The Cleveland Orchestra October 18, 19, 20, 25, 26, 27 Concerts

THE CLEVELAND ORCHESTRA FRANZ WELSER-MÖST

Q&A with Franz Welser-Möst

2O18 SEASON 2O19

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October 18, 19, 20 Scheherazade . . . . . . . . . . . . . . . . . page 29 WEEK 4 —

October 26 Hitchcock’s The Lodger . . . . . . page 49 AT THE MOVIES —

October 25, 27 Webern, Berg, Schoenberg WEEK 5 —

AUTU M N

SEVERANCE HALL

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THE CLEVELAND ORCHESTRA

PROGRAM BOOK

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About the Orchestra

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Perspectives from the Executive Director . . . . . . . 7 Musical Arts Association . . . . . . . . . . . . . . . . . . . . . . . 15 About The Cleveland Orchestra . . . . . . . . . . . . . . . 17 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Music Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

SCHEHERAZADE Concert: October 18, 19, 20 . . . . . . . . . . . . . . . . . . 29 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 31

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

BARBER

Overture to “The School for Scandal” . . . . . . . . 33 GINASTERA

Cello Concerto No. 2 . . . . . . . . . . . . . . . . . . . . . . . . 37 RIMSKY- KORSAKOV Scheherazade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Conductor: Gustavo Gimeno . . . . . . . . . . . . . . . . . . 45 Soloist: Mark Kosower . . . . . . . . . . . . . . . . . . . . . . . . . 47

MOVIE: THE LODGER At the Movies: October 26 . . . . . . . . . . . . . . . . . . . . 49 Organist: Todd Wilson . . . . . . . . . . . . . . . . . . . . . . . . . 50

NEWS

Cleveland Orchestra News . . . . . . . . . 54

WEBERN, BERG , SCHOENBERG

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.

Concert: October 25, 27 . . . . . . . . . . . . . . . . . . . . . . 63 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 65 This program is printed on paper that includes 50% recycled content.

WEBERN

Passacaglia, Opus 1 . . . . . . . . . . . . . . . . . . . . . . . . . 67 BERG

50%

Violin Concerto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 SCHOENBERG

Pelleas and Melisande . . . . . . . . . . . . . . . . . . . . . . 75

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.

Conductor: Ingo Metzmacher . . . . . . . . . . . . . . . . . . 78 Soloist: Christian Tetzlaff . . . . . . . . . . . . . . . . . . . . . . 79

Support Severance Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Second Century Sponsors. . . . . . . . . . . . . . . . . . . . . . 12 Annual Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

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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 has continued into our new season, including the 100th Anniversary Gala on September 29, which was 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 recorded video of this Preview.

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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

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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

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

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)

Severance Society / Lifetime Giving

* deceased

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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

O Jerusalem!

CROSSROADS OF THREE FAITHS

BAROQUE ORCHESTRA jeannette sorrell

A new program from Jeannette Sorrell, creator of “Sephardic Journey”

“A magic carpet ride that swept the audience away”

A musical “tour” of the Jewish, Arabic, and Christian quarters of Old Jerusalem. The sounds of Monteverdi’s Vespers echo the rapturous singing of Jewish cantors and Arabic troubadours. Performers from Jewish, Muslim, and Christian backgrounds join in celebration of brother & sisterhood.

– COOLCLEVELAND.COM (review of AF’s “Sephardic Journey”)

Amanda Powell soprano

Sorab Wadia tenor

Daphna Mor winds & vocals

Ronnie Malley oud & accordian

Raha Mirzadegan soprano

Brian Kay oud, lute & saz

TICKETS starting at $23

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SATURDAY, NOVEMBER 17, 8:00PM CLEVELAND Institute of Music (Kulas Hall) PRE-CONCERT TALK at 7:00pm – With musicians Daphna Mor and Ronnie Malley Additional performances Nov. 10, 12, 16, & 18 in NE Ohio. Call for details.

These concerts are generously sponsored by

LRC Realty, Inc.

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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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

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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

FUZE series 7:30 p.m. at Akron’s EJ Thomas Hall, except Canadian Brass at Akron Civic Theatre $45, $40, students free | subscriptions available

Saturday, November 3

The Tell-Tale Heart — A Musical Ghost Story Composer/pianist Gregg Kallor, cellist Joshua Roman, and mezzo-soprano Jennifer Johnson Cano seek to silence the “beating of the hideous heart.”

Tuesday, December 4

Canadian Brass Holiday Concert Ring in the holidays with the world’s most famous (and fun!) brass ensemble.

Thursday, April 18, 2019

For Lenny Pianist Lara Downes celebrates Leonard Bernstein’s 100th birthday.

The Cleveland Orchestra

330-761-3460 tuesdaymusical.org 19

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,

23

“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

24

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 of the Nibelung cycle and a series of criticallypraised 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

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

1 9 1 8 -2O18 C E N T E N N I A L

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.

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: October 18, 19, 20 “From Far Away to Now” (music by Barber, Ginastera, and Rimsky-Korsakov) with Rose Breckenridge lecturer and administrator, Cleveland Orchestra Music Study Groups

October 25, 27 “Moving Forward, Looking Back” (music by Webern, Berg, and Schoenberg) with Michael Strasser, professor of musicology, Baldwin Wallace University Conservatory of Music

November 1, 2, 3 “Two Post-Romantic Masterpieces” (music by Rachmaninoff, Bartók) with Cicilia Yudha, associate professor, Youngstown State University

November 8, 9, 10 “All Things French” (music by Debussy, Pintscher, and Ravel) with Rose Breckenridge

November 15, 17, 18 “Bright, Dark, Mysterious” (music by Kabeláč, Stravinsky, and Shostakovich) with Rose Breckenridge

ALWAYS IN TUNE FROM START TO FINALE

Severance Hall 2018-19

Concert Previews

27

Dreams can come true

Cleveland Public Theatre’s STEP Education Program Photo by Steve Wagner

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

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

THE

CLEVELAND ORCHESTRA FR ANZ WELSER- MÖST

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

Severance Hall

Thursday evening, October 18, 2018, at 7:30 p.m.

Friday morning, October 19, 2018, at 11:00 a.m.* Friday evening, October 19, 2018, at 7:00 p.m.

Saturday evening, October 20, 2018, at 8:00 p.m.

Gustavo Gimeno, conductor SAMUEL BARBER (1910-1981)

ALBERTO GINASTERA (1916-1983)

2O18 SEASON 2O19

Overture to “The School for Scandal” Concert Overture, Opus 5 Cello Concerto No. 2, Opus 50 * 1.

2.

3.

4.

Metamorfosi di un tema Scherzo sfuggevole Nottilucente Cadenza e Finale rustico

MARK KOSOWER, cello

INTER MISSION * NIKOLAI RIMSKY-KORSAKOV

(1844-1908)

Scheherazade, Opus 35 (Symphonic Suite after The Thousand-and-One Nights) 1.

2.

3.

4.

The Sea and Sinbad’s Ship The Story of the Kalandar Prince The Young Prince and the Young Princess Festival at Baghdad — The Sea — The Ship Goes to Pieces on a Rock Surmounted by a Bronze Warrior — Conclusion

Solo Violin: peter otto

Thursday’s solo performance by Mark Kosower is dedicated to honor the generosity of The Jean, Harry, and Brenda Fuchs Family Foundation in honor of Harry Fuchs (1908-1986), who served more than four decades as a cellist in The Cleveland Orchestra.

The Saturday performance is dedicated to Milton and Tamar Maltz in recognition of their extraordinary generosity in support of The Cleveland Orchestra.

The Cleveland Orchestra’s Friday Morning Concert Series is endowed by the Mary E. and F. Joseph Callahan Foundation. * The Friday Morning Concert is performed without intermission and features the Barber and Rimsky-Korsakov pieces only.

Severance Hall 2018-19

Concert Program — Week 4

29

October 18, 19, 20

1 9 1 8 -2O18

THI S WE E KE ND’S CONCE RT Restaurant opens: THUR 4:30 FRI A.M. 12:00 FRI P.M. 5:00 SAT 5:00

Concert Preview: BEGINS ONE HOUR BEFORE CONCERT

C E N T E N N I A L

Severance Restaurant Reservations (suggested) for dining:

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

CONCERT PREVIEW Thursday/Saturday evenings and Friday morning

“From Far Away to Now” with Rose Breckenridge FRIDAY MORNING 11:00

BARBER Overture to “The School for Scandal” . . . . page 33

BARBER

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

(10 minutes)

(30 minutes)

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

RIMSKY-KORSAKOV

GINASTERA Cello Concerto No. 2 . . . . . . . . page 37

INTERMISSION (20 minutes) 12:10

RIMSKY-KORSAKOV Scheherazade . . . . . . . . . . . . . . page 4 41 1 (40 minutes)

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

No intermission for Friday Morning.

Concert ends: (approx.)

THUR 9:15 FRI 8:50 SAT 9:45

Opus Lounge This season, stop by our newlyredecorated speakeasy lounge (with full bar service) for post-concert drinks, desserts, and convivial comradery.

30

7

YS@ After Fridays@7 A ID Join us for more musical good times, FR

This Week’s Concerts

with a special performance by the Cleveland Bluegrass Orchestra in the Smith Lobby (groundfloor).

The Cleveland Orchestra

INTRODUCING THE CONCERT

Drama & Storytelling T H I S W E E K E N D ’ S C O N C E R T offers three works from across a centu-

ry of music, written by an American, an Argentinian, and a Russian. Each helps tell a story, bringing other places and other storylines into the mix (a British play, a Middle Eastern tale, a tribute to a wife’s artistry).

The concerts begin with an overture written by Samuel Barber in 1931. In it, he worked to capture the style and feeling of an English comedy — a stage play of manners, disguises, and morals from 1777. The particulars of the play’s storyline go unseen, but the fun and riot of it are neither unheard nor unfelt. Barber’s sense of timing and joy in life bring to the music a great sense of expectancy and pleasure.

At the end of the concert program comes an evergreen favorite, Rimsky-Korsakov’s beguiling symphonic poem Scheherazade. Created in 1888, this was an educated Westerner’s view — in masterful music — of tales from “exotic” Arabia. In point of fact, the 1001 Tales of Arabian Nights were long ago sounded across the Middle East as legendary tellings and forthright lessons to learn about life and living. The title character’s willingness to put herself in harm’s way, and then to repeatedly dodge the bullet (well, the sword in this case), puts forth a strong and intelligent female role model — well before modern notions of equality became fashionable. The music is mesmerizingly clear and captivating; we, too, don’t want the storytelling to end.

