The Cleveland Orchestra November 15, 17, 18, 23, 24, 25 Concerts by Live Publishing

THE CLEVELAND ORCHESTRA FRANZ WELSER-MÖST

2O18 SEASON 2O19 AUTU M N

Perspectives . . . . . . . . . . . . . . . . . . . . page 7 Q&A with Franz Welser-Möst . . page 8 November 15, 17, 18 Shostakovich’s Fifth . . . . . . . . . page 29 WEEK 8 —

WEEK 9 — November

23, 24, 25 Vivaldi’s Four Seasons . . . . . . . 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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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

SHOSTAKOVICH FIFTH Concert: November 15, 17, 18 . . . . . . . . . . . . . . . . 29 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 31

2O18 SEASON 2O19 COVER: PHOTOGRAPHY BY ROGER MASTROIANNI

Copyright © 2018 by The Cleveland Orchestra and the Musical Arts Association Eric Sellen, Program Book Editor E-MAIL: esellen@clevelandorchestra.com Program books for Cleveland Orchestra concerts are produced by The Cleveland Orchestra and are distributed free to attending audience members. Program book advertising is sold through Live Publishing Company at 216-721-1800

KABELÁČ

Mystery of Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 STRAVINSKY

Capriccio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 SHOSTAKOVICH

Symphony No. 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 Conductor: Jakub Hrůša . . . . . . . . . . . . . . . . . . . . . . . 46 Soloist: Emanuel Ax . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

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

11 12 48 56 57 85

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.

VIVALDI’S FOUR SEASONS Concert: November 23, 24, 25 . . . . . . . . . . . . . . . 59 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 61

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

50%

VIVALDI

The Four Seasons . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 MOZART

Chaconne, from Idomeneo . . . . . . . . . . . . . . . . . . 69

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.

HAYDN

“Surprise” Symphony . . . . . . . . . . . . . . . . . . . . . . . 71 Conductor: Nicholas McGegan . . . . . . . . . . . . . . . . . 74 Soloist: Peter Otto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

NEWS 4

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

Cleveland Orchestra News . . . . . . . . . 77

Table of Contents

The Cleveland Orchestra

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Perspectives from the Executive Director November 2018 This is a special time of year, as we gather with family and friends to celebrate the holidays and reflect on recent events while looking ahead to 2019. The past year has been a particularly busy and celebratory one for The Cleveland Orchestra. We have commemorated this remarkable ensemble’s 100th anniversary, offering up extraordinary musical experiences here at Severance Hall, at Blossom, and across the region. We have celebrated Franz Welser-Möst’s musical leadership and renewed our promise to offer music and music-making to everyone here in Northeast Ohio. Together, we have launched the Orchestra’s Second Century, built on values of excellence, caring, sharing, and the power of music to change lives. Serving the People of Northeast Ohio — Centennial celebrations across the past year brought great success and widespread acclaim. Under Franz Welser-Möst’s artistic leadership, your Cleveland Orchestra is second to none. At home in Northeast Ohio, more people are enjoying more music performed by Cleveland Orchestra musicians than ever before, and we are attracting young audiences at a rate that has caught the attention of every other orchestra in the country. All told, The Cleveland Orchestra touched the lives of more than 400,000 people from across our region in the past year. This includes over 100,000 students and adults who participated and were invigorated and inspired by our education presentations and community programs. At Blossom, where we celebrated that magnificent facility’s 50th anniversary, the Orchestra’s summer season in 2018 attracted 20,000 more attendees than the year before. Our ongoing Under 18s Free program helped 40,000 young people attend concerts at Severance Hall and Blossom. Over 165,000 attended Orchestra concerts at Severance Hall, with another 50,000 attending a wide variety of rental events and performances here at Severance. The Centennial’s “Around the Region” Tour featured 20 performances witnessed by over 25,000 people — and was experienced by tens of thousands more statewide via telecast of our Martin Luther King Celebration concert. Truly, this past year was a time for sharing, community, and celebration. A Time of Year for Gratitude — Franz Welser-Möst, the musicians, board of trustees, staff, volunteers, and I are all grateful for your interest and support. We are deeply appreciative each and every day of the many caring people who help make each season possible. Foundations, who provide funding for education programs and innovation. Corporations, who sponsor concert presentations and special initiatives. Individuals, who donate to The Cleveland Orchestra at a rate higher than that of any other major orchestra’s hometown in the country. This past year has reminded me, again and again, that the Northeast Ohio community is the most loyal and supportive group I have experienced anywhere. You are our greatest strength. Your support and interest, your appreciation and enthusiasm make a difference in all that we do — and you are the focus of our efforts each and every day. Your passion and generosity are the fuel that drives The Cleveland Orchestra forward — in excellence and service, innovation and inspiration. As you reflect on what you are grateful for in your own life, I hope you will recall the deeply meaningful experiences that The Cleveland Orchestra has given you, and that you will celebrate those lasting memories with a year-end gift to the Orchestra. We depend on you. Thank you.

Severance Hall 2018-19

André Gremillet

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 viewing the Concert Preview with Franz Welser-Möst discussing the season with executive director André Gremillet. 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

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MUSICAL ARTS ASSOCIATION

as of August 2018

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

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

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

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

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

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

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

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

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

Herbert Kloiber (Germany) Paul Rose (Mexico)

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

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

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

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

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

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

Severance Hall 2018-19

André Gremillet, Executive Director

Musical Arts Association

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The Cleveland Orchestra

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

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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

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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

Photo by Nannette Bedway, courtesy of The Cleveland Orchestra.

Emanuel Ax performs with The Cleveland Orchestra at Severance Hall on October 1, 2016.

dynamic Itâ&#x20AC;&#x2122;s more than music.

We are proud to support The Cleveland Orchestra and the transformative power of accomplished professionals working together to achieve excellence.

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THE

CLEVEL AND ORCHESTRA FR ANZ WELSER- MÖST

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

Severance Hall

Thursday evening, November 15, 2018, at 7:30 p.m. Saturday evening, November 17, 2018, at 8:00 p.m. Sunday afternoon, November 18, 2018, at 3:00 p.m.

-DNXE +UŢäD, conductor MILOSLAV KABELÁC (1908-1979)

IGOR STRAVINSKY (1882-1971)

2O18 SEASON 2O19

Mystery of Time, Opus 31 (Passacaglia for Orchestra) Capriccio (for piano and orchestra) 1. Presto — Doppio movimento — 2. Andante rapsodico — 3. Allegro capriccioso ma tempo giusto EMANUEL AX, piano

I N T ER MISSION DMITRI SHOSTAKOVICH (1906-1975)

Symphony No. 5 in D minor, Opus 47 1. 2. 3. 4.

Moderato Allegretto Largo Allegro non troppo

the generosity of the BakerHostetler Guest Artist Series sponsorship. Emanuel Ax’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from Timothy P. and Jennifer C. Smucker. r

Severance Hall 2018-19

Concert Program — Week 8

November 15, 17, 18

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THI S WE E KE ND’S CONCE RT Restaurant opens: THUR 4:30 SAT 5:00 Sun 12:00

Concert Preview: BEGINS ONE HOUR BEFORE CONCERT

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

C E N T E N N I A L

Severance Restaurant Reservations (suggested) for dining:

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

C O N C E R T P R E V I E W in Reinberger Chamber Hall

“Bright, Dark, Mysterious” with Rose Breckenridge

KABELÁČ Mystery of Time . . . . . . . . . . . . . . . . . . . . . . . . page 33 (25 minutes)

STRAVINSKY Capriccio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 35 (15 minutes)

INTERMISSION (20 minutes)

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

DMITRI SHOSTAKOVICH Symphony No. 5 . . . . . . . . . . . . . . . . . . . . . . . . page 39 (45 minutes)

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

Concert ends: (approx.)

