The Cleveland Orchestra November 1, 2, 3, 8, 9, 10 Concerts by Live Publishing

THE CLEVELAND ORCHESTRA FRANZ WELSER-MÖST

Q&A with Franz Welser-Möst

2O18 SEASON 2O19 AUTU M N

. . page 8

November 1, 2, 3 Rachmaninoff & Bartók . . . . . . page 29 WEEK 6 —

WEEK 7 — November 8, 9, 10 Boléro & More . . . . . . . . . . . . . . . . . page 59

SEVERANCE HALL

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THE CLEVELAND ORCHESTRA

PROGRAM BOOK

Y E A R S

TA B L E

Week

CONTENTS

AND

About the Orchestra

PAGE

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Pers Perspectives from the Executive Director . . . . . . . 7 Musical Arts Association . . . . . . . . . . . . . . . . . . . . . . . 15 About The Cleveland Orchestra . . . . . . . . . . . . . . . 17 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Music Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 At the Concert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

RACHMANINOFF & BARTÓK Concert: November 1, 2, 3 . . . . . . . . . . . . . . . . . . . 29 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 31

2O18 SEASON 2O19 COVER: PHOTOGRAPHY BY ROGER MASTROIANNI

Copyrightt © 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

RACHMANINOFF

Piano Concerto No. 3 . . . . . . . . . . . . . . . . . . . . . . . 33 BARTó K The Wooden Prince . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Conductor: Matthias Pintscher . . . . . . . . . . . . . . . . . 42 Soloist: Kirill Gerstein . . . . . . . . . . . . . . . . . . . . . . . . . . 43

NEWS

Cleveland Orchestra News . . . . . . . . . 46

RAVEL’S BOLÉRO & MORE Concert: November 8, 9, 10 . . . . . . . . . . . . . . . . . . 59 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 61 DEBUSSY

Pelléas and Mélisande Symphonic Suite . . . . . . 63 PINTSCHER

Transir (for flute and chamber orchestra) . . . . 67

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.

RAVEL

Rapsodie espagnole . . . . . . . . . . . . . . . . . . . . . . . . 71 Pavane for a Dead Princess . . . . . . . . . . . . . . . . . . 73 Boléro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 Conductor: Alain Altinoglu . . . . . . . . . . . . . . . . . . . . 78 Soloist: Joshua Smith . . . . . . . . . . . . . . . . . . . . . . . . . . 79

50%

Support Severance Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Second Century Sponsors . . . . . . . . . . . . . . . . . . . . . Heritage Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Annual Support Individuals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Corporate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Foundations/Government . . . . . . . . . . . . . . . . . .

This program is printed on paper that includes 50% recycled content. All unused books are recycled as part of the Orchestra’s regular business recycling program. 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.

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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

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.

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

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,

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

Severance Hall 2018-19

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

Second Century Sponsors

The Cleveland Orchestra

PHOTOGRAPHY BY ROGER MASTROIANNI

Give yourself the gift of peace of mind this season.

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MUSICAL ARTS ASSOCIATION

as of August 2018

operating The Cleveland Orchestra, Severance Hall, and Blossom Music Festival O F F I C E R S A ND E XE C UT I VE C O MMIT T E E Richard K. Smucker, President Dennis W. LaBarre, Chairman Richard J. Bogomolny, Chairman Emeritus Alexander M. Cutler Hiroyuki Fujita David J. Hooker Michael J. Horvitz Douglas A. Kern

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

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

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

RE S I D E NT TR U S TE E S Richard J. Bogomolny Yuval Brisker Jeanette Grasselli Brown Helen Rankin Butler Irad Carmi Paul G. Clark Robert D. Conrad Matthew V. Crawford Alexander M. Cutler Hiroyuki Fujita Robert K. Gudbranson Iris Harvie Jeffrey A. Healy Stephen H. Hoffman David J. Hooker Michael J. Horvitz Marguerite B. Humphrey Betsy Juliano Jean C. Kalberer Nancy F. Keithley

Christopher M. Kelly Douglas A. Kern John D. Koch Dennis W. LaBarre Norma Lerner Virginia M. Lindseth Milton S. Maltz Nancy W. McCann Stephen McHale Thomas F. McKee Loretta J. Mester Beth E. Mooney John C. Morley Meg Fulton Mueller Katherine T. O’Neill Rich Paul Larry Pollock Alfred M. Rankin, Jr. Clara T. Rankin Audrey Gilbert Ratner

Charles A. Ratner Zoya Reyzis Barbara S. Robinson Steven M. Ross Luci Schey Spring Hewitt B. Shaw Richard K. Smucker James C. Spira R. Thomas Stanton Russell Trusso Daniel P. Walsh Thomas A. Waltermire Geraldine B. Warner Jeffery J. Weaver Meredith Smith Weil Jeffrey M. Weiss Norman E. Wells Paul E. Westlake Jr. David A. Wolfort

N O N- R E S I D E NT TRUS T E E S Virginia Nord Barbato (New York) Wolfgang C. Berndt (Austria)

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

Herbert Kloiber (Germany) Paul Rose (Mexico)

T R U S TE E S E X- O F FI C I O Faye A. Heston, President, Volunteer Council of The Cleveland Orchestra Patricia Sommer, President, Friends of The Cleveland Orchestra Elizabeth McCormick, President, Blossom Friends of The Cleveland Orchestra T R U S TE E S E M E R I T I George N. Aronoff Dr. Ronald H. Bell David P. Hunt S. Lee Kohrman Charlotte R. Kramer Donald W. Morrison Gary A. Oatey Raymond T. Sawyer PA S T PR E S I D E NT S D. Z. Norton 1915-21 John L. Severance 1921-36 Dudley S. Blossom 1936-38 Thomas L. Sidlo 1939-53

Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee Beverly J. Warren, President, Kent State University Barbara R. Snyder, President, Case Western Reserve University

H O N O RARY T RUS T E E S FOR LIFE Robert P. Madison Gay Cull Addicott The Honorable John D. Ong Charles P. Bolton James S. Reid, Jr. Allen H. Ford Robert W. Gillespie * deceased Alex Machaskee

Percy W. Brown 1953-55 Frank E. Taplin, Jr. 1955-57 Frank E. Joseph 1957-68 Alfred M. Rankin 1968-83

Ward Smith 1983-95 Richard J. Bogomolny 1995-2002, 2008-09 James D. Ireland III 2002-08 Dennis W. LaBarre 2009-17

THE CLEVEL AND ORCHESTR A Franz Welser-Möst, Music Director

Severance Hall 2018-19

André Gremillet, Executive Director

Musical Arts Association

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

216 . 32 0 . 0 012 apollosfire.org

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.

THE

CLEVELAND ORCHESTRA

its Centennial Season in 2017-18 and across 2018, The Cleveland Orchestra begins its Second Century hailed as one of the very best orchestras on the planet, noted for its musical excellence and for its devotion and service to the community it calls home. The coming season will mark the ensemble’s seventeenth year under the direction of Franz Welser-Möst, one of today’s most acclaimed musical leaders. Working together, the Orchestra and its board of trustees, staff, volunteers, and hometown have affirmed a set of community-inspired goals for the 21st century — to continue the Orchestra’s legendary command of musical excellence while focusing new efforts and resources toward fully serving its hometown community throughout Northeast Ohio. The promise of continuing extraordinary concert experiences, engaging music education programs, and innovative technologies offers future generations dynamic access to the best symphonic entertainment possible anywhere. The Cleveland Orchestra divides its time across concert seasons at home — in Cleveland’s Severance Hall and each summer at Blossom Music Center. Additional portions of the year are devoted to touring and intensive performance residencies. These include a recurring residency at Vienna’s Musikverein, and regular appearances at Switzerland’s Lucerne Festival, in New York, at Indiana University, and in Miami, Florida. Musical Excellence. The Cleveland Orchestra has long been committed to the pursuit of musical excellence in everything that it does. The Orchestra’s ongoing collaboration with Welser-Möst is widely-acknowledged among the best orchestraconductor partnerships of today. Performances of standard repertoire and new works are unrivalled at home and on tour across the globe, and through recordings and broadcasts. Its longstanding championship of new composers and commissioning of new works helps audiences experience music as a living language that grows with each new generation. Fruitful re-examinations and juxtapositions of traditional repertoire, recording projects and tours of varying repertoire and in different locations, and acclaimed collaborations in 20th- and 21st-century masterworks together enable The Cleveland Orchestra the ability to give musical performances second to none in the world. Serving the Community. Programs for students and engaging musical explorations for the community at large have long been part of the Orchestra’s PHOTO BY ROGER MASTROIANNI

WITH CE LE BRATION S THROUGHOUT

Severance Hall 2018-19

The Cleveland Orchestra

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

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 $45, $40, students free

Tuesday, December 4, 7:30 p.m. Akron Civic Theatre

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

Thursday, April 18, at 7:30 p.m. Akron’s EJ Thomas Performing Arts Hall

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

MainStage series up next Tuesday, January 22, at 7:30 p.m. Akron’s EJ Thomas Hall Calidore String Quartet with Inon Barnatan, piano

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 Peter Otto FIRST ASSOCIATE CONCERTMASTER

Virginia M. Lindseth, PhD, Chair

Jung-Min Amy Lee ASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith 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

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

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 Jessica Sindell 2 Austin B. and Ellen W. Chinn Chair

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

OBOES Frank Rosenwein * Edith S. Taplin Chair

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

Robert Walters ENGLISH HORN Robert Walters Samuel C. and Bernette K. Jaffe Chair

CLARINETS Afendi Yusuf * Robert Marcellus Chair

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

Daniel McKelway 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

HORNS Michael Mayhew § Knight Foundation Chair

Jesse McCormick Robert B. Benyo Chair

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

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

Michael Miller CORNETS Michael Sachs * Mary Elizabeth and G. Robert Klein Chair

Michael Miller TROMBONES Shachar Israel 2 Richard Stout Alexander and Marianna C. McAfee Chair

EUPHONIUM AND BASS TRUMPET Richard Stout

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 Sidney and Doris Dworkin Chair Blossom-Lee Chair Sunshine Chair Myrna and James Spira Chair Gilbert W. and Louise I. Humphrey Chair George Szell Memorial Chair

* Principal § 1

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

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

Severance Hall 2018-19

The Musicians

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,

“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

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

Your legacy helps create Att Uni nive v rsity ve y Ho Hosp spit ital als, s, sci cien ence ce and c mp co pas assiion n con onve verg rgee to creat reate ate ne new w yss to cu wa c ree and nd bett etter er way ays to car are. Wiith W h you o r su upp pporrt, we’ e’llll con ontti tin nu ue t mak to ke aam mazingg sttri ride dees toowa ward rd d impr impr im prov ovi ving ing th he he heal alth lth and d wellll-be beiing in off our com mmu muni nity ni t . Jo ty Join in the in he many an ny who aree le leav avin ingg th in hei e r le legacy cy – adv dvancing the scie th scie sc ienc ncee of nc o hea ealt lth h and the art of comp co mp pas assi s on for si or gen ner erat attions ions to co io come me. me

To learn To earn ea n mor ore, e, co on nta tactt our u Giift Pl G Planni aan nni nin ngg Tea eam: m:: m UHG UH Giiv viin ngg.o .org org rg | 216 16-9 983-2 833-2 -220 2220 00

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. The previews (see listing at right) feature a variety of speakers and guest artists speaking or conversing about that weekend’s program, and often include the opportunity for audience members to ask questions.

Severance Hall 2018-19

Cleveland Orchestra Concert Previews are presented before every regular subscription concert, and are free to all ticketholders to that day’s performance. Previews are designed to enrich the concert-going experience. Concert Previews are made possible in part by a generous endowment gift from Dorothy Humel Hovorka.

Autumn Previews: 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 lecturer and administrator, Cleveland Orchestra Music Study Groups

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

November 23, 24, 25 “Great Hits from the 18th Century” (music by Vivaldi, Mozart and Haydn) with Rose Breckenridge

November 29, December 1 “The American Landscape” (music by Adams and Copland) with Michael Strasser, professor of musicology, Baldwin Wallace University Conservatory of Music

December 6, 7, 8, 9 “Handel’s Messiah” with David Rothenberg, chair, department of music, Case Western Reserve University

Concert Previews

Jones Day is proud to lead a standing ovation for The Cleveland Orchestra, one of the worldâ&#x20AC;&#x2122;s most acclaimed performing ensembles. We applaud The Cleveland Orchestra for its artistic excellence, creative programming, and active community engagement, both at home and on

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THE

CLEVELAND ORCHESTRA FR ANZ WELSER- MÖST

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

Severance Hall

Thursday evening, November 1, 2018, at 7:30 p.m. Friday evening, November 2, 2018, at 8:00 p.m. Saturday evening, November 3, 2018, at 8:00 p.m.