In between, for the evening concerts only, comes a modern concerto for cello written in 1980

by Alberto Ginastera. This was created as a gift to the composer’s wife (and even includes a clever allusion to her name, Aurora, the Latin word for “dawn”). It is a four-movement work of great interest and variety, from quiet musings to riotous jungle-like sounds and much percussion.

—Eric Sellen

The Cleveland Orchestra extends a special welcome to Arthur J. Gallagher & Company, whose guests are enjoying a special evening at Severance Hall this weekend.

Severance Hall 2018-19

Introducing the Concerts

31

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 it’s worth, the headstones have, too.

Your Grounds for Life.

12316 Euclid Avenue, Cleveland, Ohio | 216-421-2665 | LakeViewCemetery.com

Overture to “The School for Scandal” composed 1931

At a Glance

by

Samuel

BARBER born March 9, 1910 West Chester, Pennsylvania died January 23, 1981 New York City

Severance Hall 2018-19

Barber composed his “Overture to The School for Scandal” while in Italy during the summer of 1931. The first performance was given on August 30, 1933, by the Philadelphia Orchestra conducted by Alexander Smallens at Robin Hood Dell Park.

This overture runs not quite 10 minutes in performance. Barber scored it for 2 flutes and piccolo, 2 oboes and english horn, 2 clarinets and bass clarinet, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, cymbals, bells, triangle), celesta, harp, and strings.

The Cleveland Orchestra first performed Barber’s “Overture to The School for Scandal” in October 1940, conducted by Artur Rodzinzki, who also led a performance that December for a meeting of the Music Teachers National Association. George Szell led performances of the overture in 1948, 1950, and 1959. It was next heard on a subscription concert at Severance Hall in 2009, led by Pinchas Steinberg.

It has been performed with some frequency at Blossom Festival concerts in the summer, although the last appearance there was in 2005.

About the Music T H I S J OYO U S OV E R T U R E was for many years featured by

American orchestras and American conductors who wanted to offer a sample of their national heritage, especially on a tour overseas. Yet when it was first heard in New York in 1938, it was judged to be “no more American in flavor than Wolf-Ferrari” and given a poor grade. The critics suspected it of being Italian, or at best English, because it contains a folk-like melody that someone like Vaughan Williams or Holst might have written.

As a young man, Samuel Barber did not share the desire to write distinctly national music that infected many American composers of his generation. He’d just as soon spend his summers in Italy than in the prairies, and his teacher at the Curtis Institute, Rosario Scolero, an Italian with a Viennese background, naturally steered students toward the European tradition.

The spirit of Barber’s overture is undoubtedly Italian, as Rossini would have recognized, while its English overtones are appropriate to the rather surprising literary source that Barber had chosen for this first essay in orchestral writing. During his student years at Curtis, which he attended from the age of fifteen, Barber was an avid reader, especially of English literature.

His notebooks list the names: Carlyle, Chesterton, Dickens, Marlowe, Pope, Thackeray, Smollett, Sterne, Swift, Turgenev, Suetonius, Montaigne, Chekhov, and so on. His lifelong devotion About the Music

33

Drawing illustrating a scene from The School for Scandal, a 1777 comedy by playwright Richard Brinsley Sheridan. Drawing by British illustrator Hugh Thomson, 1910.

to vocal music, both songs and opera, testifies to his faith in words as catalysts to music. Composition of the overture was preceded by a setting of Matthew Arnold’s Dover Beach and followed by Music for a Scene from Shelley.

Sheridan’s comedy The School for Scandal lies a little outside this rather exalted canon of great literature. Rather, it belongs to the tradition of London stage comedy that extends all the way from the Restoration to the Whitehall farces of the 1970s. First staged in 1777, the play mocks hypocrisy, miserliness, lechery, and other social failings with disguises, subterfuges, mistaken identity, a woman hiding behind a screen, and the full apparatus of knockabout humor.

High spirits are the appropriate tone for the overture, therefore, and its lively rhythmic invention suggests the play’s snappy dialogue and sharp action. Only the folklike tune, so unexpected when it emerges on the oboe from the energetic opening pages, seems foreign to this mood — but it provides what might be thought of as symphonic contrast. Its return later in the overture is given to the english horn.

This is a young man’s music, brimming over with ideas, some of which barely have time to register in the mind before something new replaces them. The lead-in to the reprise is almost comically overdrawn, and the ending has a grandeur that suggests something closer to a full symphony. Barber’s music

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”‹†ƒ› ÇĄ ‘˜‡Â?„‡” ͝–Š Ěą Íş Â’Â?

34

‡˜‡”ƒÂ?…‡ ƒŽŽ Ěą ʹͳ͸njʹ;ͳnjͳͳͳͳ About the Music

The Cleveland Orchestra

quickly developed a maturity on which his reputation is solidly based, but, here at the age of twenty-one, he was aiming for the thrill of orchestral music without too much concern for balance or restraint. It was a learning piece for Barber, and one he didn’t intend to be actually used in conjunction with a production of the play itself.

Not that the music came to him easily. He composed the overture on a summer trip to Italy with his fellow student and friend Giancarlo Menotti in 1931. As he wrote to his anxious parents: “We surely have been lazy — nothing but swimming and tennis all day long. . . . I am getting so fond of it that I don’t want to work at all.” On his return to Philadelphia, he showed it to Fritz Reiner, conductor of the Curtis Orchestra, with whom he had studied conducting. Reiner turned it down, but Barber was consoled by the award of the Joseph H. Bearns Prize for this work in April 1933, followed by its premiere performance at the Philadelphia Orchestra’s summer venue in August of that year.

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About the Music

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EVENING PERFORMANCES ONLY

Cello Concerto No. 2, Opus 50 composed 1980

At a Glance

by

Alberto

GINASTERA born April 11, 1916 Buenos Aires, Argentina died June 25, 1983 Geneva, Switzerland

Severance Hall 2018-19

Ginastera composed his Cello Concerto No. 2 in 1980 as a tenth anniversary gift for his cellist wife, Aurora Nátola. Sections of the concerto are reworkings and expansions of his Cello Sonata, Opus 49. The completed concerto was first performed on July 6, 1981, in Buenos Aires, with Nátola as the soloist and the Orquestra Filarmónica de Buenos Aires conducted by Stanislav Wislocki.

This concerto runs about 30 minutes in performance. Ginastera scored it for 3 flutes (third doubling piccolo), 3 oboes (third doubling english horn), 3

clarinets (third doubling bass clarinet), 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (tenor drum, tom-toms, congas, bongos, temple blocks, wood block, tam-tam, mark tree, crotales, guiro, cabasa, frog, sand clock, glockenspiel, xylophone, vibraphone, cymbals, cowbells, triangle, maracas, tambourine, chocalho), piano, celesta, harp, and strings, plus the solo cello.

The Cleveland Orchestra is performing this concerto for the first time with this week’s concerts.

About the Music A S A YO U N G M A N , Alberto Ginastera quite naturally absorbed

the music of his native Argentina and made a feature of it in his compositions. As a youth, he was self-assured and experimental. An oft-told story recounts him relating an early childhood exploration of music: “One day I went into the kitchen and played on all the pots and pans and other things I could get in order to make a kitchen orchestra. I was spanked.”

Despite setting some boundaries, Ginastera’s parents recognized his musical gifts and paid for piano lessons. He was later accepted at the National Conservatory of Music and, upon graduation, began teaching. The political upswings — and downturns — of his country gave him flexibility. He was fired and rehired. He stated his mind, and then made do, keeping quiet. On the surface, at least, he adjusted to changing ideology, if not in his heart and mind.

At the time, no composer from Argentina had yet been recognized in the competitive world of contemporary music.

A commission from Lincoln Kirstein’s American Ballet Caravan — and a Guggenheim Award — brought him to the United States in 1945. Here he met Aaron Copland and other American composers, leading Ginastera to develop a hitherto improbable fusion of South American folk idioms with advanced Western techniques — including Schoenberg’s twelve-note principles.

About the Music

37

How Do You Say His Name?!

Ginastera’s lastname would normally be pronounced as “Hheen-a-ster-a” by most Spanish speakers.

Argentinian composer Alberto Ginastera, however, followed his father’s preference for pronouncing the family name according to Catalonian norms, with a soft “G” (or “J”) sound, as “Jeen-a-ster-a.”

(This weekend’s soloist, Mark Kosower, who met and discussed his music with Alberto’s widow, confirms this personal idiosyncracy — as did former Cleveland Orchestra program book editor Klaus G. Roy when the composer was at Severance Hall for a series of concerts in 1981.)

Of modern composers, Ginastera was perhaps most influenced in his later music by Béla Bartók and Alban Berg. He classified his later style as “Neo-Expressionist,” with his musical vocabulary falling uniquely across several mid-20th-century sound-worlds, including atonality, serialism, folk-inspired idioms, and national ideas of forward-looking sound sculpturing. His music can be challenging, soothing, intriguing, pleasurable, and dissonant all within the same given work — all the while clearly showcasing South American sounds and rhythms within European concepts of structure and form.

Across his lifetime, Ginastera wrote an array of different kinds of works — ballet, film, chamber music, opera, orchestral, and concertante. The concertos almost all came in the second half of his career, within his “Neo-Expressionist” period. Of these, he wrote one concerto for violin (1963), one for harp (1956-65), three for piano (1935, 1961, 1972), and two for cello (1968/1978 and 1980-81).

The two cello concertos were greatly influenced by his second wife, Aurora Nátola, who premiered the revised and final version of the First Concerto and gave the world premiere of the Second. Both works have recently regained interest internationally via recordings featuring The Cleveland Orchestra’s principal cello — and this weekend’s soloist — Mark Kosower, with Germany’s Bamberg Symphony Orchestra on the Naxos label.

For the last twenty years of his life, while upholding and adding to the vitality of Argentina’s musical milieu, Ginastera lived in Switzerland, where the Second Cello Concerto was composed. It was written as an anniversary gift for his second wife, who was the soloist for its premiere, in Buenos Aires in 1981.

THE SECOND CELLO CONCERTO

The composer provided a useful guide to this four-movement concerto, writing: “Each movement bears an inscription from a poet and a brief commentary alluding to the sonorous, expressive and formal climate within which the movement unfolds. I believe these to be sufficient for the listener to become acquainted with my work.”

Ginastera’s inscriptions and commentary about each movement follow, along with thoughts about each.

Mvt 1. Metamorfosi di un tema INSCRIPTION : “Dawn, I come to you with this song born of the mist” — by the Swiss poet Auguste Martin.