THUR 9:20 FRI 9:50 SAT 4:50

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

instagram: @CleveOrch

TThis his Week’s Concerts

The Cleveland Orchestra

INTRODUCING THE CONCERT

Time, Pizzazz& Rejoicing

T H I S W E E K ’ S C O N C E R T S present a trio of works from the middle of

the 20th century. Written between 1928 and 1957, they offer a range of varied sound worlds — spicey, spiky, and spacey, vigorous and invigorated, filled with pizzazz and passion, quiet and loud, unnerving or resonant. The evening begins with a rarely-heard work by Czech composer Miloslav Kabeláč. Written in the mid-1950s, this is music of contemplation, conceived and built in ordered ideas about time, space, and life’s greater mysteries. Pianist Emanuel Ax joins in for the second work, Igor Stravinsky’s tempestuous Capriccio for piano and orchestra. First written in the late 1920s (and later revised), this work brings together many aspects of Stravinsky’s art, bridging the rhythmical vigor of his early ballets into his neo-Classical rethinking of older musical ideals. Its pointed and angular music is a tour de force for both soloist and orchestra. To end the concert, guest conductor Jakub Hrůša has chosen Dmitri Shostakovich’s big and thunderous Fifth Symphony, written in 1937. Created at a time of great turmoil for the composer (and his country), the symphony was interpreted as different things by audiences, critics, and the Soviet bureaucrats. Shostakovich had been soundly criticized by government censors the previous year for writing “inaccessible” and “wayward” music. In contrast, Symphony No. 5 was greeted with open arms as a rousing and affirming piece of music, but may well have been intended as a tongue-in-cheek portrayal of the composer being forced to smile, of praise and accolades at gunpoint. It remains a moving work, filled with telling moments of beauty and conflict, angst, anger, and triumph. Embrace the opportunity to enjoy this music along with your ability to choose among any contradictory meanings within it. —Eric Sellen

A section of the Small Magellanic Cloud, Hubble photograph, NASA.

Severance Hall 2018-19

LIVE RADIO BROADCAST

Saturday evening’s concert is being broadcast live on WCLV Classical 104.9 FM. The concert will be rebroadcast as part of regular weekly programming on WCLV on Sunday, January 6, at 4:00 p.m. and on Saturday, February 16, at 8:00 p.m.

Introducing the Concerts

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

Mystery of Time [Mysterium času] Passacaglia for Orchestra, Opus 31 composed 1953-57

At a Glance Kabeláč wrote his Mystery of Time between 1953 and 1957. It was first performed on October 23, 1957, in Prague by the Czech Philharmonic conducted by Karel Ančerl. This work runs about 25 minutes in performance. Kabeláč scored it for 2 flutes, piccolo, 2 oboes, 2

Miloslav

KABELÁČ born August 1, 1908 Prague, Bohemia died September 17, 1979 Prague, Czechoslovakia

Severance Hall 2018-19

clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion (snare drum, tenor drum, bass drum), harp, and strings. The Cleveland Orchestra is presenting this piece for the first time with this weekend’s concerts.

About the Music 2 0 T H - C E N T U R Y C Z E C H C O M P O S E R Miloslav Kabeláč de-

voted his whole life to music in his home city of Prague, where he was born and where he died. After his studies at Prague Technical University and the Prague Conservatory, he worked first as a conductor and then as a music producer for Czech Radio, where he remained until 1954 (except for the years of World War II, 1939-45, when he was forced to give up his position because of his wife’s Jewish origin). In the final twenty years of his life, he taught composition at the Prague Conservatory. As a composer, Kabeláč drew inspiration from a number of sources, including folk music and the music of Asian cultures. He wrote no operas, but did pen a number of choral works while his main attention was directed towards orchestral music, including a series of eight symphonies, which have recently been recorded as a set by the Prague Radio Symphony Orchestra under the conductor Marko Ivanović. Works for percussion alone and for electronic music attest to Kabeláč’s interest in exploring new sound worlds. His Wind Sextet is an important item in wind players’ repertoire. The world Kabeláč explored in Mystery of Time is nothing less than the universe itself. This short work occupied him for four years, during which he sought to express the emotions that arise from contemplation of the heavenly bodies and the master design that controls them. In the composer’s view, the created universe is subject to a strict and immutable order within a scheme in which chance plays no part. The piece’s subtitle, Passacaglia, suggests a series of variaAbout the Music

tions over a repeated harmonic pattern. That musical idea was not in the composer’s mind as he worked on the piece, however, and he added the subtitle only after completing the entire piece. Neither, in fact, is the music laid out like a passacaglia. Instead, the subtitle seems almost to be a comment on or metaphor for the universe itself, of an unchanging pattern over which an infinite set of variations plays out. As music, Mystery of Time is in six continuous sections, which can perhaps best be viewed as a single grand arch rising gradually to a high state of tension and returning to a sense of infinity and the imagined silence of the universe itself. The most obvious thematic element is made up of adjacent notes, moving one note away and back, and sometimes two notes away and back. This is at least somewhat obvious during the long, quiet introductory section, where there is little motion and the bass line seems firmly grounded. Here, and later in the work, we sense a harbinger of the principles of what came to be known as Minimalist music, in which tiny changes spread over a slow time-span hold a listener’s attention. Eventually the entry of the bassoons marks the introduction of some more varied material and a slightly faster tempo, and from that point the growth in speed and force is gradual and seemingly unstoppable. A trumpet proclaims the start of something like a chorale, with percussion playing an increasingly important part. The climax, once reached, is long and stubbornly sustained, and, though the strings occasionally attempt to break away, the totality of orchestral sound represents the unimaginable vastness of the universe itself. At last, the clamor fades, and the thinner texture of the opening pages returns. It is not hard here to share the composer’s vision of the apparent emptiness of outer space.

About the Music

The Cleveland Orchestra

Capriccio (for piano and orchestra) composed 1928-29, revised 1949

At a Glance

IGOR

STRAVINSKY born June 17, 1882 Oranienbaum, near St. Petersburg died April 6, 1971 New York

Severance Hall 2018-19

Stravinsky composed Capriccio between December 1928 and November 1929, beginning with the last movement; he revised the score in 1949. For the world premiere in Paris on December 6, 1929, Stravinsky played the solo part, with Ernest Ansermet conducting. Capriccio runs just over 15 minutes in performance. Stravinsky scored it for 2 flutes and piccolo, 2 oboes and english horn, 2 clarinets

and bass clarinet, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, and strings, as well as a smaller (“concertino”) ensemble of strings, and the solo piano. The Cleveland Orchestra first performed Stravinsky’s Capriccio in March 1951, with pianist Beryl Rubinstein and music director George Szell. It was heard most recently in May 2011, when Emanuel Ax played it under Franz Welser-Möst’s direction.

About the Music L I K E P I C A S S O , Igor Stravinsky almost seems to have made a style of changing styles — although there’s always something identifiably Stravinskian beneath all the restless shape-shifting. In the 1920s, Stravinsky even made himself over as a performer, polishing up his remarkable skills at the keyboard so he could bring in needed cash from concert appearances. He wrote a piano concerto tailor-made to show off these abilities, the Concerto for Piano and Wind Instruments, and toured extensively with it. But toward the end of the decade, Stravinsky decided he needed to add more variety to his calling card as a pianist. And so he wrote Capriccio, a pocket concerto full of surprising teases and delights for the ear. The oh-so-carefree-sounding title — the composer said what he had in mind was “a synonym of the fantasia” — is a typically Stravinskian pose for a score that is as stylishly crafted as a designer suit. Stravinsky never takes the piano’s personality for granted. Instead, he explores various ways in which the keyboard can interact with a larger ensemble to devise a diverse range of sonorities. For example, Stravinsky had become interested in the sonority of the cimbalom, a hammered dulcimer used in the folk music of central and eastern Europe. His piano writing in Capriccio (particularly in the lovely cadenza in the slower section) attempts to imitate the cimbalom’s ancient, almost feathery sound. Capriccio’s three movements flow together seamlessly,

About the Music

without pauses between. The first opens with a bit of high-handed drama, followed by shyer musings — a pattern that is repeated before the piano takes the spotlight. Stravinsky is keen to emphasize the keyboard’s identity as a percussive instrument even in its rapid-scale motifs. The episodic dialog he crafts between it and a deliciously colorful variety of voices from the orchestra is crisp and rhythmically complex, yet always elegantly poised. This elegance brings to mind the “neoclassical” tag usually given to this phase of Stravinsky’s career as a composer. Actually, though, his approach exploits old-school compositional strategies that reach back not just to the Classical era but to the Baroque as well. One of these Baroque touches involves Stravinsky’s use of smaller groups of instrumentalists (especially obvious in the separate, small ensemble of strings) as a foil to the larger orchestral ensemble; such variation of group and subgroup had been a defining element of Baroque concerto style. Note, too, how economically Stravinsky uses his very diverse orchestral palette — the textures are always clear and transparent. The choreographer George Balanchine further elaborated this play of contrasting groups when he later set Capriccio as a ballet (the “Rubies” act from his full-length ballet of 1967, Jewels). Stravinsky creates an illusion of free-form improvisation, but his

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About the Music

The Cleveland Orchestra

interweave of musical lines is as calculated as a tightly argued fugue of Bach. Especially in the second movement (marked “Andante rapsodico”), Bach is clearly on the mind as Stravinsky lays out an exalted aria — but one utterly modernized through piquant, citrusy harmonies. The piano contributes intricate ornamentation and is given a splendid cadenza at the end of the movement, cheekily compared by the composer to “restaurant music.” Melancholy shadows float through this middle movement, although we heard a foretaste of this in the mysterious dying beats, low in the piano, of the first movement’s coda. With the finale, however, following a hesitant introductory section, comes some of Stravinsky’s most irresistibly high-spirited, airborne, even cartoonish music. The sense of caprice, it turns out, seems to mean that whatever shadows have passed over the music are just a temporary moodiness. But by the time Stravinsky premiered Capriccio in late 1929, it was already emblematic of a vanished era — in an instant, October’s stock crash had brought the euphoric party of the 1920s to a rude end.