Matthias Pintscher, conductor SERGEI RACHMANINOFF (1873-1943)

2O18 SEASON 2O19

Piano Concerto No. 3 in D minor, Opus 30 1. Allegro ma non tanto 2. Intermezzo: Adagio 3. Finale: Alla breve — Scherzando — Tempo I KIRILL GERSTEIN, piano

INTER MISSION BÉLA BARTÓK (1881-1945)

The Wooden Prince, Opus 13 [A fából faragott királyfi] Opening — 1st Dance: Of The Vain Princess in the Forest — The Prince Meets the Forest Spirit and Sees the Princess — 2nd Dance: Of the Trees Defending the Forest — 3rd Dance: Of the Waves Fighting Against the Prince — The Prince Builds a Wooden Prince to Attract the Princess — The Princess Spies on the Wooden Prince — 4th Dance: Of the Princess and the Wooden Prince (the Princess is Charmed and Runs Off with the Wooden Imposter) — The Prince Despairs — The Forest Spirit Comforts Him — Great Apotheosis — 5th Dance: The Princess Prods and Encourages the Wooden Prince to Dance Again — 6th Dance: Seeing the Wooden Prince’s Failings, the Princess Appeals to the Prince with an Alluring Dance — 7th Dance: The Prince Rejects Her and Leaves; the Princess Hurries After Him, but the Forest Stops Her — United at Last, the Prince and Princess Embrace — Long Kiss — Slow Curtain as Night Falls

This weekend’s concerts are sponsored by Jones Day.

Severance Hall 2018-19

Concert Program — Week 6

November 1, 2, 3

1 9 1 8 -2O18

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

Concert Preview: BEGINS ONE HOUR BEFORE CONCERT

Concert begins: THUR 7:30 FRI 8:00 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

CONCERT PREVIEW

“Two Post-Romantic Masterpieces” with Cicilia Yudha of Youngstown State University

RACHMANINOFF Piano Concerto No. 3 . . . . . . . . . . . . . . . . . . . page 33 (45 minutes)

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

INTERMISSION

facebook.com/clevelandorchestra

(20 minutes)

twitter: @CleveOrchestra instagram: @CleveOrch

BÉLA BARTÓK The Wooden Prince . . . . . . . . . . . . . . . . . . . . . page 37 (45 minutes)

Duration times shown for musical pieces (and intermission) are approximate. Concert ends: (approx.)

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

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

TThis his Week’s Concerts

The Cleveland Orchestra

INTRODUCING THE CONCERT

Popular Piano &Wooden Puppet

T H I S W E E K ’ S C O N C E R T S present two contrasting works, written just be-

fore or during World War I near the start of the 20th century. One is a popular piano concerto. The other is a rarely-preformed ballet score. The evening begins with Sergei Rachmaninoff’s Third Piano Concerto, written and premiered in 1909. This big-sounding and big-hearted work is a tour de force of virtuosic music filled with the Russian composer’s melodic gifts and gifted prowess on the keyboard. The soloist this week at Severance Hall is Kirill Gerstein. For the second half of these concerts, guest conductor Matthias Pintscher has chosen Béla Bartók’s first ballet score. The Wooden Prince, first produced in 1917, helped launch this Hungarian composer’s international fame. The storyline weaves whimsy, human foibles, and the lessons to be learned from adversity (and the help of friendly spirits). Bartók’s deft handling and blending of modern technique, strong rhythmic efforts and effects, tuneful forays, and folk elements showcases his unique and personal voice as a composer. Separately, these two works portend the remarkable flowering of musical diversity that unfurled in the first half of the 20th century. Together, they offer a fascinating contrast of dynamic content, direction, and intent. —Eric Sellen

Matthias Pintscher’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from Elizabeth Dorothy Robson. Kirill Gerstein’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from the late Dr. Frank Hovorka in honor of Dorothy Humel Hovorka. In recognition of their extraordinary generosity in support of The Cleveland Orchestra, these concerts are dedicated to: Rebecca Dunn (Thursday, November 1) John and Christiane Guiness (Saturday, November 3)

Severance Hall 2018-19

Introducing the Concerts

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Piano Concerto No. 3 in D minor, Opus 30 composed 1909

At a Glance

Sergei

RACHMANINOFF born April 1, 1873 Semyonovo, Russia died March 28, 1943 Beverly Hills, California

Severance Hall 2018-19

Rachmaninoff composed his Piano Concerto No. 3 in the summer of 1909 in preparation for his first concert tour of North America later that year. He performed as soloist in the world premiere on November 28, 1909, in New York, with Walter Damrosch conducting the New York Symphony. This concerto runs about 45 minutes in performance. Rachmaninoff scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, cymbals, and

snare drum), and strings, plus the solo piano. The Cleveland Orchestra first presented this concerto at Masonic Hall in November 1928, with Vladimir Horowitz as soloist and Nikolai Sokoloff conducting. Rachmaninoff played the work at Severance Hall in January 1932, under Sokoloff â&#x20AC;&#x2122;s direction. The most recent performances were conducted by Giancarlo Guerrero at Severance Hall in April 2014, with Yuja Wang as soloist.

About the Music T H E D E C A D E B E F O R E Rachmaninoff left Russia was, without a doubt, the apex of his career as a composer. Between 1907 and 1917 he wrote many of his greatest works. In addition to the Third Piano Concerto, the Second Symphony, the symphonic poem The Isle of the Dead, the choral symphony The Bells, the Liturgy of St. John Chrysostom, and a large number of songs and piano pieces all date from this ten-year period. The Third Piano Concerto was written for Rachmaninoffâ&#x20AC;&#x2122;s first American tour in 1909. Little did the composer realize, at the time he received the invitation, that he would later make his home in America and eventually become a United States citizen. He accepted the offer to tour to North America with some hesitation, and then only because he hoped that the fees he was promised would allow him to realize his dream of buying an automobile. In this work, Rachmaninoff aspired to be worthy of the 19thcentury virtuoso tradition in every respect. The last of the great Romantic pianist-composers in the lineage of Chopin, Liszt, and Rubinstein, Rachmaninoff also wanted, it seems, to emulate the synthesis between concerto and symphony achieved in the two piano concertos of Brahms. This is shown by the many orchestral solos that join, and sometimes compete with, the piano soloist, as well as by the numerous thematic links between movements, carefully planned and masterfully executed. About the Music

Rachmaninoff ’s Third Piano Concerto certainly doesn’t lack pianistic brilliance. But the opening movement’s first two-dozen measures of the piano part could actually be played by a child. This is the famous “Russian hymn” theme that some commentators have tried to trace to an old religious chant from Kiev, even though Rachmaninoff insisted that there was no such connection. When asked how his theme had been conceived, the composer said: “It simply wrote itself!” The first theme is immediately repeated by the violas, accompanied by piano figurations that grow more and more complex. The changes in texture are gradual, and in less than three minutes, the “Russian hymn” evolves into a cadenza. A new idea is then announced, first in the form of a staccato dialogue between piano and orchestra, and only then as the singing second theme that we have been expecting. After a spectacular elaboration upon this theme, the “Russian hymn” returns in its original form, introducing a free development section, in the course of which the rhythmic accompaniment of the first theme is always clearly heard. At the climactic moment, the tempo becomes faster and the entire orchestra enters fortissimo on a dissonant diminished seventh chord. Soon the pianist launches into the second and main cadenza. Rachmaninoff later replaced his original cadenza with an even bigger one, but he preferred to play the first version when performing the work himself. (The printed score contains both cadenzas, which in fact differ only in their first halves.) The cadenza includes an accompanied portion with haunting wind solos recalling the “Russian hymn,” and a fantasy, for piano alone, upon the singing second theme. Therefore, the cadenza effectively functions as the movement’s recapitulation, and all that is needed afterward is a brief coda. The coda states the “Russian hymn” in its original form one last time, followed by the first staccato version of the second theme that has been heard in this form only once before. The repeat of this almost-forgotten detail at the end shows that a good composer wastes nothing, and every detail finds its place in the larger structure. The formal design of the movement is, in fact, quite original and by no means as conservative as Rachmaninoff is often made out to be. The second-movement “Intermezzo” opens with an orchestral introduction that gives the pianist the only respite in the entire concerto. The soulful melody, presented in turn by woodwinds and strings, is subsequently taken over by the piano and is considerably intensified in the process. (One of the transitional passages from the first movement, a descending sequence in thirds, is recalled by

About the Music

The Cleveland Orchestra

the solo piano, with the addition of some sensuous chromatic harmonies.) The virtuoso figurations surrounding the theme form a bridge to the next section, a brief scherzando, in which the “Russian hymn” from the first movement reappears, played by the clarinet and bassoon. The “Intermezzo” melody is then recalled, followed by a transition of a few measures leading into the last movement. The third-movement finale is in a broad A-B-A form. The “A” section consists of a string of themes with a sharp rhythmic profile, plus an expansive lyric idea. The “B” section itself can be divided into three sections, with a central episode marked Lento molto espressivo (“slow, very expressive”) flanked by a brilliant scherzando. The entire “B” section is based on material from the first movement, so that what was originally a lyrical second theme becomes the basis for a series of scintillating variations, combined at one point with the “Russian hymn.” And the Lento is, in essence, another variation on the first movement’s second theme. After a recapitulation of the “A” section, the tonality changes from D minor to D major, for an ending that is both solemn and jubilant. —Peter Laki Copyright © Musical Arts Association

DEPARTMENT OF ART HISTORY AND ART FREE FALL LECTURES DESTRUCTION AND DEFIANCE IN LATE REPUBLICAN ROME

DIVINE, DESIRABLE, DEADLY: THE MIDDLE AGES THROUGH OBJECTS

The Julius Fund Lecture in Ancient Art

Lecture & book signing

Penelope J.E. Davies

December 12 | 6:00pm

Cleveland Museum of Art

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

December 7 | 5:30pm Cleveland Museum of Art

Judy’s Hand, by Tony Tasset, CWRU’s contribution to FRONT International.

November 7 | 5:30pm

Elina Gertsman and Barbara Rosenwein

216.368.4118

Severance Hall 2018-19

About the Music

Their worlds.

Their way.

Two exhibitions. One ticket. Renaissance Splendor: Catherine de’ Medici’s Valois Tapestries

Georgia O’Keeffe: Living Modern

Opens November 18

Opens November 23 Georgia O’Keeffe: Living Modern is organized by the Brooklyn Museum with guest curator Wanda M. Corn, Robert and Ruth Halperin Professor Emerita in Art History, Stanford University.

PRESENTING SPONSORS Joyce and Bill Litzler Textile Art Alliance

SUPPORTING SPONSORS A Gift in Memory of Emma Lincoln Mrs. Joseph T. Zingale

PRESENTING SPONSORS Brenda and Marshall Brown Cheryl L. and David E. Jerome SUPPORTING SPONSORS Cindy and Dale Brogan Tim O’Brien and Breck Platner Anne H. Weil

ClevelandArt.org Portrait of Catherine de’ Medici (detail), c. 1547–59. Germain Le Mannier (French, active c. 1537–59). Oil on canvas; 212 x 118 x 9 cm. Gallerie degli Uffizi, Galleria Palatina di Palazzo Pitti, deposit, Florence, 1890, n. 2448 Georgia O’Keeffe (detail), c. 1920–22. Alfred Stieglitz (American, 1864–1946). Gelatin silver print; 11.4 x 9 cm. Georgia O’Keeffe Museum, Santa Fe, NM, Gift of the Georgia O’Keeffe Foundation, 2003.01.006

The Wooden Prince, Opus 13 composed 1914-17

At a Glance

Béla

BARTÓK born March 25, 1881 Nagyszentmiklós, Hungary died September 26, 1945 New York

Bartók composed the one-act ballet The Wooden Prince (in Hungarr ian: “A fából faragott királyfi,” more completely translated as “The Prince Carved from Wood”) between 1914 and 1917, to a libretto by Béla Balázs (who was also the author of the libretto for Bartók’s opera Bluebeard’s Castle, written in 1911). The ballet was first performed on May 12, 1917, at the Hungarian State Opera House in Budapest, with choreography by Otto Zöbisch and conducted by Egisto Tango, to whom Bartók dedicated the score “in deepest gratitude.” This ballet score runs about 45 minutes in performance. Bartók scored it for 4 flutes (third and fourth

doubling piccolos), 4 oboes (third and fourth doubling english horns), 2 saxophones (first player on alto, second player doubling on tenor and baritone), 4 clarinets (third doubling on small clarinet in E-flat, fourth doubling on bass clarinet), 4 bassoons (third and fourth doubling on contrabassoons), 4 horns, 4 trumpets, 2 cornets, 3 trombones, tuba, timpani, percussion (bells, xylophone, triangle, castanets, cymbals, snare drum, bass drum, tam-tam), celesta (four hands), 2 harps, and strings. The Cleveland Orchestra previously performed the score to The Wooden Prince in 1986 and 1996.

