The Cleveland Orchestra February 7, 9, 14-17 Concerts by Live Publishing

THE CLEVELAND ORCHESTRA FRANZ WELSER-MÖST

2O18 SEASON 2O19 WINTER

Welcome . . . . . . . . . . . . . . . . . . . . . . . . page 7 Week 13 — February

7, 9 Busoni Piano Concerto . . . . . . . . page 19 Week 14 — February

14, 15, 16, 17 Romantic Mozart . . . . . . . . . . . . . . page 51

S e v er a n c e H a l l

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T H E CL E V E LA N D O R C H E S T R A

PROGRAM BOOK

TA B L E

CONTENTS

About the Orchestra

page

weeks 13 and 14

2O18 SEASON 2O19

Perspectives from the President & CEO . . . . . . . . . . 7 Musical Arts Association. . . . . . . . . . . . . . . . . . . . . . . . . 9 Music Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 About The Cleveland Orchestra . . . . . . . . . . . . . . . . 13 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Severance Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 Information and Policies . . . . . . . . . . . . . . . . . . . . . . . 89

13 busoni piano concerto

week

Concert: February 7, 9. . . . . . . . . . . . . . . . . . . . . . . . Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . haydn Symphony No. 100 (“Military”) . . . . . . . . . . . . . . busoni Piano Concerto . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

19 21

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

Cleveland Orchestra News . . . . . . . . . 41

14 ROMANTIC MOZART

week

Concert: February 14, 15, 16, 17. . . . . . . . . . . . . . Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . mozart Fantasia in F minor, K608 . . . . . . . . . . . . . . . . . . . . Exsultate, jubilate, K165 . . . . . . . . . . . . . . . . . . . . . Eine kleine Nachtmusik, K525 . . . . . . . . . . . . . . . . Symphony No. 38 (“Prague”), K504 . . . . . . . . .

Guest Conductor: Alan Gilbert . . . . . . . . . . . . . . . . . 23 Guest Soloist: Garrick Ohlsson . . . . . . . . . . . . . . . . . 35 Cleveland Orchestra Chorus . . . . . . . . . . . . . . . . . . . . 37

NEWS

ON THE COVER The ceiling of the Richard J. Bogomoly and Patrica M. Kozerefski Grand Foyer at Severance Hall. Photgraph by Roger Mastroianni,

51 53 57 59 65 67

Guest Conductor: Harry Bicket . . . . . . . . . . . . . . . . . 55 Guest Soloist: Kiera Duffy . . . . . . . . . . . . . . . . . . . . . . 63

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.

50%

Support Severance Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Annual Support Individuals. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Corporate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Foundations/Government . . . . . . . . . . . . . . . . . . Heritage Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

This program is printed on paper that includes 50% recycled content. All unused books are recycled as part of the Orchestra’s regular business recycling program. These books are printed with EcoSmart certified inks, containing twice the vegetable-based material and one-tenth the petroleum oil content of standard inks, and producing 10% of the volatile organic compounds.

70 78 80 83

Table of Contents

The Cleveland Orchestra

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

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Perspectives February 2019

André Gremillet

Education has long been a hallmark of The Cleveland Orchestra’s focus and promise. During our first hundred years, we’ve introduced more than four million Cleveland-area students to classical music — through an ongoing series of weekday Education Concerts for schools, and through many concerts designed specifically for families.

All of us have felt the power of music. It can bring immeasurable joy. And it can connect us with our deepest emotions in a way no other artform can. It inspires us, energizes us, and provides an oasis of calm in a troubled world. It brings people together, bridging between cultures and communities. It truly can make the world a better place. What we know in our hearts and minds, decades of research has reinforced — that music and the arts are essential components of a well-rounded education for all. During the past few years, as we looked forward into The Cleveland Orchestra’s second century in service to the Northeast Ohio community, we asked ourselves, “What can we do to touch the lives of even more young people through the power and passion of music?” Through taskforce meetings, focus groups, and conversations with knowledgeable and interested parents, educators, community leaders, trustees, and musicians, our future direction came into focus:

Expand access to The Cleveland Orchestra, so that every child in Northeast Ohio, regardless of background, can experience orchestral music;

Enable more children to play musical instruments, offering opportunities to gain the life-long cognitive, academic, and emotional benefits that music study provides; Advocate and promote the value of music by leveraging the Orchestra’s brand to raise awareness of the well-documented benefits of music education for all children, especially the most disadvantaged;

Unite our diverse community through music, connecting people with each other and with The Cleveland Orchestra, regardless of age, race and ethnicity, and by removing obstacles across all demographic and economic categories. And we’re already making progress. We’re expanding access to Cleveland Orchestra Education Concerts through free tickets, and a new Bus Fund that helps provide transportation for schools in need. Our “Mindful Music Moments” program, developed by partner City Silence and newly expanded this season, delivers a daily four-minute dose of classical music and mindfulness to thousands of students and teachers throughout the region, presented in concert with school morning announcements. To better prepare for learning, each day begins with a period of calm and focus, provided under the brand-name of The Cleveland Orchestra. This is an extraordinary example of classical music taken beyond the confines of Severance Hall — and making a difference in the real world. To enable more children to play instruments, we recently partnered with five other organizations to launch “Play It Forward Cleveland!” This initiative is focused on providcontinues

Severance Hall 2018-19

From the President

continued

ing musical instruments — through community donations of gently-used string, woodwind, brass, and percussion instruments — to children in Cleveland’s Glenville neighborhood. Dozens of instruments were donated during our first event on MLK Day in January. You can join in during two upcoming opportunities for easy curbside drop-off at Severance Hall — on February 17 and March 9. (More details can be found on page 41.) And this is only the beginning. As we look forward to the month of March — Music In Our Schools Month across the United States — I hope that all audience members and patrons of The Cleveland Orchestra, and indeed everyone who recognizes the importance of music in your own lives, will join us in promoting music and the arts in our schools and community. Your support can make an impact in nurturing the next generation of music lovers, musicians, and engaged citizens of our diverse community. Because music is more than entertainment. Music is a vital and extraordinary language that moves, inspires, enlightens, and unites.

André Gremillet President & CEO The Cleveland Orchestra

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From the President

The Cleveland Orchestra

Musical Arts Association

as of January 2 O19

operating The Cleveland Orchestra, Severance Hall, and Blossom Music Festival

Officers and executive committee Richard K. Smucker, Chair André Gremillet, President & CEO Dennis W. LaBarre, Immediate Past Chair Richard J. Bogomolny, Chair Emeritus

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

Richard J. Bogomolny Alexander M. Cutler Hiroyuki Fujita David J. Hooker Michael J. Horvitz

Douglas A. Kern 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.

resident trustees Robin Blossom Richard J. Bogomolny Yuval Brisker Helen Rankin Butler Irad Carmi Paul G. Clark Robert D. Conrad Matthew V. Crawford Alexander M. Cutler Hiroyuki Fujita Robert Glick Robert K. Gudbranson Iris Harvie Dee Haslam 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 Richard Kramer 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 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 Richard Stovsky Russell Trusso Daniel P. Walsh Thomas A. Waltermire Geraldine B. Warner Jeffery J. Weaver Meredith Smith Weil Paul E. Westlake Jr. David A. Wolfort

n ati o na l a nd i n t ern at i o n al t ruS t ees Virginia Nord Barbato (New York) Richard C. Gridley (South Carolina) Wolfgang C. Berndt (Austria) Herbert Kloiber (Germany) Mary Jo Eaton (Florida) Paul Rose (Mexico) trustees ex- officio Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee Barbara R. Snyder, President, Case Western Reserve University

Patricia Sommer, President, Friends of The Cleveland Orchestra Beverly J. Warren, President, Kent State University

trustees emeriti George N. Aronoff Dr. Ronald H. Bell David P. Hunt S. Lee Kohrman Raymond T. Sawyer

honorary trustee s for life Alex Machaskee Gay Cull Addicott Robert P. Madison Charles P. Bolton The Honorable John D. Ong Jeanette Grasselli Brown James S. Reid, Jr. Allen H. Ford Robert W. Gillespie

pa s t boa r d P r es id en t s D. Z. Norton 1915-21 John L. Severance 1921-36 Dudley S. Blossom 1936-38 Thomas L. Sidlo 1939-53

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

T H E CL E V E LAN D ORC H E STRA

Franz Welser-Möst, Music Director André Gremillet, President & CEO

Severance Hall 2018-19

Musical Arts Association

Franz Welser-Möst Music Director Kelvin Smith Family Endowed Chair The Cleveland Orchestra

Franz Welser-Möst is among today’s most distinguished conductors in the world. 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 WelserMöst’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). As a guest conductor, Mr. WelserSeverance Hall 2018-19

Music Director

Möst 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, as well as appearances on tour at New York’s Carnegie Hall, at the Lucerne Festival, and in concert at La Scala Milan. Performances with the Philharmonic this season include appearances at the Salzburg, Grafenegg, 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. He has also built impressive relationships with other great symphonic ensembles and opera houses. He also 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, and, prior to that, led the Zurich Opera for a decade, culminating in three seasons as general music director (2005-08). Mr. Welser-Möst was awarded the Pro Arte Europapreis in 2017 for his advocacy and achievements as a musical ambassador. Other honors and awards include recognition from the Western Law Center for Disability Rights, honorary membership in the Vienna Sing verein, 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.

THE

CL E V E LAN D ORC H E STRA

its Centennial Season in 2017-18 and across 2018, The Cleveland Orchestra has begun 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 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. photo by Roger Mastroianni

with c e le bration s throughout

Severance Hall 2018-19

The Cleveland Orchestra

photo by Roger Mastroianni

Recent seasons have seen the launch of a unique series of neighborhood initiatives and performances, designed to bring the Orchestra and the citizens of Northeast Ohio together in new ways. Active performance ensembles and teaching 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. 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 for 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 — 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

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.

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. 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 Cleveland Orchestra

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, 193343; Erich Leinsdorf, 1943-46; George Szell, 1946-70; Lorin Maazel, 1972-82; Christoph von Dohnányi, 1984-2002; and Franz Wel ser-Möst, 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.

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Severance Hall 2018-19

70 YEARS YEARS OF OF REBUILDING REBUILDING LIVES LIVES THROUGH THROUGH 70 ADDICTION TREATMENT TREATMENT AND AND RECOVERY RECOVERY ADDICTION

The Cleveland Orchestra

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

James and Donna Reid Chair

Bryan Dumm

Patricia M. Kozerefski and Richard J. Bogomolny Chair

Tanya Ell

Emilio Llinás 2

Eli Matthews 1

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

Trevor and Jennie Jones Chair Gladys B. Goetz Chair

Katherine Bormann Analisé Denise Kukelhan Zhan Shu

Muriel and Noah Butkin Chair 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 M. and Janet G. Kimball Chair

Jean Wall Bennett Chair

HARP Trina Struble *

Stanley Konopka 2 Mark Jackobs

Mark Dumm

Helen Weil Ross Chair

Charles Carleton Scott Dixon Derek Zadinsky

Yu Yuan

Isabel Trautwein

Charles Bernard 2

Lynne Ramsey

Patty and John Collinson Chair

The GAR Foundation Chair

Alfred M. and Clara T. Rankin Chair

Alicia Koelz

Oswald and Phyllis Lerner Gilroy Chair

Louis D. Beaumont Chair

Richard Weiss 1

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

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

2O18 S E ASON 2O19 O r che 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 tuba Yasuhito Sugiyama*

Nathalie C. Spence and Nathalie S. Boswell Chair

timpani Paul Yancich * S

Otto G. and Corinne T. Voss Chair

Tom Freer 2

Mr. and Mrs. Richard K. Smucker Chair

percussion Marc Damoulakis*

Margaret Allen Ireland Chair

Donald Miller Tom Freer Thomas Sherwood keyboard instruments Joela Jones * Rudolf Serkin Chair

Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair

librarians Robert O’Brien

Joe and Marlene Toot Chair

Donald Miller 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 § Associate Principal 1 2

First Assistant Principal Assistant Principal On sabbatical

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

The function of the creative artist consists of making new rules, not in following those already set. â&#x20AC;&#x201D;Ferruccio Busoni

THE

CLEVEL AND ORCHESTRA f r a n z we l s e r - m Ö s t

m u s i c d i r e c to r

Severance Hall

Thursday evening, February 7, 2019, at 7:30 p.m. Saturday evening, February 9, 2019, at 8:00 p.m.

Alan Gilbert, conductor

2O18 S E ASON 2O19

Symphony No. 100 (“Military”) in G major

f. joseph haydn

(1732-1809)

1. 2. 3. 4.

Adagio — Presto Allegretto Menuet: Moderato — Trio Finale: Presto

int er mission

ferruccio busoni

Piano Concerto in C major, Opus 39 (with choral finale for male voices)

(1866-1924)

1. Prologo e Introito: Allegro, dolce e solenne 2. Pezzo giocoso: Vivacemente, ma senza fretta 3. Pezzo serioso: (Introductio) Andante sostenuto — Prima pars: Andante, quasi adagio — Altera pars: Sommessamente — Ultima pars: a tempo 4. All’Italiana: (Tarantella) — Vivace — In un tempo 5. Cantico: Largamente (with chorus)

garrick ohlsson, piano

Male Voices of the cleveland orchestra choruS Lisa Wong, director

Garrick Ohlsson’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from Virginia M. and Newman T. Halvorson. The Thursday evening performance is dedicated to Mrs. Barbara S. Robinson in recognition of her extraordinary generosity in support of The Cleveland Orchestra. 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 afternoon, March 24, at 4:00 p.m.

Severance Hall 2018-19

Concert Program — Week 13

February 7, 9

THIS WEEK’S CONCERT Restaurant opens: THUR 4:30 SAT 5:00

Concert Preview: begins one hour before concert

Concert begins: THUR 7:30 SAT 8:00

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 the Concert Hall at Severance Hall

“Grandiosity and Eternal Power” with Eric Charnofsky, Case Western Reserve University

HAYDN Symphony No. 100 (“Military”) . . . . . . . . page 25 (25 minutes)

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

INTERMISSION (20 minutes)

busoni Piano Concerto . . . . . . . . . . . . . . . . . . . . . . . . page 29 (70 minutes)

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

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

Concert ends:

(approx.)

THUR 9:25 SAT 9:55

Opus Lounge Stop by our newly-redecorated speakeasy lounge (with full bar service) for post-concert drinks, desserts, and convivial comradery.