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About the Music

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Symphony No. 5 in D minor, Opus 47 composed 1937

At a Glance

Dmitri

SHOSTAKOVICH born September 25, 1906 St. Petersburg (later Leningrad) died August 9, 1975 Moscow

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Shostakovich wrote his Fifth Symphony in 1937. The first performance was given on November 21 of that year as part of the celebration of the 20th anniversary of the October Revolution, with the Leningrad Philharmonic conducted by Yevgeny Mravinsky. The work was introduced to the U.S. by Artur Rodzinski and the NBC Symphony on April 9, 1938. This symphony runs about 45 minutes in performance. Shostakovich scored it for piccolo, 2 flutes, 2 oboes, 2 clarinets, small clarinet in E-flat, 2 bassoons, contrabassoon, 4

horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, snare drum, tam-tam, cymbals, triangle, glockenspiel, and xylophone), 2 harps, piano, and strings. The Cleveland Orchestra first presented Shostakovich’s Fifth Symphony in October 1941 at concerts at Cleveland’s Severance Hall, led by music director Artur Rodzinski. The symphony has been programmed regularly since that time, most recently in 2016 conducted by Giancarlo Guerrero and in 2015 led by Stanisław Skrowaczewski.

About the Music O N E O F T H E M O S T frequently performed symphonies from the 20th century, Shostakovich’s Fifth has achieved the status of a modern classic. Western audiences have long admired its great dramatic power and melodic richness. But the history of the work and its deeply ambiguous Russian context reveal additional layers of meaning that, more than 80 years after the premiere, we are still learning to understand. Shostakovich wrote the Fifth Symphony in what was certainly the most difficult year of his life. On January 28, 1936, an unsigned editorial in Pravda, the daily paper of the Communist Party, brutally attacked his opera Lady Macbeth of the Mtsensk District, denouncing it as “muddle instead of music.” This condemnation resulted in a sharp decrease of performances of Shostakovich’s music in the ensuing months. What was worse, Shostakovich, whose first child was born in May 1936, lived in constant fear of further reprisals, denunciations, and . . . possibly even more dire acts. The Communist Party, however, quickly realized that the Soviet Union’s musical life couldn’t afford to lose its greatest young talent, and Shostakovich was granted a comeback. Less than a year after being forced to withdraw his Fourth Symphony, Shostakovich heard his Fifth premiered with resounding success in Leningrad on November 21, 1937. But by that time, it should About the Music

The Fifth Symphony was, without question, Shostakovich’s response to something. But, with the Soviet government repremanding the composer for his earlier music, we should not think of a chastised schoolboy mending his ways. Rather, here is a great artist reacting to the cruelty and insanity of the times surrounding him.

be noted, the “Great Terror” had begun, with political show trials resulting in numerous death sentences and mass deportations to the infamous labor camps. The Great Terror claimed the lives of some of the country’s greatest artists — including the poet Osip Mandelshtam, the novelist Isaac Babel, and the theater director Vsevolod Meyerhold — but Shostakovich was miraculously spared. Could it be that the qualities in the Fifth Symphony that are so admired today were the very same ones that saved the composer’s life at the time? Shostakovich clearly made a major effort to write a “classical” piece here, one that would be acceptable to the authorities and was as far removed from his avant-garde Fourth Symphony as possible. Whether that makes this new symphony into “A Soviet Artist’s Creative Response to Just Criticism,” as it was officially designated at the time, is another question. The music is so profound and sincere as to transcend any kind of political expediency. The symphony was, without question, a response to something, but not in the sense of a chastised schoolboy mending his ways. Rather, this is a great artist reacting to the cruelty and insanity of the times. MEANING BEHIND THE MUSIC?

A lot of ink has been spilled over the “meaning” of this symphony. That Shostakovich had a special message to communicate becomes clear at the very beginning, when what would usually be a fast-paced “Allegro” first movement is replaced by a brooding opening that stays in a slow tempo for half its length. (In fact, Shostakovich opened several of his later symphonies — Nos. 6, 8, and 10 — in a similar way, making a habit of avoiding fast first movements.) The third and fourth movements are equally telling, with what seems to be completely transparent memorial music followed by an ambiguously triumphant ending. An official Soviet interpretation of the Fifth Symphony was propounded by the novelist Aleksey Tolstoy (a relative of Leo Tolstoy, the author of War and Peace), who, even though he was a royal count, was loyal to the Soviet regime. In an influential article, Aleksey Tolstoy viewed the symphony as a kind of musical Bildungsroman — a particular genre of writing that traces a person’s evolution in terms of education, experience, social consciousness, etc. This interpretation was echoed in an often-quoted article, published under Shostakovich’s name (but About the Music

The Cleveland Orchestra

most probably not written by him): “The theme of my symphony is the formation of a personality. At the center of the work’s conception I envisioned just that: a man in all his suffering. . . . The symphony’s finale resolves the tense and tragic moments of the preceding movements in a joyous, optimistic fashion.” Yet critics — even Soviet ones — have had a hard time reconciling this with what they actually heard. The famous passage in Testimony, Shostakovich’s purported memoirs as edited (and possibly tampered with) by Solomon Volkov, reflects a radically different view: “It’s as if someone were beating you with a stick and saying, ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off, muttering, ‘Our business is rejoicing, our business is rejoicing’.” As musicologist Richard Taruskin has noted, this interpretation was actually shared by many people present at the premiere, who had serious doubts about the “optimism” of the finale. To some, this emotional ambiguity was a flaw in the work, while others saw it as a sign of a hidden message. On both sides of the political fence, it was felt that the finale did not entirely dispel the devastating effects of the third-movement Largo. Shostakovich made As a matter of fact, writing a triumphant finale has international headlines never been an easy thing to do, especially after Beethoven and news with his work as managed it so well in his Fifth Symphony. That mastera fireman during the siege of Leningrad in 1942 — piece inspired later composers to devote their fifth symand for the composition phonies to human tragedies on a large scale, as in the of his Seventh Symphony case of Tchaikovsky, Mahler, and Sibelius. Yet none of the celebrating the bravery finales in those symphonies can easily be described as of the city's defenders. unambiguously “triumphant” as Beethoven’s, a fact that The politics in his other obviously cannot be blamed on politics alone. Rather, it has symphonies was often more subtle and less in line with more to do with the pessimistic side of these composers’ the government's ideals. Romantic mindsets and the increasing complexity of the world surrounding them. In Shostakovich’s case, at any rate, politics made an already difficult artistic issue even more complicated. The “meaning” of the music can rarely be put into words, and under normal circumstances, there would be no need to even try. Shostakovich, however, wrote his Fifth Symphony in a context and with a level of public examination far from normal. The Soviet government demanded triumphant optimism in all the arts, and failure to deliver it could result in severe criticism, or worse. Nevertheless, Shostakovich’s music resists simple black-and-white labels. Severance Hall 2018-19

About the Music

Dmitri Shostakovich, circa 1952.