About the Music T H E D E C A D E O F the 1910s was a phenomenal time for ballet,

with Stravinsky’s three great new scores at the start and Bartók’s two great ballets at the end. In between came masterpieces by Debussy and Ravel. Most of the credit for this must go to Serge Diaghilev and his Ballets Russes. In the years leading up to the start of World War I in 1914, the Ballets Russes captured the artistic high ground and set a tone of daring innovation and creativity for the period. Bartók, though he never composed a work for Diaghilev, rather often followed Stravinsky’s example, whether consciously or not. His two major ballets were The Wooden Prince, first performed in 1917, and The Miraculous Mandarin, completed in 1919 but not performed until 1926. Neither of these works has entered the regular ballet repertoire, but as concert music they have been featured by the world’s great orchestras, for in addition to offering a worthy challenge for virtuoso players, their music tells a tale that can be heard in the music’s adventurous action and can be interpreted in many different ways. On the face of it, The Wooden Prince is a fairy story with a Severance Hall 2018-19

About the Music

The Wooden Prince: Orginal stage design for the opening scene by Miklós Bánffy for the world premiere production in 1917.

happy end, but the choreographer (or the listener’s imagination) is free to draw from it any number of varying messages — of happiness or sadness, of human foibles and frailty, of demand and control, genuine vs. fake, authenticity vs. play-acting, expectations vs. reality, fate and love, etc. In the years preceding the outbreak of war, Bartók was working much more actively as a folklorist than as an independent composer. A teaching position at the Budapest Academy of Music provided his daily bread, as well as sufficient time to do the fieldwork that he and his lifelong friend Zoltán Kodály undertook together. Bartók became obsessed with the problem of identifying genuine Hungarian folk music and distinguishing it from inauthentic and imported strains popular worldwide under the banner of “Hungarian dances,” whether reworked or decorated up by Brahms or Liszt or anyone else. He soon enough extended these studies to folk music of other nations, including Romania, the Balkans, even North Africa. In reaction to so much time spent in folkloring, Bartók’s composing slowed down, in part discouraged by the early rejection of his one-act opera Bluebeard’s Castle. He was also thinking hard about style, no longer content to follow in the footsteps of Richard Strauss, whose music he much admired. He was searching for a new direction. New music by Debussy and Stravinsky reached his ears, contributing to his experiments outward, creating an original

About the Music

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style with many inflexions taken from folk music, but also with a sense of dissonance (which many at the time found unpleasant) and a forceful sense of rhythm. His new style still had many refinements and changes to undergo, before reaching maturity in the years ahead, with much time in this decade spent writing small chamber works and arrangements of folk songs alongside fully modern works for the stage. With Bluebeard’s Castle still unperformed, Bartók chose a ballet scenario by Béla Balázs published in the 1912 Christmas edition of the Hungarian literary magazine Nyugat. There is even some evidence that Balázs wrote The Wooden Prince specifically with Bartók in mind. The Ballets Russes had visited Budapest that year, sufficient to turn Bartók’s mind in the direction of dance, and he imagined a spectacular, colorful ballet in the manner of the most luxurious Diaghilev productions. He even conceived it as partnering Bluebeard’s Castle as a doublebill. (The Cleveland Orchestra presented a different — and equally interesting — pairing in 2015, presenting Bluebeard and Miraculous Mandarin THE STORY in brief together.) A Prince sees a nearby Princess and yearns Work on The Wooden Prince began in April to win her love. She ignores him. He builds 1914, but at the outbreak of war in August, even a wooden prince puppet — in his own imthough Bartók was excused military service with age — which catches her fancy. She emthe Austro-Hungarian army (because of his weak braces and dances with the puppet. The physical condition), he let the ballet drift, discourreal Prince despairs, but is prevented from aged. running after the Princess by the woods and He resumed real work on the score at the water. The Spirit of the Forest understands end of 1916 and was able to finish it in January the Prince’s pain. The Princess tires of the 1917. Despite noisy protests (“such messy mupuppet, but the Prince rejects her interest in sic”) from the ballet staff at the Hungarian State Him. The Forest stops her from pursuing the Opera House in Budapest, Bartók found an ally Prince. Wiser from having been rejected, the in the Italian conductor Egisto Tango, who took Prince and Princess accept each others’ love. it up with enthusiasm and saw it on to the stage in May 1917 — after thirty orchestral rehearsals. Tango insisted on so much rehearsal because an enormous orchestra (two contrabassoons!) is required to play music of great density and complexity without a break for over fifty minutes. This alone is sufficient to explain the rarity of revivals of the ballet on the stage. It is interesting to note this was a time when Stravinsky was turning his back on the kind of huge orchestra he deployed for The Rite of Spring and accompanying Severance Hall 2018-19

About the Music

his Soldier’s Tale with just half-a-dozen instruments. This, in part was because wartime conditions imposed a certain belt-tightening across Europe. Yet the Imperial authorities in Budapest were still able to mount an extravagant ballet with colorful sets and costumes and a full corps de ballet. Bartók was delighted by the performance. At the end, there was a silence as if the work’s fate hung in the balance. Then loud clapping and bravos broke out, like an avalanche, it was said, and the score was marked as a milestone in Bartók’s career. Bluebeard’s Castle was staged there the following year, and Bartók was soon a famous composer. T H E M E S A N D TA L E S

The story of the ballet relates how a Prince, failing to attract the attention of a Princess, fabricates a Wooden Prince with whom the Princess falls in love. She pays the price of discovering that the Wooden Prince is not the genuine article, while the Prince is broken-hearted. There is a happy ending, of course, under the controlling aegis of a Fairy or Spirit, who throws obstacles in the lovers’ path but eventually works for their happiness. There are elements of Pygmalion and Mephistopheles in this tale, with the balletic benefits of the forest and the stream both coming to life and overwhelming the stage with trees and water respectively. There is Bartók’s personal awareness of the false and the genuine, and there are the Freudian overtones — quite ripe in the early years of the 20th century — with fairies and castles and forests indicating other things entirely, in life and love. Above all, there is a highly inventive score that suggests dance at many points but also moves the action constantly forward. T H E M U S I C A N D T H E S T O RY

By way of orientation, it is useful to start with the idea that the Princess is usually, but not exclusively, illustrated by the clarinet, the Fairy/spirit by trumpet, the Prince by cellos and basses. The action of the ballet goes like this: After an opening rather like the beginning of Wagner’s opera Das Rheingold, the curtain rises on two castles, one surrounded by a stream, the other by a forest. The Princess and the Fairy or Forest Spirit are on stage. The Princess dances first, then the Fairy announces the appearance of the Prince, with his heavy pacing. When he sees the Princess, the Prince falls in love. His attempts to reach her, however, are frustrated first by the

About the Music

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forest, which the Fairy brings to life (strong snap rhythms in the brass and a huge climax, then calming down), and next by the stream (waves in the woodwind, with a tune for the saxophones), which also bars his way. The Princess notices none of this. The Prince has an idea. He makes a Wooden Prince with which to attract the Princess’s attention (jaunty mock-march with prominent horns). The Princess remains unmoved. The Prince puts his crown on the wooden figure. Still no response. Third try: he cuts his hair and attaches it to the Wooden Prince and holds it high. Excited clarinets tells us that the Princess has seen the Wooden Prince and is enamored. The Fairy (trumpet) brings the fake prince to life, and it begins its wooden dance. It dances with the Princess, in a heavy-booted dance like the tramp of a thousand hussars, with wooden percussion (castanets and xylophone) prominent. They dance together off the stage. The Prince is in despair (strings). He sinks to the ground (trombones glissando downwards) and goes to sleep. The Fairy comes to comfort him (english horn). Flowers and trees come to life, and from a flower the Fairy takes a new crown and new hair for the Prince. All pay homage to the Prince in a grand apotheosis. (Exactly what he and they have come to learn or understand is open to interpretation.) The Princess and the Wooden Prince reappear. The fake prince slowly — and literally — is falling to pieces (lumpy bassoons and wooden noises from the strings). The Princess tries to get the Wooden Prince to dance again, but fails. She is annoyed and the Wooden Prince collapses, at which moment she catches sight of the real Prince — and likes what she sees. The Princess dances an elegant waltz for him (solo violin), but he turns away. As she follows after him, the forest again comes to life and bars her way (reprise of the forest’s earlier music). When she discards her crown and her hair, the Prince sees her and takes her in his arms. The opening calm is restored. —Hugh Macdonald © 2018 Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis. He has written books on Beethoven, Berlioz, Bizet, and Scriabin.

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About the Music

Miklós Bánff y’s sketches for the world premiere’s costumes in 1917, top to bottom: Prince, Princess, and the Wooden Puppet.

Matthias Pintscher German composer and conductor Matthias Pintscher is music director of the Ensemble Intercontemporain, the world’s leading contemporary music ensemble founded by Pierre Boulez. In addition to a robust concert season in Paris, he tours extensively with them throughout Europe, Asia, and the United States, this season leading concerts in Berlin, Hamburg, and Zurich. Known equally as one of today’s foremost composers, Mr. Pintscher will have two works premiered in the 201819 season: Nur, a new concerto for piano and ensemble will be performed by Daniel Barenboim and the Boulez Ensemble in January conducted by the composer, and a new work for baritone, chorus, and orchestra will be performed by Dietrich Henschel and the Zurich Tonhalle in June led by Kent Nagano. Matthias Pintscher was composerin-residence with The Cleveland Orchestra 2000-02, and made his conducting debut with the Orchestra in May 2003. His most recent appearance here was leading a week of concerts in February 2018. One of his works, Transir for flute and chamber orchestra, is performed November 8 and 10. For the 2018-19 season, Mr. Pintscher serves in artistic positions with the Zurich Tonhalle Orchestra and Los Angeles Chamber Orchestra and concludes a nineyear tenure as artist-in-association with the BBC Scottish Symphony Orchestra. He also makes debuts with the Saint Louis Symphony Orchestra, Rotterdam Philharmonic, and the Berlin’s Staatsoper Unter den Linden, where he conducts the world premiere of Violetter Schnee, a new opera

by Beat Furrer. Return guest engagements include the orchestras of Chicago, Cincinnati, Indianapolis, Milwaukee, the New York Philharmonic, as well as the New World Symphony in Miami. Matthias Pintscher began his musical training at the Hochschule für Musik in Detmold and later studied conducting with Peter Eötvös. In his early twenties, he started working with Hans Werner Henze. As his own composing took a more prominent role, Mr. Pintscher subsequently divided his time between the two disciplines. Noted for his interpretations of contemporary music, he also has developed an affinity for repertoire of the late 19th and 20th centuries and the Second Viennese School. Mr. Pintscher’s music is championed by some of today’s finest performing artists, orchestras, and conductors. His works are published by Bärenreiter, and can be heard in recordings on the ECM, EMI, Kairos, Teldec, Wergo, and Winter & Winter labels. Since 2014, Mr. Pintscher has been a member of the composition faculty at the Juilliard School. He makes his home in both New York and Paris. For additional information, please visit www.matthiaspintscher.com.