This Week’s Concerts

The Cleveland Orchestra

INTRODUCING THE MUSIC

Big Symphony, Bigger Concerto T H I S W E E K E N D ’ S C O N C E R T offers up two contrastingly wonderful works — an elegant, well-proportioned (and delightfully exciting) Classical symphony, followed by a wildly bustling, sometimes sprawling Romantic piano concerto (including men’s chorus). Written more than a century apart, these two pieces might be said to represent opposite extremes in symphonic music. And yet, how nicely they can complement and compare with one another — yin for yang, sweet and sour, day with night, cold against hot. The evening opens with Joseph Haydn’s Symphony No. 100, given the nickname “Military” because of the brass fanfares and bristling percussion in the second movement. Haydn began writing this symphony in 1793 in preparation for his first trip to London. He completed and premiered it in England’s great capital city, where it was so enthusiastically received that he conducted it again only a week later, to more cheers and hurrahs. After intermission, guest conductor Alan Gilbert leads The Cleveland Orchestra in a rarely-heard piano concerto by the Italian-German composer Ferruccio Busoni. Premiered in 1904, this is a big work, 70 minutes in performance. In its five movements, the composer tried not so much to tell a story as to outline a kind of mystical philosophy. He skillfully conveys the kind of uncertainty that music can so very well imbue with life, as well as — appropriately for Severance Hall — ancient Egyptian motifs (see drawing on page 31). Pianist Garrick Ohlsson returns for the dazzlingly difficult solo role — in which there’s barely a moment of rest from start to finish. Few pianists learn this gargantuan work; Ohlsson played (and recorded) this grand concerto here thirty years ago, to appreciative acclaim. The winter weather has abated and warmed (for the moment) from recent extremes, and there is plenty to keep your ears warm and minds active in these musical works this weekend at Severance Hall.

—Eric Sellen

Severance Hall 2018-19

Introducing the Concert

OPERA THEATER RAMEAU’S

Hippolyte et Aricie Wednesday, February 27-Friday, March 1, 2019 l 7:30pm l Kulas Hall Saturday, March 2, 2019 l 3pm l Kulas Hall

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Alan Gilbert American conductor Alan Gilbert becomes chief conductor of the NDR Elbphilharmonie in Hamburg with the 2019-20 season. He served as music director of the New York Philharmonic (2009-17), and was previously music director of the Royal Stockholm Philharmonic Orchestra (200008). Prior to his appointment as chief in Hamburg, he served for over a decade as the ensemble’s principal guest conductor. Alan Gilbert is a frequent guest conductor with leading orchestras and opera companies across the globe. His current and upcoming schedule features appearances across three continents, including a ten-day, two-city residency with the Israel Philharmonic, performances with NDR Elbphilharmonie in Asia and Europe, and collaborations with the Berlin Philharmonic, Staatskapelle Dresden, Royal Stockholm Philharmonic, Leipzig Gewandhaus Orchestra, and Zurich Tonhalle Orchestra. In May and June, he returns to Milan’s La Scala for performances of Korngold’s opera Die tote Stadt. Mr. Gilbert’s operatic work has been highly praised, in staged and semi-staged presentations of modern repertoire and new works. He made his Metropolitan Opera debut in 2008 leading John Adams’s Doctor Atomic, the DVD of which received a Grammy Award. He has also conducted performances with other leading companies, including the Los Angeles Opera, Royal Swedish Opera, Vienna State Opera, and Zurich Opera. Mr. Gilbert’s tenure with the New York Philharmonic was transformative in scope, bringing America’s oldest symphony orchestra forward into the 21st century. Severance Hall 2018-19

Guest Artist

He led a number of innovative opera presentations and programmed concert series exploring music’s relationship and interaction within contemporary society. Born to two New York Philharmonic violinists, Alan Gilbert learned violin, viola, and piano as a youth. He studied music at Harvard University and conducting at the Curtis Institute of Music and New York’s Juilliard School. In 1994, he won both the Georg Solti Prize and first prize in the International Competition for Music Performance in Geneva. He served as an assistant conductor of The Cleveland Orchestra (1994-97). Mr. Gilbert has returned regularly to Severance Hall over the past fifteen years as a guest conductor — most recently in March 2018. This weekend’s concerts are his only U.S. appearances during the current season. Mr. Gilbert is the founder and president of a new initiative Musicians for Unity, designed to bring together musicians from around the world to perform in support of peace, development, and human rights — and to celebrate the power of music to build bridges and unite people across borders. Alan Gilbert and his wife, cellist Kajsa William-Olsson, are the parents of three children. For more information, please visit www.alangilbert.com.

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Symphony No. 100 (“Military”) in G major composed 1793-94

At a Glance

F. Joseph

HAYDN

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

Haydn wrote the second and third movements of this symphony in G major in Vienna in late 1793, adapting the second movement from an earlier concerto. He completed the symphony in London in early 1794. The composer led the first performance in London on March 31, 1794 (his sixtysecond birthday) — and a second performance just one week later, due to requests by the public. The work gained its “Military” nickname almost immediately, because of the use of the “Turkish” percussion instruments (triangle, cymbals, and bass drum) along with the trumpet fanfare in the second movement. At the time, these instruments were associated with Turkish

military regimental units (Mozart had used them in his Turkish opera, The Abduction from the Seraglio, for similar associations). This symphony runs about 25 minutes in performance. Haydn scored it for 2 flutes, 2 oboes, 2 clarinets (playing only in the second movement), 2 bassoons, 2 horns, 2 trumpets, timpani, percussion (triangle, cymbals, bass drum), and strings. The Cleveland Orchestra first performed Haydn’s “Military” Symphony in November 1932, under Nikolai Sokoloff’s direction. It has been programmed a number of times since, most recently in the autumn of 2008, conducted by Marc Minkowski

About the Music

o f h a y d n ’ s twelve “London” symphonies, six were composed for his first visit from 1791 to 1793, and six for the second, from 1794 to 1795. On his second arrival, on February 4, 1794, he brought with him from Vienna one complete symphony in E-flat major (eventually designated as No. 99; the symphonies were numbered after Haydn’s death) and two more partial symphonies, which at that time consisted only of minuet movements. The next to be completed became known as the “Clock” (No. 101) and then the “Military” (No. 100), which was first heard, on March 31 that year. The new symphony was an astonishing success. Haydn now knew his London audiences well and was able to design each new work to delight both for the connoisseurs and for the gallery. The Morning Chronicle reported that “the middle movement was received with absolute shouts of applause. Encore, encore! resounded from every seat; the Ladies themselves could not forbear.” The “middle movement” mentioned was actually the second of four, and it is this movement that gave the symphony Severance Hall 2018-19

About the Music

its name. It is an astonishing invention, in the way it begins in all innocence as a gentle interlude. Soon enough, the entry of heavy percussion (triangle, bass drum, and cymbals) at the minor key transforms the movement into a drama. “It is the advancing to battle,” thought the Morning Chronicle, “and the march of men, the sounding of the charge, the thundering of the onset, the clash of arms, the groans of the wounded, and what may well be called the hellish roar of war increased to a climax of horrid sublimity!” Haydn actually borrowed this movement from a concerto he’d written for the King of Naples in 1786. The symphonic version, however, was magnificently transformed by Haydn’s decision to delight the crowd with a display of trumpeting and drumming much in tune with the spirit of that belligerent age. The array of percussion was then associated with being Turkish in origin; Mozart had used a similar set of instruments (often deployed with marching regiments) in his “Turkish” comedy The Abduction from the Seraglio. And in Beethoven’s Ninth Symphony, the same percussion section became transformed yet again to enrich a hymn to universal brotherhood. The percussion reappears in Haydn’s last movement as well, to add to the music’s glitter. But all is not noisy show. The first movement is full of sophisticated and humorous detail, with some elegant writing for wind instruments that was very advanced for its time. The wit lies in sudden contrasts, alarming silences, and abrupt changes of key. The zestful vitality of the movement’s coda is unmistakable. The Minuet third movement is an elaborate specimen of the type, and its Trio section lilts on charmingly dotted rhythms. The Finale fourth movement resumes the banter of the opening movement (more silences and humorous surprises) and recalls the noisy action of the slow movement, rounding off a spectacular symphony. All in all, this symphony was one of Haydn’s greatest triumphs with his adoring London public, and understandably so.

—Hugh Macdonald © 2019 Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis. He has written books on Beethoven, Berlioz, Bizet, and Scriabin, as well as 1853 in Music: The Biography of a Year, detailing the lives and interactions of many of Europe’s big-named classical composers during a particularly interesting and pivotal moment in time.

About the Music

The Cleveland Orchestra

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Severance Hall 2018-19

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Piano Concerto in C major, Opus 39 composed 1901-04

At a Glance

Ferruccio

busoni born April 1, 1866 Empoli, near Florence, Tuscany died July 27, 1924 Berlin

Severance Hall 2018-19

Busoni completed his Piano Concerto on August 3, 1904, having begun the work in 1901. He adapted some ideas from other works left unfinished. The concerto was premiered in Berlin on November 10, 1904, with the Berlin Philharmonic conducted by Karl Muck and with Busoni as soloist. This concerto runs about 70 minutes in performance. Busoni scored it for 2 flutes, 2 piccolos (second doubling flute), 3 oboes (third doubling english horn), 3 clarinets (third doubling bass clarinet), 3 bas-

sons, 4 horns, 3 trumpets, 3 trombones, tuba, percussion (snare drum bass drum, tam-tam, tambourine, triangle, cymbals, glockenspiel), and strings, along with six-part chorus of male voices, plus the solo piano. The Cleveland Orchestra first performed this work in a series of concerts in February 1966, with George Szell conducting and Pietro Scarpini as soloist. The only other series of performances were in January 1989, with Garrick Ohlsson as soloist, conducted by Christoph von Dohnányi.

About the Music b u s o n i ’ s f a t h e r was a virtuoso clarinetist and his mother was a pianist, so that his early interest in music — and talent as a pianist — was well nourished. He was composing, too, from an early age. His parents had no particular reason to stay all the time in Italy, so they toured to Paris, Trieste, and Vienna, where the ten-year-old Ferruccio gave his first recital. With a half-German mother, the boy was bilingual in Italian and German and destined to spend nearly all his life in Germany. He never completely lost his Italian identity, however, and many of his compositions have, as evidence, Italian titles. Busoni became one of the great pianists among a generation of formidable pianists, many of whom were pupils of Franz Liszt. Another set of great pianists at this time heralded from Russia and several important teachers there. Busoni toured and gave concerts all his life, traveling out from his base in Berlin, where he lived from 1894 for the thirty years until his death. (He spent most of World War One living in Switzerland.) As the years went by, he began to see himself as principally a composer and less a pianist, and his later compositions were ambitious, deeply thoughtful works that have remained to this day a challenge to interpreters and critics. About the Music

His four most important works are the Piano Concerto, completed in 1904, the opera Brautwahl (1910) based on a story by E.T.A. Hoffmann, the Fantasia contrappuntistica for piano (1912), and his opera Doktor Faust, left unfinished at his death in 1924. There are smaller works for piano and orchestra that are heard occasionally. And his transcriptions of Bach were taken up by pianists everywhere. But his achievement as a whole has been overshadowed by the profusion of great figures who, like him, were also doing their best and most momentous work during the first years of the century. (There is something to be said for working in a time filled with much creativity and many new talents, in terms of energy, inspiration, and momentum for change, but everyone around you also represents competition for attention.) Furthermore, Busoni has never been fully adopted either by Italy or by Germany as a national figure — and to this day remains a composer not fully embraced by either. He thought deeply about the nature of music and wrote some trenchant essays on aesthetics and modernism. In these, his leading message was to ignore categories such as Classicism, Program Music, Romanticism, and Wagnerism, and just be original, be yourself! Break out of Routine and go in quest of Infinite Music! Although he admired Bach and Mozart more than Wagner and Brahms, Busoni’s compositions have all the weightiness of late Romantic music and might be compared with that of Rachmaninoff, but without Rachmaninoff’s easy tunefulness. The scale of the Piano Concerto recalls Mahler, but Busoni’s orchestration is not as transparent. In many-many ways, Busoni’s hero was always Liszt, rivaled only by Bach later in life. In sum, Busoni remained largely on the sidelines of modern music during his lifetime — and has depended on a devoted group of admirers, usually formidable pianists, to keep his music before the public. Stage productions of Doktor Faust are always events of major interest, but don’t seem to fuel any sort of extended renaissance or growing interest in his works overall. v i s i t i ng am e r i ca

Busoni visited America five times, the first for a period of three years, 1891 to 1894. During his first year, he was in Boston teaching piano at the New England Conservatory. But he was not happy, largely because the school was taking in so many students that their many lessons lasted only fifteen minutes! Later, he came to talk about “dear old Boston” and called it “almost a second Vienna.” He crossed the Atlantic again on tour in 1904, 1910, 1911, and

About the Music

The Cleveland Orchestra

1915. During the last trip, Italy entered World War One. Returning to Europe, Busoni took refuge in Switzerland before settling again in Berlin in 1918. The American tour of 1904 interrupted the last phase of his work on the Piano Concerto, which was completed on August 3, 1904, soon after his return. He had begun to plan it in 1901, feeling the need for a concerto of his own to play along with all the Classical and Romantic concertos in his concert repertoire. c r e a t i ng a m y s t i ca l c o nc e r t o

The concerto came into his mind at the same time as his interest in a drama called Aladdin and his Wonderful Lamp by the Danish poet Adam Oehlenschläger. This story of a quest for riches and power, published in 1805, has been compared to Goethe’s Faust in its breadth and mixing together of philosophical ideas. Busoni’s original plan was for a spoken drama with music, dance, and magic, “something like Mozart’s Magic Flute.” But Aladdin itself was never composed. Some of its ideas ended up in Doktor Faust, and a setting of some of Oehlenschläger’s words, translated into German by Oehlenschläger himself, was transferred to the Piano Concerto, where their mystical obscurity is intended to give a sense of serenity to the work’s close. Musically, many themes and ideas from Aladdin are found in the Piano Concerto. In addition, Busoni also had as a model the men’s chorus that closes Liszt’s Faust Symphony, singing lines by Goethe. Of the seven movements originally planned, Busoni telescoped two of the shorter ones into adjoining movements, reducing the number to five. Because his own concerts left him no time in the winter musical season, he composed during the summer months, finally completing the score in the summer of 1904.

