great music has always been important to Tony and Pat Lauria. They’ve been avid subscribers and donors to The Cleveland Orchestra for many years, and it has become such a major part of their lives that they plan international travel around the Orchestra’s schedule in order to enjoy more concerts at home and on tour. “It gives us great pleasure to be a part of The Cleveland Orchestra,” Pat says. In addition to regularly attending concerts and giving to the annual fund, Tony and Pat have established several Charitable Gift Annuities through the Orchestra, which now pay them a fixed stream of income in return for their gifts. To anyone who is considering establishing a Charitable Gift Annuity, Tony says, “It’s a great investment — for yourself and the Orchestra!” To receive a confidential, personalized gift annuity illustration and to join the Laurias in their support of The Cleveland Orchestra’s future, contact Dave Stokley, Legacy Giving Officer, at 216-231-8006 or email dstokley@clevelandorchestra.com.
Legacy Giving THE CLEVELAND ORCHESTRA
H E R I TAGE S O C I ET Y The Heritage Society honors those individuals who are helping to ensure the future of The Cleveland Orchestra with a Legacy gift. Legacy gifts come in many forms, including bequests, charitable gift annuities, and insurance policies. The following listing of current members is as of August 2018. For more information, please contact the Orchestra’s Legacy Giving Office by calling Dave Stokley at 216-231-8006. Lois A. Aaron Leonard Abrams Gay Cull Addicott Stanley and Hope Adelstein* Sylvia K. Adler* Norman* and Marjorie Allison Dr. Sarah M. Anderson George N. Aronoff Herbert Ascherman, Jr. Jack and Darby Ashelman Mr. and Mrs. William W. Baker Jack L. Barnhart Margaret B. and Henry T.* Barratt Rev. Thomas T. Baumgardner and Dr. Joan Baumgardner Fred G. and Mary W. Behm Dr. Ronald and Diane Bell Bob Bellamy Joseph P. Bennett Marie-Hélène Bernard Ila M. Berry* Howard R. and Barbara Kaye Besser Dr.* and Mrs. Murray M. Bett Dr. Marie Bielefeld Raymond J. Billy (Biello) Mr. William P. Blair III Doug and Barb Bletcher Madeline & Dennis Block Trust Fund Mrs. Flora Blumenthal Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. and Mrs. Charles P. Bolton Kathryn Bondy* Loretta and Jerome Borstein* Mr. and Mrs.* Otis H. Bowden II Drs. Christopher P. Brandt and Beth Brandt Sersig Mr. D. McGregor Brandt, Jr. David and Denise Brewster Robert W. Briggs Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Mr. and Mrs. Harvey Buchanan* Joan and Gene* Buehler Gretchen L. Burmeister Stanley and Honnie Busch* Milan and Jeanne* Busta Mr. and Mrs. William C. Butler
Gregory and Karen Cada Roberta R. Calderwood* Harry and Marjorie* M. Carlson Janice L. Carlson Dr.* and Mrs. Roland D. Carlson Barbara A. Chambers, D. Ed. Dr. Gary Chottiner & Anne Poirson NancyBell Coe Kenneth S. and Deborah G. Cohen Ralph M. and Mardy R. Cohen* Victor J. and Ellen E. Cohn Robert and Jean* Conrad Mr.* and Mrs. Gerald A. Conway The Honorable Colleen Conway Cooney and Mr. John Cooney John D. and Mary D. Corry* Dr. Dale and Susan Cowan Dr. and Mrs. Frederick S. Cross* Martha Wood Cubberley In Memory of Walter C. and Marion J. Curtis William and Anna Jean Cushwa Alexander M. and Sarah S. Cutler Mr.* and Mrs. Don C. Dangler Mr. and Mrs. Howard J. Danzinger Barbara Ann Davis Carol J. Davis Charles and Mary Ann Davis William E. and Gloria P.