There can be no music without ideology. The old composers, whether they knew it or not, were upholding a political theory. Most of them, of course, were bolstering the rule of the upper classes. Only Beethoven was a forerunner of the revolutionary movement. If you read his letters, you will see how often he wrote to his friends that he wished to give new ideas to the public and rouse it to revolt against its masters. â&#x20AC;&#x201D;Dmitri Shostakovich

The generation that came of age after the back-to-back Russian Revolutions of 1917 (when Shostakovich was just 11 years old) knew no political reality other than Communism. Many Russians in the 1920s believed that the new world that the Communists promised was sure to be an improvement over the Czarist regime. Yet by the time of the Stalinist purges of the 1930s, many of the country’s best minds had become profoundly disillusioned, especially in view of the enormous sacrifices in human lives that the Party was trying to pass off as the price of progress. Even though they were facing a horrible situation, they saw no viable political alternatives for their country. Voicing even the slightest dissent with the regime could result in instant deportation, disappearance, or death. This irreconcilable conflict between hopes and realities was a fundamental fact of life. With its ambiguous ending, Shostakovich’s Fifth stands as a gripping monument to that conflict and all whose voices were silenced by force or threat. THE MUSIC

A dramatic and ominous opening motif sets the stage for the Symphony’s first movement; a second theme, played by the violins in a high register, is warm and lyrical but at the same time eerie and distant. The music seems to hesitate for a long time, until the horns begin a march theme that leads to some intense motivic development and a speeding up of the tempo. It is not a funeral march, but neither is it exactly triumphant. Reminiscent perhaps of some of Gustav Mahler’s march melodies but even grimmer, its harmonies modulate freely from key to key, giving this march an oddly sarcastic character. At the climactic moment, the two earlier themes return. The dotted rhythms from the opening are even more powerful than before, but the second lyrical theme, now played by the flute and the horn to the soothing harmonies of the harp, has lost its previous edge and brings the movement to a peaceful, almost otherworldly close. The brief Scherzo second movement brings some relief from the preceding drama. Its Ländler-like melodies again bear witness to Mahler’s influence, both in the Scherzo proper and the ensuing Trio section, whose theme is played by a solo violin and then by the flute. The special tone color of the third movement is due to the absence of brass instruments, as well as to the fact that the violins are divided not into the usual two groups, but into three. Severance Hall 2018-19

About the Music

The symphony’s third movement was widely understood as a memorial for the Soviet Army Marshal Mikhail Tukhachevsky, who fell victim to Stalin’s “Great Terror” as Shostakovich was writing this symphony. At the first performance, many people wept openly during this movement.

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This heart-wrenching music turns the march of the first movement into a lament, also incorporating a theme resembling a Russian Orthodox funeral chant. The tension gradually increases and finally erupts about two-thirds of the way through the movement. The opening melody then returns in a rendering that is much more intense than the first time. To the end, the music preserves the unmistakable character of a lament. This movement, marked in the score as Largo (“extremely slow”), was widely understood as a memorial for the Soviet Army Marshal Mikhail Tukhachevsky, who fell victim to the Great Terror at the very time Shostakovich was working on his symphony. (Tukhachevsky had been a benefactor and a personal friend of the composer’s.) At the first performance, many people wept openly during this movement, perhaps thinking of their own loved ones who had disappeared. The last movement attempts to resolve the enormous tension that has built up in the course of the symphony by introducing a march tune that is much more light-hearted than a majority of the earlier themes. Yet after an exciting development, the music suddenly stops on a set of harsh fortissimo chords, and a slower, more introspective section begins with a haunting horn solo. Musicologist Richard Taruskin has shown that this section quotes from a song for voice and piano on a Pushkin poem (“Vozrozhdenie”” or “Rebirth,” Opus 46, No. 1), which Shostakovich had written just before the Fifth Symphony. The Pushkin poem intones: “Delusions vanish from my wearied soul, and visions arise within it of pure primeval days.”” This quiet intermezzo ends abruptly with the entrance of timpani and snare drum, ushering in a recapitulation of the march tune, played at half its original tempo. Merely a shadow of its former self, the melody is elaborated contrapuntally until it suddenly alights on a bright Dmajor chord in full orchestral splendor — remaining unchanged for more than a minute to end the symphony. —Peter Laki © 2018 Copyright © Musical Arts Association

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

WORTHY OF AN ENCORE (O R TWO)

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About the Music

Jakub Hrůša Czech conductor Jakub Hrůša is chief conductor of the Bamberg Symphony, principal guest conductor of both the Philharmonia Orchestra and Tokyo Metropolitan Symphony Orchestra, and permanent guest conductor of the Czech Philharmonic. He made his Cleveland Orchestra debut in August 2012 and most recently led performances here in April 2018. Born in the Czech Republic in 1981, Jakub Hrůša studied conducting at the Academy of Performing Arts in Prague, where his teachers included Jiří Bělohlávek. Since his graduation in 2004, he has conducted all the major Czech orchestras and increasingly appeared internationally across Europe, North America, and beyond. He currently serves as president of the International Martinů Circle, and in 2015 was the first recipient of the Charles Mackerras Prize. His leadership positions have included tenures as music director of the Bohuslav Martinů Philharmonic, associate conductor of the Czech Philharmonic, associate conductor with the Orchestre Philharmonique de Radio France, principal guest conductor of the Tokyo Metropolitan Symphony Orchestra, and music director and chief conductor of the Prague Philharmonia. Jakub Hrůša has appeared with many leading orchestra across Europe, including Amsterdam’s Royal Concertgebouw Orchestra, BBC Symphony Orchestra, Cologne Radio Symphony Orchestra, Philharmonia Orchestra, Rotterdam Philharmonic, and the Stuttgart Radio Symphony Orchestra. In 2009, he made his conducting debuts in both Australia and

the United States. His recent schedule has featured debut performances with the Berlin Philharmonic and Bavarian Radio Symphony, and Tokyo’s NHK Symphony, alongside performances with the Boston Symphony Orchestra, Leipzig Gewandhaus Orchestra, Los Angeles Philharmonic, National Arts Centre Orchestra Ottawa, New York Philharmonic, Scottish Chamber Orchestra, and the Vienna Symphony Orchestra. Since his 2008 debut there, Jakub Hrůša has been a regular guest with England’s Glyndebourne Festival. His operatic repertoire ranges widely, including works by Bizet, Britten, Dvořák, Janáček, Mozart, Mussorgsky, and Puccini. He has led productions for Finnish Opera, Frankfurt Opera, Opera Hong Kong, Opéra national de Paris, Prague National Theatre, Royal Danish Opera, London’s Royal Opera, and the Vienna State Opera. As a recording artist, Jakub Hrůša has albums on the Octavia Records, Pentatone, Supraphon, Tudor, and Universal labels, including a critically-acclaimed live recording of Smetana’s tone poem cycle Má Vlast, as well as works by Berlioz, Bruch, Strauss, Suk, and Tchaikovsky. For additional information, visit www.jakubhrusa.com.

Guest Conductor

The Cleveland Orchestra

Emanuel Ax

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Guest Artist

Since 1987, Mr. Ax has been an exclusive Sony Classical recording artist. His recent releases include Mendelssohn’s trios with Yo-Yo Ma and Itzhak Perlman, Richard Strauss’s Enoch Arden, and Brahms’s and Rachmaninoff’s two-piano music with Yefim Bronfman. Emanuel Ax has received Grammy awards for two volumes of his cycle of Haydn’s piano sonatas and his albums with Yo-Yo Ma of cello and piano sonatas by Beethoven and Brahms. His solo album, Variations, won an Echo Klassik Award. His discography also includes the piano concertos of Liszt and Schoenberg, solo piano music of Brahms, tangos by Astor Piazzolla, and John Adams’s Century Rolls with The Cleveland Orchestra. Mr. Ax contributed to a BBC documentary commemorating the Holocaust. Mr. Ax resides in New York City with his wife, pianist Yoko Nozaki. They have two children, Joseph and Sarah. A Fellow of the American Academy of Arts and Sciences, Emanual Ax holds honorary doctorates of music from Skidmore College and Columbia and Yale universities. For more information, please visit www.emanuelax.com. Photo: LISA MARIE MAZZUCCO

Polish-American pianist Emanuel Ax is renowned for his poetic temperament, virtuosity, and extensive performing activities. His annual schedule includes worldwide concerts with major orchestras, recitals, chamber music collaborations, and the commissioning and performance of new music. Mr. Ax made his Cleveland Orchestra debut in January 1976 and most recently appeared here in November 2017. Born in modern day Lvov, Poland, Emanuel Ax moved to Winnipeg, Canada, with his family when he was a young boy. His studies at New York’s Juilliard School were supported by the sponsorship of the Epstein Scholarship Program of the Boys Clubs of America, and he subsequently won the Young Concert Artists Award. He also studied at Columbia University, where he was a French major. Mr. Ax captured attention in 1974 when he won the inaugural Artur Rubinstein International Piano Competition. He received the Michaels Award of Young Concert Artists in 1975, and the Avery Fisher Prize in 1979. A proponent of contemporary music, Mr. Ax has premiered works by John Adams, Samuel Adams, HK Gruber, Krzysztof Penderecki, Christopher Rouse, Bright Sheng, and Melinda Wagner. He also has commissioned works from Thomas Adès, Peter Lieberson, and Stephen Prutsman. As a frequent and committed partner for chamber music, Emanuel Ax performs regularly with Young Uck Kim, Leonidas Kavakos, Jaime Laredo, Cho-Liang Lin, Yo-Yo Ma, Edgar Meyer, and Peter Serkin. He played frequently with violinist Isaac Stern prior to his death.