Below: Adapation of Busoni’s drawing representing the concerto’s five movements and the music’s philosophical and mystical ideas.

t h e i d e as an d t h e m u s i c

Busoni made a drawing to represent the work, which was later adapted as the title page of the score. It was intended to illustrate the mysticsymbolical nature of the five movements. A doric temple with a sunburst behind represents the first movement; half a pyramid with a sphinx stretched out in front of it stands for the wide-ranging middle movement, and a tomb in front of a distant Vesuvius represents the final movement with the chorus. All this Egyptian imagery perhaps belongs with Severance Hall 2018-19

About the Music

the invocation to Allah in the final movement. The Prologo introduces the first movement as steady, sober music in a calm 3/4 and with chorale-like melodies that don’t stray far from the first pitch. The piano eventually enters (Introito) with a musical announcement that the full range of the instrument (and of the player’s stamina) is going to be required. The soloist’s elaborate activity begins here and is maintained almost to the end of the movement. In contrast, the orchestral ensemble, on the whole, maintains some quiet dignity in stating various of the musical themes. Theme-work does creep at times into the piano texture, but most often dressed in elaborate Lisztian decoration. In the scherzo second movement that follows (Pezzo giocoso), the humor is only one of many facets presented. It is as if Busoni set out to include every aspect that a scherzo has ever displayed — comic, serious, sinister, spectral, mocking, brilliant, easy-going, broad, swift. In and among all of this, the piano spews forth a cascade of notes, reaching from one end of the piano to the other. A strange episode part way through gives a melody to a low clarinet, repeated with a solo viola, and repeated again with a trumpet, too. And even the tambourine has a short, surprising moment in the limelight. The slow central movement is, in many ways, the musical heart of the concerto. Busoni divided into an introduction and four parts. The music maintains a stern and serious character throughout, brooding and subdued, and often rumbling in the brass. The climax in the Altera Pars, marked by a mighty blow on the tam-tam, is the peak of the entire work. The fourth movement, All’Italiana, has the orchestra playing at speeds to rival the piano itself — and the bright spirit of Neapolitan tunes makes a welcome contrast with the previous movement. Brilliant C-major fanfares at the end are a false announcement of conclusion, for a link of three quiet chords leads directly into the final movement. This is unexpectedly shorter, devoted mostly to the solemn entry of the men’s chorus with their hymnlike incantation of Oehlenschläger’s text. Lexicographer and conductor Nicolas Slominsky, with his characteristic use and invention in English, called this movement “gravid with Lisztian fustian.” In this music, the piano is most often in the background, but always busy. Some themes are resumed from the first movement. Then, suddenly, it’s all over. s u p e r h u man e f f o r t

Performances of Busoni’s Piano Concerto have always been rare, simply because its arduous and sustained demands on the so-

About the Music

The Cleveland Orchestra

loist’s fingers, hands, and arms are superhuman. Busoni once called it his “skyscraper” concerto. In truth, he played it only a handful of times himself. He preferred to conduct it and leave the solo part to others. Busoni originally intended to dedicate the concerto to his friend William Dayas, an American pupil of Liszt whom he had known in Leipzig. But Dayas died in 1903, before the concerto was finished. The first performance in America was given by Dayas’s daughter, Karin Dayas. —Hugh Macdonald © 2019

Piano Concerto Sung Text

text from Aladdin, by Adam Gottlob Oehlenschläger (1779-1850)

„Die Felsensäulen fangen an tief und leise zu ertönen:“ Hebt zu der ewigen Kraft eure Herzen; Fühlet euch Allah nah’, schaut seine Tat! Wechseln im Erdenlicht Freuden und Schmerzen; Ruhig hier stehen die Pfeiler der Welt. Tausend und Tausend und abermals tausende Jahre so ruhig wie jetzt in der Kraft, Blitzen gediegen mit Glanz und mit Festigkeit, Die Unverwüstlichkeit stellen sie dar.

“Pillars of rock begin to make deep, soft music.” Lift your hearts to the eternal power; Feel Allah near, see his deeds! Joys and griefs interchange in the light of earth; The pillars of the world stand peacefully here. A thousand, another thousand, and yet more thousands Of years, calm in their strength, as now Flash by, for ever bright and firm. Indestructability is what they reveal.

Herzen erglüheten, Herzen erkalteten, Spielend umwechselten Leben und Tod. Aber in ruhigen Harren sie dehnten sich Herrlich, kräftiglich, früh so wie spät. Hebt zu der ewigen Kraft eure Herzen Fühlet euch Allah nah’, schaut seine Tat! Vollends belebet ist jetzo die tote Welt. Preisend die Göttlichkeit, schweigt das Gedicht!

Hearts began to warm up, then to cool down, Life and death are playfully exchanged. But quietly awaiting they stretch out, Fine, strong, both early and late. Lift your hearts to the eternal power; Feel Allah near, see his deeds! Fully alive now is the dead world. Praising the divinity, the poem falls silent.

Severance Hall 2018-19

Sung Text: Piano Concerto

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Garrick Ohlsson Since winning the 1970 Chopin International Piano Competition, American pianist Garrick Ohlsson has been hailed worldwide for his technical prowess and artistic mastery. Long regarded as one of the world’s leading exponents of the music of Chopin, Mr. Ohlsson in fact commands a large repertoire ranging across almost the entire piano literature — and he has come to be noted for his performances of the works of Mozart, Beethoven and Schubert, as well as many masterpieces of the Romantic repertoire. Mr. Ohlsson made his Cleveland Orchestra debut in March 1975 and most recently performed here in August 2015. He and the Orchestra recorded Busoni’s Piano Concerto in 1989, following performances at Severance Hall and at New York’s Carnegie Hall. A native of White Plains, New York, Mr. Ohlsson began piano studies at age eight, attended the Westchester Conservatory of Music, and at thirteen entered the Juilliard School. Mr. Ohlsson’s artistic honors include a 1994 Avery Fisher Prize, and first prizes at the 1966 Busoni Competition and 1968 Montreal Piano Competition. Acknowledging his renown as an interpreter of Frédéric Chopin’s music, Mr. Ohlsson performed in a variety of celebrations for the 2010 bicentenary of the composer’s birthday, including a gala at Chopin’s birth house in Warsaw and recitals in Berkeley, La Jolla, New York, and Seattle. For the bicentenary of Franz Liszt’s birth during the 2011-12 season, Mr. Ohlsson presented recitals in Chicago, Hong Kong, London, and New York. And, to mark the centenary in 2015 of Alexander Scriabin’s Severance Hall 2018-19

Guest Artist

death, he performed a similar retrospective tribute. From his repertoire of some eighty different concertos, Mr. Ohlsson performs with leading orchestras around the world. Recent and upcoming engagements include performances with the National Polish Radio Symphony Orchestra and Boston Symphony Chamber Players, as well as appearances with the orchestras of Baltimore, Houston, New York, Philadelphia, and Seattle. He plays all of Rachmaninoff’s piano concertos in a single weekend with the Indianapolis Symphony Orchestra to end the 2018-19 season. An avid chamber musician, Mr. Ohlsson has performed with many colleagues and string quartets, and as collaborator with a number of noted vocalists. With violinist Jorja Fleezanis and cellist Michael Grebanier, he is a founding member of the San Francisco-based FOG Trio. A prolific recording artist, he can be heard across a broad range of solo and concerto repertoire in albums on the Angel, Arabesque, BMG, Decca, Delos, Hänssler, Hyperion, Nonesuch, RCA Victor Red Seal, Telarc, and Virgin Classics labels. His ten-disc set of the complete Beethoven sonatas won a Grammy Award in 2007. For more information, please visit www.garrickohlsson.com.

Lisa Wong

Director of Choruses Frances P. and Chester C. Bolton Endowed Chair The Cleveland Orchestra

Lisa Wong was appointed director of choruses for The Cleveland Orchestra in May 2018, after serving as acting director throughout the 2017-18 season. She joined the choral staff of The Cleveland Orchestra as assistant director of choruses at the start of the 2010-11 season, assisting in preparing the Cleveland Orchestra Chorus and Blossom Festival Chorus for performances each year. In 2012, she took on added responsibilities as director of the Cleveland Orchestra Youth Chorus, leading that ensemble for five seasons. In addition to her duties at Severance Hall, Ms. Wong is an associate professor of music at The College of Wooster, where she conducts the Wooster Chorus and teaches courses in conducting, choral literature, and music education. She previously taught in public and private schools in New York, Pennsylvania, and Indiana. Active as a clinician, guest conductor, and adjudicator, she serves as a music panelist for the National Endowment for the Arts. Recent accolades have included work in Nairobi, Kenya, and Stockholm, Sweden. Ms. Wong holds a bachelor’s degree in music education from West Chester University and master’s and doctoral degrees in choral conducting from Indiana University.

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Cleveland Orchestra Chorus

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Cleveland Orchestra Chorus Lisa Wong, Director Daniel Singer, Assistant Director Joela Jones, Principal Accompanist

The Cleveland Orchestra Chorus is one of the few professionally-trained, all-volunteer choruses sponsored by a major American orchestra. Founded at the request of George Szell in 1952 and following in the footsteps of a number of earlier community choruses, the Cleveland Orchestra Chorus has sung in hundreds of performances at home, at Carnegie Hall, and on tour, as well as in more than a dozen recordings. Its members hail from nearly fifty Cleveland-area communities and together contribute over 25,000 volunteer hours each year.

BUSONI Piano Concerto tenor

Frederick Allen Vincent L. Briley Robert Hutson Daniel M. Katz Peter Kvidera Adam Landry Tod Lawrence Shawn Lopez Rohan Mandelia James Newby Ryan Pennington Matthew Rizer Matt Roesch John Sabol Lee Scantlebury James Storry Michael J. Ward Allen White Peter Wright

bass

Christopher Aldrich Tyler Allen Jack Blazey Sean Cahill Serhii Chebotar Peter B. Clausen Dwyer Conklyn BFC Nick Connavino Kyle Crowley Christopher Dewald Jeffrey Duber Matthew Englehart Richard Falkenberg Brian Fancher Kurtis B. Hoffman Dennis Hollo Jason Howie Robert L. Jenkins III BFC James Johnston Joshua Jones

Carolyn Dessin, Chair, â&#x20AC;&#x192;â&#x20AC;&#x192; Cleveland Orchestra Chorus Operating Committee Jill Harbaugh, Manager of Choruses

Matthew Kucmanic Kevin Kutz BFC Jason Levy Tyler Mason Roger Mennell Robert Mitchell Stephen Mitchell Tom Moormann Keith Norman Tremaine Oatman Francisco Prado Brandon Randall John Riehl Robert Seaman John Semenik Jarod Shamp James B. Snell Adam Thiel BFC Charles Tobias Nicolas Turnberrez Patrick Wickliffe

BFC = member of Blossom Festival Chorus

joining for these concerts at Severance Hall

R= Shari Bierman Singer Fellow

Severance Hall 2018-19

Cleveland Orchestra Chorus

PHOTOGRAPHY by ROGER MASTROIANNI

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

Passion. Period. Baroque orchestra jeannette sorrell

Three Duels

and a Funeral

This sequel to last year’s hit program, “Three Duels and a Wedding,” takes a darker turn… sort of. Sparks fly as pairs of virtuoso soloists square off in dueling quadruple-concertos of Vivaldi, as well as the exhilarating Brandenburg Concerto no. 3. Telemann’s zany Funeral Cantata for a Dead Canary, delivered with tragic-comic aplomb by singer-actor Jeffrey Strauss, will leave you in tears… of laughter.

FRIDAY, MARCH 8, 8:00PM & SATURDAY, MARCH 9, 8:00PM St. Paul’s Episcopal Church CLEVELAND HEIGHTS Additional performances March 7 & 10 in Northeast Ohio. JEFFREY STRAUSS baritone

KATHIE STEWART traverso

216.320.0012 | apollosfire.org

orchestra news

THE CLEVELAND ORCHESTRA

Play It Forward Cleveland! Please join us as we partner to bring more music to Cleveland’s children. Instrument Donation Drive for Cleveland’s children!

We invite you to drop off gently-used instruments (no toys, Instrument please) curbside at Severance Hall at the days and times beINSTRUMENT Donation Drive low. All donated instruments will be assessed, repaired,DROP-OFF and for Cleveland’s gifted to children participating in programs in the Glenville LOCATION children! Neighborhood in Cleveland’s Ninth Ward. Help us work together to give Cleveland children the opporAtoday tunity experience the pride, joy, and lifetime benefits that music-making provides. without music is

Questions: Contact LeAundra Richardson, Arts Cleveland, leaundra@artscleveland.org

Help Cleveland’s likeMore a day without information is available by Children by Donating sunshine! visiting: clevelandorchestra.com/playitforward Your Gently-Used With the support of our Those wishing to support the instrument Repair Fund can community, the sun will Musical Instruments contribute by visiting: artscleveland.org/playitforward shine for Cleveland’s children.

Join Cleveland City Council, Arts Cleveland, the Center for ArtsInspired Learning, Cleveland Metropolitan School District, and The Cleveland Orchestra in giving Cleveland children the opportunity to experience the pride, joy, and lifetime benefits music-making provides. Donated instruments will be assessed, repaired, and gifted to children participating in recreation center programs in the Glenville Neighborhood, in Cleveland’s 9th Ward.

Instrument Donation Dates at Severance Hall:

Gently-used instruments will be accepted including those requiring minor repairs (no toy instruments please; large instruments such as pianos will be included in future drives). A Donation Form must be submitted to receive a verified donation receipt. Donation Forms are available on-site or at clevelandorchestra.com/playitforward. Those who wish to support an Instrument Repair Fund can contribute by visiting ArtsCleveland.org/playitforward.

January 21 — Monday noon to 5 p.m. February 17 — Sunday noon to 5 p.m. March 9 — SaturdayYou10 can a.m. to noon donate your previously-loved,

playable instruments at Severance Hall, home of The Cleveland Orchestra, 11001 Euclid Avenue,

curbside drop-off Cleveland, in University Circle. A drive-up collection area will be set up East Boulevard near Euclid Avenue on Severance Hall, 11001 Euclid on Avenue Cleveland, Ohio 44106 Monday, January 21 from 12:00 p.m. – 5:00 p.m. Sunday, February 17 from 12:00 p.m. – 5:00 p.m. and Saturday, March 9 from 10:00 a.m. – 12:00 p.m.

Severance Hall 2018-19

Cleveland Orchestra News

orchestra news

the cleveland orchestra

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 President & CEO, “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

BEIJING

CHINA

WUHAN

NANJING n SHANGHAI

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 Chair. “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.”

Cleveland Orchestra News

The Cleveland Orchestra

orchestra news A . R . O . U . N . D T. O .W. N Recitals and presentations featuring Orchestra musicians Upcoming local performances by current and former members of The Cleveland Orchestra include: Friends of The Cleveland Orchestra presents the second Meet the Artist luncheon of the season on Friday, February 22, featuring Orchestra musicians Joela Jones (principal keyboard) and Shachar Israel (assistant principal trombone). This lunchtime event, at Nighttown Restaurant (12383 Cedar Road in Cleveland Heights), features a performance by the two artists, followed by a conversation moderated by the Orchestra’s artistic administrator, Ilya Gidalevich. The event begins at 11:30 a.m., with a private reception that includes both musicians, and continues with lunch at noon followed by the program itself at 1:00 p.m. The cost is $50 for lunch and program; $100 premium ticket includes the pre-lunch reception. Reservations are required; please call 216-249-8707.