* Dean, Jr. Mary Kay DeGrandis and Edward J. Donnelly Neeltje-Anne DeKoster* Carolyn L. Dessin Mrs. Armand J. DiLellio James A. Dingus, Jr. Dr. and Mrs. Richard C. Distad Maureen A. Doerner and Geoffrey T. White Henry and Mary* Doll Gerald and Ruth Dombcik Barbara Sterk Domski Mr.* and Mrs. Roland W. Donnem Nancy E. and Richard M. Dotson Mrs. John Drollinger Drs. Paul M.* and Renate H. Duchesneau George* and Becky Dunn Mr. and Mrs. Robert Duvin
Dr. Robert E. Eckardt Paul and Peggy Edenburn Robert and Anne Eiben* Mr. and Mrs. Alfred M. Eich, Jr. Roger B. Ellsworth Oliver* and Mary Emerson Lois Marsh Epp Patricia Esposito C. Gordon and Kathleen A.* Ewers Patricia J. Factor Carl Falb Regis and Gayle Falinski Mrs. Mildred Fiening Gloria and Irving* Fine Joan Alice Ford Mr. and Mrs. Ralph E. Fountain* Gil* and Elle Frey Arthur* and Deanna Friedman Mr.* and Mrs. Edward H. Frost Dawn Full Henry S. Fusner* Dr. Stephen and Nancy Gage Barbara and Peter Galvin Mr. and Mrs. Steven B. Garfunkel Donald* and Lois Gaynor Albert I. and Norma C. Geller Dr. Saul Genuth Frank and Louise Gerlak Dr. James E. Gibbs S. Bradley Gillaugh Mr.* and Mrs. Robert M. Ginn Fred and Holly Glock Ronald* and Carol Godes William H. Goff Mr. and Mrs. Henry J. Goodman John and Ann Gosky Harry and Joyce Graham Elaine Harris Green Tom and Gretchen Green Anna Zak Greenfield Richard and Ann Gridley Nancy Hancock Griffith David E.* and Jane J. Griffiths Bev and Bob Grimm Candy and Brent Grover Thomas J.* and Judith Fay Gruber Henry and Komal Gulich Mr. and Mrs. David H. Gunning LISTING CONTINUES
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Legacy Giving
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Legacy Giving THE CLEVELAND ORCHESTR A HERITAGE SOCIETY L I S T I N G C O N T I N U ED
Mr. and Mrs. William E. Gunton Mrs. John A Hadden Jr. Richard* and Mary Louise Hahn James J. Hamilton Kathleen E. Hancock Holsey Gates Handyside* Norman C. and Donna L. Harbert Mary Jane Hartwell* William L.* and Lucille L. Hassler Mrs. Henry Hatch (Robin Hitchcock) Nancy Hausmann Virginia and George Havens Barbara L. Hawley and David S. Goodman Gary D. Helgesen Clyde J. Henry, Jr. Ms. M. Diane Henry Wayne and Prudence Heritage T. K.* and Faye A. Heston Fred Heupler, M.D. Mr. and Mrs.* Daniel R. High Mr. and Mrs. D. Craig Hitchcock* Bruce F. Hodgson Mary V. Hoffman Feite F. Hofman MD* Mrs. Barthold M. Holdstein* Leonard* and Lee Ann Holstein David and Nancy Hooker Thomas H. and Virginia J.* Horner Fund Patience Cameron Hoskins Elizabeth Hosmer Dorothy Humel Hovorka* Dr. Christine A. Hudak, Mr. Marc F. Cymes Dr. Randal N. Huff Mrs. Marguerite B. Humphrey Adria D. Humphreys* Ann E. Humphreys and Jayne E. Sisson David and Dianne Hunt Karen S. Hunt Mr. and Mrs. G. Richard Hunter Ruth F. Ihde Mr.* and Mrs. Jonathan E. Ingersoll Pamela and Scott Isquick Mr. and Mrs. Clifford J. Isroff* Mr. and Mrs. Donald M. Jack, Jr. Carol S. Jacobs Pamela Jacobson Milton* and Jodith Janes Jerry and Martha Jarrett* Merritt and Ellen Johnquest* Allan V. Johnson E. Anne Johnson Nancy Kurfess Johnson, M.D. David and Gloria Kahan Julian and Etole Kahan David George Kanzeg Bernie and Nancy Karr Drs. Julian and Aileen Kassen* Milton and Donna* Katz
88