Guest Conductor

The Cleveland Orchestra

Kirill Gerstein Russian pianist Kirill Gerstein is acclaimed for his technique, curiosity, and insight into musical works across a wide range of repertoire and styles. He made his Cleveland Orchestra debut in July 2008 and most recently appeared at Severance Hall in January 2017. An American citizen based in Berlin, Kirill Gerstein balances his career between the United States and Europe. Highlights of his 2018-19 season in North America include appearances with the orchestras of Atlanta, Cincinnati, Cleveland, Detroit, Philadelphia, St. Louis, and Toronto, and a tour with the Czech Philharmonic in California. His summer festival appearances included his debut at the Grand Teton Festival and a return to Chicago’s Grant Park Music Festival. Brought up in the former Soviet Union studying both classical and jazz piano, at 14 Kirill Gerstein moved to the United States, where he was the youngest student to attend Boston’s Berklee College of Music. Shifting his focus to the classical repertoire, he studied with Solomon Mikowsky in New York, Dmitri Bashkirov in Madrid, and Ferenc Rados in Budapest. Mr. Gerstein has received a series of prestigious accolades, including First Prize at the 10th Arthur Rubinstein Competition in 2001 and a Gilmore Young Artist Award in 2002. In 2010, he was awarded both an Avery Fisher Career Grant and the Gilmore Artist Award, which provided the funds for him to commission a series of new works from composers Timo Andres, Chick Corea, Alexander Goehr, Oliver Knussen, and Brad Mehldau.

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Solo Artist

Mr. Gerstein is a frequent guest with the Boston Symphony Orchestra this year and next. He served as the Koussevitzky Resident at Tanglewood this past summer, appearing four different times, performing Rachmaninoff’s Second Piano Concerto, Thomas Adès’s piano concerto In Seven Days with the Tanglewood Music Center Orchestra, a two-piano recital with Ades at Ozawa Hall, and Gershwin’s Rhapsody in Blue with the Boston Pops. This winter, he premieres Ades’s Second Piano Concerto, which was commissioned for him by the Boston Symphony Orchestra. International highlights of his 2018-19 schedule include performances with the Leipzig Gewandhaus Orchestra, Rotterdam Philharmonic, London Symphony Orchestra, and Dresden Staatskappelle. Mr. Gerstein also records Tchaikovsky’s Second and Third Piano Concertos. For Myrios Classics, Mr. Gerstein has recorded solo works by Knussen, Liszt, Gershwin, Tchaikovsky, Mussorgsky, and Schumann, along with sonatas for viola and piano with Tabea Zimmermann. His next release is the Busoni Concerto with the Boston Symphony Orchestra. For additional information, please visit www.kirillgerstein.com.

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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

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

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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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Distinguished Service Award

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.

Distinguished Service Award

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THE CLEVELAND ORCHESTRA

.W.E.L.C.O.M.E.

New ﬂute joins The Cleveland Orchestra A new musician has joined The Cleveland Orchestra with the final concerts in October. Jessica Sindell was appointed to the position of assistant principal flute by Franz WelserMöst following auditions in early October. She now holds the Austin B. and Ellen W. Chinn Assistant Principal Flute Endowed Chair. Prior to winning this audition, Ms. Sindell was the solo piccolo player of the Rochester Philharmonic Orchestra. After graduating from the Eastman School of Music, she won her first orchestral audition at the age of 22 to be principal flute of the Oregon Symphony. Ms. Sindell has performed with the Lake Tahoe Music Festival orchestra since 2012, and also acted as principal

with the Mainly Mozart Festival in San Diego as well as the Colorado Music Festival. A Cleveland native, Jessica Sindell was a member of the Cleveland Orchestra Youth Orchestra (2005-07) and is a high school graduate of Western Reserve Academy. She received a bachelor of music in flute performance from Eastman, where she studied under Bonita Boyd. She was the recipient of consecutive fellowships to participate in the Aspen Music Festival & School, 2011 to 2013, and to the Music Academy of the West in 2014.

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Family’s love of music and support for The Cleveland Orchestra carries forward through new generations . . . A Y E A R A G O , following a lifetime of connec-

tions with The Cleveland Orchestra, Susan Morgan Martin, Patricia Morgan Kulp, and Ann Jones Morgan — affectionately known as the “Morgan Sisters” — were preparing for their annual lunch with Daniel McKelway, the Orchestra’s E-flat clarinetist, and his wife, Orchestra violist Lembi Veskimets. The sisters’ parents, Stanley and Eloise Morgan had endowed the chair McKelway has with The Cleveland Orchestra, and the three daughters were now arranging a generous surprise gift of their own. At the table, they quietly presented a small, gift-wrapped chair to Lembi. And it didn’t take long for her to understand and appreciate the symbolism: the Morgan Sisters had endowed her chair just as their parents had done eighteen years earlier for her husband’s chair. This cash gift to the Orchestra’s Endowment was simply the latest contribution from a family whose passion for classical music was kindled the year Severance Hall opened, in 1931, when 11-year-old Eloise attended her first Cleveland Orchestra concert. In the ensuing years, Eloise learned to play the piano and Stanley mastered the clarinet and saxophone. The Morgans not only instilled a love of music in their three daughters, but encouraged them to carry forward their own roles as patrons of The Cleveland Orchestra. Although Stanley and Eloise are gone, music maintains a special place in the lives of the Morgan family. The three sisters are working to pass along their love for The Cleveland Orchestra to their own children and grandchildren, who often

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ABOVE: Daniel McKelway and Lembi Veskimets with the Morgan Sisters — Susan Morgan Martin, Patricia Morgan Kulp, and Ann Jones Morgan

join them for concerts at Severance Hall or Blossom Music Center. The family’s appreciation of music continues to grow in its youngest generation — many of the Morgan sisters’ grandchildren are now playing in high school and college orchestras, a fact the family knows would make Stanley and Eloise very proud. By giving to the Endowment, the Morgan family’s generosity will positively impact The Cleveland Orchestra’s financial strength far into the future. For information about making your own gift to the Endowment, please call Philanthropy & Advancement at 216-231-7556.

Silence is golden As a courtesy to the performers onstage and the audience around you, please turn off cell phones and disengage electronic alarms prior to the concert.

Committed to Accessibility Severance Hall is committed to making performances and facilities accessible to all patrons. For information about accessibility or for assistance, call the House Manager at 216-231-7425.

Cleveland Orchestra News

Musicians Emeritus of

T H E

O R C H E S T R A

C L E V E L A N D

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

Appreciation

The Cleveland Orchestra

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HE CLEVELAND ORCHESTRA

M . U . S . I .C . I . A . N S . A . L . U .T. E

The Musical Arts Association gratefully acknowledges the artistry and dedication of all the musicians of The Cleveland Orchestra. In addition to rehearsals and concerts throughout the year, many musicians offer performance and coaching time in support of Orchestra’s education, community engagement, fundraising, and audience development activities. We are pleased to recognize these musicians, listed below, who offered their talents and artistry for such presentations during the 2017-18 season. Mark Atherton Charles Bernard Katherine Bormann Lisa Boyko Charles Carleton Jiah Chung Chapdelaine Hans Clebsch John Clouser Kathleen Collins Wesley Collins Marc Damoulakis Vladimir Deninzon Maximillian Dimoff Elayna Duitman Bryan Dumm Mark Dumm Tanya Ell Kim Gomez Wei-Fang Gu Scott Haigh David Alan Harrell Miho Hashizume Shachar Israel Dane Johansen Joela Jones Arthur Klima Alicia Koelz Stanley Konopka Mark Kosower Analisé Kukelhan Paul Kushious Massimo La Rosa Jung-Min Amy Lee Jessica Lee Yun-Ting Lee Emilio Llinás Takako Masame Eli Matthews Jesse McCormick Daniel McKelway Michael Miller

Ioana Missits Sonja Braaten Molloy Eliesha Nelson Robert O’Brien Peter Otto Chul-In Park Joanna Patterson Zakany Henry Peyrebrune William Preucil Lynne Ramsey Jeffrey Rathbun Stephen Rose Frank Rosenwein Michael Sachs Marisela Sager Jonathan Sherwin Thomas Sherwood Sae Shirajami Emma Shook Joshua Smith Saeran St. Christopher Corbin Stair Lyle Steelman Barrick Stees Richard Stout Trina Struble Yasuhito Sugiyama Jack Sutte Brian Thornton Isabel Trautwein Lembi Veskimets Robert Walters Carolyn Gadiel Warner Richard Waugh Richard Weiss Beth Woodside Robert Woolfrey Paul Yancich Afendi Yusuf Derek Zadinsky Jeffrey Zehngut

Severance Hall 2018-19

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

Cleveland Orchestra News

T HE

CLEVEL AND ORC HE STR A

“We can’t think of a better way to use our resources than to support an organization that brings us such great pleasure.” Tony and Pat Lauria believe in doing their part to cultivate and celebrate the extraordinary things in life — including wine, food, and music. For today and for future generations.

Great music has always been important to Tony and Pat Lauria. They’ve been avid subscribers and donors to The Cleveland Orchestra for many years, and it has become such a major part of their lives that they plan international travel around the Orchestra’s schedule in order to enjoy more concerts at home and on tour. “It gives us great pleasure to be a part of The Cleveland Orchestra,” Pat says. In addition to regularly attending concerts and giving to the annual fund, Tony and Pat have established several Charitable Gift Annuities through the Orchestra, which now pay them a fixed stream of income in return for their gifts. To anyone who is considering establishing a Charitable Gift Annuity, Tony says, “It’s a great investment — for yourself and the Orchestra!” To receive a confidential, personalized gift annuity illustration and to join the Laurias in their support of The Cleveland Orchestra’s future, contact Dave Stokley, Legacy Giving Officer, at 216-231-8006 or email dstokley@clevelandorchestra.com.

Legacy Giving THE CLEVELAND ORCHESTRA

H E R I TAGE S O C I ET Y The Heritage Society honors those individuals who are helping to ensure the future of The Cleveland Orchestra with a Legacy gift. Legacy gifts come in many forms, including bequests, charitable gift annuities, and insurance policies. The following listing of current members is as of August 2018. For more information, please contact the Orchestra’s Legacy Giving Office by calling Dave Stokley at 216-231-8006. Lois A. Aaron Leonard Abrams Gay Cull Addicott Stanley and Hope Adelstein* Sylvia K. Adler* Norman* and Marjorie Allison Dr. Sarah M. Anderson George N. Aronoff Herbert Ascherman, Jr. Jack and Darby Ashelman Mr. and Mrs. William W. Baker Jack L. Barnhart Margaret B. and Henry T.* Barratt Rev. Thomas T. Baumgardner and Dr. Joan Baumgardner Fred G. and Mary W. Behm Dr. Ronald and Diane Bell Bob Bellamy Joseph P. Bennett Marie-Hélène Bernard Ila M. Berry* Howard R. and Barbara Kaye Besser Dr.* and Mrs. Murray M. Bett Dr. Marie Bielefeld Raymond J. Billy (Biello) Mr. William P. Blair III Doug and Barb Bletcher Madeline & Dennis Block Trust Fund Mrs. Flora Blumenthal Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. and Mrs. Charles P. Bolton Kathryn Bondy* Loretta and Jerome Borstein* Mr. and Mrs.* Otis H. Bowden II Drs. Christopher P. Brandt and Beth Brandt Sersig Mr. D. McGregor Brandt, Jr. David and Denise Brewster Robert W. Briggs Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Mr. and Mrs. Harvey Buchanan* Joan and Gene* Buehler Gretchen L. Burmeister Stanley and Honnie Busch* Milan and Jeanne* Busta Mr. and Mrs. William C. Butler

Gregory and Karen Cada Roberta R. Calderwood* Harry and Marjorie* M. Carlson Janice L. Carlson Dr.* and Mrs. Roland D. Carlson Barbara A. Chambers, D. Ed. Dr. Gary Chottiner & Anne Poirson NancyBell Coe Kenneth S. and Deborah G. Cohen Ralph M. and Mardy R. Cohen* Victor J. and Ellen E. Cohn Robert and Jean* Conrad Mr.* and Mrs. Gerald A. Conway The Honorable Colleen Conway Cooney and Mr. John Cooney John D. and Mary D. Corry* Dr. Dale and Susan Cowan Dr. and Mrs. Frederick S. Cross* Martha Wood Cubberley In Memory of Walter C. and Marion J. Curtis William and Anna Jean Cushwa Alexander M. and Sarah S. Cutler Mr.* and Mrs. Don C. Dangler Mr. and Mrs. Howard J. Danzinger Barbara Ann Davis Carol J. Davis Charles and Mary Ann Davis William E. and Gloria P.* Dean, Jr. Mary Kay DeGrandis and Edward J. Donnelly Neeltje-Anne DeKoster* Carolyn L. Dessin Mrs. Armand J. DiLellio James A. Dingus, Jr. Dr. and Mrs. Richard C. Distad Maureen A. Doerner and Geoffrey T. White Henry and Mary* Doll Gerald and Ruth Dombcik Barbara Sterk Domski Mr.* and Mrs. Roland W. Donnem Nancy E. and Richard M. Dotson Mrs. John Drollinger Drs. Paul M.* and Renate H. Duchesneau George* and Becky Dunn Mr. and Mrs. Robert Duvin