THE CLEVELAND ORCHESTRA

New solo album features Cleveland Orchestra trumpeter Jack Sutte

A new album was released in 2018 featuring Cleveland Orchestra musician Jack Sutte (trumpet). The solo album was recorded on the Schilke family of instruments at Baldwin Wallace University Conservatory of Music and features works written by Andriessen, Dinsecu, Fennelly, Henze, Persichetti and Sutte himself. The album/CD is titled Bent, which Sutte suggests is connected to many meanings, including the trumpet being a brass instrument folded around on itself. The album showcase’s Sutte’s artistry and interest in expanding the repertoire for solo trumpet. Available through a number of online retailers, including cdbaby.com. CLE_ORCH.pdf

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north � point portfolio managers c o r p o r a t i o n Ronald J. Lang Diane M. Stack Daniel J. Dreiling Severance Hall 2018-19

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Cleveland Orchestra News

PHOTO BY ROGER MASTROIANNI

orchestra news

THE CLEVELAND ORCHESTRA

Welser-Möst and Cleveland Orchestra acclaimed in Strauss’s Ariadne auf Naxos “Is Strauss’s Ariadne auf Naxos the best opera? Probably not, though it’s up there. . . . But it must be the most operatic opera, the one that reflects most sweetly and profoundly on the nature of this strange, lovely hodgepodge of an art form. Putting on an opera, after all, is what the piece is all about. So it makes sense that The Cleveland Orchestra’s audience at Severance Hall here — for a pristine, poignant production of “Ariadne” that runs through Saturday evening — takes its seats to find what looks like a rehearsal. . . . And there is no orchestra I’d rather hear play it than this one, pared to a vivid, graceful chamber scale. Even at full complement, Cleveland is a group that performs with the crystalline energy of a quartet, silky yet piquant, so you can imagine the pearly lucidity when it’s reduced to just three dozen. . . . Mr. Welser-Möst’s gift for letting scores breathe, unrushed and unruffled yet taut, serves Ariadne particularly well. The vitality of instrumental details enhances, rather than distracts from, the coherence of the drama.” —New York Times, January 19, 2019 “The Cleveland Orchestra opened the new year with Richard Strauss’s Ariadne auf Naxos in a fully-staged production by Frederic Wake-Walker created especially for Severance Hall. Musically, it was highly successful, with Franz Welser-Möst at his best in an opera that he clearly adores, conducting a hand-picked cast, leading an ensemble whose strengths he knows. The Prologue was set as if it were a regular rehearsal of The Cleveland Orchestra, with the musicians in street attire, and Welser-Möst standing on the stage chatting with musicians. . . . During intermission, the Orchestra was moved to the hall’s pit, lowered into place after serving as the playing area for the Prologue. Orchestra members and Franz Welser-Möst assumed standard concert dress. . . . The Orchestra was flawless and detailed in their ensemble.” —bachtrack, January 14, 2019

Cleveland Orchestra Reviews

The Cleveland Orchestra

orchestra news

the cleveland orchestra

THE CLEVELAND ORCHESTRA

I.N M.E .M.O.R.I. a .m

The Cleveland Orchestra notes the death of former principal percussionist Richard Weiner, on December 30, 2018, at the age of 82, and extends condolences to his family and friends. Mr. Weiner received The Cleveland Orch estra’s Distinguished Service Award in 2011, the year he retired, after serving for forty-eight years as a percussionist in the Orchestra — and forty-three years as the section’s leader, holding the title Principal Percussion for longer than any player in the Orchestra’s history. Mr. Weiner participated in more than a hundred world or United States premieres with The Cleveland Orchestra. On tour with the Orchestra, he performed in 44 countries, and played on more than a hundred recordings. He served with passion and interest on many Cleveland Orchestra committees, including the Negotiation Committee, which he chaired for many years, and on the Severance Hall Renovation Committee (1997-2000).

A native of Philadelphia, Rich Weiner was the first percussionist to be awarded a performer’s certificate from Indiana University, where he earned a master of music degree. Later in life he also earned a Juris Doctor degree from Cleveland State University. At the time of his death, Mr. Weiner was a faculty member at the Cleveland Institute of Music, where he taught and influenced generations of young musicians for fifty-five years and had chaired the timpani and percussion department for more than four decades. “Richard Weiner was a role model to all of us during our school days in Cleveland,” said Robert van Sice, chair of percussion studies at Yale University. “He was a man who played the way he lived — with tons of class.”

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OH160_CleveOrch_Brooks_5.3x3.8_0119.indd 1 Severance Hall 2018-19 Cleveland Orchestra News

1/23/19 10:02 AM

Musicians Emeritus of

T h e

C leveland

O r c h e s t r a

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 43 musicians collectively completed a total of 1495 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

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 LIBRARIAN Ronald Whitaker * 2008 — 33 years

HARP Lisa Wellbaum * 2007 — 33 years

* Principal Emeritus § Associate Principal Emeritus 1 2

First Assistant Principal Emeritus Assistant Principal Emeritus

listing as of January 2019

Appreciation

The Cleveland Orchestra

orchestra news

the cleveland orchestra

M . U. S . I .C . i . a . N s . a . l . u .T. E The Musical Arts Association gratefully acknow ledges 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, President & CEO. “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

orchestra news

the cleveland orchestra

Orchestra digitizes its history to share with public online 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 access to its collection while reducing the handling of physical materials. “We 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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Cleveland Orchestra News

The Cleveland Orchestra

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A portrait of Wolfgang Amadè Mozart, painted in 1819 by Barbara Kraft, based on paintings created during the composer’s lifetime.

I cannot write in verse, for I am no poet. I cannot arrange the parts of speech with such art as to produce effects of light and shade, for I am no painter. Even by signs and gestures I cannot express my thoughts and feelings, for I am no dancer. But I can do so by means of sound, for I am a musician. —W. A. Mozart, November 1777

THE

CLEVEL AND ORCHESTRA f ran z w elser - m Ö st

m u s i c d i rector

Severance Hall

Thursday evening, February 14, 2019, at 7:30 p.m. Friday evening, February 15, 2019, at 7:00 p.m. Saturday evening, February 16, 2019, at 8:00 p.m. Sunday afternoon, February 17, 2019, at 3:00 p.m.

Harry Bicket, conductor

2O18 SEASON 2O19

wolfgang amadè mozart (1756-1791)

Fantasia in F minor, Piece for Mechanical Clock, K608 (arranged for small orchestra by Harry Bicket)

Allegro — Andante — Tempo primo

Exsultate, jubilate, K165

(motet for soprano, organ, and orchestra)

Allegro — Recitativo — Andante — [Vivace]

kiera duffy, soprano

inte r mission

Eine kleine Nachtmusik [A Little Night Music] Serenade No. 13 in G major, for strings, K525

1. 2. 3. 4.

Allegro Romanze: Andante Menuetto: Allegretto Rondo: Allegro

Symphony No. 38 (“Prague”) in D major, K504

1. 2. 3. 4.

Adagio — Allegro Andante con moto Menuetto: Allegretto — Trio Finale: Allegro Thursday’s concert is sponsored by DLR Group | Westlake Reed Leskosky. Sunday’s concert is co-sponsored by Great Lakes Brewing Company. Harry Bicket’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from James and Donna Reid. Kiera Duffy’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from The Kulas Foundation.

Severance Hall 2018-19

Concert Program — Week 14

February 14, 15, 16, 17 THIS WEEKEND’S CONCERT Restaurant opens: THUR 4:30 FRI 5:00 SAT 5:00 SUN 12:00 Concert Preview: begins one hour before concert

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

Severance Restaurant Reservations (suggested) for dining:

216-231-7373

or via www.UseRESO.com

THURSDAY, SATURDAY, and SUNDAY

FRIDAY

CONCERT PREVIEW in Reinberger Chamber Hall

pre - C O N C E R T

HAPPY HOUR

“Mozart’s Musical Gifts” with Michael Strasser, Baldwin Wallace University Conservatory of Music

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

YS@ A D I FR

MOZART Fantasia in F minor . . . . . . . . . . . . . . page 57 (12 minutes)

MOZART Exsultate, jubilate . . . . . . . . . . . . . . . page 59 (15 minutes)

INTERMISSION (20 minutes)

Mozart, cira 1780, painting by Johann Nepomuk della Croce.

MOZART Eine kleine Nachtmusik . . . . . . . . . page 65 (15 minutes)

MOZART Symphony No. 38 (“Prague”) . . . . page 67 (25 minutes)

Concert ends:

(approx.)

THUR FRI SAT SUN

YS@ A D I FR

9:00 8:30 9:30 4:30

Opus Lounge Stop by our newly-redecorated speakeasy lounge (with full bar service) for post-concert drinks, desserts, and convivial comradery.

This Week’s Concerts

Friday Post-Concert Trivia: Join in the fun in our special trivia session downstairs in Smith Lobby. Led by Cleveland Orchestra musicians, and with convenient cash bar.

The Cleveland Orchestra

INTRODUCING THE CONCERT

To Mozart, with Love

M O Z A R T lived life full and fast, and all too briefly. He wrote more music in thirty-some years than many others have managed in lifetimes twice as long (or longer). His gifts were melody and invention. His understanding of harmony and keys was quick and remarkable. He wrote big and small across all genres — orchestral, chamber music, solo works, church, secular, and opera. Mozart charmed and dazzled listeners — but not always patrons. He made money, then spent it too freely. He gambled, made enemies and debts — and was usually able to find a devoted friend (or two) to bail him out (without too much grumbling). Wolfgang loved to tell jokes — bawdy, bodily, and otherwise. He sometimes drank to excess, for life was a party! But was devoted to his wife and children. He worked hard, but was lazy and tempermental. He started early, as a child prodigy, and traveled widely across Europe — performing for monarchs, bishops, and everyone who was anybody. He spoke German and Italian, and loved the thrill of a good pun in almost any language. He died nearly pennyless, yet is remembered and revered as one of music’s brightest and most enduring stars. This weekend’s concerts offer four pieces by this Classical master, from across his lifetime. A Fantasia created in his last year, age 35. A joyous work for soprano, written at the age of 17. A popular evergreen for strings, written in 1787 as “night music” (meaning something pleasant for the cocktail hour or after-dinner). And a sparkling symphony, written in 1786 for a city he loved (and which loved him back). Wonder and wonderful, Mozart and magical! —Eric Sellen

Severance Hall 2018-19

Introducing the Concert

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Harry Bicket British musician Harry Bicket is well-known internationally as an opera and concert conductor, and is especially praised for his work with Baroque and Classical repertoire. He has served since 2007 as artistic director of The English Concert, one of the United Kingdom’s most highly-regarded period orchestras. In addition, he became music director of the Santa Fe Opera in 2017, having served as its chief conductor since 2013. He made his Cleveland Orchestra debut in March 2017. Mr. Bicket’s recent and upcoming engagements include return visits to New York’s Metropolitan Opera for Mozart’s The Magic Flute, to Lyric Opera of Chicago for Handel’s Ariodante, and with the Prague Philharmonia in performances of Beethoven’s ballet music for The Creatures of Prometheus. His work at Santa Fe Opera during the summer 2019 season features Mozart’s Così fan tutte as well as a performance of Richard Strauss’s Four Last Songs with soprano Renée Fleming. His concert schedule with The English Concert during the 2018-19 season includes Bach’s Cantatas for Advent at Wigmore Hall in November and Wayne Eagling’s Remembrance ballet (set to Handel’s Ode to Saint Cecilia’s Day) with the English National Ballet. This coming spring, the orchestra continues their Handel opera series with performances of Handel’s Semele in Europe and the United States, including dates in Paris at the Theatre de Champs Elysées, in London at the Barbican Centre and at New York’s Carnegie Hall. As a conductor, Harry Bicket came to international acclaim when he stood in to conduct Handel’s Theodora at the GlyndeSeverance Hall 2018-19

Guest Artist

bourne Festival in 1996. Since that time, he has led operatic productions across Europe and North America, including performances with the Bavarian State Opera, Liceu Barcelona, English National Opera, Los Angeles Opera, Royal Danish Opera, and London’s Royal Opera. On the concert podium, Harry Bicket has led Great Britain’s major period and concert orchestras, as well as appearing with a wide selection of ensembles in Europe, North America, and Asia, including the Chicago Symphony Orchestra, Hong Kong Philharmonic, Israel Philharmonic Orchestra, Minnesota Orchestra, New York Philharmonic, Oslo Philharmonic, and the Saint Paul Chamber Orchestra. Mr. Bicket’s discography includes releases for Virgin Classics, Chandos, and Harmonia Mundi featuring Elizabeth Watts, David Daniels, Lucy Crowe, Sarah Connolly, and Rosemary Joshua. Most recently, he has a concerto disc released in September 2018 on Signum. His discography also features five recordings with the Orchestra of the Age of Enlightenment. Harry Bicket was born in Liverpool and educated at the Royal College of Music and Oxford University. He is married to environmental scholar Audrey de Nazelle; the family resides in London.

GeorgiaO’Keeffe: O’Keeffe: Living Living Modern Georgia Modern Georgia O’Keeffe: Modern Through March33 Through Through March March 3

Discover the fascinatingconnections connectionsbetween between the the paintings, paintings, personal Discover the fascinating personalstyle, style, Discover the persona fascinating connections between the paintings, and public of one of America’s most iconic artists. personal style, and public persona of one of America’s most iconic artists. and public persona of one of America’s most iconic artists.