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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.

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Thank You Thee Cleveland Cleveland Orchestra ofof thousands Th Orchestraisissustained sustainedthrough throughthe thesupport support thousands usands onon these pages. of generous patrons, patrons,including includingthe theLeadership Leadershipdonors donorslisted listed these hese 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 Th Thee Cleveland Orchestra’s ongoing artistic excellence,, education programs, and community partnerships, Office please contact our Philanthropy & Advancement Offi ce 216-231-7545 or email: bdeeds@clevelandorchestra.com miqbal@clevelandorchestra.com by phone: 216-231-7556 estra.coom

T HE

CLEVELAND ORC HE STR A FRANZ WELSER-MÖST

* deceased

The Cleveland Severance HallOrchestra 2018-19

Individual Annual Support

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THE CLEVELAND ORCHESTRA

Corporate Support The Cleveland Orchestra extends heartfelt gratitude and partnership with the corporations listed on this page, whose annual support (through gifts of $2,500 and more) demonstrates their belief in the Orchestra’s music-making, education programs, and community initiatives.

Annual 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

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“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.

THE

CLEVELAND ORCHESTRA FR ANZ WELSER- MÖST

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

Severance Hall

Friday evening, November 23, 2018, at 8:00 p.m. Saturday evening, November 24, 2018, at 8:00 p.m. Sunday afternoon, November 25, 2018, at 3:00 p.m.

Nicholas McGegan, conductor and harpsichord ANTONIO VIVALDI (1678-1741)

2O18 SEASON 2O19

The Four Seasons Violin Concertos, Opus 8 Nos. 1-4 PETER OTTO, violin

No. 1: La Primavera (“Spring”) in E major 1. Allegro 2. Largo 3. Allegro

No. 2: L’estate (“Summer”) in G minor 1. Allegro non molto — Allegro 2. Adagio — Presto — Adagio 3. Presto

No. 3: L’autunno (“Autumn”) in F major 1. Allegro 2. Adagio molto 3. Allegro

No. 4: L’inverno (“Winter”) in F minor 1. Allegro non molto 2. Largo 3. Allegro

INTER MISSION WOLFGANG AMADÈ MOZART (1756-1791)

F. JOSEPH HAYDN (1732-1809)

Severance Hall 2018-19

Chaconne from the ballet music, K367, for the opera Idomeneo Symphony No. 94 (“Surprise”) in G major 1. 2. 3. 4.

Adagio — Vivace assai Andante Menuet: Allegro molto — Trio Finale: Allegro di molto

Concert Program — Week 9

November 23, 24, 25

1 9 1 8 -2O18

THI S WE E KE ND’S CONCE RT Restaurant opens: FRI 5:00 SAT 5:00 SUN 12:00

Concert Preview: BEGINS ONE HOUR BEFORE CONCERT

Concert begins: FRI 8:00 SAT 8:00 SUN 3:00

C E N T E N N I A L

Severance Restaurant Reservations (suggested) for dining:

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

C O N C E R T P R E V I E W in Reinberger Chamber Hall

“Greatest Hits from the 18th Century” with Rose Breckenridge

VIVALDI The Four Seasons . . . . . . . . . . . . . . . . . . . . . . page 63 (40 minutes)

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

INTERMISSION

instagram: @CleveOrch

(20 minutes)

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

MOZART Chaconne, from Idomeneo . . . . . . . . . . . . . page 69 (10 minutes)

HAYDN Symphony No. 94 . . . . . . . . . . . . . . . . . . . . . . page 71 (25 minutes) Concert ends: (approx.)

FRI 9:35 SAT 9:35 SUN 4:35

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

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

TThis his Week’s Concerts

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INTRODUCING THE CONCERT

Musical Seasons& Surprises

T H I S W E E K ’ S C O N C E R T S offer three works from the 18th

c century, as musical style evolved from the Baroque to Classical eras. Two famous works begin and end the program, with a e sshort dance movement in between. We begin with Vivaldi’s well-known and well-loved Four SSeasons, a set of four concertos written around 1720, which beauttifully mirror each year’s cycle of changing and repeating weather — from spring starters to warm summer winds, to the autumnal harvest and winter’s cold blasts. Guest conductor Nicholas Mch Gegan leads from the harpsichord, with Cleveland Orchestra first G aassociate concertmaster Peter Otto taking on the solo role. After intermission comes a brief dance Chaconne from Mozzart’s opera Idomeneo, written in 1780 for Munich, which included a French tradition dance sequences. This delightful music features a repeating bassline, and is built in three main sections. The concert ends with a popular symphony by Joseph Haydn, written for London in 1791. Its well-known moment of surprise in the second movement is said to have roused a sleepy patron. The music showcases Haydn’s well-attuned view of symphonic form, classically-shaped and filled with contrasting expectations. This is a concert to be truly thankful for. —Eric Sellen

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

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Introducing the Concerts

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The Four Seasons Violin Concertos, Opus 8 Nos. 1-4 composed 1718-25

At a Glance

Antonio

VIVALDI born March 4, 1678 Venice died July 28, 1741 Vienna

Severance Hall 2018-19

Vivaldi’s four violin concertos titled Le quattro stagioni [The Four Seasons] were first published in 1725 as part of a collection of twelve concertos called Il cimento dell’armonia e dell’inventione [The Contest Between Harmony and Invention]. These four concertos together run about 40 minutes in performance. The published score calls for a string orchestra, harpsichord continuo, and solo violin.

The Cleveland Orchestra has presented individual concertos from Vivaldi’s The Four Seasons at concerts on many occasions. The most recent performances of the four at Severance Hall was in 2007, with Nicholas McGegan conducting and William Preucil as soloist. They were presented more recently at Blossom, in 2010 with Peter Otto as soloist led by McGegan, and in 2013 with Ray Chen as soloist, conducted by Jahja Ling.

About the Music T H E Y CA LLE D H I M the “Red Priest.” He was Antonio Vivaldi —

violinist, composer, teacher, charismatic personification of the Italian Baroque. Here was a man who, in addition to his priestly duties and fiery red hair, found time to write dozens of operas and over four hundred concertos, while continuing to tour actively as a violin soloist. Of his hundreds of concertos, Vivaldi’s best known are The Four Seasons, published in 1725, nearly a century before orchestral compositions with a story became popular. In Vivaldi’s time, composers were expected to master rules and structures, not express feelings and paint musical landscapes. That he managed to do both simultaneously may be why his Four Seasons have been so popular for nearly three hundred years. These four violin concertos are the first of a set of twelve known collectively as The Contest Between Harmony and Invention — that is, between structure and creativity, between formal rules and more daring poetic license. (The other eight concertos in the published set have nothing to do with seasons, although three of them are also musical portraits, of “A Storm at Sea,” “Pleasure,” and “The Hunt.”) Some of Vivaldi’s contemporaries were dismissive of his compositions, claiming that he played violin better than he composed (praise of a sort, even so). Yet his fame likely encouraged an element of jealousy, and the fact remains that his About the Music

Sebastian Vrancx

The Seasons in art

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

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concertos have often served as models of ideal compositional form. In the Baroque Era, composers tended to write very structured music following rules about how the work should be assembled. The most popular such form, called “ritornello,” was one at which Vivaldi excelled, and is featured in the first and third movements of each concerto in The Four Seasons. In a ritornello, one main melodic idea alternates with various other melodic ideas, returning after each diversion to remind listeners where they had been. Vivaldi brings the idea to fruition in these pictorial concertos, using the returning ritornello theme to represent the main ideas of his story — such as the joy of springtime — while the intervening melodies represent the passing scenes, such as a thunderstorm. So well-known was Vivaldi for this technique that even Bach acquired and studied copies of some of his concertos to better understand how the effect had been achieved. To be certain that listeners to The Four Seasons — and, indeed, the performers as well — knew exactly what he envisioned with each season, Vivaldi provided for each concerto a sonnet describing the scenes he portrayed. He even had the lines of the sonnets copied into the musical score so as to draw unmistakable parallels between words and sounds. (English translations of these texts, divided out for each movement, are provided on the following pages.) Historians are uncertain as to whether or not the composer penned these poems himself, yet the music lies astonishingly close to the words. Listen, in “Spring,” as three violins entwine in birdsong, as violas stand in for a barking dog, as drawn-out undertones evoke the drone of a bagpipe. Marvel, in “Summer,” as the cuckoo and the turtle dove (in Italian, “tortorella”) sing to the rhythm of their names, as the rumbles of low strings provide the buzzing of flies, as the strident themes of a summer hailstorm flatten the cornfields. Observe, in “Autumn,” the unsteady footsteps of a drunken reveler at a harvest celebration and, later, the prancing themes of bold hunters and their steeds in pursuit of their unlucky prey. Shiver with Vivaldi through a frosty “Winter” as a weary traveller warms his feet by the fire while others, less fortunate, slip and fall on the ice. Of all the musical landscapes painted over the centuries, few have gone to such extremes to evoke tiny details of daily human interaction with nature. —Betsy Schwarm © 2018

Severance Hall 2018-19

About the Music

The Four Seasons by

Antonio Vivaldi (1678-1741) Vivaldi had the following sonnets, in their original Italian, copied into the published score of The Four Seasons. The numbered sections correspond to the three movements of each concerto.