COMMENTARY : “Four transformations of a theme, like the four

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About the Music

The Cleveland Orchestra

PHOTO BY LIM JONG JIN

Approaching Ginastera’s Music The first time I ever played anything by Ginastera was in school at Indiana University in Bloomington, when I was studying with Janos Starker.

I played the Pampeana No. 2, and the music really struck a chord with me. I became interested to learn what else he had written. At Juilliard, I was introduced to the Cello Sonata and the Puneña No. 2, and it was almost an intuitive, instinctual thing — Ginastera’s music just resonated with me.

His music is many things at once — lyrical, imaginative, haunting, even magical. I believe some of his writing for cello was greatly influenced by having a superb cellist he was close to, who eventually became his second wife, Aurora Nátola. He was, in fact, a man filled with contradictions. His personality was described as being that of a banker or accountant, stiff and impenetrable and very intellectual. Yet he had very energetic, imaginative, and passionate ideas on the inside. And his music combined these differing selves together, the inner fire and the outer clarity, infusing creativity and spontaneity with emotions and understanding, with purpose.

I was very fortunate to meet his widow. She was very pleased with the recording I had made with my own wife, Jee-Won Oh, of Ginastera’s complete music for cello and piano. And from there grew the idea of recording his two cello concertos, which she had premiered and used as her own calling card as a performer. She knew her own performing days were over, and I was in the right place at the right time — a fortuitous moment that corresponded with my own interest in these works. She died just months before we played and recorded the concertos in Bamberg. I am very pleased to carry the torch and to share this music now with Cleveland audiences, and with my colleagues of The Cleveland Orchestra.

—Mark Kosower, 2018

cardinal points at the hour of dawn [“aurora” in Latin], metamorphoses of colors from shadows to light.”

The actual theme from which the movement’s four metamorphoses are derived is never stated directly, but Ginastera wrote that the cello solo in the third movement of Brahms’s Second Piano Concerto is a unifying element.

The opening metamorphosis is exploratory, with upwardwinding phrases for both the soloist and orchestra. The second Severance Hall 2018-19

About the Music

39

Celebrating the Music of Alberto Ginastera The Cleveland Orchestra performed Ginastera’s First Cello Concerto in January 1981, with the composer’s wife, Aurora Nátola, as soloist. The entire concert weekend was devoted to performing music by Ginastera.

is like a small scherzo.

Before the third metamorphosis comes a short unaccompanied recitative for the soloist, with its first notes spelling out a twelve-note series in the rhythm of the Brahms theme (whose melody can be traced throughout the third metamorphosis).

The fourth metamorphosis provides the climax of the movement and then disappears into space and time.

Mvt 2. Scherzo sfuggevole INSCRIPTION : “This the breeze slender in space!” — by Luis Cernuda, a Spanish poet exiled after the Spanish Civil War. COMMENTARY : “Polychromatic canvas of tones and timbres, a musical kaleidoscope formed by an introduction and a concertante structure that works in retrograde.”

The movement’s title, sfuggevole, means “fleeting, evanescent” — which is a good characterization of this swift, delicate scherzo; Felix Mendelssohn would have been happy to have written this movement, in an era more modern than his own.

Mvt 3. Nottilucente INSCRIPTION : “The night shines with stars and straw turns to gold. He dreams of her whom he adores.” — by Guillaume Apollinaire, a French surrealist poet.

COMMENTARY : “Through the night of luminous moon and iridescent clouds, an impassioned five-part dialogue emerges, songs veiled in the whispers of the distant jungle.”

This movement is a wonderful evocation of the sounds of night, seemingly influenced by Bartók’s music; it features an astonishing array of percussion, including the Puerto Rican tree frog. Dense, sensuous string chords are particularly appealing.

Mvt 4. Cadenza e Finale rustico INSCRIPTION : “The Festival shimmers and explodes” — by Pablo Neruda, Chile’s greatest poet.

COMMENTARY: “Rhythms of the Karnavalito, festive songs, colors of fire in dances invoked from the depths of Andean times.”

The solo cadenza is thoughtful and extremely difficult to play, while the finale is a riot of South American exuberance.

—Hugh Macdonald © 2018

Ginastera at Severa nce Hall, January 1981.

Photos by Peter Hastin gs.

40

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.

About the Music

The Cleveland Orchestra

Scheherazade, Opus 35

(Symphonic Suite after The Thousand-and-One Nights) composed 1888

At a Glance

by

Nikolai

RIMSKYKORSAKOV born March 18, 1844 Tikhvin, Russia (near Novgorod) died June 21, 1908 St. Petersburg, Russia

Severance Hall 2018-19

Rimsky-Korsakov composed Scheherazade during the summer of 1888; he conducted the first performance on October 28 of the same year in St. Petersburg. The United States premiere was given on April 16, 1897, by the Boston Symphony Orchestra under Emil Paur.

Scheherazade runs about 40 minutes in performance. Rimsky-Korsakov scored it for piccolo, 2 flutes, 2 oboes (second doubling english horn), 2 clarinets, 2 bassoons, 4 horns, 2

trumpets, 3 trombones, tuba, timpani, percussion (triangle, tambourine, side drum, cymbals, bass drum, tam-tam), harp, and strings, including a prominent and extensive violin solo.

The Cleveland Orchestra first performed Scheherazade at concerts conducted by Nikolai Sokoloff in November 1919. It has been programmed frequently since that time, with the most recent performances at Severance Hall in April 2014 and at Blossom in 2016.

About the Music THE MIDDLE E ASTE RN TALE S of Ali Baba and the Forty Thieves,

the Spirit in the Bottle, and so many others have delighted many generations of readers throughout the world. When the Arabic original was first translated into French in the 18th century, Western readers were introduced to the fascinating world — half-real and half-imaginary — of an Orient about which they would have had little first-hand information at the time.

Nikolai Rimsky-Korsakov, for one, did know Oriental Arabia from personal experience. As a young officer in the Russian Navy during the 1860s, he toured the Mediterranean region for two-and-a-half years, as well as venturing to the New World. His understanding of Arabia was, in fact, that of a tourist, delighting in the adventure of things new without, we must assume, truly comprehending the day-to-day life of a different culture.

About twenty-five years later, in 1888, he wrote Scheherazade, in which he tried to capture the general atmosphere of the tales told in The Thousand-and-One Nights (also popularly known as The Arabian Nights). The former seaman was naturally drawn to the stories involving Sinbad the Sailor, and included several sea stories in his original outline to the work. Although Rimsky-Korsakov later omitted them from the printed score, his original descriptive titles for each movement are traditionally included in concert programs (see the musical listing page for this weekend’s concerts).

About the Music

41

The composer, however, preferred to think of this work as “an orchestral suite in four movements, closely knit by a community of its themes and motifs, yet presenting, as it were, a kaleidoscope of fairy-tale images and designs of Oriental character.” Rather than re-telling the stories in music, in other words, Rimsky-Korsakov wanted to evoke their flavor and to give musical form to a Westerner’s dream about the Orient.

Musically, the many stories in The Arabian Nights are framed by the larger story of Sultan Shahriar and his wife Scheherazade.

The composer summarized this in his preface to the printed score: “The Sultan Shahriar, convinced of the falsehood and inconstancy of all women, had sworn an oath to put to death each of his wives after the first night. However, the Sultana Scheherazade saved her life by arousing his interest in the tales which she told during the 1001 nights. Driven by curiosity, the Sultan postponed her execution day to day, and at last abandoned his sanguinary design.” Day by day, to put off her own execution, Scheherazade told miraculous stories to the Sultan. For her tales, she borrows verses from poets and words from folksongs, combining fairytales with adventure and sometimes tossing in her own ideas to extend her husband’s interest with new suspense.

Rimsky-Korsakov’s “community of themes and motifs” for the work means that, although the four movements are strongly contrasted in tempo and character, two primary motifs are heard over and over again throughout the piece. These are subjected to many variations, which change the rhythm and the orchestration but never the basic melody.

The first of these two motifs is announced at the very be-

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About the Music

The Cleveland Orchestra

ginning of the piece by the strings and low brass in unison, the second immediately afterwards by the solo violin (which will play a prominent role in all four movements). The themes represent the two protagonists, Sultan Shahriar and Scheherazade, respectively. Thus, throughout the episodes, we are constantly reminded of the basic setting, with Scheherazade speaking and Shahriar listening.

The brilliance of Rimsky-Korsakov’s melodic imagination is matched by his mastery of orchestration. Much of his reputation has rested on his superb handling of the symphony orchestra — he wrote a textbook on orchestration that became a classic in the field after his death. In Scheherazade, in addition to the prominent violin solo, he gives important solo turns to cello, flute, oboe, clarinet, bassoon, trumpet, and harp, carefully choosing the specific tone colors to achieve his intended effect. The various instrumental sounds are blended in novel ways, which influenced many composers of the generation after Rimsky-Korsakov, including his most famous pupil, Igor Stravinsky.

—Peter Laki Copyright © Musical Arts Association

OPERA THEATER

Stravinsky Ravel LE ROSSIGNOL

L’ENFANT ET LES SORTILÈGES

November 7-9, 2018 l 7:30pm l Kulas Hall November 10, 2018 l 3pm l Kulas Hall

Two charming tales of fantasy—The Nightingale and The Child and the Spells—come to life in these early 20th-century one-act operas in which the human and non-human worlds meet in magical ways.

TICKETS: $20 for adults, $15 for seniors and groups, $10 for students cim.edu/fallopera18 or 216.795.3211

Severance Hall 2018-19

About the Music

43

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Gustavo Gimeno Spanish conductor Gustavo Gimeno has served as music director of the Orchestre Philharmonique du Luxembourg since 2015 and, in 2020, begins his tenure as music director of the Toronto Symphony Orchestra. He made his Cleveland Orchestra debut in August 2015.

Mr. Gimeno’s international conducting career began in 2012 as assistant to Mariss Jansons with Amsterdam’s Royal Concertgebouw Orchestra; he made his formal conducting debut with that orchestra in 2014. From 2002 to 2013, he served as principal percussionist with that same ensemble. He has also performed as a member of the Amsterdam Percussion Group, European Community Youth Orchestra, and the National Youth Orchestra of Spain. He has also taught at the Conservatory of Amsterdam and the Musikene School of Music of the Basque Country.

Gustavo Gimeno studied conducting at the Conservatorium van Amsterdam, and participated in masterclasses with Iván Fischer, Ed Spanjaard, and Hans Vonk.

He gained experience and support assisting Claudio Abbado and Bernard Haitink.