Georgia O’Keeffe: Living Modern is organized by the Brooklyn Museum with guest Georgia O’Keeffe: Living Modern organized by theProfessor BrooklynEmerita Museum guest curator Wanda M. Corn, Robertisand Ruth Halperin in with Art History, Georgia O’Keeffe: Modern is organized by the Brooklyn Museum with guest curator Wanda M. Living Corn, Robert Ruthby Halperin Professor Emerita in Art Stanford University, and madeand possible the National Endowment for theHistory, Arts. curator Wanda M. Corn, Robert and Ruth Halperin Professor Emerita in Art History, Stanford University, and made possible by the National Endowment for the Arts. Stanford University, and made possible by the National Endowment for the Arts. SUPPORTING SPONSORS PRESENTING SPONSORS Cindy and Dale Brogan SUPPORTING SPONSORS PRESENTING Brenda and SPONSORS Marshall Brown Tim O’Brien and Breck Platner SUPPORTING SPONSORS and Dale Brogan PRESENTING SPONSORS Brenda and Marshall Cheryl L. and DavidBrown E. Jerome Cindy Anne H. Weil Cindy and Dale Brogan Tim O’Brien and Breck Platner Brenda and Marshall Brown Cheryl L. and David E. Jerome Tim O’Brien and Breck Platner Anne H. Weil Cheryl L. and David E. Jerome Anne H. Weil MEDIA SPONSOR ClevelandArt.org MEDIA SPONSOR ClevelandArt.org MEDIA SPONSOR ClevelandArt.org 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 Georgia O’Keeffe (detail), c. 1920–22. Alfred Stieglitz (American, 1864–1946). Gelatin silver print; 11.4 x 9 cm. Georgia O’Keeffe (detail), c.Santa 1920–22. Alfred Stieglitz (American, 1864–1946). Gelatin2003.01.006 silver print; 11.4 x 9 cm. Georgia O’Keeffe Museum, Fe, NM, Gift of the Georgia O’Keeffe Foundation, Georgia O’Keeffe Museum, Santa Fe, NM, Gift of the Georgia O’Keeffe Foundation, 2003.01.006

Fantasia in F minor, K608 Piece for Mechanical Clock Organ

composed 1791, arranged for chamber orchestra by Harry Bicket

At a Glance

Wolfgang Amadè

Mozart

Mozart wrote this work, known today by the title “Fantasia in F minor, K608,” in the late winter of 1790-91 as a commission to be played by a mechanical clock organ at the Müller Wax Museum (a.k.a. Panoptikum) & Art Gallery in Vienna (run by Count Josef Deym von Stržitéž). The piece was most likely premiered in March 1791. (Mozart had written two other pieces for the same mechanical organ the previous autumn.) In one letter, Mozart described the particular mechanical clock

organ as “consisting solely of little pipes, which sound high-pitched and childish to my tastes.” While the instrument itself was dismantled around 1800, similar devices survive in various museums and collections across Europe.) This work runs about 12 minutes in performance. Harry Bicket has scored it for flute, oboe, bassoon, 2 horns, and strings, plus optional keyboard continuo. The Cleveland Orchestra is performing this work for the first time with this weekend’s concerts.

born January 27, 1756 Salzburg

About the Music

died December 5, 1791 Vienna

proved to be a profitable sideline for clockmakers. The power source for these were the same kind of clockworks devised to create ever complex timepieces. Put to ever more interesting uses, precision mechanisms were the clockmakers’ secret. Unlike the modern robot, whose purpose is aimed at doing a useful job, automata were intended merely to entertain. Thus, they became more and more elaborate and expensive, and were often exchanged as gifts by the high and mighty. Mechanical figures were made to dance or play, or march like a soldier, or squawk like a bird. This craze interacted with Mozart at the very end of his life, when he was invited by a man named Müller to compose a piece for an “Orgelwerk in einer Uhr” [“Organ Work in One Hour”]. Müller was in reality Count Josef Deym von Stržitéž, a member of the Bohemian aristocracy, who changed his name after fighting a duel. He assembled a wax museum that featured mechanical instruments as an added attraction. This was advertised in the Vienna press as “splendidly illuminated until ten o’clock at night. The sight of it will not fail to surprise everyone who visits. Upon the stroke of each hour a Funeral Musique will be heard, and

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t h e 1 8 t h c e n t u r y was a great age for automata, which

About the Music

Mechanical clocks like this one were all the rage at the turn of the 18th into the 19th centuries. Many “played” tunes, while others had parts that moved and whirled.

will be different every week.” One advertisement added the line: “This week the composition is by Herr Kapellmeiser Mozart.” Mozart composed a two-movement work for Müller’s machine in 1790, titled “Adagio and Allegro.” The next year, in March 1791, nine months before his death, he composed the Fantasia in F minor, heard on this weekend’s concerts in an arrangement for Mozartean chamber orchestra by Harry Bicket. The original machine had a cylinder rotating at a steady speed on which pins were precisely placed (not unlike a music box mechanism) in order to open the appropriate pipes of Müller’s organ. Not being confined to ten fingers and two feet, it could accumulate groups of notes that a single organist could not reach, and although Mozart rarely exploits this feature, the music cannot be fully realized by a human organist. (The mechanical clock organ was the direct ancestor of some truly large and astounding circus and carnival instruments of the 19th century, which combined organ pipes, percussion instruments, and even string instruments, all played mechanically from a prepared disc of pins or sheets of paper/metal perforated with holes to instruct each instrument and note to play.) A variety of arrangements of Mozart’s piece have been made across the years, for chamber groups or larger ensembles. It is not truly a Fantasia, a title that suggests freedom of form, key, and tempo. Mozart actually called it quite simply his “Organ Piece.” The new title was attached to it for publication after his death. The two main ideas of the opening Allegro section — one stiff and rhythmically bracing, the other a fugue — are both resumed in the closing Tempo primo. The central Andante uses a simple opening theme as the basis for some rich elaboration. As usual in Mozart, the distinction is in the detail, revealing subtleties and ingenuities with which few other composers were as adept and able. One other relevant “toy” that Mozart encountered at the end of his life was the glass harmonica, an instrument pioneered by Benjamin Franklin, among others. For that golden-voiced instrument, he composed an Adagio and Rondo, accompanied by flute, oboe, viola, and cello, not unlike the group of instrumentalists that Bicket had in mind when arranging the Fantasia K608.

About the Music

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Exsultate, jubilate K165 (motet for soprano, organ, and orchestra) composed 1773

At a Glance

Mozart composed this motet at the age of seventeen, in Milan in January 1773 for a performance by the castrato Venanzio Rauzzini at the Church of the Theatins on January 17. This work runs about 15 minutes in performance. Mozart scored it for 2 oboes, 2 horns, strings, and organ, plus the soprano soloist.

Wolfgang Amadè

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

The Cleveland Orchestra first performed “Exsultate, jubilate” in February 1954, with Maria Stader as soloist under the direction of George Szell. It has been performed several times since, at both Severance Hall and Blossom, most recently in January 1998, with Renée Fleming as the soloist, conducted by Jahja Ling.

About the Music t h e g e r m a n l a n g u a g e prescribes word order with some rigor, so it must have been a source of great amusement to the sixteen-year-old Mozart to write his sister Nannerl a letter whose equivalent in English would be: “I for have the primo a uomo motet compose which to tomorrow at Church the Teatino performed will be.” She would have had little difficulty grasping what her brother was telling her, but she might have been puzzled when the letter continued:

I sorry to any My to our friends, am not have news. greetings all good male and Fare I Mamma’s I you female. well. kiss hand. kiss too a times am always faithful at thousand and as your brother Milan. (The trick is to read pairs of line at the same time, alternating each word with the “next” word from the line below or above it.) What Mozart thus cryptically told posterity was that the enchanting motet Exsultate, jubilate was composed in Milan in January 1773 for a star castrato soprano, Signor Rauzzini, and performed the following day in one of Milan’s churches. He was scribbling a postscript to one of his father Leopold’s letters to his wife (Mozart’s mother), back in Salzburg. This was Mozart’s third visit to Italy, where his previous tours had been wildly acclaimed, Three of his Italian operas had already performed in Milan. Severance Hall 2018-19

About the Music

The famous Italian castrato Venanzio Rauzzini (1746-1810), who premiered “Exsultate, jubilate.”

With this new trip, he and his father had been residing in Milan since October 1772, to take charge of his opera Lucio Silla, which was played in December. Leading the cast in the opera was Venanzio Rauzzini, aged 25. Historian Charles Burney described Rauzzini as not only a charming singer, a good actor, and of pleasant appearance, but also a master of counterpoint and an excellent pianist. His fame was such that many years later Haydn took time off during his second long visit to London to pay him a visit far to the west of the English capital in Bath. To many, titling this work a “motet” sounds as if it is a sacred work. Yet, in Mozart’s time, such Latin words were laden with Enlightenment humanism, so that not mentioning God was perfectly fine, with only a prayer to the Virgin in the slow movement. The author of the text is unknown. The recitative section that follows the first movement recalls the standard solo cantata so popular in Italy, but the general form is that of an Italian opera overture of the time, identical in practice with the standard three-movement symphony of the 1760s. Mozart, at all events, constructs the work as if it were another symphony, and gave the soloist every opportunity to show off his obviously remarkable virtuosity. Sopranos ever since have found it a winning part of the repertoire. —Hugh Macdonald © 2019

What’s his name?! Mozart was baptized as Johannes Chrysostomus Wolfgangus Theophilus Mozart. His first two baptismal names, Johannes Chrysostomus, represent his saints’ names, following the custom of the Roman Catholic Church at the time. In practice, his family called him Wolfgang. Theophilus comes from Greek and can be rendered as “lover of God” or “loved by God.” Amadeus is a Latin version of this same name. Mozart most often signed his name as “Wolfgang Amadè Mozart,” saving Amadeus only as an occasional joke. At the time of his death, scholars in all fields of learning were quite enamored of Latin naming and conventions — this is the period of the classification and cataloging of life on earth into kingdom, phylum, class, order, family, genus, species, etc. — and successfully “changed” his name to Amadeus. Only in recent years have we started remembering the Amadè middle name he preferred.

About the Music

The Cleveland Orchestra

composed by Mozart in 1773 allegro

allegro

Exsultate, jubilate, o vos animae beatae, dulcia cantica canendo, cantui vestro respondendo psallant aethera cum me.

Exult, rejoice, O you blessed spirits, Singing sweet songs! In reply to your singing The heavens sing out with me

recitativo

recitative

Fulget amica dies, jam fugere et nubila et procellae; exorta est justis inexspectata quies. Undique obscura regnabat nox, surgite tandem laeti, qui timuistis adhuc et jucundi aurorae fortunatae frondes dextera plena et lilia date.

The friendly day shines bright, Clouds and storms have fled; For the just there arises Unexpected calm. Dark night once reigned overall, Arise happy at last, You who were so fearful, And rejoicing at this happy dawn Give garlands and lilies with a generous hand.

andante

Tu virginum corona, tu nobis pacem dona, tu consolare affectus unde suspirat cor.

You, O crown of virgins, Give us peace, Dismiss the troubles From which our hearts sigh.

vivace

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Sung Text: Exsultate, jubilate

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Sung Text: Exsultate, jubilate

Cleveland Ballet and Cleveland Women’s Orchestra present Franz Lehár’s

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Kiera Duffy American singer Kiera Duffy is recognized for her high soprano voice and demon strated musicianship across a diverse rep ertoire ranging from Bach, Handel, and Mozart to the modern sounds of Carter, Glass, and Mazzoli. Recipient of a 2016 Lincoln Center Emerging Artist Award, she is making her Cleveland Orchestra debut with this weekend’s concerts. Kiera Duffy has sung in concert with many of America’s major orchestras, in cluding those of Atlanta, Chicago, Detroit, Los Angeles, New York, San Francisco, and Washington D.C., as well as with Cleve land’s Apollo’s Fire, Boston Baroque, and the New World Symphony. International appearances include her debut this season with the Berlin Philharmonic, as well as engagements with the London Symphony Orchestra, Leipzig’s MDR Symphonie Orch estra, and the Simon Bolivar Orchestra. Ms. Duffy made her debut with New York’s Metropolitan Opera as the First Flower Maiden in Wagner’s Parsifal under the baton of Daniele Gatti and with Lyric Opera of Chicago as Stella in Previn’s A Streetcar Named Desire. In 2016, she per formed as Bess McNeill in the premiere of Missy Mazzoli’s opera Breaking the Waves with Opera Philadelphia and New York’s Prototype Festival. She has also sung with Central City Opera, Opera Theatre of St. Louis, and the Wexford Opera, as well as in productions at Lincoln Center’s Most ly Mozart Festival, Spoleto Festival USA, Tanglewood Music Festival, and Japan’s Ungaku Juku Festival. A growing discography features an

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Guest Artist

album of Richard Strauss songs with pia nist Roger Vignoles for Hyperion, music of Handel with Apollo’s Fire, a DVD recording of Mahler’s Symphony No. 8 with the Los Angeles Philhar monic and Simon Bolivar Orchestras jointly under Gus tavo Dudamel’s direction for Deutsche Gram mophon, and Orff’s Carmina Burana for Sony. Ms. Duffy was an accom plished pianist before pursuing degrees in vocal performance and peda gogy from Westminster Choir College. She was a grand finalist in the 2007 Metro politan Opera National Council Auditions, and is featured in Susan Froemke’s docu mentary The Audition, which chronicles that year’s audition sessions through the hopes, reactions, and accomplishments of the contestants. She is also a winner of the Marian Anderson Competition, and won honors in the Young Concert Artists International Competition and the Phila delphia Orchestra’s Greenberg Competi tion. She lives in South Bend, Indiana, where she is the head of undergraduate voice studies at the University of Notre Dame. For more information, please visit www.kieraduffysoprano.com.

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Eine kleine Nachtmusik [A Little Night Music] String Serenade in G major, K525 composed 1787

At a Glance

Mozart wrote this celebrated work in 1787, but the details of why he wrote it or when its first performance took place remain unknown. This serenade runs about 15 minutes in performance. It is scored for string orchestra. The Cleveland Orchestra first presented Eine kleine Nachtmusik

Wolfgang Amadè

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

Severance Hall 2018-19

in concert during the ensemble’s eighth season, 1925-26. Movements from it have been frequently played in Education Concerts. The serenade was last performed at regular subscription concerts at Severance Hall in May 2012, conducted by Ton Koopman.

About the Music i n s a l z bu r g , Mozart’s birthplace, you can hear this piece as muzak from every street corner. It is Mozart’s most popular work in our modern world. And, perhaps, it is also his most perfect work — keenly built with contrasting themes, carefully detailed (but without fussiness), beautifully proportioned, and filled with melodic gift. Yet nobody knows why he wrote it, and we are left guessing what prompted him to turn out so finely chiseled an example of his genius. We do know that he finished this string serenade on August 10, 1787, in Vienna, as he entered it into his personal catalog of compositions. He also noted that it consisted of five movements, a fact that always shocks those who are thoroughly familiar with it in its four-movement version. In the autograph score, a page is missing immediately after the first movement where another minuet and trio once existed. Nobody knows who removed it, or when or why. It may also be a shock to learn that the Romance was Mozart’s second attempt at a slow movement; sixteen measures of an effort to get this movement going (quite differently) are to be found in the Mozarteum in Salzburg, among its extensive collection of pieces Mozart started but never finished. Such fragments always prompt the question, What’s wrong with this one? Alas, he never wrote on any of these unfinished scraps: Too long, Poor tune, Wrong key, or any such explanation of his thinking. We must simply take note that a composer who has often been said to be inspired by a direct hot line from the Almighty was a human being afterall, who sometimes made About the Music

what he regarded as mistakes or lesser efforts, even if we might wish he had persisted with a promising start. In the summer of 1787, Mozart was hard at work on the opera Don Giovanni, commissioned to help celebrate a royal wedding in Prague. Some scholars regard Eine kleine Nachtmusik as a tribute to Mozart’s father, who had died shortly before, but it is much more likely that he interrupted work on his opera to respond to a commission for a short work of the serenade type to be played at a noble house. It is on a very small scale, without winds of any kind, and is close to being a string quartet in which a larger group of the strings can join in. What more suitable work for an elegant soirée could be imagined? What a mighty distance from there to the muzak in a Salzburg pizzeria! And yet, this piece is of such solid value that it continues to reward and delight listeners and performers alike with its creativity and freshness. The opening of the first movement can seem surprising, because its musical outlines seem so obvious. Mozart more often replied to this kind of firm opening gesture with a soft, expressive phrase, but here the response is a satirical up-ending of the opening phrase, still played with force. The movement’s second subject puts the violins in octaves, a dark effect Mozart never used in his string quartets. It seems darker still in the recapitulation. Other wonders can be heard in the middle section of the Romance second movment — a quasi-canonic dialog between first violins and basses in the minor key. The middle section (Trio) of the Minuet third movment, with its smooth flowing melody, is equally deft and interesting. The oddity of a Rondo last movement, which is not really a rondo (of alternating variations), but in a clear sonata form with its themes juggled around and a coda. The ending feels like a bigger work, rather than of “a little night music” (meaning before- or after-dinner music) to accompany the conversations of Mozart’s patron and friends. —Hugh Macdonald © 2019

IN PE R FE CT HARMO N Y S INCE 1988

About the Music

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Symphony No. 38 (“Prague”) in D major, K504 composed 1786

At a Glance

Wolfgang Amadè

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

The Cleveland Orchestra

Mozart began writing this symphony in the spring or summer of 1786 and completed it, according to an entry in his manuscript “Catalogue of all my works,” in Vienna on December 6, 1786. It was most likely first performed, under Mozart’s direction, in the Prague opera house, known then as the Nostitz Theater and now as the Estates Theater, on January 19, 1787. This symphony runs about 25 minutes in performance. Mozart scored it for 2 flutes, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani,

and strings. The “Prague” Symphony was first performed in the United States on February 2, 1850, with Carl Lenschow leading the Germanic Musical Association of Baltimore. The Cleveland Orchestra first performed it in January 1937, under the direction of Artur Rodzinski. It has been performed with some frequency since that time. The Orchestra’s most recent performances were in 2014, conducted by Franz Welser-Möst.