Nancy F. Keithley and Joseph P. Keithley Patricia and Walter Kelley* Bruce and Eleanor Kendrick Malcolm E. Kenney Mr. and Mrs. Douglas A. Kern Charles M. and Janet G. Kimball* James and Gay* Kitson Mr. Clarence E. Klaus, Jr. Mary Elizabeth and G. Robert Klein* Fred* and Judith Klotzman Paul and Cynthia Klug Martha D. Knight Mr. and Mrs. Robert Koch Dr. Vilma L. Kohn* Mr. Clayton Koppes Susan Korosa Mr.* and Mrs. James G. Kotapish, Sr. Margery A. Kowalski Janet L. Kramer Mr. James Krohngold Mr. and Mrs. Gregory G. Kruszka Thomas* and Barbara Kuby Eleanor* and Stephen Kushnick Mr. and Mrs. Dennis W. LaBarre James I. Lader Mr. and Mrs. David A. Lambros Mrs. Carolyn Lampl Marjorie M. Lamport* Louis Lane* Kenneth M. Lapine and Rose E. Mills Charles K. László and Maureen O’Neill-László Anthony T. and Patricia Lauria Charles and Josephine Robson Leamy Fund* Jordan R. and Jane G. Lefko Teela C. Lelyveld Mr. and Mrs. Roger J. Lerch Judy D. Levendula Dr. and Mrs. Howard Levine Bracy E. Lewis Mr. and Mrs.* Thomas A. Liederbach Rollin* and Leda Linderman Ruth S. Link* Dr. and Mrs. William K. Littman Jeff and Maggie Love Dr. Alan and Mrs. Min Cha Lubin Linda and Saul Ludwig Kate Lunsford Patricia MacDonald Alex and Carol Machaskee Jerry Maddox Mrs. H. Stephen Madsen Alice D. Malone* Mr. and Mrs. Donald Malpass, Jr. Lucille Harris Mann* Mr. and Mrs. Richard A. Manuel* Clement P. Marion Dr. and Mrs. Sanford E. Marovitz
Legacy Giving
David C. and Elizabeth F. Marsh* Duane and Joan Marsh* Mr. and Mrs. Anthony M. Martincic Kathryn A. Mates Dr. Lee Maxwell and Michael M. Prunty Alexander and Marianna* McAfee Nancy B. McCormack Mr. William C. McCoy Dorothy R. McLean Jim and Alice Mecredy* James and Virginia Meil Mr. and Mrs. Robert F. Meyerson* Brenda Clark Mikota Christine Gitlin Miles Antoinette S. Miller Chuck and Chris Miller Edith and Ted* Miller Leo Minter, Jr. Mr. and Mrs.* William A. Mitchell Robert L. Moncrief Ms. Beth E. Mooney Beryl and Irv Moore Ann Jones Morgan George and Carole Morris Mr. and Mrs. Thomas W. Morris Mr. and Mrs.* Donald W. Morrison Joan R. Mortimer, PhD* Susan B. Murphy Dr. and Mrs. Clyde L. Nash, Jr Deborah L. Neale Mrs. Ruth Neides* David and Judith Newell Steve Norris and Emily Gonzales Paul and Connie Omelsky Katherine T. O’Neill The Honorable and Mrs. John Doyle Ong Henry Ott-Hansen Mr. J. William and Dr. Suzanne Palmer R. Neil Fisher and Ronald J. Parks Nancy* and W. Stuver Parry Dr.* and Mrs. Donald Pensiero Mary Charlotte Peters Mr. and Mrs. Peter Pfouts* Janet K. Phillips* Elisabeth C. Plax Florence KZ Pollack Julia and Larry Pollock John L. Power and Edith Dus-Garden Richard J. Price Lois S. and Stanley M. Proctor* Mr. David C. Prugh* Leonard and Heddy Rabe M. Neal Rains Mrs. Alfred M. Rankin, Sr. James and Donna Reid Mrs. Charles Ritchie Dr. Larry J.B.* and Barbara S. Robinson Margaret B. Robinson
The Cleveland Orchestra