He has also served as chief conductor of the Amsterdam-based Con Brio Symphony Orchestra and Het Orkest Amsterdam.

As a guest conductor, Mr. Gimeno has conducted orchestras across Europe and North America and in Asia, including appearances with Spain’s major orchestras and engagements with the City of Birmingham Symphony Orchestra, Danish National Symphony, Deutsche Symphonie-Orchester Berlin, Finnish Radio Symphony Orchestra, Mariinsky Orches-

Severance Hall 2018-19

Guest Conductor

tra, Munich Philharmonic, Netherlands Radio Philharmonic Orchestra, Rotterdam Philharmonic, Japan’s Sendai Philharmonic, Stavanger Symphony, Stuttgart Radio Symphony Orchestra, Swedish Radio Symphony Orchestra, Zurich Tonhalle Orchestra, Toronto Symphony Orchestra, and the Vienna Symphony. In the current season, he makes debuts with the orchestras of Houston, Los Angeles, Seattle, and St. Louis, as well as the Orchestra de la Suisse Romande and the London Philharmonic Orchestra. He made is opera debut in 2015 leading Bellini’s Norma at the Valencia Opera House, and makes his Zurich Opera debut in 2019 leading Verdi’s Rigoletto.

Gustavo Gimeno has worked closely with a number of contemporary composers, including George Benjamin, Pierre Boulez, Peter Eötvös, Theo Loevendie, and Jacob ter Veldhuis. With the Orchestre Philharmonique du Luxembourg, he has recorded a series of albums for Pentatone featuring works by Bruckner, Mahler, Ravel, and Schostakovich.

Gustavo Gimeno was born in Valencia, Spain, and currently lives in Amsterdam. For more information, visit www.gustavogimeno.com.

45

In appreciation . . .

Thursday’s solo performance

by Mark Kosower is dedicated to honor the generosity of The Jean, Harry, and Brenda Fuchs Family Foundation in honor of Harry Fuchs, who served more than four decades as a cellist in The Cleveland Orchestra.

Harry Fuchs was a member of The Cleveland Orchestra’s cello section for forty-two seasons, from 1937 to 1979, and served as principal cello for four seasons from 1943 to 1947. During his tenure as principal, he performed as soloist on three occasions, playing concertos by Tchaikovsky and Haydn.

Born in New York, Harry Fuchs graduated from the Juilliard School of Music, where he was a student of Felix Salmond. He subsequently played in the Metropolitan Opera Orchestra prior to coming to Cleveland.

Fuchs was highly regarded as a teacher and a coach, and served as a faculty member with the Cleveland Music School Settlement, Cleveland Institute of Music, and the Willoughby Fine Arts Center. During his time with The Cleveland Orchestra, he was also the cellist of the original Cleveland Quartet, and played as a member of the Chautauqua Orchestra in New York. He died in 1986 at the age of 77.

More than 110 cellists have played as members of The Cleveland Orchestra during the past century, with the section led by thirteen musicians who’ve been appointed as princpal of the section.

Principal Cellists of The Cleveland Orchestra Oscar Eiler, 1918-19 Victor de Gomez, 1919-39 Leonard Rose, 1939-43 Harry Fuchs, 1943-47 Ernest Silberstein, 1947-60 Adolpe Frezin, 1959-61 Jules Eskin, 1961-64 Gerald Appleman, 1964-66 Lynn Harrell, 1965-71 William Stokking Jr., 1971-73 Stephen Geber, 1973-2003 Desmond Hoebig, 2003-09 Mark Kosower, from 2010

1 9 18 -2 O1 8

Y E A R S

Mark Kosower Principal Cello Louis D. Beaumont Endowed Chair The Cleveland Orchestra

Mark Kosower joined The Cleveland Orchestra as principal cello in 2010. Described as “a virtuoso of staggering prowess” by the Cleveland Plain Dealer, he is a consummate artist equally at home internationally as a recital and concerto soloist. As an orchestral principal, he was formerly solo cellist of the Bamberg Symphony in Germany (2006-10).

His recent and current schedule features Mr. Kosower appearing as soloist with the symphony orchestras of Buffalo, Canton, Columbus, Dayton, Indianapolis, Naples, Phoenix, Toledo, Columbus Pro Musica, and the Oregon Mozart Players. He also launched Bach for Humanity in 2018, a three-year commitment to the greater Cleveland area bringing the cello suites and his arrangements of the violin sonatas and partitas to both conventional and nonconventional venues.

Mr. Kosower recently recorded the Brahms Cello Sonatas with pianist Jee-Won Oh in the Beethovensaal in Hannover, Germany, and the duo saw the release of works by Strauss, Reger, and Klemmstein.

Mr. Kosower is a frequent guest at international chamber music festivals, including Santa Fe, Eastern Music, North Shore Chamber Music, Japan’s Pacific Music Festival, and Colorado’s Strings Music Festival. In past seasons, he has appeared internationally as soloist with the Rotterdam Philharmonic, Orchestre de Paris, China National Symphony in Beijing, National Symphony Orchestra of Taiwan, Brazilian Symphony Orchestra, and the Orquestra Sinfonica de Venezuela, in addition to solo Severance Hall 2018-19

Solo Artist

performances at the Châtelet in Paris, the Alte Oper in Frankfurt, the Hong Kong Cultural Centre, and the Teatro Municipal in Rio de Janeiro, as well as performances with orchestras across the United States.

Mr. Kosower has recorded for the Ambitus, Delos, Naxos International, and VAI labels, including as the first cellist to record the complete music for solo cello of Alberto Ginastera, for Naxos. He was described as a “powerful advocate of Ginastera’s art” by MusicWeb International, and Strings Magazine said of his Hungarian music album (also with Naxos) that “the music allows Kosower to showcase his stunning virtuosity, passionate intensity, and elegant phrasing.”

A dedicated teacher, Mr. Kosower has given masterclasses around the world and is currently a member of the faculty at the Cleveland Institute of Music and the Kent/ Blossom Music Festival. He also teaches a week of classes each summer at Hidden Valley Music Seminars in Carmel Valley.

Born in Wisconsin, Mark Kosower began studying cello at the age of one-anda-half with his father, and later studied with Janos Starker at Indiana University and with Joel Krosnick at the Juilliard School. Mr. Kosower’s many accolades include an Avery Fisher Career Grant, a Sony Grant, and as grand prize winner of the Irving M. Klein International String Competition.

47

your passion inspires us all.

The arts serve as a source of inspiration for us all. That’s why PNC is proud to sponsor The Cleveland Orchestra.

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48

The Cleveland Orchestra

Severance Hall

Friday evening, October 26, 2018, at 8:00 p.m.

Todd Wilson, organ

2O18 SEASON 2O19

THE CLEVELAND ORCHESTRA presents

THE LODGER

AT T H E

MOVIES

with musical accompaniment performed llive on Severance Hall’s NORTON MEMORIAL ORGAN as improvised by organist TODD WILSON directed by Alfred Hitchcock screenplay by Eliot Stannard adapted from The Lodger by Marie Belloc Lowndes and the comic play Who Is He? by Horace Annesley Vachell cinematography by Gaetano di Ventimiglia produced by Michael Balcon, Carlyle Blackwell, and C.M. Woolf with Gainsborough Pictures

THE CAST Marie Ault . . . . . . . . . . . . . . Mrs. Bunting, the Landlady Arthur Chesney . . . . . . . . . . . Mr. Bunting, her husband June Tripp . . . . . . . . . . . . . . . . . . Daisy Bunting, a model Malcolm Keen . . . . . . . . Joe Chandler, a police detective Ivor Novello . . . . . . . . . . . . . . Jonathan Drew, the Lodger The evening begins with three works for solo organ (see listing on page 50).

The film is presented with one intermission and will end at approximately 10:05 p.m.

The film was restored in 2012 and re-released for presentation.

The Cleveland Orchestra’s At the Movies Series is sponsored by PNC. Media Partner: cleveland.com

Severance Hall 2018-19

At the Movies: The Lodger

49

Todd Wilson Todd Wilson is the organ curator of the Norton Memorial Organ at Severance Hall. Regarded as one of today’s finest concert organists, he serves as head of the organ department at the Cleveland Institute of Music. He also serves as director of music at Cleveland’s Trinity Episcopal Cathedral and house organist for the restored Aeolian organ at Stan Hywet Hall & Gardens in Akron.

Mr. Wilson received his bachelor and master of music degrees from the College-Conservatory of Music at the University of Cincinnati, where he studied organ with Wayne Fisher. Further coaching in organ repertoire was with Russell Saunders at the Eastman School of Music.

Mr. Wilson made his Severance Hall recital debut in April 2001, and his Cleveland Orchestra debut at concerts in May 2001. In April 2005, he performed in a trumpet-and-organ recital at Severance Hall with the Orchestra’s principal trumpet, Michael Sachs; the event was recorded and is now available as a compact disc titled Live from Severance Hall.

Todd Wilson has won many competitions, including the Grand Prix de Chartres and the Fort Wayne Competition, and has performed extensively throughout North America and Europe, as well as in Asia. In 2003, he dedicated the organ in the Mormon Conference Center in Salt Lake City. In 2004, he performed in the first orchestral subscription concerts with the new organ at Disney Concert Hall in Los Angeles. Performances have also included the 2008 National Convention of the American Guild of Organists in Minneapolis-St. Paul and at the Guild’s 2012 Convention in Nashville.

A sought-after adjudicator, he has been a jury member for numerous national and international playing competitions. His interest in improvisation has led to a series of popular improvised accompaniments to classic silent films.

Prior to the showing of this evening’s film, Mr. Wilson will perform:

Toccata in D minor, BWV565

by Johann Sebastian Bach (1685-1750)

Sicilienne from Suite, Opus 5

by Maurice Duruflé (1902-1986)

Toccata from Symphony No. 5

by Charles-Marie Widor (1844-1937)

50

Organist

The Cleveland Orchestra

Originally released on February 14, 1927, in London and on June 10, 1928, in the United States.

Based on a novel of the same name by Marie Belloc Lowndes (1868-1947), published in 1913 about the Jack-the-Ripper murders in London during 1888, and on a comic stage adaptation of the novel titled “Who Is He?” by Horace Annesley Vachell (18611955). Hitchcock is said to have witnessed a performance of Vachell’s play version in London in 1915. The novel was the basis for several later film adaptations and radio presentations, as well as the storyline of an opera by composer Phyllis Tate and librettist David Franklin premiered in 1960.