About the Music w h e n m o z a r t entered the “Prague” Symphony in his per-

sonal catalogue of works on December 6, 1786, he had not composed a symphony for over three years — not since the “Linz” symphony of 1783. This was a long gap for a composer as productive and versatile as Mozart. The simple reason for this is that no commissions for symphonies had come his way. During these years in Vienna, when he needed something for a concert, the usual answer was to write a new piano concerto. Doing so showcased him to the public both as virtuoso and composer. And, indeed, in those three years Mozart had written and premiered twelve (!) piano concertos. He was at the top of his fame in Vienna. With a visit to Prague in the offing, Mozart opted for a symphony, rather than a concerto. And, knowing Prague to be an intensely musical and cultivated city, he put into it all the artistry at his command. The visit was occasioned by performances of his opera The Marriage of Figaro, which had been only coolly received in Vienna but which was to take the citizens of Prague by storm — so enthusiastic was their response that they commissioned a new opera from him. Thus Don Giovanni came into being. Something of the tone of Don Giovanni is already to be heard in the symphony’s slow and stern introduction, which moves from major to minor, and the opening movements main About the Music

Allegro section, full of intensive contrapuntal dialog, even hints at the kind of music he would write a few years hence in The Magic Flute. As the opening continues, Mozart adopts Haydn’s favorite device of offering a new statement of the main theme just when the second subject is expected. A real second subject or theme is heard in due course — a beautifully mellifluous cantilena for the first violins, a tune that answers itself in the minor. The movement’s recapitulation is full of delicious surprises, and the whole movement has a forceful and serious character that commended it instinctively to Beethoven. The slow middle movement opens in the purest innocence, but Mozart cannot mantain the pretense for long. After only two measures, the melody is infiltrated with chromaticism (notes of the scale not in the key), and the movement is thereafter kept at a high temperature through the agency of contrapuntal tension and chromatic dissonance. The music sweetens only rarely, for the cadences. There is no minuet, for no reason that Mozart even talked about. Perhaps because four-movement symphonies were widely associated with Vienna, Mozart may have supposed Prague au-

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About the Music

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diences to be more used to the three-movement type he had more often composed in his youth. The final movement Presto is brisk and cheerful, but inevitably raised to greatness by its subtlety of detail, especially in the writing for winds. And in the development section, a series of heavy chords with giant strides in the bass suggests that that the Commendatore’s statue is already on its way to Don Giovanni’s dinner party — or, at the very least, we hear pre-echoes of the serious and agitating music that Mozart would soon write in creating Prague. —Hugh Macdonald © 2019 Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis. He has written books on Beethoven, Berlioz, Bizet, and Scriabin, as well as 1853 in Music: The Biography of a Year, detailing the lives and interactions of many of Europe’s big-named classical composers during a particularly interesting and pivotal moment in time.

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The Cleveland Orchestra

About the Music

THE CLEVELAND ORCHESTRA

Individual Annual Support The Cleveland Orchestra is sustained through the annual support of thousands of generous patrons. The leadership of those listed on these pages (with gifts of $2,000 and more) shows an extraordinary depth of support for the Orchestra’s music-making, education programs, and community initiatives.

Giving Societies gifts in the past year, as of September 5, 2018 Adella Prentiss Hughes Society gifts of $100,000 and more

gifts of $50,000 to $99,999

Musicians of The Cleveland Orchestra+ (in-kind support for community programs and opportunities to secure new funding) Mary Alice Cannon Mr. and Mrs. Alexander M. Cutler+ Rebecca Dunn Mr. Allen H. Ford Dr. and Mrs. Hiroyuki Fujita Mr. and Mrs. James A. Haslam III Mr. and Mrs. Michael J. Horvitz+ James D. Ireland IV The Walter and Jean Kalberer Foundation+ Dr. and Mrs. Herbert Kloiber (Europe) Mrs. Norma Lerner and The Lerner Foundation+ Mrs. Emma S. Lincoln* Mr. and Mrs. Alex Machaskee+ Milton and Tamar Maltz Elizabeth F. McBride Ms. Beth E. Mooney+ John C. Morley+ Rosanne and Gary Oatey (Cleveland, Miami)+ Mr. and Mrs. Alfred M. Rankin, Jr. Mr. and Mrs. Albert B. Ratner James and Donna Reid Mr. and Mrs. Richard K. Smucker+ Jenny and Tim Smucker+ Richard and Nancy Sneed+ Jim and Myrna Spira Mrs. Jean H. Taber* Ms. Ginger Warner Mr. and Mrs. Franz Welser-Möst+

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

92 70

George Szell Society Dr. and Mrs. Wolfgang Berndt (Europe) Mr. William P. Blair III+ Blossom Friends of The Cleveland Orchestra Laurel Blossom Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski+ The Brown and Kunze Foundation Mr. and Mrs. John E. Guinness Mrs. John A Hadden Jr. Mr. and Mrs. Donald M. Jack, Jr. Mr. and Mrs. Douglas A. Kern Mr. and Mrs. Dennis W. LaBarre+ Toby Devan Lewis Virginia M. and Jon A. Lindseth Ms. Nancy W. McCann+ William J. and Katherine T. O’Neill The Honorable and Mrs. John Doyle Ong+ Mrs. Alfred M. Rankin, Sr. Charles and Ilana Horowitz Ratner+ Barbara S. Robinson (Cleveland, Miami)+ The Ralph and Luci Schey Foundation+ Sally and Larry Sears+ Dr. Russell A. Trusso Barbara and David Wolfort (Cleveland, Miami)+ Anonymous+

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

Individual Annual Support

The Cleveland Orchestra Orchestra

Elisabeth DeWitt Severance Society gifts of $25,000 to $49,999

gifts of $15,000 to $24,999

Gay Cull Addicott+ Mr. and Mrs. William W. Baker Randall and Virginia Barbato Mr. Allen Benjamin Mr. and Mrs. Charles P. Bolton+ Irma and Norman Braman (Miami) Mr. Yuval Brisker Jeanette Grasselli Brown and Glenn R. Brown+ Mr. and Mrs. David J. Carpenter+ Jill and Paul Clark Robert and Jean* Conrad+ Friends of The Cleveland Orchestra JoAnn and Robert Glick+ Mr. and Mrs. Jeffrey Healy+ Mary and Jon Heider (Cleveland, Miami) Mrs. Marguerite B. Humphrey+ Elizabeth B. Juliano Mr. and Mrs. Joseph P. Keithley Giuliana C. and John D. Koch Milton A. & Charlotte R. Kramer Charitable Foundation Daniel R. Lewis (Miami) Jan R. Lewis Mr. Stephen McHale Margaret Fulton-Mueller+ Mrs. Jane B. Nord Julia and Larry Pollock Mr. and Mrs. James A. Ratner Mr. and Mrs. David A. Ruckman+ Marc and Rennie Saltzberg Larry J. Santon and Lorraine S. Szabo+ Rachel R. Schneider+ The SJF Foundation Music Mentors Program Donna E. Shalala (Miami) Hewitt and Paula Shaw+ Marjorie B. Shorrock+ The Star Family Charitable Foundation, Inc. R. Thomas and Meg Harris Stanton+ Paul and Suzanne Westlake Tony and Diane Wynshaw-Boris+ Anonymous

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

The Severance Cleveland HallOrchestra 2018-19

Dudley S. Blossom Society

Art of Beauty Company, Inc. Mr. and Mrs. Dean Barry Doris F. Beardsley and James E. Beardsley Dr. Christopher P. Brandt and Dr. Beth Sersig+ Dr. Ben H. and Julia Brouhard Irad and Rebecca Carmi Mr. and Mrs. William E. Conway Judith and George W. Diehl+ Mary Jo Eaton (Miami) Dr. and Mrs. Robert Ehrlich (Europe) Ms. Dawn M. Full Dr. Edward S. Godleski Drs. Erik and Ellen Gregorie Richard and Ann Gridley+ Kathleen E. Hancock Sondra and Steve Hardis Jack Harley and Judy Ernest David and Nancy Hooker+ Joan and Leonard Horvitz Richard and Erica Horvitz (Cleveland, Miami) Allan V. Johnson Junior Committee of The Cleveland Orchestra Jonathan and Tina Kislak (Miami) Mr. Jeff Litwiller+ Mr. and Mrs. Stanley A. Meisel The Miller Family+ Sydell Miller Lauren and Steve Spilman Stacie and Jeff Halpern Edith and Ted* Miller+ Dr. Anne and Mr. Peter Neff Patricia J. Sawvel Mrs. David Seidenfeld+ Meredith and Oliver Seikel+ Seven Five Fund Kim Sherwin+ Mr. and Mrs. Alfred Umdasch (Europe) Tom and Shirley Waltermire+ Dr. Beverly J. Warren Mr. and Mrs. Fred A. Watkins+ Mr. and Mrs. Jeffery J. Weaver Meredith and Michael Weil Sandy and Ted Wiese Denise G. and Norman E. Wells, Jr. Max and Beverly Zupon listings continue Anonymous

Individual Annual Support

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The Cleveland Orchestra

Frank H. Ginn Society gifts of $10,000 to $14,999 Fred G. and Mary W. Behm Mr. and Mrs. Jules Belkin Mr. David Bialosky and Ms. Carolyn Christian+ Mr. D. McGregor Brandt, Jr. Robert and Alyssa Lenhoff-Briggs Dale and Wendy Brott Mr. and Mrs. Marshall Brown J. C. and Helen Rankin Butler+ Mr.* and Mrs. Hugh Calkins Richard J. and Joanne Clark Mrs. Barbara Cook Dr. and Mrs. Delos M. Cosgrove III Mrs. Barbara Ann Davis+ Dr. M. Meredith Dobyns Henry and Mary* Doll+ Nancy and Richard Dotson+ Dr. and Mrs. Lloyd H. Ellis Jr. Mr. Brian L. Ewart and Mr. William McHenry+ Dr. and Mrs. Adi Gazdar Albert I. and Norma C. Geller Mr. and Mrs. Robert W. Gillespie

Patti Gordon (Miami) Harry and Joyce Graham Robert K. Gudbranson and Joon-Li Kim+ Mr. Gregory Hall Amy and Stephen Hoffman Thomas H. and Virginia J.* Horner Fund+ James and Claudia Hower Mr. and Mrs. Brinton L. Hyde Mrs. Elizabeth R. Koch Rob and Laura Kochis Mr. James Krohngold+ Dr. Edith Lerner Dr. David and Janice Leshner Mr. Lawrence B. and Christine H. Levey+ Dr. and Mrs. Tom McLaughlin Mrs. Alice Mecredy* Mr. and Mrs.* William A. Mitchell+ Mr. Donald W. Morrison+ Mr. John Mueller Joy P. and Thomas G. Murdough, Jr. (Miami)+ Brian and Cindy Murphy+ Randy and Christine Myeroff Mr. J. William and Dr. Suzanne Palmer+

Dr. Roland S. Philip and Dr. Linda M. Sandhaus+ Douglas and Noreen Powers Audra* and George Rose+ Paul A. and Anastacia L. Rose Steven and Ellen Ross Dr. Isobel Rutherford Mrs. Florence Brewster Rutter+ Dr. and Mrs.* Martin I. Saltzman+ Carol* and Albert Schupp Mrs. Gretchen D. Smith+ Veit Sorger (Europe) Lois and Tom Stauffer Bruce and Virginia Taylor+ Mr. Joseph F. Tetlak Mr. and Mrs. Leonard K. Tower Dr. Gregory Videtic and Rev. Christopher McCann+ Pysht Fund Robert C. Weppler Sandy Wile and Joanne Avenmarg Dr. and Mr. Ann Williams+ Anonymous (6)

Joy E. Garapic Brenda and David Goldberg Mr. and Mrs. Randall J. Gordon+ Angela and Jeffrey Gotthardt Mr. and Mrs. James C. Gowe AndrĂŠ and Ginette Gremillet Mr. and Mrs. Stephen Griebling Nancy Hancock Griffith+ The Thomas J. and Judith Fay Gruber Charitable Foundation Robert N. and Nicki N. Gudbranson David and Robin Gunning Alfredo and Luz Gutierrez (Miami) Gary Hanson and Barbara Klante+ Clark Harvey and Holly Selvaggi+ Iris and Tom Harvie+ Henry R. Hatch Robin Hitchcock Hatch Dr. Robert T. Heath and Dr. Elizabeth L. Buchanan+ Janet D. Heil* Anita and William Heller+ Mr. and Mrs. Herschman Dr. Fred A. Heupler Mary and Steve Hosier Elisabeth Hugh David and Dianne Hunt Pamela and Scott Isquick+ Donna L. and Robert H. Jackson Robert and Linda Jenkins Richard and Michelle Jeschelnig Joela Jones and Richard Weiss

Barbara and Michael J. Kaplan Andrew and Katherine Kartalis Milton and Donna* Katz Dr. Richard and Roberta Katzman Mr. and Mrs. Christopher Kelly Mrs. Natalie D. Kittredge Dr. Gilles* and Mrs. Malvina Klopman+ Tim and Linda Koelz+ Stewart and Donna Kohl Mr. and Mrs.* S. Lee Kohrman Elizabeth Davis Kondorossy* Cindy L. and Timothy J. Konich Mr. Clayton R. Koppes Mr. and Mrs. Peter A. Kuhn+ Mr. and Mrs. Arthur J. Lafave, Jr. David C. Lamb+ Kenneth M. Lapine and Rose E. Mills+ Anthony T. and Patricia A. Lauria Judith and Morton Q. Levin Dr. Stephen B. and Mrs. Lillian S. Levine+ Dr. Alan and Mrs. Joni Lichtin+ Mr. Rudolf and Mrs. Eva Linnebach+ Anne R. and Kenneth E. Love Robert Lugibihl Mrs. Idarose S. Luntz Elsie and Byron Lutman Alan Markowitz M.D. and Cathy Pollard Mr. and Mrs. E. Timothy McDonel+ James and Virginia Meil+ Dr. Susan M. Merzweiler