Legacy Giving THE CLEVELAND ORCHESTR A HERITAGE SOCIETY Dwight W. Robinson Janice and Roger Robinson Amy and Ken Rogat Carol Rolf and Steven Adler Margaret B. Babyak* and Phillip J. Roscoe Audra* and George Rose Dr. Eugene and Mrs. Jacqueline* Ross Robert and Margo Roth Marjorie A. Rott* Howard and Laurel Rowen Professor Alan Miles Ruben and Judge Betty Willis Ruben Marc Ruckel Florence Brewster Rutter Dr. Joseph V. Ryckman Mr. James L. Ryhal, Jr.* Renee Sabreen* Marjorie Bell Sachs Dr. Vernon E. Sackman and Ms. Marguerite Patton Sue Sahli Mr. and Mrs. James A. Saks John A Salkowski Larry J. Santon Stanford and Jean B. Sarlson James Dalton Saunders Patricia J. Sawvel Ray and Kit Sawyer Alice R. Sayre In Memory of Hyman and Becky Schandler Robert Scherrer Sandra J. Schlub Ms. Marian Schluembach Robert and Betty Schmiermund Mr.* and Mrs. Richard M. Schneider Jeanette L. Schroeder Frank Schultz Carol* and Albert Schupp Roslyn S. and Ralph M. Seed Nancy F. Seeley Edward Seely Oliver E.* and Meredith M. Seikel Reverend Sandra Selby Eric Sellen Holly Selvaggi Thomas and Ann Sepúlveda B. Kathleen Shamp Jill Semko Shane David Shank Dr. and Mrs. Daniel J. Shapiro* Helen and Fred D. Shapiro Norine W. Sharp* Norma Gudin Shaw Elizabeth Carroll Shearer* Dr. and Mrs. William C. Sheldon John F. Shelley and Patricia Burgess* Frank* and Mary Ann Sheranko Kim Sherwin Mr. and Mrs. Michael Sherwin
Severance Hall 2018-19
Reverend and Mrs. Malcolm K. Shields Rosalyn and George* Sievila Mr.* and Mrs. David L. Simon Dr.* and Mrs. John A. Sims Naomi G. and Edwin Z. Singer Lauretta Sinkosky H. Scott Sippel and Clark T. Kurtz Ellen J. Skinner Ralph* and Phyllis Skufca Janet Hickok Slade Drs. Charles Kent Smith and Patricia Moore Smith Mr.* and Mrs. Ward Smith Sandra and Richey Smith Roy Smith Barbara J. Stanford and Vincent T. Lombardo George R. and Mary B. Stark Sue Starrett and Jerry Smith Lois and Tom Stauffer Saundra K. Stemen Merle and Albert Stern* Dr. Myron Bud and Helene* Stern Mr. and Mrs. John M. Stickney Mr.* and Mrs. James P. Storer Ralph E. and Barbara N. String* In Memory of Marjory Swartzbaugh Dr. Elizabeth Swenson Lorraine S. Szabo Mrs. Jean H. Taber* Norman V. Tagliaferri Nancy and Lee Tenenbaum Dr. and Mrs. Friedrich Thiel Mr. and Mrs. William M. Toneff Joe and Marlene Toot Alleyne C. Toppin Janice and Leonard Tower Dr. and Mrs. James E. Triner William & Judith Ann Tucholsky Dorothy Ann Turick* Mr. Jack G. Ulman Robert and Marti* Vagi Robert A. Valente J. Paxton Van Sweringen Mary Louise and Don VanDyke Steven Vivarronda Hon. and Mrs. William F.B. Vodrey Pat and Walt* Wahlen Mrs. Clare R. Walker John and Deborah Warner Mr. and Mrs. Russell Warren Joseph F. and Dorothy L.* Wasserbauer Reverend Thomas L. Weber Etta Ruth Weigl* Lucile Weingartner Max W. Wendel William Wendling and Lynne Woodman Robert C. Weppler Paul and Suzanne Westlake Marilyn J. White
Legacy Giving
Yoash and Sharon Wiener Alan H.* and Marilyn M. Wilde Helen Sue* and Meredith Williams Carter and Genevieve* Wilmot Mr. Milton Wolfson* and Mrs. Miriam Shuler-Wolfson Nancy L. Wolpe Mrs. Alfred C. Woodcock Katie and Donald Woodcock Dr.* and Mrs. Henry F. Woodruff Marilyn L. Wozniak Nancy R. Wurzel Michael and Diane Wyatt Tony and Diane Wynshaw-Boris Mary Yee Carol Yellig Libby M. Yunger William Zempolich and Beth Meany Roy J. Zook* Anonymous (73)
The lotus blossom is the symbol of the Heritage Society. It represents eternal life and recognizes the permanent benefits of legacy gifts to The Cleveland Orchestra’s endowment. Said to be Elisabeth Severance’s favorite flower, the lotus is found as a decorative motif in nearly every public area of Severance Hall. For more information about becoming a member of the Heritage Society, please contact the Orchestra’s Legacy Giving Office by calling Dave Stokley at 216-231-8006.