Dr. Robert E. Eckardt Paul and Peggy Edenburn Robert and Anne Eiben* Mr. and Mrs. Alfred M. Eich, Jr. Roger B. Ellsworth Oliver* and Mary Emerson Lois Marsh Epp Patricia Esposito C. Gordon and Kathleen A.* Ewers Patricia J. Factor Carl Falb Regis and Gayle Falinski Mrs. Mildred Fiening Gloria and Irving* Fine Joan Alice Ford Mr. and Mrs. Ralph E. Fountain* Gil* and Elle Frey Arthur* and Deanna Friedman Mr.* and Mrs. Edward H. Frost Dawn Full Henry S. Fusner* Dr. Stephen and Nancy Gage Barbara and Peter Galvin Mr. and Mrs. Steven B. Garfunkel Donald* and Lois Gaynor Albert I. and Norma C. Geller Dr. Saul Genuth Frank and Louise Gerlak Dr. James E. Gibbs S. Bradley Gillaugh Mr.* and Mrs. Robert M. Ginn Fred and Holly Glock Ronald* and Carol Godes William H. Goff Mr. and Mrs. Henry J. Goodman John and Ann Gosky Harry and Joyce Graham Elaine Harris Green Tom and Gretchen Green Anna Zak Greenfield Richard and Ann Gridley Nancy Hancock Griffith David E.* and Jane J. Griffiths Bev and Bob Grimm Candy and Brent Grover Thomas J.* and Judith Fay Gruber Henry and Komal Gulich Mr. and Mrs. David H. Gunning LISTING CONTINUES

The Cleveland Orchestra

Legacy Giving

Legacy Giving THE CLEVELAND ORCHESTR A HERITAGE SOCIETY L I S T I N G C O N T I N U ED

Mr. and Mrs. William E. Gunton Mrs. John A Hadden Jr. Richard* and Mary Louise Hahn James J. Hamilton Kathleen E. Hancock Holsey Gates Handyside* Norman C. and Donna L. Harbert Mary Jane Hartwell* William L.* and Lucille L. Hassler Mrs. Henry Hatch (Robin Hitchcock) Nancy Hausmann Virginia and George Havens Barbara L. Hawley and David S. Goodman Gary D. Helgesen Clyde J. Henry, Jr. Ms. M. Diane Henry Wayne and Prudence Heritage T. K.* and Faye A. Heston Fred Heupler, M.D. Mr. and Mrs.* Daniel R. High Mr. and Mrs. D. Craig Hitchcock* Bruce F. Hodgson Mary V. Hoffman Feite F. Hofman MD* Mrs. Barthold M. Holdstein* Leonard* and Lee Ann Holstein David and Nancy Hooker Thomas H. and Virginia J.* Horner Fund Patience Cameron Hoskins Elizabeth Hosmer Dorothy Humel Hovorka* Dr. Christine A. Hudak, Mr. Marc F. Cymes Dr. Randal N. Huff Mrs. Marguerite B. Humphrey Adria D. Humphreys* Ann E. Humphreys and Jayne E. Sisson David and Dianne Hunt Karen S. Hunt Mr. and Mrs. G. Richard Hunter Ruth F. Ihde Mr.* and Mrs. Jonathan E. Ingersoll Pamela and Scott Isquick Mr. and Mrs. Clifford J. Isroff* Mr. and Mrs. Donald M. Jack, Jr. Carol S. Jacobs Pamela Jacobson Milton* and Jodith Janes Jerry and Martha Jarrett* Merritt and Ellen Johnquest* Allan V. Johnson E. Anne Johnson Nancy Kurfess Johnson, M.D. David and Gloria Kahan Julian and Etole Kahan David George Kanzeg Bernie and Nancy Karr Drs. Julian and Aileen Kassen* Milton and Donna* Katz

Nancy F. Keithley and Joseph P. Keithley Patricia and Walter Kelley* Bruce and Eleanor Kendrick Malcolm E. Kenney Mr. and Mrs. Douglas A. Kern Charles M. and Janet G. Kimball* James and Gay* Kitson Mr. Clarence E. Klaus, Jr. Mary Elizabeth and G. Robert Klein* Fred* and Judith Klotzman Paul and Cynthia Klug Martha D. Knight Mr. and Mrs. Robert Koch Dr. Vilma L. Kohn* Mr. Clayton Koppes Susan Korosa Mr.* and Mrs. James G. Kotapish, Sr. Margery A. Kowalski Janet L. Kramer Mr. James Krohngold Mr. and Mrs. Gregory G. Kruszka Thomas* and Barbara Kuby Eleanor* and Stephen Kushnick Mr. and Mrs. Dennis W. LaBarre James I. Lader Mr. and Mrs. David A. Lambros Mrs. Carolyn Lampl Marjorie M. Lamport* Louis Lane* Kenneth M. Lapine and Rose E. Mills Charles K. László and Maureen O’Neill-László Anthony T. and Patricia Lauria Charles and Josephine Robson Leamy Fund* Jordan R. and Jane G. Lefko Teela C. Lelyveld Mr. and Mrs. Roger J. Lerch Judy D. Levendula Dr. and Mrs. Howard Levine Bracy E. Lewis Mr. and Mrs.* Thomas A. Liederbach Rollin* and Leda Linderman Ruth S. Link* Dr. and Mrs. William K. Littman Jeff and Maggie Love Dr. Alan and Mrs. Min Cha Lubin Linda and Saul Ludwig Kate Lunsford Patricia MacDonald Alex and Carol Machaskee Jerry Maddox Mrs. H. Stephen Madsen Alice D. Malone* Mr. and Mrs. Donald Malpass, Jr. Lucille Harris Mann* Mr. and Mrs. Richard A. Manuel* Clement P. Marion Dr. and Mrs. Sanford E. Marovitz

Legacy Giving

David C. and Elizabeth F. Marsh* Duane and Joan Marsh* Mr. and Mrs. Anthony M. Martincic Kathryn A. Mates Dr. Lee Maxwell and Michael M. Prunty Alexander and Marianna* McAfee Nancy B. McCormack Mr. William C. McCoy Dorothy R. McLean Jim and Alice Mecredy* James and Virginia Meil Mr. and Mrs. Robert F. Meyerson* Brenda Clark Mikota Christine Gitlin Miles Antoinette S. Miller Chuck and Chris Miller Edith and Ted* Miller Leo Minter, Jr. Mr. and Mrs.* William A. Mitchell Robert L. Moncrief Ms. Beth E. Mooney Beryl and Irv Moore Ann Jones Morgan George and Carole Morris Mr. and Mrs. Thomas W. Morris Mr. and Mrs.* Donald W. Morrison Joan R. Mortimer, PhD* Susan B. Murphy Dr. and Mrs. Clyde L. Nash, Jr Deborah L. Neale Mrs. Ruth Neides* David and Judith Newell Steve Norris and Emily Gonzales Paul and Connie Omelsky Katherine T. O’Neill The Honorable and Mrs. John Doyle Ong Henry Ott-Hansen Mr. J. William and Dr. Suzanne Palmer R. Neil Fisher and Ronald J. Parks Nancy* and W. Stuver Parry Dr.* and Mrs. Donald Pensiero Mary Charlotte Peters Mr. and Mrs. Peter Pfouts* Janet K. Phillips* Elisabeth C. Plax Florence KZ Pollack Julia and Larry Pollock John L. Power and Edith Dus-Garden Richard J. Price Lois S. and Stanley M. Proctor* Mr. David C. Prugh* Leonard and Heddy Rabe M. Neal Rains Mrs. Alfred M. Rankin, Sr. James and Donna Reid Mrs. Charles Ritchie Dr. Larry J.B.* and Barbara S. Robinson Margaret B. Robinson

The Cleveland Orchestra

Legacy Giving THE CLEVELAND ORCHESTR A HERITAGE SOCIETY Dwight W. Robinson Janice and Roger Robinson Amy and Ken Rogat Carol Rolf and Steven Adler Margaret B. Babyak* and Phillip J. Roscoe Audra* and George Rose Dr. Eugene and Mrs. Jacqueline* Ross Robert and Margo Roth Marjorie A. Rott* Howard and Laurel Rowen Professor Alan Miles Ruben and Judge Betty Willis Ruben Marc Ruckel Florence Brewster Rutter Dr. Joseph V. Ryckman Mr. James L. Ryhal, Jr.* Renee Sabreen* Marjorie Bell Sachs Dr. Vernon E. Sackman and Ms. Marguerite Patton Sue Sahli Mr. and Mrs. James A. Saks John A Salkowski Larry J. Santon Stanford and Jean B. Sarlson James Dalton Saunders Patricia J. Sawvel Ray and Kit Sawyer Alice R. Sayre In Memory of Hyman and Becky Schandler Robert Scherrer Sandra J. Schlub Ms. Marian Schluembach Robert and Betty Schmiermund Mr.* and Mrs. Richard M. Schneider Jeanette L. Schroeder Frank Schultz Carol* and Albert Schupp Roslyn S. and Ralph M. Seed Nancy F. Seeley Edward Seely Oliver E.* and Meredith M. Seikel Reverend Sandra Selby Eric Sellen Holly Selvaggi Thomas and Ann Sepúlveda B. Kathleen Shamp Jill Semko Shane David Shank Dr. and Mrs. Daniel J. Shapiro* Helen and Fred D. Shapiro Norine W. Sharp* Norma Gudin Shaw Elizabeth Carroll Shearer* Dr. and Mrs. William C. Sheldon John F. Shelley and Patricia Burgess* Frank* and Mary Ann Sheranko Kim Sherwin Mr. and Mrs. Michael Sherwin

Severance Hall 2018-19

Reverend and Mrs. Malcolm K. Shields Rosalyn and George* Sievila Mr.* and Mrs. David L. Simon Dr.* and Mrs. John A. Sims Naomi G. and Edwin Z. Singer Lauretta Sinkosky H. Scott Sippel and Clark T. Kurtz Ellen J. Skinner Ralph* and Phyllis Skufca Janet Hickok Slade Drs. Charles Kent Smith and Patricia Moore Smith Mr.* and Mrs. Ward Smith Sandra and Richey Smith Roy Smith Barbara J. Stanford and Vincent T. Lombardo George R. and Mary B. Stark Sue Starrett and Jerry Smith Lois and Tom Stauffer Saundra K. Stemen Merle and Albert Stern* Dr. Myron Bud and Helene* Stern Mr. and Mrs. John M. Stickney Mr.* and Mrs. James P. Storer Ralph E. and Barbara N. String* In Memory of Marjory Swartzbaugh Dr. Elizabeth Swenson Lorraine S. Szabo Mrs. Jean H. Taber* Norman V. Tagliaferri Nancy and Lee Tenenbaum Dr. and Mrs. Friedrich Thiel Mr. and Mrs. William M. Toneff Joe and Marlene Toot Alleyne C. Toppin Janice and Leonard Tower Dr. and Mrs. James E. Triner William & Judith Ann Tucholsky Dorothy Ann Turick* Mr. Jack G. Ulman Robert and Marti* Vagi Robert A. Valente J. Paxton Van Sweringen Mary Louise and Don VanDyke Steven Vivarronda Hon. and Mrs. William F.B. Vodrey Pat and Walt* Wahlen Mrs. Clare R. Walker John and Deborah Warner Mr. and Mrs. Russell Warren Joseph F. and Dorothy L.* Wasserbauer Reverend Thomas L. Weber Etta Ruth Weigl* Lucile Weingartner Max W. Wendel William Wendling and Lynne Woodman Robert C. Weppler Paul and Suzanne Westlake Marilyn J. White

Legacy Giving

Yoash and Sharon Wiener Alan H.* and Marilyn M. Wilde Helen Sue* and Meredith Williams Carter and Genevieve* Wilmot Mr. Milton Wolfson* and Mrs. Miriam Shuler-Wolfson Nancy L. Wolpe Mrs. Alfred C. Woodcock Katie and Donald Woodcock Dr.* and Mrs. Henry F. Woodruff Marilyn L. Wozniak Nancy R. Wurzel Michael and Diane Wyatt Tony and Diane Wynshaw-Boris Mary Yee Carol Yellig Libby M. Yunger William Zempolich and Beth Meany Roy J. Zook* Anonymous (73)

The lotus blossom is the symbol of the Heritage Society. It represents eternal life and recognizes the permanent benefits of legacy gifts to The Cleveland Orchestra’s endowment. Said to be Elisabeth Severance’s favorite flower, the lotus is found as a decorative motif in nearly every public area of Severance Hall. For more information about becoming a member of the Heritage Society, please contact the Orchestra’s Legacy Giving Office by calling Dave Stokley at 216-231-8006.