La primavera / Spring 1.

Spring has arrived, and joyously the birds now welcome her return with happy song, and streamlets, by soft airs caressed, are heard to murmur sweetly as they course along.

Casting their inky mantle over heaven, thunderstorms, her chosen heralds, roar; when they have died away to silence, then the birds take up their charming songs once more. And now, upon the flower-strewn grass subsiding, with leafy branches rustling overhead, the goatherd sleeps, his faithful dog beside him.

By festive sound of rustic bagpipes led, nymphs and shepherds dance beneath the shining canopy of spring with sprightly tread.

L’estate / Summer

Beneath the blazing sun’s relentless heat men and flocks are sweltering, pines are seared; the cuckoo’s voice is raised, and soon the sweet songs of the turtle dove and finch are heard. Soft breezes stir the air, but the contentious north wind sweeps them suddenly aside; the weeping shepherd trembles at the menace of violent storm and what it may betide.

His limbs are now from restful ease unbound by fear of lightning’s flash and thunder’s roar and flies and bluebottles that buzz around.

Alas, right well has he read Nature’s lore: the heavens growl and flash and hail-stones pound the ripened corn that proudly stood before.

The Four Seasons

The Cleveland Orchestra

L’autunno / Autumn 1.

With song and dance the peasant celebrates the harvest safely gathered in his barns; Bacchus’ flowing bowl intoxicates and many a reveler sinks in Morpheus’ arms.

The singing and the dancing die away as cooling breezes fan the balmy air; the summons of the season all obey; to yield to sweet repose without a care.

At dawn the hunters, ready for the chase, emerge with horns and guns and dogs and cries; the prey breaks cover, they pursue apace. The din of guns and dogs now terrifies the wounded brute, who for a little space tries wearily to flee but, harried, dies.

L’inverno / Winter 1.

To shiver frozen midst the frosty snow as unrelenting winds bite and sting, to stamp one’s icy feet, run to and fro, one’s teeth for bitter chill a-chattering;

To muse contentedly beside the hearth while those outside are drenched by pouring rain.

With cautious step to tread the icy path and try to keep one’s feet with might and main; To turn abruptly, slip, crash to the ground and, rising, hasten on across the ice until it cracks and splinters all around; To hear the winds burst with ferocious might their prison gates and clash with martial sound; this is the winter; these are its delights.

Severance Hall 2018-19

The Four Seasons

Chaconne, K367, from the opera Idomeneo composed 1780

At a Glance Mozart composed his opera Idomeneo, re di Creta [Idomeneo, King of Crete], in 1780, utilizing a libretto adapted by Gianbattista Varesco from a French text from 1712 by Antoine Danchet. Mozart’s opera was commissioned by Karl Theodor, Elector of Bavaria, and premiered in Munich on

Wolfgang Amadè

MOZART born January 27, 1756 Salzburg died December 5, 1791 Vienna

Severance Hall 2018-19

January 29, 1781. This ballet music runs less than 10 minutes. Mozart’s orchestration calls for 2 flutes, 2 oboes, 2 bassoons, 2 trumpets, timpani, and strings. The Cleveland Orchestra has performed this work one previous time, in August 2016 under Bernard Labadie.

About the Music T H E O P E R A Idomeneo is generally regarded as the first of Mozart’s stageworks to reveal his full dramatic genius. Commissioned by the Munich court, the 24-year-old Mozart, still feeling undervalued in Salzburg, was determined to make a strong impression, and he poured into this opera all the passion and resourcefulness at his command. The musicians were known to him, because he had worked with them in Mannheim before they were transferred to Munich. By general consent of the time, they were some of the finest musicians in Germany. Mozart was given a French libretto by Antoine Danchet, adapted by the Italian Gianbattista Varesco. This accounts for two French elements of the opera that were unusual in an Italian opera seria at that time — the chorus and the ballet. For the chorus, Mozart wrote some of his most powerfully expressive music, and for the ballet he composed a sequence of dances to be performed at the conclusion of the opera to celebrate the happy ending engineered by the gods. The first of the five ballet movements, the Chaconne takes its main theme from the hearty chorus that has just closed the opera. It is not based on a recurrent bass figure, which is what earlier composers, including Bach, would have understood as a “Chaconne.” It alternates loud sections marked “pour le ballet,” for all the dancers, with a “pas de deux” and a “pas seul” for the quieter sections. A middle slower section, marked Larghetto, comes between repetitions of ideas from the main “chaconne.” It is very rare for modern productions of the opera to include the ballet, so a chance to hear this music in a concert setting is more than welcome. —Hugh Macdonald © 2018

About the Music

Symphony No. 94 (“Surprise”) in G major composed 1791

At a Glance

F. Joseph

HAYDN

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

Haydn wrote this Symphony in G major (later catalogued as No. 94), in England, probably during the summer of 1791, while enjoying the hospitality of a banker named Nathaniel Brassey in the English countryside. It was first performed in London on March 23, 1792, eight days before the composer’s 60th birthday. This symphony runs about 25 minutes in performance. Haydn’s score calls for 2 flutes, 2 oboes, 2 bas-

soons, 2 horns, 2 trumpets, timpani, and strings. The Cleveland Orchestra first performed Haydn’s Symphony No. 94 at education concerts led by Rudolph Ringwall during the 1930s. There have been only five previous sets of subscription performances at Severance Hall: in 1953 and in 1967 under George Szell, in 1975 under Witold Rowicki, in 2000 with David Zinman, and in 2008 with Ton Koopman.

About the Music I N T H E T H I R T Y Y E A R S between 1761 and 1790, Joseph Haydn chaired the musical establishment of the aristocratic Esterházy family, famed for its devotion to music generally and Haydn specifically. The Esterházys devoured his myriad compositions — from symphonies to quartets to operas to sonatas — seeming never to get enough of his work. But in September 1790, Prince Nikolaus Esterházy died; his successor, Prince Anton, cared little for the arts and couldn’t be bothered with attending concerts. Haydn remained on the payroll only to ensure that no other noble family would steal him away. It was an insult to a master composer, yet Haydn used it to his own advantage, persuading the prince to give him an extended leave of absence. After many years in Austria, he would at last be able to travel — to visit other cities where his music was already beloved and where his income could receive a much-appreciated boost.

Haydn immediately embarked upon a tour to London, lasting from New Year’s Day 1791 to June 1792. A second London tour followed three years later. The impresario for both visits was Johann Peter Salomon, a German-born violinist and conductor who had established himself in London as a concert promoter. Salomon arranged for a series of weekly concerts, the highlight of which would be a series of new Haydn symphonies and other works written especially for London. The concerts were a thorough success; even the royal family demanded to hear Haydn’s music. One critic observed, “It is no wonder that to souls capable of being touched by music, Haydn should be an object of Severance Hall 2018-19