THE STORY — A serial killer known as “The Avenger” has been targeting young blonde women on London’s streets each Tuesday evening. Daisy Bunting (June Tripp), a blonde model, is at a fashion show when she hears news of the latest murder. Her colleagues are terrified and try to disguise their hair under dark wigs or hats. Daisy scoffs at their fears, returning home to her parents, Mr. and Mrs. Bunting (Arthur Chesney and Marie Ault), and her fiancé, policeman Joe Chandler (Malcolm Keen), who have also been reading about the murders. The Buntings take in a new lodger (Ivor Novello), who seems too good to be true — quiet, humble, and with a month’s rent in advance. But the Lodger’s mysterious behavior soon has them wondering if he might be the killer terrorizing the city. Daisy, however, finds the Lodger very attractive, piquing the jealousy of her detective boyfriend, who tries to uncover the man’s true identity. Suspicious clues, mistaken assumptions, and mob psychology carry this scary tale to its thrilling conclusion.

Severance Hall 2018-19

About the Movie

51

Norton Memorial Organ Specification of the E.M. Skinner Pipe Organ, Opus 816, at Severance Hall Great Organ 16' 8' 8' 8' 8' 8' 8' 8' 5 1/3' 4' 4' 2 2/3' 2'

16' 8' 4'

6" Wind Pressure Double Diapason First Diapason Second Diapason Th ird Diapason [enclosed in Choir] Harmonic Flute Gedeckt [enclosed in Choir] Viola [enclosed in Choir] Erzähler Quinte Octave Flute [enclosed in Choir] Twelft h Fifteenth Chorus Mixture VII (15-19-22-26-29-33-36) Harmonics IV (17-19-fl at21-22) Trumpet — 10” Wind Tromba — 10” Wind Clarion — 10” Wind Chimes (Solo) Solo High Pressure Reeds (Solo)

Organ

Organ Layout

61 pipes 61 pipes 61 pipes 61 pipes 61 pipes 61 pipes 61 pipes 61 pipes 61 pipes 61 pipes 61 pipes 61 pipes 61 pipes 427 pipes

1 1/3 '

244 pipes 61 pipes 61 pipes 61 pipes

16' 8' 8' 8'

Swell Organ 16' 8' 8' 8' 8' 8' 8' 8' 8' 4' 4' 2' 16' 8' 8' 8' 4' 8'

6” Wind Pressure Melodia Diapason Rohrflöte Flauto Dolce Flute Celeste [TC] Salicional Voix Celeste Echo Gamba Echo Gamba Celeste Octave Flute Triangulaire Flautino Mixture V (15-19-22-26-29) Cornet V (12-15-17-19-22) Waldhorn — 10” Wind Trumpet — 10” Wind French Trumpet Oboe d'A more Clarion — 10” Wind Vox Humana Tremolo Harp (Choir) Celesta (Choir)

52

6” Wind Pressure Gamba Geigen Concert Flute Dulciana Gamba Dulcet II Octave Flute Gambette Nazard Piccolo Tierce

61 pipes 183 pipes 73 pipes 73 pipes 61 pipes 61 bars

Solo Organ 73 pipes 73 pipes 73 pipes 73 pipes 61 pipes 73 pipes 73 pipes 73 pipes 73 pipes 73 pipes 73 pipes 61 pipes 305 pipes 305 pipes 73 pipes 73 pipes 73 pipes 73 pipes 73 pipes 73 pipes

Choir Organ 16' 8' 8' 8' 8' 8' 4' 4' 4' 2 2/3 ' 2' 1 3/5 '

Larigot Carillon III (12-17-22) Fagotto Orchestral Trumpet Orchestral Oboe Clarinet 73 pipes Tremolo Harp 10” Wind Celesta (ext.)

73 pipes 73 pipes 73 pipes 73 pipes 73 pipes 146 pipes 73 pipes 73 pipes 73 pipes 61 pipes 61 pipes 61 pipes

8' 8' 8' 4' 16' 8' 8' 8' 8' 4'

10 ” Wind Pressure Flauto Mirabilis Gamba Gamba Celeste Orchestral Flute Corno di Bassetto Tuba Mirabilis — 20” Wind French Horn — 20” Wind Corno di Bassetto (ext.)

English Horn Tuba Clarion — 20” Wind Tremolo Chimes

73 pipes 73 pipes 73 pipes 73 pipes 85 pipes 73 pipes 73 pipes 73 pipes 73 pipes 25 bells

Pedal Organ 32' 16' 16' 16' 16' 16' 16' 16' 8' 8' 8' 8' 4' 32' 32' 16' 16' 16' 8'

6” Wind Pressure Major Bass 56 pipes Diapason 32 pipes Contra Bass 56 pipes Diapason (Great) Bourdon (ext. Major Bass) Melodia (Swell) Dulciana 32 pipes Gamba (Choir) Octave (ext. Contra Bass) Gedeckt (ext. Major Bass) Cello (Choir 16' Gamba) Still Gedeckt (Swell 16' Melodia) Super Octave (ext. Contra Bass) Mixture IV (10-12-fl at14-15) — 5” Wind 128 pipes 56 pipes Bombarde — 20” Wind 12 pipes Fagotto 1-12 — 10” Wind (ext. Bombarde) Trombone — 15” Wind Waldhorn (Swell) Fagotto (Choir) Tromba (ext. Bombarde) Chimes

Norton Memorial Organ

The Cleveland Orchestra

Norton Memorial Organ The Norton Memorial Organ at Severance Hall is considered among the finest concert hall organs ever built. Designed specifically for symphonic use and specifically for Severance Hall, the Norton Memorial Organ was created by the renowned organ builder Ernest M. Skinner in Boston in 1930, and then installed just before the hall’s opening in February 1931.

The organ is named in memory of Mr. and Mrs. David Z. Norton, recognizing a contribution from their children — Miriam Norton White, Robert Castle Norton, and Laurence Harper Norton — to build the organ. David Norton and his wife had served on the board of trustees of The Cleveland Orchestra and Mr. Norton was the first president of the Orchestra’s non-profit governing corporation.

Originally located high above the stage, the organ was removed and restored by the Schantz Organ Company of Ohio during the renovation and restoration of Severance Hall (1998-2000). Thanks to the generosity of hundreds of musiclovers from across Northeast Ohio who donated specifically toward the organ’s restoration and future upkeep, the instrument was reinstalled in its new location surrounding the stage and then rededicated in January 2001.

The 94-rank Norton Memorial Organ has 6,025 pipes, made of lead and tin alloy, zinc, or wood. The largest pipe, made of wood, is 32 feet in length, and the smallest, made of metal, is approximately seven inches in length.

To learn more about supporting the longterm maintenance and upkeep of Severance Hall’s Norton Memorial Organ, please contact Legacy Giving by calling 216-231-7556 or by email at legacygiving@clevelandorchestra.com.

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orchestra news

HE CLEVELAND ORCHESTRA

The Cleveland Orchestra

P H OTO BY R O G E R MA S T R O I A N N I

Distinguished Service Award 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

orchestra news Presented to Franz

HE CLEVELAND ORCHESTRA

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 worldclass 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 Clevecontinues on next page

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orchestra news

THE CLEVELAND ORCHESTRA

continued from previous page

land Orchestra classical audiences now aged 25 and younger.

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 Welser-Möst with this institution’s highest award for distinguished service.

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Distinguished Service Award

The Cleveland Orchestra

orchestra news

THE CLEVELAND ORCHESTRA

Website devoted to former program book editor Klaus G. Roy is now online

Friends launches season of Meet the Artist programs on Friday, October 26

A special website devoted to former Cleveland Orchestra program book editor and annotator Klaus G. Roy was launched earlier this year. The site features audio recordings of some of Roy’s talks on music and interviews with a variety of guest artists, as well as of his own works as a composer (including a series of his musical holiday greeting cards). He was well-known for his erudition and humor in making music accessible to attending audience members. He was given the Cleveland Arts Prize for music in 1965 and The Cleveland Orchestra’s Distinguished Service Award in 2005. He died at the age of 86 in 2010. The website can be visited at www.klausgeorgeroy.com.

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 percussionOF THE CLEVELAND ORCHESTRA ist Marc Damoulakis, 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.

FRI ENDS

Mc Gregor

Supporting Seniors in Need and Those Who Serve Them Since 1877 14900 Private Drive • Cleveland 44112 • 216-851-8200 www.mcgregoramasa.org Severance Hall 2018-19

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T HE

CLEVEL AND ORC HE STR A

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

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

For today and for future generations.

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

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

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

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The Cleveland Orchestra

orchestra news

THE CLEVELAND ORCHESTRA

.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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Musicians Emeritus of

T H E

O R C H E S T R A

C L E V E L A N D

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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

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Special thanks to musicians for supporting the Orchestra’s long-term financial strength The Board of Trustees extends a special acknowledgement to the members of The Cleveland Orchestra for supporting the institution’s programs by jointly volunteering their musical services for several concerts each season. These donated services have long played an important role in supporting the institution’s financial strength, and were expanded with the 2009-10 season to provide added opportunities for new and ongoing revenuegenerating performances by The Cleveland Orchestra.

“We are especially grateful to the members of The Cleveland Orchestra for this ongoing and meaningful investment in the future of the institution,” says André Gremillet, executive director. “These donated services each year make a measureable difference to the Orchestra’s overall financial strength, by ensuring our ability to take advantage of opportunities to maximize performance revenue. They allow us to offer more musical inspiration to audiences around the world than would otherwise be possible, supporting the Orchestra’s vital role in enhancing the lives of everyone across Northeast Ohio.”

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Arnold Schoenberg, 1917, portrait by Egon Schiele

Whether one calls oneself conservative or revolutionary, whether one composes in a conventional or progressive manner, whether one tries to imitate old styles or is destined to express new ideas — one must be convinced of the infallibility of your own fantasy and believe in your own inspiration. —Arnold Schoenberg

About the Music

THE

CLEVELAND ORCHESTRA FR ANZ WELSER- MÖST

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

Severance Hall

Thursday evening, October 25, 2018, at 7:30 p.m.

Saturday evening, October 27, 2018, at 8:00 p.m.