Shining a spotlight on creativity.

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

Key.com is a federally registered service mark of KeyCorp. ÂŠ2018 KeyCorp. KeyBank is Member FDIC. 171005-170606- 8804797 key.com

THE

CLEVELAND ORCHESTRA FR ANZ WELSER- MÖST

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

Severance Hall

Thursday evening, November 8, 2018, at 7:30 p.m. Friday morning, November 9, 2018, at 11:00 a.m.* Saturday evening, November 10, 2018, at 8:00 p.m.

Alain Altinoglu, conductor CLAUDE DEBUSSY (1862-1918)

2O18 SEASON 2O19

Pelléas and Mélisande Symphonic Suite

drawn from the opera, by Alain Altinoglu MATTHIAS PINTSCHER

(b. 1971)

Transir (for flute and chamber orchestra) * JOSHUA SMITH, flute

INTER MISSION * MAURICE RAVEL (1875-1937)

MAURICE RAVEL

Rapsodie espagnole 1. 2. 3. 4.

Prélude à la Nuit — Malagueña — Habanera — Feria

Pavane for a Dead Princess

[Pavane pour une infante défunte]

Boléro

This weekend’s concerts are sponsored by KeyBank. Alain Altinoglu’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from Mr. and Mrs. Michael Sherwin. 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 Debussy and Ravel works without the concerto.

Severance Hall 2018-19

Concert Program — Week 7

November 8, 9, 10

1 9 1 8 -2O18

THI S WE E KE ND’S CONCE RT Restaurant opens: THUR 4:30 FRI a.m. 12:00 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 in Reinberger Chamber Hall evenings and in Concert Hall on Friday morning

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

“All Things French” with Rose Breckenridge FRIDAY MORNING 11:00

DEBUSSY Suite: Pelléas and Mélisande . . . . . page 63 (20 minutes)

(20 minutes)

Rapsoide

PINTSCHER Transir . . . . . . . . . . . . . . . . . . . . . . . . . . . page 67

DEBUSSY

Concert begins: THUR 7:30 FRI a.m. 11:00 SAT 8:00

Pav.

INTERMISSION (20 minutes)

Boléro

RAVEL Rapsodie espagnole . . . . . . . . . . . . . page 71

12:15

(15 minutes)

Pavane for a Dead Princess . . . . . . . page 73 (5 minutes)

Boléro . . . . . . . . . . . . . . . . . . . . . . . . . . . page 75 Concert ends:

(15 minutes)

(approx.)

THUR 9:10 SAT 9:40

Severance Restaurant Post-Concert: Opus

Post-Concert Luncheon follows the Friday Morning concert.

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

TThis his Week’s Concertss

The Cleveland Orchestra

INTRODUCING THE CONCERT

Impressions & Texture

T H I S W E E K ’ S C O N C E R T S offer varying approaches to musical impressions,

created by two avant-garde French composers from a century ago and — for the evening concerts — a French-titled work by a modern German. We begin with an orchestral suite from Debussy’s enigmatic opera Pélleas and Mélisande. The opera was a musical rendering of a famous Symbolist play premiered in 1893. Debussy’s own Impressionist style fit well to the strangely uncertain storyline, where things unsaid are as important (or more important) than what is said. This week’s guest conductor, Alain Altinoglu, has drawn his own symphonic suite from the opera, giving us a new opportunity to experience this shifting music of elusive meaning. Next, for the evening concerts only, comes a flute concerto by Matthias Pintscher. Written a decade ago, the word Transirr traces to an old French meaning of moving through, of transition, and, more recently, of the cutting chill of a cold wind — thus to stages of a journey, of leaving, departing, and being “between.” Here, Pintscher plays with sounds moving past one another. The Orchestra’s principal flute, Joshua Smith, takes on the solo role. The concerts conclude with three pieces by Maurice Ravel, written between 1895 and 1928. Here we experience a range of musical impressions by this French master — from depiction to evocation, from stylish dance to somber elegy, from steady rhythm to long crescendo and variation. Rapsodie espagnole, or “Spanish Rhapsody,” was first written as a piano piece in 1895, then orchestrated a decade later. This is a beautiful and funfilled journey, presenting us with shifting views of Spanish life and culture — melding across atmospheric, descriptive, and poetic. Pavane for a Dead Princess, again first written for piano and orchestrated later on, is actually a kind of musical thank you to one of Paris’s great arts patrons, Princesse de Polignac (a.k.a. Winnaretta Singer, whose inherited fortune was from the Singer Sewing machine). The program ends with Ravel’s Boléro from 1928, a work that began as a simple exercise in variation and repetition — and has ridden a wave of popularity to be one of the most-recognized pieces ever written. It is mesmerizing and tensely-coiled, and offers a brilliant ending to a night of musical variety. —Eric Sellen The Saturday performance is dedicated to Mr. and Mrs. Alfred M. Rankin, Jr. r in recognition of their extraordinary generosity in support of The Cleveland Orchestra.

Severance Hall 2018-19

Introducing the Concerts

THANKS TO THE CLEVELAND ORCHESTRA,

CLASSICAL MUSIC IS ALIVE AND WELL. Trust us, we would know.

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Symphonic Suite: Pelléas and Mélisande from the opera composed 1893-95, suite derived by Alain Altinoglu 2016-17

At a Glance

Claude

DEBUSSY born August 22, 1862 St. Germain-en-Laye, France died March 25, 1918 Paris

Debussy wrote Pelléas et Mélisande, the only opera he ever completed, between 1893 and 1895. For his text, he worked directly from Maurice Maeterlinck’s stage drama of the same name, removing some lines and scenes. He made revisions to the work in 1900-01, and orchestrated the score in 1901-02; preparing for the premiere, to accommodate the needs for changing scenery onstage during the production, he also extended or wrote orchestral interludes between many of the opera’s scenes. The work was premiered on April 30, 1902, at the Opéra-Comique in Paris, conducted by André Messager. A variety of orchestral suites have been created from the score over the years, largely made up of the opera’s orchestral interludes, though sometimes also including the underscor-

ing from certain key scenes. Alan Altinoglu created his symphonic suite in 2016-17, premiering it with the Berlin Philharmonic in September 2017. Debussy’s score to the opera calls for an orchestra of 3 flutes, 2 oboes, english horn, 2 clarinets, 3 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (cymbals, triangle, glockenspiel), 2 harps, and strings. The Cleveland Orchestra first presented music from Pelléas and Mélisande when Erich Leinsdorf led his own arrangement of a suite of orchestral interludes from the opera in 1945; that suite was recorded by Columbia. The entire opera was presented in concert in 2000, led by Pierre Boulez. A staged presentation was performed in 2017, in a production by Yuval Sharon conducted by Franz Welser-Möst.

About the Music C L E V E L A N D O R C H E S T R A audiences had the good fortune

to experience Debussy’s only opera, Pelléas and Mélisande, in a stage production by director Yuval Sharon two seasons ago, conducted by Franz Welser-Möst. Debussy’s rendering is a wonderfully enigmatic musical setting of an extraordinarily influential play by Maurice Maeterlinck, premiered in Paris in 1893. The story of this Symbolist play was built on “things half said,” of action most often merely suggested rather than definitively acted out. Debussy’s own evolving Impressionist style seemed a perfect fit musically, though, in fact, composer and playwright did not fully agree on how the original stagework was adapted into an opera. (Maeterlinck disagreed with Debussy’s choice of casting and even tried to sue the composer to stop the original production.) The opera’s story, of a doomed love between a man and his half-brother’s wife, is in many ways a retelling of the older tale of Tristan and Isolde, famously set as an opera by Richard Wagner. But whereas Wagner focused on the transcendent love Severance Hall 2018-19

About the Music

between his title characters, Debussy’s opera instead looks past the momentary reality of their lives to ponder subtler ideas, between human perception and sublimer “truths.” This week’s Cleveland Orchestra concerts present a symphonic suite drawn from Debussy’s score. Premiered just a year ago, it was created by this week’s guest conductor, Alain Altinoglu. The following is excerpted from a Q&A published at the time of the suite’s debut. —Eric Sellen © 2018

Q: Orchestral suites based on lyrical works, often conceived by a conductor, were very popular arrangements in the 19th and 20th centuries. What are your thoughts on this genre?

Altinoglu: In general, orchestral suites were arrangements of sections from longer pieces chosen to be played in concert. A great number of opera and ballet masterpieces were popularized in this manner, including Ravel’s Daphnis and Chloé, Prokofiev’s ballets, and Roussel’s Bacchus et Ariane. I find it fascinating to study the choices made by the composers (or those tasked with arranging the suite) and what they kept from the original work; it allows us to imagine which passages they found most important

to Cleveland.

north W 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

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

216-621-7227 | nicolaimmigrationlaw.com About the Music

The Cleveland Orchestra

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

440-826-8070

“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

and perhaps even their satisfaction in reusing them.

Q: How did you go about selecting these excerpts and “sewing” them together?

Altinoglu: Claude Debussy had to compose most of the orchestral interludes in Pelléas and Mélisande with great speed. Before the debut performance, it had become clear that the music as it stood wasn’t long enough for the multiple scenery changes. Almost 150 bars of music had to be added. I used these interludes as the foundation for my suite. I wanted to preserve the musical flow — and storyline — of the work, and proceeded in chronological order from the opera’s slow and sombre introduction to the brilliance of the final C-sharp major following the death of Mélisande.

Q: Is it important to include the death of Mélisande in the suite? Altinoglu: I think it was crucial to keep the ending of Pelléas. All great operas finish with a magnificent (and often deeply moving) scene, like in Carmen or Salomé. I chose not to have the vocal parts played by an instrument, but instead to keep the orchestral mood. Oddly enough, most of the excerpts transition from one to the next like magic, and the harmonic construction preserves a classically “Debussy-esque” feeling — there’s barely a perfect cadence to be found in Pelléas! Severance Hall 2018-19

About the Music

ENJOY THE INTIMATE SETTING OF ONE OF THE NATION’S BEST ACADEMIC ART MUSEUMS. LOCATED ON THE OBERLIN COLLEGE CAMPUS Free to the public since 1917, the Allen Memorial Art Museum presents an acclaimed collection of more than 15,000 objects from virtually every culture and time period. FIRST THURSDAY EVENING HOURS Galleries remain open until 7:30 p.m., with a free program: October 4, November 1, and December 6. Current Exhibitions THE RENDERING (H x W x D = )—Installation by New York-based artist Barbara Bloom commissioned for the FRONT International: Cleveland Triennial for Contemporary Art. WORLDS APART: NATURE AND HUMANITY UNDER DECONSTRUCTION—Works by three contemporary artists respond to environmental degradation in East Asia. RADICALLY ORDINARY: SCENES FROM BLACK LIFE IN AMERICA SINCE 1968—Works celebrating the black experience of the past 50 years. BARBARA BLOOM IN CONTEXT: WORKS FROM THE PICTURES GENERATION—Artists who came of age in the 1970s, saturated with mass media, explore the constructed nature of images.