About the Music

homage, and even of idolatry; for like our own Shakespeare, he moves and governs the passions at his will.” Haydn’s victory in England was so complete that Oxford University awarded him an honorary doctorate of music degree. For each of these two tours, Haydn composed six symphonies, the final twelve symphonies of his life. Of these, Symphony No. 94 belongs to the first set, from 1791-92. Premiered in London on March 23, 1792, the work gained notoriety at a later performance, when the composer himself, serving as conductor, impulsively altered the dynamics of the second movement. As the story is told, Haydn had already given the downbeat to begin the movement when the gentle snores of a front-row patron attracted his attention and piqued his sense of humor. He and his musicians forged ahead with the whimsical little theme until reaching its final chord, for which Haydn cued a noisy fortissimo, bringing the drowsy patron to his feet. The episode earned for the symphony its ever-lasting nickname, “Surprise,” at least in English-speaking lands. In German-speaking lands, it is known more straight-forwardly as the symphony “mit dem Paukenschlag” (“with the drum stroke”). Unlike Bach, Haydn was not one for authoring musical textbooks, so we cannot say that he literally wrote the book on symphonies. However, he effectively accomplished the same thing through the writing of his own symphonies, so plentiful in number and so supported by his own popularity that other composers routinely borrowed his techniques and ideas for their own works. Thus, we can look at this work as a typical 18th-century symphony, or perhaps as a leading example. There are four movements: the first is brisk, though it opens with a leisurely introduction; the slower second movement is based upon a single theme heard in various guises, after which comes a dance-flavored third movement, and then lastly a brisk finale. Throughout, Haydn plays with his orchestra, drawing first upon one family of instruments before shifting to another for contrast. (There are no clarinets here, because the sixty-year-old composer was not yet accustomed to writing for this new instrument.) The first movement opens with a slow introduction, sweetly reflective in mood, so as to ease the audience and the musicians alike into the performance. Then the lively main body of the movement arrives with brisk, buoyant melodies, heard one after another. The middle of the movement is punctuated by occasional bold statements and key changes for contrast, though the brisk

About the Music

The Cleveland Orchestra

melodies return more or less intact to close the movement. The second movement, that which brought the symphony its nickname, begins with a playful little string theme, all light short notes, until the sudden fortissimo that shouts for attention. As the movement proceeds, Haydn offers contrasting versions of this same theme, drawing upon diverse compositional techniques to ornament the unpretentious little melody, which an observant listener can still imagine fitting into the ever-more-complicated textures. The dance-like third movement borrows ideas from the minuet, in Haydn’s time still a popular ballroom dance. Like the minuet itself, this movement uses a triple meter with three beats per measure and sets two contrasting themes against one another — one that both begins and ends the movement, with a contrasting theme in the middle. The brass and percussion have little to contribute to this movement, as if the composer were remembering that they weren’t often included in ballroom dance ensembles. For his fourth-movement finale, Haydn offers a variety of thoroughly cheerful themes, some light and nimble, others more assertive and vigorous. The concluding pages are suffused with scurrying passages, as if the music is hastening to its close. Pairs of echoed chords — setting strings in contrast to woodwinds –—close out the symphony. —Betsy Schwarm © 2018 Betsy Schwarm spent twenty years as a classical radio announcer and producer. She taught for many years at Metropolitan State University of Denver, and served as recording engineer for Colorado’s Central City Opera. She is the author of the Classical Music Insights series of books.

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About the Music

Nicholas McGegan Now embarking on his sixth decade on the podium, British conductor Nicholas McGegan is recognized for his exploration of music from all periods. He first led The Cleveland Orchestra at Severance Hall in February 2007 and, most recently prior to this weekend’s concerts, in November 2017. Mr. McGegan has served as music director of San Francisco’s Philharmonia Baroque Orchestra for thirty-three years. He is also principal guest conductor of the Pasadena Symphony, and artist-in-association with Australia’s Adelaide Symphony. He was artistic director of the International Handel Festival 1991-2011. In recent years, he has also worked with students at the Juilliard School and Yale University, Colburn School, Music Academy of the West, and the Aspen Music Festival and School. One of the few baroque specialists to regularly conduct major symphony orchestras, Nicholas McGegan’s North American appearances have included engagements with the orchestras of Atlanta, Chicago, Cleveland, Detroit, Los Angeles, New York, Philadelphia, St. Louis, St. Paul, and Toronto. He has also led concerts with the Göteborg Symphony Orchestra, Hallé Orchestra, Hong Kong Philharmonic, Orchestre de la Suisse Romande, Royal Concertgebouw Orchestra of Amsterdam, Scottish Chamber Orchestra, and the Sydney Symphony. He has conducted operatic performances at Sweden’s Drottningholm Theater, London’s Royal Opera House, San Francisco Opera, Santa Fe Opera, and the Washington National Opera.

Born in England and educated at Cambridge and Oxford universities, Mr. McGegan has received honorary degrees from London’s Royal College of Music and the San Francisco Conservatory of Music, and was elected an honorary professor of philosophy at the Georg-August Universität Göttingen. His other awards include being named an Officer of the Most Excellent Order of the British Empire and receiving the Halle Handel Prize, Order of Merit of the State of Lower Saxony, and the Medal of Honour of the City of Göttingen. Nicholas McGegan’s discography numbers more than 100 albums. His world premiere recording of Handel’s Susanna with Lorraine Hunt Lieberson earned a Gramophone Award. His recent albums for the Philharmonia Baroque Productions label include Jean-Philippe Rameau’s 1745 opera-ballet Le Temple de la Gloire, Brahms’s Serenades, Haydn Symphonies (Nos. 88, 101, and 104, nominated for a Grammy Award), Scarlatti’s La Gloria Di Primavera, Vivaldi’s The Four Seasons and other concertos with violinist Elizabeth Blumenstock, and Handel’s Atalanta and Teseo. He also records for Hungaroton with Hungary’s Capella Savaria. For more information, please visit www.nicholasmcgegan.com.

Guest Conductor

The Cleveland Orchestra

Peter Otto

First Associate Concertmaster Virginia M. Lindseth, PhD, Chair The Cleveland Orchestra

Peter Otto enjoys a multi-faceted career as a soloist, chamber musician, orchestral musician, and teacher. He was appointed first associate concertmaster of The Cleveland Orchestra in 2007, and has regularly appeared as concerto soloist with the Orchestra, including performances of Leonard Bernstein’s Serenade, Vivaldi’s The Four Seasons, and Mozart’s “Haffner” Serenade. Mr. Otto has also performed as a soloist with the Saint Louis Symphony Orchestra, Czech Philharmonic, Heidelberg Chamber Orchestra, Camerata Rostockiensis, National Youth Orchestra of Germany, and the Cleveland Philharmonic. He has appeared as guest concertmaster of the Nashville Symphony and the Pittsburgh Symphony Orchestra. Recital and chamber music performances have included engagements with the Heidelberger Fruehling Festival, Kultur unter alten Daechern Festival in northeast Germany, MOCA (Museum of Contemporary Art) Miami as part of Art Basel in Miami, MOCA Cleveland, Cleveland Museum of Art, and the Pulitzer Contemporary Music Festival in Saint Louis (where in June 2012 he led a performance of George Crumb’s Black Angels for electric string quartet). In 2012, he appeared as the featured violin soloist in Every Good Boy Deserves Favor, a play by Tom Stoppard with music by André Previn, a collaborative presentation of Cleveland Play House and The Cleveland Orchestra. Mr. Otto is a member of the Cleveland Orchestra Piano Trio, with pianist Joela Jones and cellist Richard Weiss. Other recital and chamber music partners include Orli Sha-

Severance Hall 2018-19

Solo Artist

ham, Yehonatan Berick, Jennifer Montone, Andre Emilianoff, Judith Gordon, and Peter Henderson. Mr. Otto has performed live on national radio stations such as Germany’s NDR, Deutschlandfunk Berlin, and Cleveland’s WCLV ideastream. His honors include top prizes in the Max Rostal International Violin Competition in Berlin and the Kingsville Young Performers Competition in Texas. Major teachers have included Christiane Hutcap, Vera Kramarova, and Lewis Kaplan. Other significant musical influences were Roman Nodel, Igor Ozim, and Felix Galimir. Peter Otto has served as a faculty member of the Bowdoin Summer Music Festival, Cactus Pear Music Festival, Innsbrook Music Festival, and the Kent/Blossom Music Festival. He is a guest teacher at the New World Symphony in Miami, leading masterclasses and coaching sessions to aspiring instrumental musicians. Peter Otto currently teaches violin as a faculty member at Cleveland State University. Mr. Otto performs on a violin by G.B. Guadagnini from the year 1769.

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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

Severance Hall 2018-19

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.

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“Riveting… spectacularly performed and deeply moving.” – SEEN & HEARD INTERNATIONAL, 2017

BAROQUE ORCHESTRA jeannette sorrell

CHRISTMAS on Sugarloaf Mountain An Irish-Appalachian Gathering

AMANDA POWELL

ROSS HAUCK

The Celtic roots of an Appalachian Christmas! Jeannette Sorrell’s beloved program that premiered in 5 sold-out concerts last year returns in a lively new version. Fiddlers, bagpipes, hammered dulcimer, and a whistle-playing dancer join with Apollo’s Singers and children’s voices to welcome Christmas – with LOVE, SINGING, DANCING and PRAYER.