Ingo Metzmacher, conductor ANTON WEBERN (1883-1945)

ALBAN BERG (1885-1935)

2O18 SEASON 2O19

Passacaglia, Opus 1 Violin Concerto 1. Andante — Allegretto 2. Allegro — Adagio CHRISTIAN TETZLAFF, violin

INTER MISSION ARNOLD SCHOENBERG (1874-1951)

Pelleas and Melisande, Opus 5 (played without pause) 1. Opening: Introduction — Musical Themes — Golaud Marries Melisande — Transition — Pelleas — Awakening of Love in Melisande — Recapitulation — 2. Scherzo: At the Fountain — At the Tower — In the Vaults — 3. Slow Movement: At the Fountain — Love Scene — Coda: Intervention of Golaud, Death of Pelleas — 4. Finale: Recapitulation of . . . Introduction, Principal Theme, and Love Theme — Entrance of Serving Women, Melisande’s Oath — Epilogue

Saturday’s concert is sponsored by Forest City.

Christian Tetzlaff ’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from The Payne Fund.

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Concert Program — Week 5

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October 25, 27

1 9 1 8 -2O18

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

“Moving Forward, Looking Back” with Michael Strasser, Baldwin Wallace University

WEBERN Passacaglia, Opus 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . page 67 (10 minutes)

BERG Violin Concerto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 71 (25 minutes)

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

INTERMISSION (20 minutes)

SCHOENBERG Pelleas and Melisande . . . . . . . . . . . . . . . . . . . . . . . . page 75 (40 minutes)

Concert ends: (approx.)

THUR 9:10 SAT 9:40

Post-Concert: Opus

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

This season, stop by our newlyredecorated speakeasy lounge (with full bar service) for post-concert drinks, desserts, and convivial comradery.

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This Week’s Concerts

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

The Cleveland Orchestra

INTRODUCING THE CONCERT

Three A’s, Viennese Ideals T H E R E I S N O M I S T A K I N G the connections between the three compos-

ers on this week’s concerts. They make an obvious trio in the history of modern music, gathered together in Vienna at the start of the last century.

Two were pupils of the third. They learned together, argued their points with one another, listened and railed (for and against) the music of their time. Their sensibilities began with Brahms, moved through Strauss, were extraordinarily keen on Mahler. They envisioned the future of music together — and then carefully, vehemently, craftfully worked in their own directions, influenced by but not beholden to their colleagues’ evolving ideas.

Arnold Schoenberg was the older of the three, but not by much. Anton Webern and Alban Berg each enrolled in Schoenberg’s private compositional lessons in 1904. But, as Schoenberg readily acknowledged, he learned as much from his students as they took from him. Education was a give and take proposition for these masters of what became known as the Second Viennese School. The “First School,” of course, was the classic one, of Mozart, Haydn, and Beethoven. The Second was more challenging for audiences to follow — and people are still arguing today whether some of what the Three A’s (Arnold, Alban, and Anton) wrote can really be called music at all, when compared to the more mellifluous and mainstream-ish-ness of the oft-used sobriquet the Three B’s — Bach, Beethoven, and Brahms.

No need to be afraid, however. The musical selections on this week’s concerts are understandable, remarkable, approachable, memorable. These are great works, two of them early and one (Berg) at full maturity. Whatever technique each was using, the method was merely a means of expression.

Creating music that speaks was still what mattered.

Indeed, here expression is wonderfully so. Webern’s Opus 1 is a masterful early rendering of this composer’s lifelong attempt to say so much with so little. Berg’s glorious Violin Concerto is a magnificently-wrought Requiem for a friend’s daughter, filled with melody, pain, and solace, all built into the music itself.

Schoenberg’s Pelleas and Melisande is a Romantic symphony, leaning and yearning for voice and meaning. It is neither Tchaikovsky, nor John Adams, but thrillingly of its time, built by a master orchestrator giving full voice to an enigmatic storyline. Breathe deep, and enjoy.

—Eric Sellen

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Introducing the Concerts

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Passacaglia, Opus 1 composed 1908

At a Glance

by

Anton

Webern composed his Passacaglia durr ing 1908, at the end of his studies with Arnold Schoenberg. The composer conducted its first performance on November 8 that year in Vienna. Leopold Stokowski introduced the Passacaglia to the United States, with the Philadelphia Orchestra, on March 8, 1927.

This work runs about 10 minutes in performance. Webern scored it for 2 flutes, piccolo, 2 oboes, english horn,

2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, tuba, timpani, percussion (bass drum, cymbals, triangle, tam-tam), harp, and strings.

The Cleveland Orchestra first performed Webern’s Passacaglia in March 1950, conducted by Dimitri Mitropoulos. The most recent perr formances were in April 1998, led by music director Pierre Boulez.

WEBERN

About the Music

born December 3, 1883 Vienna, Austria

T H E N U M B E R I N G of musical works can be misleading. We-

died September 15, 1945 Mittersill, Austria

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bern’s Passacaglia, Opus 1, was by no means his first work. It was, instead, the first piece he thought worthy of publication.

It was, in effect, his first mature work, when the composer felt he’d finally found his own voice.

Webern was a student of Arnold Schoenberg’s. (So, too, was Alban Berg — giving us direct linkage for this weekend’s concert program.) Webern was, in fact, one of Schoenberg’s first private students in Vienna. He was twenty-one in 1904; his teacher only six years older. “Professor Schoenberg” had gained quite some attention with two early works and had attracted quite a following of students at the University of Vienna — as someone to lead them forward, someone with ideas about takk ing ahold of music and nudging it toward something modern.

Little did anyone then know just how “modern” Schoenberg and his pupils would take things in the coming decades.

Schoenberg had accepted Webern as a pupil based primarily on a piece called Im Sommerwind, or “In the Summer Wind.” Never given an opus number, Im Sommerwind was very approachable, very tonal music, like a number of Schoenberg’s own early works. Yet it was also filled with moments of contradiction — alive in an era “in motion” between the passionately warm and Romantic 19th century and the around-the-corner something-more (or less) yet to be unfurled in the 20th.

Webern studied with Schoenberg for four years, writing and sketching many potential new works, including a number About the Music

67

of songs. The Passacaglia was written in 1908, after graduation from the University of Vienna — and from Schoenberg’s private lessons — as Webern waited out the summer for his first professional job, as a conductor, set to begin in the autumn.

One of Schoenberg’s strengths as a teacher was his belief in learning about and understanding the past, firmly grounding new ideas and experimentation in knowledge of what the great music of the past had been built upon. He spent much time with his pupils studying Beethoven and Brahms, and, from an even earlier time, Bach. As a teacher, Schoenberg freely admitted, he learned as much from his students’ fertile minds as he was able to offer to them.

In fact, Schoenberg’s great push forward — to a system of atonality and twelve-tone serialism (he disliked such labels) — was yet in the future. His true worth as a teacher was his insightful analysis and study of music old and new, his ability to understand what a composer was trying to do, and how well each had succeeded. He was also a master colorist and orchestrator, and willing to listen to new ideas, so long as there was method in any new madness.

THE MUSIC

If the earlier Im Summerwind is wonderful in the blustery force of its Romantic yearnings, the Passacaglia shows the effect of studying under Schoenberg’s rigor. Here Webern demonstrates more care in structure and much more control of the pacing toward climaxes and the musical changes along the way.

By definition, a passacaglia is an old musical form, from the Baroque period centuries before. In it, a bassline is repeated continuously, with melodic and harmonic variations superimposed above.

Webern follows this idea, using an eight-bar phrasing, although later in the piece the “bassline” moves into higher voices and then disappears entirely a couple of times alltogether.

The piece starts very quietly, as the bassline is announced, but builds quickly to incorporate the entire orchestra. From there it ebbs and flows, building repeatedly, developing character and contrast — within extraordinary details of voicing, instrumentation, and ideation. This is not later Webern, when he adopted and built within the twelve-tone strictures that Schoenberg developed and advocated in the 1920s. Yet, the Passacaglia reveals Webern’s clear and concise mindset, with the recurring structure of the form showing off an early sense of not dissimilar form and format. Nevertheless, here there is melody and traditional harmony, although these too, sometimes — as in Mahler or even Brahms — verge on what

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About the Music

The Cleveland Orchestra

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came to be called atonality, with the traditional underpinnings of Western harmonic unity briefly removed or lost. In part, what Webern was writing here, uses the traditional signals for changing key to instead build a fabric of harmonies, with the tonal center shifting so often that our ears (and minds) often lose track of clear direction.

Unlike Wagner’s flowing dissolve of traditional harmonies in the opera Tristan and Isolde, here Webern paints music that, rather than floating, appears to stand still while still moving, or to be walking backwards and forward at the same time. (Words, inevitably, fail to adequately describe the music itself.)

Webern’s Passacaglia is justly famous as a bridge between the early works of the Second Viennese School and their later, more specific — and at times astringent — work in serialism or twelve-tone method. Here, more clearly for many ears, there is much that captivates ideas of traditional beauty. Yet beauty itself was shifting, just as surely in the sound world of the 20th century as in the abstract art of Picasso, Matisse, Kandinsky, Mondrian, and others. More than a century later, it still sounds fresh, while clearly also feeling more familiar and friendly than it did when first heard.

—Eric Sellen © 2018

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About the Music

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TECHNOLOGY | PROMOTION | PRINT

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Violin Concerto composed 1935

At a Glance

by

Alban

BERG born February 9, 1885 Vienna died December 24, 1935 Vienna

Severance Hall 2018-19

Berg wrote his Violin Concerto as a commission for American violinist Louis Krasner, completing it in August 1935. He died before Krasner premiered the work in Barcelona on April 19, 1936, with Hermann Scherchen conducting. Krasner also gave the work’s American premiere, in March 1937 with the Boston Symphony Orchestra and Serge Koussevitzky.

This concerto runs about 25 minutes in performance. Berg scored it for 2 flutes (both doubling piccolo), 2 oboes (second doubling english horn), 3 clarinets (third doubling alto

saxophone), bass clarinet, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 2 trombones, tuba, timpani, percussion (bass drum, cymbals, snare drum, tam-tam, gong, and triangle), harp, and strings, plus the solo violin.

The Cleveland Orchestra first played Berg’s Violin Concerto in December 1940, when Louis Krasner performed it under Artur Rodzinski’s direction. The Orchestra has presented it on several weekends since that time, most recently at Severance Hall in May 2011 conducted by Franz Welser-Möst with soloist Julia Fischer.

About the Music E V E N T H O S E R E S I S T A N T to a modernist aesthetic have

found themselves fascinated by Alban Berg’s music. A key to this ongoing appeal lies in the composer’s inherent ambivalence. This is music that refuses to conform to the stereotypes of atonality as being obsessed with ugliness.

Berg’s works are instead permeated with a very human desire to embrace and hold on to what seem, on the surface, contradictory impulses. His music exudes the passion and emotional intensity associated with romanticism without compromising his genius for abstract, highly calculated formal design.