89
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Severance Hall is Cleveland’s “musical home” for symphonic music and many other presentations. We are strongly committed to making everyone feel welcome. The following information and guidelines can help you on your musical journey.
CONCERT PREVIEWS
DOORS OPEN EARLY The doors to Severance Hall open three hours prior to most performances. You are welcome to arrive early, enjoy a glass of wine or a tasty bite, learn more about the music by attending a Concert Preview, or stroll through this landmark building’s elegant lobbies. The upper lobbies and Concert Hall usually open 30 minutes before curtain.
SPECIAL DISPLAYS Special archival displays providing background information about The Cleveland Orchestra or Severance Hall can often be viewed in the lobby spaces or in the Humphrey Green Room (just off the left-hand side of the Concert Hall on the main Orchestra Level).
PROGRAM NOTES
FOOD AND DRINK SEVERANCE RESTAURANT 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). Operated by Marigold Catering, a certified Green Caterer. To make reservations, call 216-231-7373, or online by visiting www.useRESO.com. Please note that the Restaurant will not be open for post-concert service this season, with the exception of luncheons following Friday Morning Matinees.
OPUS LOUNGE The new Opus Lounge is located on the groundfloor of Severance Hall. Created where “the Store” was formerly, LO U N G E his newly-renovated eating and drinking lounge offers an intimate atmosphere to meet friends before and after concerts. With full bar service, signature cocktails, and small plates. Located at the top of the escalator from the parking garage.
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REFRESHMENTS Intermission & Pre-Concert: Concession service of beverages and light refreshments is available before most concerts and at intermissions at a variety of locations throughout the building’s lobbies.
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Concert Preview talks and presentations are given prior to most regular Cleveland Orchestra concerts at Severance Hall, beginning one hour prior to curtain. Most Previews take place in Reinberger Chamber Hall. (See clevelandorchestra.com for more details.)
Program notes are available online prior to most Cleveland Orchestra concerts. These can be viewed through our website or by visiting www.ExpressBook. com. These notes and commentary are also available in our printed program books, distributed free-of-charge to attending audiences members.
RETAIL CLEVELAND ORCHESTRA STORE Proudly wear your love of The Cleveland Orchestra, or find the perfect gift for the music lover in your life. Visit the Cleveland Orchestra Store before and after concerts and during intermission to view CDs, DVDs, books, gifts, and our unique CLE Clothing Company attire. Located near the Ticket Office on the groundfloor in the Smith Lobby.
INTERESTED IN RENTING SEVERANCE HALL? Severance Hall is available for you! Home of the world-renowned Cleveland Orchestra, this Cleveland landmark is the perfect location for business meetings and conferences, pre- or post-concert dinners and receptions, weddings, and or other family gatherings — with catering provided by Marigold Catering. For more information, call Bob Bellamy in our Facility Sales Office: 216-231-7420, or email: hallrental@clevelandorchestra.com.
Guest Information
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SHARING THE SPACE
ACCESS AND SERVICES
The concert halls and lobbies are shared by all audience members. Please be mindful and courteous to others. To ensure the listening pleasure of all patrons, please note that anyone creating a disturbance may be asked to leave the performance.
We welcome all guests to our concerts and strive to make our performances accessible to all patrons.
LATE SEATING Performances at Severance Hall start at the time designated on the ticket. In deference to the performers onstage, and for the comfort and listening pleasure of audience members, 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. Happy artists make better concerts.
PHOTOGRAPHY AND SELFIES, VIDEO AND AUDIO RECORDING Photographs of the hall and selfies to share with others through social media can be taken when the performance is not in progress. However, audio recording, photography, and videography are prohibited during performances at Severance Hall.
PHONES AND WATCHES As a courtesy to others, please turn off or silence any phone or device that makes noise or emits light — including disarming electronic watch alarms. Please consider placing your phone in “airplane mode” upon entering the concert hall.
HEARING AIDS Patrons with hearing aids are asked to be attentive to the sound level of their hearing devices and adjust them accordingly so as not to disturb those near you.
MEDICAL ASSISTANCE Contact an usher or a member of the house staff if you require medical attention. Emergency medical assistance is provided in partnership with University Hospitals Event Medics and the UH Residency Program.