The 1929 Society gifts of $5,000 to $9,999 Dr. and Mrs. D. P. Agamanolis Robert and Dalia Baker Mr. William Berger Dr. and Mrs. Eugene H. Blackstone Suzanne and Jim Blaser Mr. and Mrs. Richard H. Bole Mrs. Frances Buchholzer Frank and Leslie Buck+ Mr. and Mrs. Marc S. Byrnes Mr. and Mrs. Timothy J. Callahan Ms. Maria Cashy+ Drs. Wuu-Shung and Amy Chuang+ Martha and Bruce Clinton (Miami) Ellen E. & Victor J. Cohn+ Kathleen A. Coleman+ Diane Lynn Collier and Robert J. Gura Marjorie Dickard Comella Mr. and Mrs. Matthew V. Crawford Mr. and Mrs. Ralph Daugstrup Thomas S. and Jane R. Davis Pete and Margaret Dobbins+ Mr. and Mrs. Paul Doman Mr. and Mrs. Robert P. Duvin Mary and Oliver* Emerson Carl Falb+ William R. and Karen W. Feth+ Joseph Z. and Betty Fleming (Miami) Joan Alice Ford Mr. Paul C. Forsgren Michael Frank and Patricia A. Snyder Bob and Linnet Fritz Barbara and Peter Galvin

The Severance Cleveland HallOrchestra 2018-19

Individual Annual Support

listings continue

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listings continued

Loretta J. Mester and George J. Mailath Claudia Metz and Thomas Woodworth+ Ms. Toni S. Miller Lynn and Mike Miller Drs. Terry E. and Sara S. Miller Curt and Sara Moll Ann Jones Morgan+ Mr. Raymond M. Murphy+ Deborah L. Neale Richard and Kathleen Nord Thury O’Connor Dr. and Mrs. Paul T. Omelsky Mr. and Mrs. Peter R. Osenar Mr. Henry Ott-Hansen Pannonius Foundation Robert S. Perry Dr. and Mrs. Gosta Pettersson Mr. and Mrs. Richard W. Pogue Dr. and Mrs. John N. Posch+ Ms. Rosella Puskas Mr. and Mrs. Ben Pyne Mr. and Mrs. Thomas A. Quintrell* Mr. and Mrs. Roger F. Rankin Ms. C. A. Reagan Amy and Ken Rogat Dick A. Rose Dr. and Mrs. Michael Rosenberg (Miami) Dr. and Mrs. Ronald J. Ross

Robert and Margo Roth+ Fred Rzepka and Anne Rzepka Family Foundation Drs. Michael and Judith Samuels (Miami) David M. and Betty Schneider Mr. Eric Sellen and Mr. Ron Seidman Drs. Daniel and Ximena Sessler+ Kenneth Shafer Naomi G. and Edwin Z. Singer+ The Shari Bierman Singer Family Drs. Charles Kent Smith and Patricia Moore Smith+ Roy Smith Dr. Marvin and Mimi Sobel*+ Mr. and Mrs. William E. Spatz George and Mary Stark+ Mr. and Mrs. Donald W. Strang, Jr. Stroud Family Trust Frederick and Elizabeth Stueber Holly and Peter Sullivan Dr. Elizabeth Swenson+ Mr. Taras G. Szmagala, Jr. Robert and Carol Taller+ Kathy* and Sidney Taurel (Miami)+ Mr. and Mrs. John Taylor Bill and Jacky Thornton Mr.* and Mrs. Robert N. Trombly Robert and Marti Vagi+

Robert A. Valente and Joan A. Morgensten+ Walt and Karen Walburn Mr. and Mrs. Daniel P. Walsh Mr. and Mrs. Mark Allen Weigand+ Dr. Edward L. and Mrs. Suzanne Westbrook Tom and Betsy Wheeler Richard Wiedemer, Jr.+ Bob and Kat Wollyung Anonymous (6)

Mr. and Mrs. Robert G. Busha Ms. Mary R. Bynum and Mr. J. Philip Calabrese Rev. Dr. Joan Brown Campbell and Rev. Dr. Albert Pennybacker Dr. and Mrs. William E. Cappaert Mrs. Millie L. Carlson+ Mr. and Mrs. John J. Carney Mr. and Mrs. Frank H. Carpenter Dr. Victor A. Ceicys Mr. and Mrs. James B. Chaney Dr. Ronald* and Mrs. Sonia Chapnick Mr. Gregory R. Chemnitz Mr. John C. Chipka and Dr. Kathleen S. Grieser Mr. and Mrs. Homer D. W. Chisholm The Circle — Young Professionals of The Cleveland Orchestra Drs. John and Mary Clough Drs. Mark Cohen and Miriam Vishny Douglas S. Cramer / Hubert S. Bush III (Miami) Mr. and Mrs. Manohar Daga+ Karen and Jim Dakin Dr. and Mrs. Thomas M. Daniel Mrs. Frederick F. Dannemiller+ Mr. Kamal-Neil Dass and Mrs. Teresa Larsen+ Bruce and Jackie Davey Mrs. Lois Joan Davis

Ms. Nancy J. Davis (Miami) Carol Dennison and Jacques Girouard Michael and Amy Diamant Dr. and Mrs. Howard Dickey-White+ Dr. and Mrs. Richard C. Distad Carl Dodge Maureen Doerner & Geoffrey White Mr. George and Mrs. Beth Downes+ Jack and Elaine Drage Mr. Barry Dunaway and Mr. Peter McDermott Mr. Patrick Dunster Ms. Mary Lynn Durham Mr. and Mrs. Ronald E. Dziedzicki+ Esther L. and Alfred M. Eich, Jr.+ Erich Eichhorn and Ursel Dougherty Mr. S. Stuart Eilers+ Peter and Kathryn Eloff+ Harry and Ann Farmer Dr. and Mrs. J. Peter Fegen Mr. William and Dr. Elizabeth Fesler Mr. Dean Fisher Carol A. Frankel Richard J. Frey Mr. and Ms. Dale Freygang Peggy A. Fullmer Morris and Miriam Futernick (Miami) Jeanne Gallagher Dr. Marilee Gallagher Mr. William Gaskill and Ms. Kathleen Burke

Composer’s Circle gifts of $2,000 to $4,999 Mr. and Mrs. Charles Abookire, Jr. Ms. Nancy A. Adams Mr. Francis Amato Susan S. Angell Stephen and Amanda Anway Mr. William App Mr. and Mrs. Jeffrey R. Appelbaum+ Mr. and Mrs. James B. Aronoff+ Ms. Patricia Ashton Mr. and Mrs. Eugene J. Beer Mr. and Mrs. Belkin Ms. Pamela D. Belknap Mr. and Mrs. James R. Bell III Dr. Ronald and Diane Bell Mr. Roger G. Berk Barbara and Sheldon Berns Margo and Tom Bertin John and Laura Bertsch Mitch and Liz Blair Bill* and Zeda Blau Doug and Barbara Bletcher Georgette and Dick Bohr Irving and Joan M. Bolotin (Miami) Jeff and Elaine Bomberger Lisa and Ronald Boyko+ Ms. Barbara E. Boyle Mr. and Mrs. David Briggs Mr. and Mrs. Henry G. Brownell Mr. Gregory and Mrs. Susan Bulone J.C. and H.F. Burkhardt

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Individual Annual Support

The The Cleveland Cleveland Orchestra Orchestra

T HE

CLEVEL AND ORC HE STR A

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

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

Mr. Wilbert C. Geiss, Sr. Ms. Suzanne Gilliland Anne and Walter Ginn Holly and Fred Glock Dr.* and Mrs. Victor M. Goldberg Mr. and Mrs. David A. Goldfinger Dr. and Mrs. Ronald L. Gould Donna Lane Greene Dr. and Mrs. Franklin W. Griff Candy and Brent Grover Nancy and James Grunzweig+ Mr. Scott R. Gunselman Mr. Davin and Mrs. Jo Ann Gustafson Scott and Margi Haigh Mark E. and Paula N. Halford Dr. James O. Hall Dr. Phillip M. and Mrs. Mary Hall Mr. and Mrs. David P. Handke, Jr. Elaine Harris Green + Barbara L. Hawley and David S. Goodman Matthew D. Healy and Richard S. Agnes Dr. Toby Helfand In Memory of Hazel Helgesen Jay L. and Cynthia P. Henderson Charitable Fund Ms. Phyllis A. Henry The Morton and Mathile Stone Philanthropic Fund T. K.* and Faye A. Heston Mr. Robert T. Hexter Dr. and Mrs. Robert L. Hinnes Mr. and Mrs. Stephen J. Holler Thomas and Mary Holmes Gail Hoover and Bob Safarz Dr. Keith A. and Mrs. Kathleen M. Hoover+ Ms. Sharon J. Hoppens Xavier-Nichols Foundation / Robert and Karen Hostoffer Dr. Randal N. Huff and Ms. Paulette Beech+ Ms. Laura Hunsicker Ruth F. Ihde Bruce and Nancy Jackson William W. Jacobs Mr. and Mrs. Richard A. Janus Mr. and Mrs. Bruce D. Jarosz Jaime and Joseph Jozic Dr. and Mrs. Donald W. Junglas David and Gloria Kahan Mr. Jack E. Kapalka Honorable Diane Karpinski Mr. Donald J. Katt and Mrs. Maribeth Filipic-Katt The Kendis Family Trust: Hilary & Robert Kendis and Susan & James Kendis Bruce and Eleanor Kendrick Howard and Mara Kinstlinger Dr. and Mrs. William S. Kiser James and Gay* Kitson+ Fred* and Judith Klotzman Drs. Raymond and Katharine Kolcaba+ Marion Konstantynovich Mrs. Ursula Korneitchouk Dr. Ronald H. Krasney and Vicki Kennedy+ Mr. and Mrs. Russell Krinsky Mr. Donald N. Krosin Stephen A. Kushnick, Ph.D. Bob and Ellie Scheuer+

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Alfred and Carol Lambo Mr. and Mrs. John J. Lane, Jr.+ Mrs. Sandra S. Laurenson Mr. and Mrs. Michael Lavelle Dr. and Mrs. Arthur Lavin Charles and Josephine Robson Leamy * Michael Lederman and Sharmon Sollitto Judy and Donnie Lefton (Miami) Ronald and Barbara Leirvik Ivonete Leite (Miami) Mr. and Dr. Ernest C. Lemmerman+ Michael and Lois Lemr Mr. Alan R. Lepene Mr. and Mrs. Roger J. Lerch Robert G. Levy+ Matthew and Stacey Litzler Drs. Todd and Susan Locke Ms. Susan Locke Mary Lohman Mr. and Mrs. Carlos Lopez-Cantera (Miami) Ms. Mary Beth Loud Damond and Lori Mace Mr. and Mrs.* Robert P. Madison Robert M. Maloney and Laura Goyanes David Mann and Bernadette Pudis Herbert L. and Ronda Marcus Martin and Lois Marcus Dr. and Mrs. Sanford E. Marovitz+ Ms. Dorene Marsh Dr. Ernest and Mrs. Marian Marsolais Mr. Fredrick W. Martin+ Ms. Amanda Martinsek Dr. and Mrs. William A. Mast Mr. Julien L. McCall Ms. Charlotte V. McCoy William C. McCoy Ms. Nancy L. Meacham Mr. and Mrs. James E. Menger Ruth and John Mercer Mr. Glenn A. Metzdorf Ms. Betteann Meyerson+ Beth M. Mikes Osborne Mills, Jr. and Loren E. Bendall David and Leslee Miraldi Ioana Missits Mr. and Mrs. Marc H. Morgenstern Mr. Ronald Morrow III Eudice M. Morse Bert and Marjorie Moyar+ Susan B. Murphy Steven and Kimberly Myers+ Joan Katz Napoli and August Napoli Richard B. and Jane E. Nash Robert D. and Janet E. Neary Georgia and Carlos Noble (Miami) Marshall I. Nurenberg and Joanne Klein Robert and Gail Oâ&#x20AC;&#x2122;Brien Richard and Jolene Oâ&#x20AC;&#x2122;Callaghan+ Mr. and Mrs. John Olejko Harvey and Robin Oppmann Mr. Robert Paddock Ms. Ann Page Mr. John D. Papp George Parras Dr. Lewis E. and Janice B. Patterson+ David Pavlich and Cherie Arnold Matt and Shari Peart Nan and Bob Pfeifer

Individual Annual Support

Mr. Charles and Mrs. Mary Pfeiffer Dale and Susan Phillip Ms. Irene Pietrantozzi Maribel A. Piza (Miami)+ Dr. Marc A. and Mrs. Carol Pohl Brad Pohlman and Julie Callsen Peter Politzer In memory of Henry Pollak Mr. Robert and Mrs. Susan Price Sylvia Profenna Mr. Lute and Mrs. Lynn Quintrell Drs. Raymond R. Rackley and Carmen M. Fonseca+ Mr. Cal Ratcliff Brian and Patricia Ratner Dr. Robert W. Reynolds David and Gloria Richards Ms. Carole Ann Rieck Joan and Rick Rivitz Mr. D. Keith and Mrs. Margaret Robinson Mr. Timothy D. Robson+ Ms. Susan Ross Dr. and Mrs. Robert C. Ruhl Mr. Kevin Russell (Miami) Mrs. Elisa J. Russo+ Lawrence H. Rustin and Barbara C. Levin (Miami) Dr. Harry S. and Rita K. Rzepka+ Peter and Aliki Rzepka Dr. Vernon E. Sackman and Ms. Marguerite Patton+ Michael Salkind and Carol Gill Fr. Robert J. Sanson Ms. Patricia E. Say+ Mr. Paul H. Scarbrough+ Robert Scarr and Margaret Widmar Mr. Matthew Schenz Don Schmitt and Jim Harmon Ms. Beverly J. Schneider Ms. Karen Schneider John and Barbara Schubert Mr. James Schutte+ Mrs. Cheryl Schweickart Dr. John Sedor and Ms. Geralyn Presti Ms. Kathryn Seider Lee and Jane Seidman Charles Seitz (Miami) Rafick-Pierre Sekaly Ginger and Larry Shane Harry and Ilene Shapiro Ms. Frances L. Sharp Larry Oscar and Jeanne Shatten+ Dr. and Mrs. William C. Sheldon+ Terrence and Judith Sheridan Mr. Richard Shirey+ Mr. and Mrs. Reginald Shiverick+ Mrs. Dorothy Shrier Mr. Robert Sieck Laura and Alvin A. Siegal Mr. and Mrs. Bob Sill Jim Simler and Doctor Amy Zhang Howard and Beth Simon Ms. Ellen J. Skinner Robert and Barbara Slanina Ms. Anna D. Smith Bruce L. Smith David Kane Smith listings continue