Lyrical pathos coexists with tightly controlled patterns. And, however spontaneous Berg’s expressiveness might seem, his scores often encode intricate autobiographical secrets.

This characteristic Bergian ambivalence or duality is what gives the Violin Concerto — the most frequently performed of all his works — its unique flavor. The Concerto has been further enhanced by the circumstances of its composition.

By 1935, Berg was in a desperate financial situation. The Nazis, newly come to power, had condemned atonal music as a “degenerate” art, banning performances throughout Germany.

Russian-American violinist Louis Krasner convinced Berg to set aside work on his opera Lulu with a new commission for a concerto, which would bring with it much-needed immediate funds.

About the Music

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The project took on a sense of emotional urgency with the premature death in April 1935 of Manon Gropius, the daughter of Gustav Mahler’s widow Alma and her second husband, the pioneering architect Walter Gropius. Berg had long been a close personal friend of Alma and had witnessed Manon grow into a promising young actress before she was struck down by polio at the age of 18. He dedicated the Violin Concerto to her as a kind of Requiem, inscribing his score “to the memory of an angel.”

Because it was the last work Berg completed, the Violin Concerto’s preoccupation with death and musical leave-taking has also come to be viewed as an unintended Requiem for the composer himself. Berg, in fact, never heard the work performed, dying in late 1935 just months after finishing it. The posthumous premiere took place in the spring of 1936.

THE MUSIC

By the time he began working on his opera Lulu, Berg had moved beyond the freely ranging atonal idiom exemplified by his earlier expressionistic opera, Wozzeck. The Violin Concerto draws on the later, more tightly organized and “objective” twelve-tone system that Arnold Schoenberg and his followers had adopted in the 1920s. According to this system, all the melodic and harmonic ideas for a given piece should be generated from a particular series or configuration of all twelve notes of the chromatic scale.

The concerto opens with a 10-bar introduction of tentative arpeggios, the soloist then playing an ascending pattern laying out the concerto’s fundamental 12-note series. Its shape is typical of Berg in the subtle references to tonality within this atonal framework. The first three notes, for example, outline a G-minor triad chord, while the last three — which play a pivotal role in the concerto’s final section — are from a whole-tone scale.

Thus the Violin Concerto weaves together the romantic concerto format, developments in twelve-tone composition, and an allegorical journey, described at length by Berg’s biographer Willi Reich to suggest the vitality, catastrophic death, and transcendent memory of Manon Gropius.

But there’s also much more. Scholars in the last few decades have decoded a strand of autobiographical references in the concerto in Berg’s use of musical allusions. And embedded numerological symbolism also appears to memorialize his earlier first love, a servant girl who bore his illegitimate daughter when he was only 17, as well as an all-consuming affair with a woman in his final de-

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About the Music

The Cleveland Orchestra

cade (who, as it happens, was the sister of Alma Mahler’s third husband, the novelist Franz Werfel). Yet Berg’s music makes an immediate impact, regardless of how much we know of the intricate technical and symbolic layers embedded within the score.

The Violin Concerto is divided into two movements, each composed of two smaller parts. After the introduction imaginatively sets out the tone row or scale, the opening Andante section of the first movement unfolds with a gently lyrical poise, with Berg taking the violin through extremes of register, high and low. The tempo and meter then shift into a scherzolike Allegretto for the rest of the movement. Here references to Viennese dance rhythms mix earthiness with a sense of distant memories. Toward the end, with a magical voicing for trumpets, Berg quotes a Carinthian folksong. Its nostalgic tonality acquires a bittersweet tang from the atonal context.

A sense of crisis pervades the opening of the second movement, marked Allegro, which then unfolds as a violin cadenza accompanied by the orchestra. A heavily-dotted rhythm becomes part of the musical profile and is hammered home in the concerto’s focal point, a powerful climax that dies away and yields to one of the most moving passages in 20th-century music. Berg segues into his final Adagio section by matching the last four notes of his twelve-tone series with Bach’s setting Severance Hall 2018-19

About the Music

AN ANGEL Manon Gropius, above left as a young child with her parents, Walter Gropius and Alma Schindler Mahler Gropius. And above as a teenager. Manon was paralyzed from polio at age 17 and died a year later. Alban Berg saw his Violin Concerto as a kind of musical requiem for Manon.

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of an old chorale in the cantata O Ewigkeit, Du Donnerwort (“O Eternity, Thou Word of Thunder”).

Here, modernity collides with a vanished time of faith. Berg even wrote out the words to the chorale in his score, with their promise of a “heavenly home” beyond the suffering of this life.

In counterpoint to his newly-harmonized variations and commentary on the tune, Berg quotes Bach’s version in the clarinets.

The solo violin continues by “singing” a serene cantabile and is instructed to lead the ensemble of violins and violas, who join together for a cadenza-like passage. The earthy Carinthian folksong from the earlier Allegretto makes a last appearance before the moving farewell prepared in the movement’s coda section.

Here the soloist comes to rest after a stratospheric ascent to a high G, accompanied by a faint echo of the concerto’s opening gesture of striving arpeggios.

—Thomas May © 2018 Thomas May writes widely about music and theater for orchestras and festivals in North America and Europe. His books include Decoding Wagner and The John Adams Reader.

THE CLEVELAND ORCHESTRA RESIDENCY... AT BW. CONSERVATORY of MUSIC bw.edu/TCO

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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

About the Music

The Cleveland Orchestra

Pelleas and Melisande, Symphonic Poem, Opus 5 composed 1902-03

At a Glance

by

Arnold

SCHOENBERG born September 13, 1874 Vienna died July 13, 1951 Los Angeles

Severance Hall 2018-19

Schoenberg composed his symphonic poem Pelleas and Melisande between July 2, 1902, and February 28, 1903. The composer conducted the first performance on January 26, 1905, at a concert organized by the Verein der schaffenden Tonkünstler (Society of Creative Musicians) in Vienna.

Schoenberg also led the first American performance on March 16, 1934, with the Boston Symphony Orchestra.

This work runs about 40 minutes in performance. Schoenberg scored it for 3 flutes, 2 piccolos, 3 oboes, 2 english horns, 3 clarinets, piccolo

clarinet in E-flat, 2 bass clarinets, 3 bassoons, contrabassoon, 8 horns, 4 trumpets, 5 trombones, tuba, timpani, percussion (large military drum, bass drum, triangle, 2 cymbals, tam-tam, glockenspiel), harp, and strings.

The Cleveland Orchestra first performed Schoenberg’s Pelleas and Melisande in March 1972, under the direction of Pierre Boulez. It has been performed on a few occasions since that time, most recently under the direction of Juanjo Mena at Severance Hall concerts in February 2015.

About the Music T H E E A R LY W O R K S of Arnold Schoenberg usually evoke one of two reactions. Some people feel that this music is not yet the “real” Schoenberg, with so much of the feeling and direction still firmly rooted in late Romanticism. Others wish Schoenberg had stopped at that point, and continued along the line of his early works (infused with Romanticism); some think they would be happier had he never developed atonality and serialism.

Both reactions are missing some of the real point. Surely, Pelleas and Melisande must be “real” Schoenberg. It is the work of a composer who knew exactly what he wanted and how to get it — a feat all the more impressive because Schoenberg was almost entirely self-taught in composition.

As far as his later music is concerned, there is a definite continuity across all periods of his life. Serialism was nothing but an attempt to impose a new order on musical ideas that had been developing since the beginning of Schoenberg’s career and had, over a period of twenty years, gradually broken loose from tonal control. Serialism was a technique, not an end in itself.

When Schoenberg began work on his symphonic poem Pelleas and Melisande in Berlin in 1902, he was apparently unaware that Debussy’s opera of the same name had just been performed in Paris. It was Richard Strauss who had suggested Maurice Maeterlinck’s drama as a musical subject to the young About the Music

75

Schoenberg, even though, as principal conductor at the Imperial Court Opera in Berlin, Strauss must have known of the recent operatic sensation that Debussy’s impressionistic work had caused. In any case, Schoenberg quickly gave up his original plans to write an opera on Pelleas and composed a tone poem instead, more or less along Straussian lines of what a tone poem might be — an orchestral rendering of the actions and emotions central to a storyline.

Thanks to research done by Walter B. Bailey, we know that Schoenberg had very precise ideas about how the music expressed the characters and actions in this drama. These ideas survive in sketches and correspondence, but Schoenberg did not publish them until a year before his death, when (in 1950) he wrote jacket notes for an LP recording of the work. And even at that point, he only printed part of the information.

Of course, the essence of Maeterlinck’s play — which Debussy captured so masterfully in his opera — is its mystery, its tendency of never spelling things out completely. Impressionism is, inherently, about never quite saying what is actually happening. Some mystery about Schoenberg’s actions and intentions, therefore, seems appropriate.

Nevertheless, Schoenberg’s approach — and indeed, his entire musical style — was the total opposite of Debussy’s. Schoenberg later commented that, had he written his Pelleas opera, “it would have differed from Debussy’s. I might have missed the wonderful perfume of the poem, but I might have made my characters more singing.”

Indeed, he made them sing even in the symphonic poem, with their themes reaching the kind of post-Wagnerian Romantic heights of passion that Debussy took great pains to avoid.

The story in a nutshell: Golaud, the grandson of the mythical King Arkel, discovers a young girl in the forest. Her name is Mélisande; her origins are never revealed. Golaud takes her home and marries her; but she falls in love with his younger half-brother Pelléas. Golaud kills Pelléas. Mélisande dies in childbirth, leaving her husband forever in doubt about the nature of the love between her and Pelléas.

THE MUSIC

Schoenberg’s 40-minute tone poem is structured as a four-movement symphony, played with no pauses between the movements, with a scherzo in second place and a slow movement coming third.

The first movement opens with a somber introduction, with a bass clarinet theme that Schoenberg called the “Fate” motif. It is the first meeting between Golaud and Melisande in the forest; she

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About the Music

The Cleveland Orchestra

is pictured by an expressive oboe melody, he by a theme played by the three horns “softly but with determination.” Pelleas enters later, to music of “youthful and knightly character” (Schoenberg’s words), with the principal voice in the trumpet. The themes of the three characters are intertwined, just as their fates are in the drama.