SECURITY AND FIREARMS For the security of everyone attending concerts, large bags (including all backpacks) and musical instrument cases are prohibited in the concert halls. These must be checked at coatcheck and may be subject to search. Severance Hall is a firearms-free facility. With the exception of on-duty law enforcement personnel, no one may possess a firearm on the premises.
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.
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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 upon entering the building. Patrons can make arrangements by calling the House Manager in advance at 216-231-7425. Service animals are welcome at Severance Hall. Please notify the Ticket Office as you buy tickets.
ASSISTANCE FOR THE DEAF OR HARD OF HEARING Infrared Assistive Listening Devices (ALDs) are available without charge for most performances at Severance Hall, in Reinberger Chamber Hall and upstairs in the Concert Hall. Please inquire with a Head Usher or the House Manager to check out an ALD. A driver’s license or ID card is required, which will be held until the return of the device.
LARGE PRINT PROGRAMS AND BRAILLE EDITIONS A large print edition of most Cleveland Orchestra program books are available; please ask an usher. Braille versions of our program books can be made available with advance request; please call 216-231-7425.
CHILDREN AND FAMILIES Our Under 18s Free ticket program is designed to encourage families to attend together. For more details, visit clevelandorchestra.com/under18. 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 Explorers! (recommended for children 3 to 6 years old) and Family Concerts (for ages 7 and older).
YOUNGER CHILDREN We understand that sometimes young children cannot sit quietly through a full-length concert and need to get up and move or talk freely. For the listening enjoyment of those around you, we respectfully ask that you and your active child step out of the concert hall to stretch your legs (and baby’s lungs). An usher will gladly help you return to your seat at an appropriate break.
Guest Information
The Cleveland Orchestra
PARKING GARAGE PARKING 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 pre-paid parking passes is limited. Available on-line, by phone, or in person. Parking can be purchased (cash only) for the at-door price of $11 per vehicle when space in the Campus Center Garage permits. Parking is also available in several lots within 1-2 blocks of Severance Hall. Visit the Orchestra’s website for more information and details.
Vi t Se ak Interi s F Your D gn & Home Furnishing Needs
FRIDAY MATINEE PARKING Parking availability for Friday Morning Matinee performances is extremely limited. Bus service options are availale for your convenience: Shuttle bus service from Cleveland Heights is available from the parking lot at Cedar Hill Baptist Church (12601 Cedar Road). The round-trip service rate is $5 per person. Suburban round-trip bus transportation is available from four locations: Beachwood Place, Westlake RTA Park-and-Ride, St. Basil Church in Brecksville, and Summit Mall in Akron. The round-trip service rate is $15 per person per concert, and is operated with support from Friends of The Cleveland Orchestra.
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TICKETS LOST TICKETS If you have lost or misplaced your tickets, please contact the Ticket Office as soon as possible. In most cases, the Ticket Office will be able to provide you with duplicate seating passes, which you can pick up prior to the performance.
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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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Guest Information
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the world’s most beautiful concert halls, Severance Hall has been home to The Cleveland Orchestra since its opening on February 5, 1931. After that first concert, a Cleveland newspaper editorial stated: “We believe that Mr. Severance intended to build a temple to music, and not a temple to wealth; and we believe it is his intention that all music lovers should be welcome there.” John Long Severance (president of the Musical Arts Association, 1921-1936) and his wife, Elisabeth, donated most of the funds necessary to erect this magnificent building. Designed by Walker & Weeks, its elegant HAILED AS ONE OF
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Severance Hall
Georgian exterior was constructed to harmonize with the classical architecture of other prominent buildings in the University Circle area. The interior of the building reflects a combination of design styles, including Art Deco, Egyptian Revival, Classicism, and Modernism. An extensive renovation, restoration, and expansion of the facility was completed in January 2000. In addition to serving as the home of The Cleveland Orchestra for concerts and rehearsals, the building is rented by a wide variety of local organizations and private citizens for performances, meetings, and special events each year.
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Rainey Institute El Sistema Orchestra
A SYMPHONY OF
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We believe that all Cleveland youth should have access to high-quality arts education. Through the generosity of our donors, we have invested nearly $4 million since 2016 to scale up neighborhood-based programs that now serve 3,000 youth year-round in music, dance, theater, photography, literary arts and curatorial mastery. Thatâ&#x20AC;&#x2122;s a symphony of success. Find your passion, and partner with the Cleveland Foundation to make your greatest charitable impact.
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