Allen Memorial Art Museum 87 North Main St. Oberlin, Ohio

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Transir (for flute and chamber orchestra) composed 2005-06

At a Glance Pintscher composed his Transir for flute and chamber orchestra in 200506. The first performance took place at the Lucerne Festival on August 13, 2006, with Emmanuel Pahud as the soloist, with the Mahler Chamber Orchestra conducted by Daniel Harding. This concerto runs about 20 minutes in performance. Pintscher scored it for a chamber orchestra of

Matthias

PINTSCHER born January 29, 1971 Marl, Germany living in New York City and Paris

Severance Hall 2018-19

2 flutes, piccolo, 2 oboes, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 2 horns, 2 trumpets, trombone, 3 percussionists (with many instruments), harp, and strings, plus the solo flute. The Cleveland Orchestra is presenting this work for the first time with this weekend’s concerts.

About the Music M A T T H I A S P I N T S C H E R is now well established as a leading

force in today’s musical world — as a composer and new music advocate, augmented with substantial parallel careers as conductor and teacher. Pintscher has been a regular visitor to Cleveland since his time as a Daniel R. Lewis Young Fellow composer-in-residence from 2000 to 2002, and has earned broad recognition in Britain and France as well as the United States. He first came to worldwide notice with his opera Thomas Chatterton, staged in Dresden in 1998 and followed by prestigious performances in Berlin under Claudio Abbado and at the Salzburg Festival. The composer now teaches at the Juilliard School and lives primarily in New York City, while fulfilling regular engagements on both sides of the Atlantic. In Europe, he is music director of the Ensemble Intercontemporain, originally founded by Pierre Boulez and long considered one of the world’s leading contemporary music ensembles. The current season also includes artistic partnerships with the BBC Scottish Symphony Orchestra, Los Angeles Chamber Orchestra, and Zurich’s Tonhalle Orchestra. As a composer, in addition to the Chatterton opera, Pintscher has composed a good quantity of chamber music for different instruments, a steady output of orchestral music, and a series of concertos (none of which are actually named a “concerto,” but several of which can be seen as a linked sequence). His Reflections on Narcissus for cello and orchestra, from that sequence, was heard in Severance Hall in 2010, and his Idyll for orchestra was premiered by The Cleveland Orchestra in 2014. Other of his About the Music

works have also been presented here, including the Unites States premiere of his Violin Concerto in 2003. Hérodiade-Fragment, for soprano and orchestra, was played here in 2006, while Five Orchestral Pieces was performed at Severance Hall and on tour in 2007. Chute d’Etoiles, for two trumpets and orchestra, was played in 2012, and Ex nihilo, for chamber orchestra, was presented in 2017. Earlier this month, he led a weekend of concerts with The Cleveland Orchestra for the sixth time. THE CONCERTO

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Pintscher’s music is extremely intricate and complex — and always challenging for soloists and orchestras. In the case of Transir, the score is prefaced by four pages of instructions to the players, supplemented by further instructions accompanying almost every note. These indicate not just the dynamics and tempo, as might be expected in traditional orchestral music, but also make special demands for breathing, fingering, and bowing, or for unorthodox ways of playing instruments. The flute soloist is expected to play the instrument in every imaginable way: tonguing, breathing, blowing, slapping the keys, “jet-whistle,” and as “multiphonics,” the art of producing two or three notes at once (often by half closing the keys and with powerful breathing). The one thing you will not hear from the flute in Transir is a calmly sustained single

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note in the familiar register. All notes are short, often in rapid bursts all over the instrument’s range, and sustained only at stratospheric altitude. Meanwhile the two flutes in the chamber orchestra sometimes join in the soloist’s acrobatics, while the rest of the players also have complicated things to do, with delicately nuanced instructions (including such things as a crescendo to ppp, which is to say “getting louder” until you are at no more than a very very quiet volume — meaning you have to start very quietly indeed). Each of the string players has an individual part. Some of them are instructed to attach paper clips to the strings fifteen millimeters (3/4") from the bridge. The dynamic is predominantly quiet, ensuring the flute’s audibility, with occasional heavy chords from the full ensemble and ever-changing filigree cobwebs of sound behind the soloist. Each of the three percussionists has a huge array of instruments to handle, including bongos and bells of every size and the “full kitchen” (except timpani and snare drum). In French, the word “transir” means to be chilled or even paralysed with cold, although Pintscher has not asserted that that was his feeling or intention with this work. The impression it gives is more of enchantment, and of a magical world of sounds in transition. —Hugh Macdonald © 2018 Severance Hall 2018-19

About the Music

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Rapsodie espagnole [Spanish Rhapsody] composed 1895-1908

At a Glance

Maurice

RAVEL born March 7, 1875

Ciboure, Basses-Pyrénées died December 28, 1937 Paris

Severance Hall 2018-19

Ravel composed his Rapsodie espagnole (“Spanish Rhapsody”) in 1907, except for the third-movement “Habanera,” which is the orchestration of a work he had originally written for two pianos back in 1895. Rapsodie espagnole was premiered on March 15, 1908, at the Colonne Concerts held at the Théâtre du Châtelet in Paris, under the direction of Édouard Colonne. This work runs about 15 minutes in performance. Ravel scored it for 2 piccolos, 2 flutes, 2 oboes, english horn, 2 clarinets, bass clarinet, 3 bassoons, sarrusophone (a now-obsolete

wind instrument often replaced by the contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, side drum, cymbals, triangle, tambourine, castanets, tamtam, xylophone), celesta, 2 harps, and strings. The Cleveland Orchestra first performed Ravel’s Rapsodie espagnole in January 1928, at a pair of subscription concerts conducted by the composer. The most recent performances were led by Bramwell Tovey in July 2016.

About the Music R A V E L’ S “ R A P S O D I E E S P A G N O L E ”

was preceded by a long line of works by French composers inspired by Spain, from Bizet’s Carmen to Chabrier’s España. Yet it would be wrong to think that Ravel, writing his first composition for full orchestra, wanted merely to follow a fashionable trend. To Ravel, Spain was a very personal matter. He was born a short distance from the Spanish-French border, though he never crossed it growing up. His mother was of Basque origin, spoke fluent Spanish, and sang many Spanish folksongs to her son. Ravel always considered Spain his second musical homeland, and Spanish influences are evident in his work from the early Habanera to his last completed composition, the three Don Quichotte songs. Rapsodie espagnole is therefore much more than an orchestral showpiece involving Spanish rhythms and melodies. It is a composition in which Ravel presented some of his deepest feelings about Spain. Instead of transporting the listener into some kind of a generic sunlit landscape with castanets, Ravel did something infinitely more subtle in this piece, which seems more a dream of Spain than an evocation of the real country. Of the work’s four movements, the first three are somewhat subdued and wistful preludes to the “Feria,” the longest section and the only one to display that fiery temperament that most About the Music

people in France associated with their southern neighbors. Yet even in the final movement, we find a rather lengthy middle section where the sun temporarily disappears behind the clouds. The first and second movements share a common motif of four descending notes (F — E — D — C-sharp), repeated as an ostinato, from the Italian word for “stubborn,” and meaning a constantly returning or repeated pattern. This motif, which is heard again in the brooding middle section of the “Feria,” creates an aura of mystery, dampening the excitement of the characteristic Spanish rhythms that are present throughout the work. In the first movement, “Prélude à la nuit” (“Prelude to the Night”), the four-note descending motif is heard almost constantly, setting up an atmosphere of expectation. There is a cadenza for two clarinets, followed by the only real melody of the movement, played by the solo violin, just four measures long. The cadenza is then repeated by two bassoons, with the ostinato motif closing out the movement. The second movement, “Malagueña,” is named after a dance, related to the fandango, from the region of Málaga in southern Spain. The dance is reduced to its bare rhythm, with orchestral color taking the place of thematic material. Only occasionally do we hear a melodic fragment; the music is soft and dreamy, only once rising to a brief, loud climax played by the entire orchestra. There follows a haunting, recitative-like solo for english horn, drifting to silence. The next movement, “Habanera,” was written 13 years before the rest of the Rapsodie. In fact, it was one of two works for two pianos that were performed only once at the time they were written; Ravel withdrew the pieces after that initial performance. A dozen years later, he orchestrated the Habenera. And it is remarkable how well this movement fits with the other movements written years later. If it were not for the absence of the four-note motif, one probably wouldn’t guess that the “Habanera” wasn’t composed with the rest of the Rapsodie. The music has the same understated intensity as the first two movements. In the last movement, “Feria,” the veil that has hung over the music until now is finally dropped. The exuberance of the music is reminiscent of Debussy’s Ibéria (the second of his orchestral Images pieces), although, as in the case of “Habanera,” Ravel was again ahead of his older contemporary. Ibéria, begun in 1905, was not completed until late 1908, after the premiere of the Rapsodie on March 15 of the same year. —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.

About the Music

The Cleveland Orchestra

Pavane for a Dead Princess orchestrated 1910, from the piano piece composed 1899

At a Glance Ravel wrote Pavane for a Dead Princess in 1899 as a solo piano piece. He created an orchestrated version in 1910, which was premiered on February 27, 1911, in Manchester, England, with conductor Henry Wood at “Gentlemen’s Concert.” This work runs 5 minutes in perfor-

Maurice

RAVEL born March 7, 1875

Ciboure, Basses-Pyrénées died December 28, 1937 Paris

mance. Ravel scored it for 2 flutes, oboe, 2 clarinets, 2 bassoons, 2 horns, harp, and muted strings. The Cleveland Orchestra first performed this work in March 1935 under Arthur Rodzinski’s direction. It has been programmed often since then, most recently in August 2014.

About the Music T H E S P I R I T O F T H I S W O R K seems very much to be that of the French composer Erik Satie, whose titles for musical pieces are notoriously absurdist. The French title Pavane pour une infante défunte, usually rendered simply into English as “Pavane for a Dead Princess,” in fact suggests a noblewomen of Spanish origin. Ravel, at 24, was not above teasing his audience with a piece that has nothing Spanish about it (no Infanta or Infante) and is musically not really a pavane, a slow processional dance from the 16th century. Ravel dedicated this composition to the Princesse de Polignac, Paris’s most generous patron of music, who used her wealth (from Singer sewing machines) and her title (her husband was a composer) to support French musicians. A small piano piece such as this, composed in 1899, should be compared to the Pièces pittoresques created by Emmanuel Chabrier, which Ravel greatly admired, and some of which, like Ravel’s piece, were later orchestrated. The tune comes three times, orchestrated differently each time. Its first appearance on the horn (actually intended for old-fashioned hand-horns) is marvelously evocative. There are two episodes, the first of which has a typically Ravelian melody with its emphasis on the second note of each phrase, shared between oboe and strings. The second episode explores the minor key. —Hugh Macdonald © 2018 Hugh Macdonald lives in England and is Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis and is a noted authority on French music. He has written books on Beethoven, Berlioz, and Scriabin.

The Cleveland Orchestra

About the Music

Boléro composed 1928

At a Glance

Maurice

RAVEL born March 7, 1875

Ciboure, Basses-Pyrénées died December 28, 1937 Paris

Severance Hall 2018-19

Ravel composed Boléro in 1928. It was first performed on November 22, 1928, by Ida Rubinstein’s company at the Paris Opéra. Rubinstein herself danced the main role; the choreography was by Bronislava Nijinska, with sets and costumes by Alexandre Benois; Walther Straram conducted. The North American premiere (without dancers) took place at an orchestral concert conducted by Arturo Toscanini with the New York Philharmonic, on November 14, 1929. Boléro runs about 15 minutes in performance. Ravel scored it for

2 flutes and piccolo, 2 oboes (second doubling oboe d’amore) and english horn, 2 clarinets plus small clarinet in E flat and bass clarinet, 2 bassoons and contrabassoon, 4 horns, 4 trumpets, 3 trombones and tuba, 3 saxophones (sopranino, soprano, tenor), timpani, percussion (2 snare drums, cymbals, tam-tam), celesta, harp, and strings. The Cleveland Orchestra first performed Boléro in October 1930, conducted by music director Nikolai Sokoloff. It has performed this work on many occasions since.