The scherzo second movement (which is in a dance-like triple meter, at least at first) shows Melisande playing with her wedding ring in the forest, but the fun is over when she drops it into a deep well. The scene then changes, and we hear a magical passage scored for three solo strings, woodwind, and harps, corresponding to the moment where Melisande’s long hair falls down from her window so that Schoenberg’s Pelleas (who is standing on the ground) can touch it. Golaud’s forty-minute motif, scored menacingly for the full orchestra, marks the arrival tone poem is of the jealous husband. The next section (technically still within structured the scherzo) is a highly dramatic, eerie passage suggesting Golaud and Pelleas in the deep vaults of the castle. much like a We are now approaching the emotional high point of the four-movement piece — the lush love scene reminiscent of Wagner’s Tristan and symphony, Isolde, here between Pelleas and Melisande — that occupies most of the slow third movement of the tone poem. The moment played with no when Golaud appears and slays his brother is almost graphic in pauses between its violence, with the “Fate” motif sounded out by the entire ormovements, chestra, followed by a series of short, repeated chords in the brass. with a scherzo The final movement begins with a return to the somber introduction. At the moment of her death, everything about in second place Melisande is as mysterious as it was when we first met her. and a slow secAside from occasional outbursts of passion, the tempo remains tion coming slow and the mood tragic. A characteristic sliding harp glisthird. sando introduces a quiet, procession-like motif representing the grave entrance of the servants “as a premonition of the death of Melisande.” The rest of the piece is a solemn eulogy that works to sum up this great tragedy of human beings utterly incapable of understanding one another.

—Peter Laki Copyright © Musical Arts Association

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

French pianist

Hugues Leclère

2 p.m. on Oct. 28

The Cleveland Museum of Art | FREE Severance Hall 2018-19

About the Music

77

Ingo Metzmacher German conductor Ingo Metzmacher serves as artistic director for KunstFestSpiele Herrenhausen in Hanover, Germany.

He is particularly devoted to music of the 20th century to today, and, as a kind of motto, has striven throughout his career “to make the new sound familiar and the familiar sound new.” He made his Cleveland Orchestra debut in March 1997.

Mr. Metzmacher has held a number of leadership positions, including as music director of the Hamburg State Opera (1997-05), chief conductor of the Dutch National Opera in Amsterdam (2005-08), and artistic director of the German Symphony Orchestra of Berlin (2007-10).

Highlights of recent conducting engagements include new productions of operas by Harrison Birtwistle, Luigi Nono, Wolfgang Rihm, and Bernd Alois Zimmermann at the Salzburg Festival, as well as Wagner’s complete four-opera Ring of the Nibelung cycle with the Geneva Opera.

He has led performances with the opera houses of Berlin, London, Milan, Paris, Vienna, and Zurich, and has appeared with major orchestras across Europe and the United States, including the premier ensembles of Amsterdam, Berlin, Chicago, Paris, and Vienna.

Mr. Metzmacher’s wide discography includes his New Year’s Eve concerts in Hamburg from 1999 to 2004, Karl Amadeus Hartmann’s symphonies with the Bamberg Symphony Orchestra, the world premiere of Hans Werner Henze’s Ninth Symphony with the Berlin Philharmonic, and live recordings of Shostakovich’s opera Lady Macbeth of Mzensk at the Vienna

78

State Opera and Nono’s Prometeo at the Salzburg Festival.

Born in Hanover, Ingo Metzmacher studied piano, music theory, and conducting in his home town, Cologne, and Salzburg. In Frankfurt he worked with the Ensemble Modern and with Michael Gielen at the Frankfurt Opera.

His international conducting career was launched in 1988, when he stepped in to conduct Franz Schreker’s Der ferne Klang in Brussels.

Also a pianist, Mr. Metzbacher has appeared in recitals with Christian Gerhaher, Matthias Goerne, and Christine Schäfer, and at the Aspen Music Festival, Salzburg Festival, Schubertiade Schwarzenberg, and London’s Wigmore Hall.

As an author, Ingo Metzmacher has championed pioneering composers such as John Cage, Luigi Nono, Charles Ives, Olivier Messiaen, Arnold Schoenberg, Karlheinz Stockhausen, and Edgard Varèse in his book Don’t Be Afraid of New Sounds [Keine Angst vor neuen Tönen], published in 2005. His second book, Curtain Up! Discovering and Experiencing Opera [Vorhang auf!

Oper entdecken und erleben] was published in 2009.

For more information, please visit www.ingometzmacher.com.

Guest Artist

The Cleveland Orchestra

Christian Tetzlaff German violinist Christian Tetzlaff is among today’s most sought after violinists. He made his United States debut with The Cleveland Orchestra in September 1988 and has performed with the Orchestra frequently since that time, most recently in May 2015.

Throughout his career, Mr. Tetzlaff has performed a broad repertoire, from Bach’s unaccompanied sonatas and partitas to 19th-century masterworks by Mendelssohn, Beethoven, and Brahms, and from 20th-century concertos by Bartók, Berg, and Shostakovich to world premieres of contemporary works such as Jorg Widmann’s Violin Concerto. He is a regular guest artist with the world’s leading orchestras and also appears at the world’s most prominent summer music festivals, including Verbier, Salzburg, Tanglewood, Edinburgh, BBC Proms, and New York’s Mostly Mozart Festival. Mr. Tetzlaff has served as artist-in-residence with the Berlin Philharmonic, Carnegie Hall, and London’s Wigmore Hall. This season, he serves in that capacity with the Seoul Philharmonic Orchestra and the Dresdner Philharmonie.

In chamber music, Mr. Tetzlaff has collaborated frequently with Leif Ove Andsnes, Alexander Lonquich, Sabine Meyer, Heinrich Schiff, Lars Vogt, and Tabea Zimmermann. He founded the Tetzlaff Quartet in 1994 with violinist Elisabeth Kufferath, violist Hanna Weinmeister, and his sister, cellist Tanja Tetzlaff. Each year, the quartet performs one tour; in the current season their performances include appearances at the Leipzig Gewandhaus and the Pierre-Boulez-Saal Berlin. Mr. TetSeverance Hall 2018-19

Guest Artist

zlaff also performs in a trio with his sister and pianist Lars Vogt; the group’s 2018-19 engagements include performances at the Hitzacker and Klosters festivals and the Alte Oper Frankfurt, as well as playing a United States tour.

Christian Tetzlaff’s recordings reflect his interest in works by a range of composers, from Bach, Beethoven, and Schumann to Berg, Sibelius, and Szymanowski. His honors include several Diapason d’Or awards and Grammy nominations, as well as the Echo Klassik prize, Edison prize, and Midem Classical Award.

Born in Hamburg in 1966, Christian Tetzlaff began playing violin and piano at age six. After his concert debut at age 14, he began studies at the conservatory in Lübeck with Uwe-Martin Haiberg, for whom musical interpretation was the key to violin technique (rather than the other way around). He later worked with Walter Levine at the University of Cincinnati College-Conservatory of Music, and spent two summers at Vermont’s Marlboro Music Festival.

Mr. Tetzlaff performs on a violin modeled after a Guarneri del Gesu, made by the German violin maker Peter Greiner.

For additional information, visit www.christian-tetzlaff.de.

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THE CLEVELAND ORCHESTRA

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

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

Giving Societies gifts in the past year, as of September 1, 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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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

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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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Art of Beauty Company, Inc. Mr. and Mrs. Dean Barry Doris F. Beardsley and James E. Beardsley 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 listings continue

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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. Saltzman+ 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

The Severance Cleveland HallOrchestra 2018-19

Individual Annual Support

95 83

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 Wei Weigand+ Dr. Edward L. and Mrs. Suzanne Suzan 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 The Cleveland Cleveland Orchestra 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+

The Cleveland Severance HallOrchestra 2018-19

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 O’Brien Richard and Jolene O’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. Mary 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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DEPARTMENT OF ART HISTORY AND ART FREE FALL LECTURES The 44th Annual Cleveland Symposium

Keynote: John Hopkins

October 26 | 10:00am-6:30pm Keynote | 5:45pm Cleveland Museum of Art

THE PRAISEWORTHY ONE: DEVOTIONAL IMAGES OF THE PROPHET MUHAMMAD IN ISLAMIC TRADITIONS

Lecture & book signing

Christiane Gruber

Cleveland Museum of Art

December 7 | 5:30pm

DIVINE, DESIRABLE, DEADLY: THE MIDDLE AGES THROUGH OBJECTS Elina Gertsman and Barbara Rosenwein

December 12 | 6:00pm

Cleveland Museum of Art Judy’s Hand, by Tony Tasset, CWRU’s contribution to FRONT International.

BUILT ENVIRONMENTS AND PERFORMANCES OF POWER

DESTRUCTION AND DEFIANCE IN LATE REPUBLICAN ROME The Julius Fund Lecture in Ancient Art

Penelope J.E. Davies

November 7 | 5:30pm Cleveland Museum of Art

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86

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contact Live Publishing Company 216.721.1800 info@livepub.com

The Cleveland Orchestra

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 thousands sands of generous patrons, including the Leadership donors listed on these se pages.

Listings of all annual donors of $300 and more each year are published blished annually, and can be viewed online at CLEVELANDORCHESTRA .COM For information about how you can play a supporting role le 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.com estra.coom

T HE

CLEVELAND ORC HE STR A FRANZ WELSER-MÖST

* deceased

The Cleveland Severance HallOrchestra 2018-19

Individual Annual Support

99 87

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 Support gifts in the past year, as of September 1, 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. 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 on this page. The generous funding from these institutions (through gifts of $2,500 and more) is a testament of support for the Orchestra’s music-making, education programs, and community initiatives.

Annual Support gifts in the past year, as of September 1, 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

The Cleveland Severance HallOrchestra 2018-19

$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

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Expression is an essential need.

By better illustrating our story, we can better help you express yours.

Complete the story at oac.ohio.gov/identity.

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11001 Euclid Avenue Cleveland, Ohio 44106 CLEVELANDORCHESTRA.COM

WELCOME

LEARN MORE

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 located, this newly-renovated drink-and-meet speakeasy 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.

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.

Severance Hall 2018-19

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

to Cleveland.

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.

FRIDAY MATINEE PARKING Parking availability for Friday Morning Matinee performances is extremely limited. Bus service options are available 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.

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.

Severance Hall 2018-19

Guest Information

north O point portfolio managers c o r p o r a t i o n Ronald J. Lang Diane M. Stack Daniel J. Dreiling

440.720.1102 440.720.1105 440.720.1104

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The Cleveland Orchestra

11001 Euclid Avenue Cleveland, Ohio 44106

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

CLEVELANDORCHESTRA.COM

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

Severance Hall 2018-19

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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A SYMPHONY OF

success

We believe that all Cleveland youth should have access to high-quality arts education. Through the generosity of our donors, we have invested nearly $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.

(877) 554-5054 clevelandfoundation.org/success