FRIDAY, DECEMBER 14, 8:00PM CLEVELAND Museum of Art Additional performances December 7-10 in NE Ohio.

JEANNETTE SORRELL

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Franz Welser-Möst and Cleveland Orchestra look toward Asia tour in spring 2019 . . . T H E C L E V E L A N D O R C H E S T R A and Franz

Welser-Möst embark on their nineteenth international tour together in spring 2019, with eleven performances scheduled across Asia in seven cities: Taipei, Macau, Shenzhen, Shanghai, Nanjing, Wuhan, and Beijing. The tour’s repertoire showcases four musical works, two from the 19th century and two from the 20th, with Beethoven’s “Emperor” Piano Concerto (No. 5) featuring soloist Daniil Trifonov and Tchaikovsky’s Fifth Symphony, alongside Richard Strauss’s tone poem Ein Heldenleben and Prokofiev’s Third Symphony. The 2019 Asia Tour will be the Orchestra and Welser-Möst’s third trip together to Asia and features their first joint appearances in China. The tour includes the first Cleveland Orchestra performances in Macau, Shenzhen, Wuhan, and Nanjing, along with return visits to Beijing and Shanghai (which the Orchestra first visited in 1998) and to Taipei (where the Orchestra played in 1987). “The Cleveland Orchestra has toured internationally almost every season for the past half century,”” says André Gremillet, Cleveland Orchestra executive director, “and we are very proud to represent Cleveland and Ohio around the world. Touring is also an essential part of our season both from an artistic and an audience development perspective.” “We are very fortunate to be able to share our music-making with people from all around the world,” continued Gremillet. It’s been over two decades since The Cleveland Orchestra last appeared in China — and we are excited to return to a country that is now one of the most important music markets in the world and to perform for audiences that are so enthusiastic and appreciative of classical music.” Praise for The Cleveland Orchestra’s collaborative partnership with Franz Welser-Möst continues to grow each season. Recently, the New York Times called the ensemble “… America’s most brilliant orchestra.” Two tours during its 100th season, to Europe in 2017 and to Europe and Japan in 2018, demonstrated the Cleveland/ Welser-Möst partnership to sold-out houses. “Whenever we go to a part of the world, to a place we haven’t been for a long time, or in this case to some cities where The Cleveland Orchestra

Severance Hall 2018-19

BEIJING

CHINA

NANJING SHANGHAI WUHAN

TAIPEI

SHENZHEN

MACAU

has never been before, I believe it is important to present a range of repertoire that showcases the Orchestra’s abilities and lets the artistry of this ensemble really shine,” said Franz Welser-Möst. “I can’t claim this idea, but live music is one of the only art forms that can truly travel the world,” commented Richard K. Smucker, Cleveland Orchestra board president. “In our case, the Orchestra spreads the reputation and quality of Cleveland itself — not only domestically but internationally. Founded in 1918, The Cleveland Orchestra’s first tour took place the next year, when the ensemble’s musicians traveled by train to perform in nearby cities, including Pittsburgh, Pennsylvania, and Youngstown, Ohio. They crossed an international border for the first time in 1922, to perform in Canada, and also made their first appearance at New York City’s famed Carnegie Hall in 1922. The Orchestra first crossed ocean waters in 1927 to perform in Cuba. Major overseas and international touring began in 1957, with the ensemble’s first trip to Europe, featuring 29 concerts across more than five weeks that spring. As the Orchestra’s fame spread — fanned by recordings and radio broadcasts — new and lengthy concert tours of Europe followed in the 1960s, as well as the first trip to Asia in 1970, featuring 12 concerts in Japan and Korea. Touring expanded in the following decades, with Cleveland’s first tour to Australia and New Zealand (1973), and South America and Mexico (1975), along with increasingly frequent visits to Europe and appearances across the United States. “Music is the most universal language,” adds André Gremillet. “While we come from different cultures and live in different environments, experiencing great music together reminds us that what we all have in common is greater than what might separate us.”

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Orchestra digitizes history to share re The Cleveland Orchestra has teamed up with Cleveland Public Library to preserve and share with the public materials from the Orchestra’s archive collection. An initial selection of digitized materials from the Orchestra’s Archives “news and reviews” collection was released online during National Archives Month in October. The materials can be viewed free of charge online at cplorg.contentdm.oclc.org. The Cleveland Orchestra Archives houses materials from across the institution’s 100-year history, including scrapbooks, paper files, recordings, photographs, meeting minutes and business papers, as well as publications and brochures. This initial digitization focuses on scrapbooks containing articles and reviews. Following a nationwide vendor screening and search, the Orchestra contracted with Cleveland Digital Public Library to digitize its entire collection of 354 scrapbooks totaling approximately 40,000 pages, as well as an additional 28 linear feet of clippings. By digitizing its archives, the Orchestra is able to increase free public ac-

cess to its collecti collection while reducing the handling of physical materials. The Library will host the digitized materials online for scholars, news media, musicologists, and fans of the Orchestra to search and view. “We W were very excited that we could fulfill our digitization needs right here at home by working with Cleveland Public Library, one of our nation’s great public research libraries,”” says Andria Hoy, the Orchestra’s archivist. “We’re excited to release the first portion of materials to the public.” The entire digitization project is estimated to take between three and four years to complete, with additional scrapbooks released on the Library’s Digital Gallery in future years. The content is being processed for Optical Character Recognition (OCR) to allow text searching of the online collection.

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New ďŹ&#x201A;ute 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 WelserMĂśst 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.

Comings and goings As a courtesy to the performers onstage and the entire audience, late-arriving patrons cannot be seated until the first break in the musical program.

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Musicians Emeritus of

T H E

O R C H E S T R A

C L E V E L A N D

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

orchestra news

HE CLEVELAND ORCHESTRA

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

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

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

Severance Hall 2018-19

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

Cleveland Orchestra News

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The Cleveland Orchestra

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 October 2018. For more information, please contact the Orchestra’s Legacy Givingg Office by contacting Dave Stokley at dstokley@clevelandorchestra.com or 216-231-8006.

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 In Memory of Margaret Goss 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 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. David H. Gunning 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 Virginia M. and Jon A. Lindseth 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*

Legacy Giving

Clement P. Marion Dr. and Mrs. Sanford E. Marovitz 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

The Cleveland Orchestra

Legacy Giving THE CLEVELAND ORCHESTR A HERITAGE SOCIETY Dr. Larry J.B.* and Barbara S. Robinson Margaret B. Robinson 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*

Severance Hall 2018-19

Frank* and Mary Ann Sheranko Kim Sherwin Mr. and Mrs. Michael Sherwin 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 Myrna and James Spira Barbara J. Stanford and Vincent T. Lombardo George R. and Mary B. Stark Sue Starrett and Jerry Smith Lois and Tom Stauffer Elliott K. Stava and Susan L. Kozak Fund 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

Legacy Giving

William Wendling and Lynne Woodman Robert C. Weppler Paul and Suzanne Westlake Marilyn J. White 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 Givingg Office by calling Dave Stokley at 216-231-8006.

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

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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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 Orchestra’s website for more information and details.

Comprehensive Estate Planning & Elder Law

FRIDAY MATINEE PARKING Parking availability for Friday Morning Matinee performances is extremely limited. Bus service options are available for your convenience: Shuttle bus service from Cleveland Heights is available from the parking lot at Cedar Hill Baptist Church (12601 Cedar Road). The round-trip service rate is $5 per person. Suburban round-trip bus transportation is available from four locations: Beachwood Place, Westlake RTA Park-and-Ride, St. Basil Church in Brecksville, and Summit Mall in Akron. The round-trip service rate is $15 per person per concert, and is operated with support from Friends of The Cleveland Orchestra.

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TICKETS LOST TICKETS If you have lost or misplaced your tickets, please contact the Ticket Office as soon as possible. In most cases, the Ticket Office will be able to provide you with duplicate seating passes, which you can pick up prior to the performance.

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

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

Severance Hall 2018-19

Guest Information

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

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Dreams can come true

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

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

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

Rainey Institute El Sistema Orchestra

A SYMPHONY OF

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We believe that all Cleveland youth should have access to high-quality arts education. Through the generosity of our donors, we have invested nearly $4 million since 2016 to scale up neighborhood-based programs that now serve 3,000 youth year-round in music, dance, theater, photography, literary arts and curatorial mastery. Thatâ&#x20AC;&#x2122;s a symphony of success. Find your passion, and partner with the Cleveland Foundation to make your greatest charitable impact.

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