About the Music R A V E L D I D N O T E X P E C T Boléro to be a hit. He was simply

fulfilling an obligation to write a piece of music. He’d been asked by the Russian ballerina Ida Rubinstein to write a new ballet with a Spanish theme. Her original request involved orchestrating some piano works by Isaac Albéniz, a relatively easier task than writing new music. But it turned out that the Albéniz pieces had already been arranged for orchestra — and that copyright restrictions wouldn’t allow another version. So Ravel struck out on his own, looking for something interesting but not too timeconsuming. Eventually, he settled on the idea of an orchestration exercise, applied to a strangely meandering melody of his own devising, set against a steady and unchanging Spanish rhythm. The mastery of Ravel is not in having thought of composing this exercise, but in the extraordinary consummate skill with which he infused a unique musical message into a simple formula and idea. A less sure hand would have built the variations across a gradually intensifying orchestral crescendo with either more frequent or fewer changes in instrumentation. Somehow, Ravel managed just the right combination of stasis and change, keeping the piece in a very narrow region between monotony and wildfire. New instruments are added just when they are needed to keep the energy building, but never in an entirely predictable way or pace. In a good performance, the About the Music

ending comes just as it should, at the peak of tension, releasing the audience to extended applause. In a great performance, the result can be mesmerizing, tantalizing, and palpably bone-tingling. With the snare drum starting out from the very beginning, the melody is carried along according to a plan that looks something like the following list (while other instruments mirror and enhance the snare drum and its insistent rhythmic pattern): 1. 2. 3. 4.

solo flute (in the instrument’s low range) solo clarinet (also low in its range) solo bassoon (high in its range) solo E-flat clarinet (smaller and higher in pitch than the standard B-flat clarinet) 5. solo oboe d’amore (an instrument ranged, in pitch and tone, between the oboe and english horn) 6. muted trumpet and flute (the flute floats above, parallel to the trumpet’s line) 7. solo tenor saxophone (saxophones were unusual in an orchestra, and still are, but Ravel liked jazz and wanted an unusual sound here) 8. solo soprano saxophone (a small, straight, high-pitched saxophone) 9. horn and celesta (the bell-like sound of the celesta moves parallel to the horn’s line) 10. quartet of clarinet and three double reeds (this combination sounds somewhat like an organ) 11. solo trombone (including sliding passages) 12. high woodwinds (sounding a bit strident) 13. strings (the strings emerge to take the lead . . .) From here to the end, everything continues building, eventually adding trumpets, more strings, and the entire orchestra including trombones and cymbals. Then, sometimes feeling unexpected, the ending comes quite suddenly. Boléro was a sensational success at its premiere in Paris in 1928, for the music more than the choreography, and the piece quickly took on a life of its own in the concert hall (and radio and recordings and movies and more). Ravel was astonished — and even perturbed — by its quick rise to popularity. In 1931, he stated that Boléro “constitutes an experiment in a very special and limited direction, and should not be suspected of aiming at achieving anything different from, or anything more than, it actually does achieve. Before its first performance, I issued a warning

About the Music

The Cleveland Orchestra

to the effect that what I had written was a piece lasting seventeen minutes and consisting wholly of ‘orchestration without music’ — of one very long, gradual crescendo. There are no contrasts, and practically no invention except the plan and the manner of execution.” Just so, and it works magnificently.

Israeli classical pianist Alon Goldstein 2 p.m. on Nov. 18 The Cleveland Museum of Art | FREE MEASURES ABOVE THE REST

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About the Music

Alain Altinoglu French conductor Alain Altinoglu became music director of the Théâtre Royal de la Monnaie in Brussels in January 2016. He has worked with dozens of orchestras and opera companies in Europe and North America, and made his Cleveland Orchestra debut in October 2016. Mr. Altinoglu’s concert appearances have included guest conducting engagements leading the orchestras of Bamberg, Bavarian Radio Symphony Orchestra, Berlin, Birmingham (UK), Boston, Chicago, Cleveland, Danish National Symphony, Dresden, Orchestre National de France, Orchestre Philharmonique de Radio France, Bavarian Radio Symphony Orchestra, Gothenburg Symphony, MDR Leipzig Radio Symphony Orchestra, London’s Philharmonia Orchestra, Royal Stockholm Philharmonic, Orchestre National de Lyon, Orchestre de Paris, Philadelphia, Stockholm, Vienna, and Zurich. Alain Altinoglu’s operatic repertory ranges from Mozart and Wagner to Debussy, Puccini, Strauss, Tchaikovsky, and Verdi. His opera work has included performances at many of the world’s foremost opera houses, including Bavarian State Opera in Munich, Bayreuth Festival, Deutsche Oper Berlin, Lyric Opera of Chicago, Metropolitan Opera, Zurich Opera, London’s Royal Opera House, Staatsoper unter den Linden, Teatro Colon Buenos Aires, and the Vienna State Opera. He has also led productions at all three of Paris’s opera houses, and has appeared at the music festivals in Aix-en-Provence, Orange, and Salzburg.

In addition to conducting, Alain Altinoglu maintains a strong affinity for the art-song repertoire. He has accompanied mezzo-soprano Nora Gubisch on several recordings for Naïve, which include folk songs by Berio, Brahms, Falla, Granados, Obradors, and Ravel. They also can be heard on an album of songs by Henri Duparc on the Cascavelle label. Mr. Altinoglu’s Naïve discography includes Henryk Górecki’s Third Symphony and Sinfonia Varsovia, Tanguy’s Cello Concerto, and Dusapin’s Perelà. He has also recorded works by Lalo for Deutsche Grammophon and by Liszt for Pentatone. On DVD, Mr. Altinoglu’s artistry can be experienced with Honegger’s opera Jeanne d’Arc au Bûcher, released by Arte/ Accord. In addition, Deutsche Grammophon has released DVDs of Wagner’s The Flying Dutchman and of Lalo’s Fiesque conducted by Mr. Altinoglu. Born in Paris in 1975 to Armenian parents, Alain Altinoglu studied at the Conservatoire National Supérieur de Musique de Paris. He currently teaches conducting there. For additional information, please visit www.alainaltinoglu.com.

Guest Artist

The Cleveland Orchestra

Joshua Smith

Principal Flute Elizabeth M. and William C. Treuhaft Endowed Chair The Cleveland Orchestra

Firmly established as one of America’s outstanding flutists, Joshua Smith is equally at home as a soloist, chamber musician, and educator. He was appointed as The Cleveland Orchestra’s principal flute at age twenty, joining the ensemble in 1990. He appears regularly as soloist with the Orchestra, in repertoire ranging from Bach and Mozart to Penderecki and Widmann. In September 2014, he was featured with the Orchestra on tour in Europe, playing Jörg Widmann’s flute concerto at the BBC London Proms, Lucerne Festival, Berlin Philharmonie, Vienna Musikverein, and Amsterdam Concertgebouw. Most recently, he played Mozart’s Concerto for Flute and Harp with the Orchestra and guest soloist Yolanda Kondonassis in 2016, and this past summer he was among featured performers for the Orchestra’s Blossom 50th Anniversary benefit concert. Mr. Smith received a Grammy nomination for his Telarc recording, Air,r and has recorded two discs with harpsichordist Jory Vinikour dedicated to the Sonatas of J.S. Bach. He appeared on a Live from the Marlboro Music Festival recording and can be heard on more than 100 Cleveland Orchestra recordings. Intrigued with exploring new ways of connecting with audiences, Joshua Smith leads the chamber group Ensemble HD, which features Cleveland Orchestra members and guests. The artists perform in concert halls as well as nontraditional venues. Ensemble HD released its first double vinyl album in May 2013,

Severance Hall 2018-19

Guest Artist

Live at The Happy Dog. It was recorded at The Happy Dog, a local bar-restaurant in Cleveland’s Gordon Square Arts District. Joshua Smith was invited to speak to the National Endowment for the Arts Council about community engagement efforts spearheaded by Ensemble HD. Mr. Smith appears as a chamber musician throughout the United States, including recent and ongoing appearances with the Philadelphia Chamber Music Society series, at the Marlboro and Santa Fe Music Festivals, and with the Israeli Chamber Project. He has performed in collaborative concerts at the Cleveland Museum of Art, Pensacola Museum of Art, Museum of Contemporary Art in Miami, and the 92nd Street Y in New York City. Joshua Smith is a Powell Artist and performs most often on a new grenadilla Powell or on an old Rudall-Carte. A native of Albuquerque, New Mexico, he worked closely with renowned pedagogue Frank Bowen before attending Philadelphia’s Curtis Institute of Music, where he studied with Julius Baker and Jeffrey Khaner. For additional information, please visit www.soloflute.com.

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+

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Individual Annual Support

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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

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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

96 84

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 Oâ&#x20AC;&#x2122;Brien Richard and Jolene Oâ&#x20AC;&#x2122;Callaghan+ Mr. and Mrs. John Olejko Harvey and Robin Oppmann Mr. Robert Paddock Ms. Ann Page Mr. John D. Papp George Parras Dr. Lewis E. and Janice B. Patterson+ David Pavlich and Cherie Arnold Matt and Shari Peart Nan and Bob Pfeifer

Individual Annual Support

Mr. Charles and Mrs. 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

97 85

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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

$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

The Cleveland Orchestra guide to Fine

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The Cleveland Orchestra

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

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.

SERVICES FOR PERSONS WITH DISABILITIES Severance Hall provides special seating options for mobility-impaired persons and their companions and families. There are wheelchair- and scooter-accessible locations where patrons can remain in their wheelchairs or transfer to a concert seat. Aisle seats with removable armrests are also available for persons who wish to transfer. Tickets for wheelchair accessible and companion seating can be purchased by phone, in person, or online. As a courtesy, Severance Hall provides wheelchairs to assist patrons in going to and from their seats upon entering the building. Patrons can make arrangements by calling the House Manager in advance at 216-231-7425. Service animals are welcome at Severance Hall. Please notify the Ticket Office as you buy tickets.

ASSISTANCE FOR THE DEAF OR HARD OF HEARING Infrared Assistive Listening Devices (ALDs) are available without charge for most performances at Severance Hall, in Reinberger Chamber Hall and upstairs in the Concert Hall. Please inquire with a Head Usher or the House Manager to check out an ALD. A driver’s license or ID card is required, which will be held until the return of the device.

LARGE PRINT PROGRAMS AND BRAILLE EDITIONS A large print edition of most Cleveland Orchestra program books are available; please ask an usher. Braille versions of our program books can be made available with advance request; please call 216-231-7425.

CHILDREN AND FAMILIES Our Under 18s Free ticket program is designed to encourage families to attend together. For more details, visit clevelandorchestra.com/under18. Regardless of age, each person must have a ticket and be able to sit quietly in a seat throughout the performance. Cleveland Orchestra subscription concerts are not recommended for children under the age of 8. However, there are several age-appropriate series designed specifically for children and youth, including: Musical Explorers! (recommended for children 3 to 6 years old) and Family Concerts (for ages 7 and older).

YOUNGER CHILDREN We understand that sometimes young children cannot sit quietly through a full-length concert and need to get up and move or talk freely. For the listening enjoyment of those around you, we respectfully ask that you and your active child step out of the concert hall to stretch your legs (and baby’s lungs). An usher will gladly help you return to your seat at an appropriate break.

Guest Information

The Cleveland Orchestra

PARKING GARAGE PARKING Pre-paid parking for the Campus Center Garage can be purchased in advance through the Ticket Office for $15 per concert. This pre-paid parking ensures you a parking space, but availability of pre-paid parking passes is limited. Available on-line, by phone, or in person. Parking can be purchased (cash only) for the at-door price of $11 per vehicle when space in the Campus Center Garage permits. Parking is also available in several lots within 1-2 blocks of Severance Hall. Visit the Orchestraâ&#x20AC;&#x2122;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.

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TICKET EXCHANGES Subscribers unable to attend on a particular concert date can exchange their tickets for a different performance of the same weekâ&#x20AC;&#x2122;s program. Subscribers may exchange their subscription tickets for another subscription program up to five days prior to a performance. There is no service charge for the five-day advance ticket exchanges. If a ticket exchange is requested within 5 days of the performance, a $10 service charge per concert applies. Visit clevelandorchestra.com for details.

UNABLE TO USE YOUR TICKETS? Ticket holders unable to use or exchange their tickets are encouraged to notify the Ticket Office so that those tickets can be resold. Because of the demand for tickets to Cleveland Orchestra performances, â&#x20AC;&#x153;turnbacksâ&#x20AC;? make seats available to other music lovers and can provide additional income to the Orchestra. If you return your tickets at least two hours before the concert, the value of each ticket can be a tax-deductible contribution. Patrons who turn back tickets receive a cumulative donation acknowledgement at the end of each calendar year.

Severance Hall 2018-19

Guest Information

11001 Euclid Avenue Cleveland, Ohio 44106

CLEVELANDORCHESTRA.COM

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

Severance Hall 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