Orchestra The Cleveland Orchestra

listings continued

Sandra and Richey Smith+ Mr. Eugene Smolik Mr. and Mrs.* Jeffrey H. Smythe Mrs. Virginia Snapp Ms. Barbara Snyder Dr. Nancy Sobecks Lucy and Dan Sondles Mr. John D. Specht Mr. Michael Sprinker Diane Stack and James Reeves* Mr. Marc Stadiem Dr.* and Mrs. Frank J. Staub Edward R. & Jean Geis GeissStell StellFoundation Foundation Mr. Ralph E. String Michael and Wendy Summers Ken and Martha Taylor Mr. and Mrs. Philip L. Taylor Mr. Karl and Mrs. Carol Theil+ Mr. Robert Thompson Mrs. Jean M. Thorrat Dr. and Mrs. Thomas A. Timko Mr. and Mrs. Jonathan Tisch Erik Trimble Dr. and Mrs. Michael B. Troner (Miami) Drs. Anna* and Gilbert True Dr. Margaret Tsai Steve and Christa Turnbull+ Dr. and Mrs. Wulf H. Utian Bobbi and Peter van Dijk Brenton Ver Ploeg (Miami) Teresa Galang-Viñas and Joaquin Vinas (Miami) Mr. and Mrs. Les C. Vinney George and Barbara von Mehren Mr. and Mrs. Reid Wagstaff Mrs. Carolyn Warner Ms. Laure A. Wasserbauer+ Margaret and Eric* Wayne+ Mr. Peter and Mrs. Laurie Weinberger Judge Lesley Wells Dr. Paul R. and Catherine Williams Ms. Claire Wills Richard and Mary Lynn Wills Betty and Michael Wohl (Miami) Katie and Donald Woodcock Tanya and Robert Woolfrey Elizabeth B. Wright+ William Ronald and Lois YaDeau Rad and Patty Yates Ms. Ann Marie Zaller Mr. Jeffrey A. Zehngut Ken and Paula Zeisler Dr. William Zelei Mr. Kal Zucker and Dr. Mary Frances Haerr Anonymous (3)+ Anonymous (11)

+ has signed a multiyear

pledge (see information box earlier in these listings)

Thank You The Cleveland Orchestra is sustained through support of thousands The Cleveland Orchestra is sustained through thethe support of thousands of generous patrons, including Leadership donors listed these pages. of generous patrons, including the the Leadership donors listed onon these pages. Listings all annual donors of $300 and more are published Listings of allofannual donors of $300 and more eacheach year year are published annually, and be canviewed be viewed online at clevelandorchestra annually, and can online at clevelandorchestra .com.com For information about you play can play a supporting For information about how how you can a supporting role role for Cleveland The Cleveland estra’s ongoing artistic excellence, for The OrchOrch estra’s ongoing artistic excellence, education programs, and community partnerships, education programs, and community partnerships, please contact our Philanthropy & Advancement Office please contact our Philanthropy & Advancement Office by phone: 216-231-7545 or email: miqbal@clevelandorchestra.com by phone: 216-231-7556 or email: annualgiving@clevelandorchestra.com.

T HE

CLEVELAND ORC HE STR A FRANZ WELSER-MÖST

* deceased

The Cleveland Severance HallOrchestra 2018-19

Individual Annual Support

99 77

THE CLEVELAND ORCHESTRA

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

Annual Support gifts in the past year, as of September 1, 2018 The Partners in Excellence program salutes companies with annual contributions of $100,000 and more, exemplifying leadership and commitment to musical excellence at the highest level. PARTNERS IN EXCELLENCE $300,000 AND MORE

Hyster-Yale Materials Handling NACCO Industries, Inc. KeyBank The J. M. Smucker Company Anonymous PARTNERS IN EXCELLENCE $200,000 TO $299,999

BakerHostetler Jones Day PNC Raiffeisenlandesbank Oberösterreich (Europe) PARTNERS IN EXCELLENCE $100,000 TO $199,999

American Greetings Corporation Eaton Medical Mutual Nordson Corporation Foundation Squire Patton Boggs (US) LLP Swagelok Thompson Hine LLP Quality Electrodynamics

88 78

$50,000 TO $99,999

Dollar Bank Foundation Forest City Parker Hannifin Foundation voestalpine AG (Europe) $15,000 TO $49,999

Buyers Products Company Case Western Reserve University DLR Group | Westlake Reed Leskosky Ernst & Young LLP Frantz Ward LLP The Giant Eagle Foundation Great Lakes Brewing Company Hahn Loeser & Parks LLP The Lincoln Electric Foundation The Lubrizol Corporation MTD Products, Inc. Ohio Savings Bank, A Division of New York Community Bank Olympic Steel, Inc. Park-Ohio Holdings RPM International Inc. The Sherwin-Williams Company Westfield Insurance United Airlines

Corporate Annual Support

$2,500 TO $14,999 American Fireworks, Inc. Applied Industrial Technologies BDI Blue Technologies Brothers Printing Co., Inc. Calfee, Halter & Griswold LLP Cleveland Steel Container Corporation The Cleveland Wire Cloth & Mfg. Co. The Cliffs Foundation Cohen & Company, CPAs Consolidated Solutions Deloitte & Touche LLP Dominion Energy Charitable Foundation Evarts Tremaine The Ewart-Ohlson Machine Company Arthur J. Gallagher & Co. Glenmede Trust Company Gross Builders Huntington National Bank Johnson Investment Counsel KPMG LLP Littler Mendelson, P.C. Live Publishing Company Materion Corporation Miba AG (Europe) Oatey Ohio CAT Oswald Companies PolyOne Corporation PwC RSM US, LLP Stern Advertising Struktol Company of America Ulmer & Berne LLP University Hospitals Ver Ploeg & Lumpkin (Miami) Anonymous (2)

The Cleveland Orchestra

the

Dancing Sheep

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Located one block north of Shaker Square and on the National Register of Historic Places, Larchmere Boulevard is Cleveland’s premier arts, antiques and design district. www.Larchmere.com Severance Hall 2018-19

THE CLEVELAND ORCHESTRA

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

Annual Support gifts in the past year, as of September 1, 2018 $1 MILLION AND MORE

Cuyahoga County residents through Cuyahoga Arts and Culture Elizabeth Ring Mather and William Gwinn Mather Fund $500,000 TO $999,999

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

The Louise H. and David S. Ingalls Foundation John P. Murphy Foundation $100,000 TO $249,999

Paul M. Angell Family Foundation William Randolph Hearst Foundation Kulas Foundation David and Inez Myers Foundation The Kelvin and Eleanor Smith Foundation Ruth McCormick Tankersley Charitable Trust Weiss Family Foundation $50,000 TO $99,999

The George W. Codrington Charitable Foundation The Mary S. and David C. Corbin Foundation The Jean, Harry, and Brenda Fuchs Family Foundation, in memory of Harry Fuchs GAR Foundation Martha Holden Jennings Foundation Myra Tuteur Kahn Memorial Fund of the Cleveland Foundation Miami-Dade County Department of Cultural Affairs (Miami) The Nord Family Foundation The Payne Fund

90 80

$15,000 TO $49,999

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

Foundation/Government Annual Support

$2,500 TO $14,999 The Ruth and Elmer Babin Foundation Dr. NE & JZ Berman Foundation The Bernheimer Family Fund of the Cleveland Foundation The Bruening Foundation Cleveland State University Foundation The Cowles Charitable Trust (Miami) Elisha-Bolton Foundation The Harry K. Fox and Emma R. Fox Charitable Foundation Ann and Gordon Getty Foundation The Hankins Foundation The Muna & Basem Hishmeh Foundation Richard H. Holzer Memorial Foundation George M. and Pamela S. Humphrey Fund Lakeland Foundation The Laub Foundation Victor C. Laughlin, M.D. Memorial Foundation Trust The Lehner Family Foundation The G. R. Lincoln Family Foundation Peg’s Foundation Northern Ohio Italian American Foundation The M. G. O’Neil Foundation Paintstone Foundation Charles E. & Mabel M. Ritchie Memorial Foundation The Leighton A. Rosenthal Family Foundation SCH Foundation Kenneth W. Scott Foundation Lloyd L. and Louise K. Smith Memorial Foundation The South Waite Foundation The O’Neill Brothers Foundation The George Garretson Wade Charitable Trust The Welty Family Foundation Thomas H. White Foundation, a KeyBank Trust The Wuliger Foundation Anonymous (2)

Orchestra The Cleveland Orchestra

Your Role . . . in The Cleveland Orchestra’s Future Generations of Clevelanders have supported the Orchestra and enjoyed its concerts. Tens of thousands have learned to love music through its education programs, celebrated important events with the power of its music, and shared in its musicmaking — at school, at Severance Hall, at Blossom, in downtown Cleveland, on the radio, and with family and friends. As Ohio’s most visible international ambassador, The Cleveland Orchestra proudly carries the name of our great city everywhere we go. Here at home, we are committed to serving all of Northeast Ohio with vital education and community programs, presented alongside wide-ranging musical performances. Ticket sales cover less than half the cost of presenting the Orchestra’s season each year. By making a donation, you can make a crucial difference in helping to ensure our work going forward. To make a gift to The Cleveland Orchestra, please visit us online, or call 216-231-8400.

clevelandorchestra.com

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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 Giving Office by contacting Dave Stokley at dstokley@clevelandorchestra.com or 216-231-8006.

Lois A. Aaron Leonard Abrams Gay Cull Addicott Stanley and Hope Adelstein* Sylvia K. Adler* Norman* and Marjorie Allison Dr. Sarah M. Anderson George N. Aronoff Herbert Ascherman, Jr. Jack and Darby Ashelman Mr. and Mrs. William W. Baker Jack L. Barnhart Margaret B. and Henry T.* Barratt Rev. Thomas T. Baumgardner and Dr. Joan Baumgardner Fred G. and Mary W. Behm Dr. Ronald and Diane Bell Bob Bellamy Joseph P. Bennett Marie-Hélène Bernard Ila M. Berry* Howard R. and Barbara Kaye Besser Dr.* and Mrs. Murray M. Bett Dr. Marie Bielefeld Raymond J. Billy (Biello) Mr. William P. Blair III Doug and Barb Bletcher Madeline & Dennis Block Trust Fund Mrs. Flora Blumenthal Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. and Mrs. Charles P. Bolton Kathryn Bondy* Loretta and Jerome Borstein* Mr. and Mrs.* Otis H. Bowden II Drs. Christopher P. Brandt and Beth Brandt Sersig Mr. D. McGregor Brandt, Jr. David and Denise Brewster Robert W. Briggs Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Mr. and Mrs. Harvey Buchanan* Joan and Gene* Buehler Gretchen L. Burmeister Stanley and Honnie Busch* Milan and Jeanne* Busta Mr. and Mrs. William C. Butler

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

Dr. Robert E. Eckardt Paul and Peggy Edenburn Robert and Anne Eiben* Mr. and Mrs. Alfred M. Eich, Jr. Roger B. Ellsworth Oliver* and Mary Emerson Lois Marsh Epp Patricia Esposito C. Gordon and Kathleen A.* Ewers Patricia J. Factor Carl Falb Regis and Gayle Falinski Mrs. Mildred Fiening Gloria and Irving* Fine Joan Alice Ford Mr. and Mrs. Ralph E. Fountain* Gil* and Elle Frey Arthur* and Deanna Friedman Mr.* and Mrs. Edward H. Frost Dawn Full Henry S. Fusner* Dr. Stephen and Nancy Gage Barbara and Peter Galvin Mr. and Mrs. Steven B. Garfunkel Donald* and Lois Gaynor Albert I. and Norma C. Geller Dr. Saul Genuth Frank and Louise Gerlak Dr. James E. Gibbs S. Bradley Gillaugh Mr.* and Mrs. Robert M. Ginn Fred and Holly Glock Ronald* and Carol Godes William H. Goff Mr. and Mrs. Henry J. Goodman John and Ann Gosky 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 Giving Office by calling Dave Stokley at 216-231-8006.

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The Cleveland Orchestra

11001 Euclid Avenue Cleveland, Ohio 44106

cleveland o rchestra . c o m

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 cleveland o rchestra . c o m

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

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.)

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

FOOD AND DRINK

PROGRAM NOTES

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 chat with 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

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 are available online prior to most Cleveland Orchestra concerts. These can be viewed through the Orchestra’s website or by visiting www. ExpressProgramBook.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.

MainStage series

7:30 p.m. at Akron’s EJ Thomas Hall $45 / $40 / $25 / free for students

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.

Tuesday, January 22 Calidore String Quartet with Inon Barnatan, piano

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.

Tuesday, February 12 Lawrence Brownlee, tenor Eric Owens, bass-baritone

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

Tuesday, March 12 “Russian Mastery” Chamber Music Society of Lincoln Center

330-761-3460 tuesdaymusical.org 91

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.

Lynn Cameron EXECUTIVE ASSISTANT

ARTISTIC ADMINISTRATION Mark Williams CHIEF ARTISTIC OFFICER

Ilya Gidalevich ARTISTIC ADMINISTRATOR

Elle Henig ARTISTIC PLANNING ASSOCIATE

Barb Bodemer DRIVER

Orchestra Personnel Carrie Marcantonio DIRECTOR

David Snyder MANAGER

Elizabeth Carney PERSONNEL ASSISTANT

Choruses Jill Harbaugh MANAGER

Julie Weiner MANAGER, YOUTH CHORUSES

EDUCATION & COMMUNITY PROGRAMS Joan Katz Napoli SENIOR DIRECTOR

Courtney Gazda COORDINATOR

Sandra Jones MANAGER, EDUCATION & FAMILY CONCERTS

Lauren Generette MANAGER, CLEVELAND ORCHESTRA YOUTH ORCHESTRA

Mollibeth Cox MANAGER, COMMUNITY LEARNING PROGRAMS

Sarah Lamb MANAGER, COMMUNITY ENGAGEMENT

Austin Land ARTISTIC & OPERATIONS COORDINATOR, YOUTH ORCHESTRA AND EDUCATION

Rose Breckenridge LECTURER & ADMINISTRATOR, MUSIC STUDY GROUPS

as of February 5, 2019

CONCERT OPERATIONS & FACILITIES MANAGEMENT

MARKETING, COMMUNICATIONS & AUDIENCE ENGAGEMENT

Julie Kim

Ross Binnie

SENIOR DIRECTOR, OPERATIONS & FACILITIES

Orchestra Operations Julia Lin DIRECTOR, ORCHESTRA OPERATIONS

Christine Honolke

CHIEF BRAND OFFICER

Rosemary Klena ADMINISTRATIVE ASSISTANT

Eric Sellen, MANAGING EDITOR Michel Jaffe, EDITOR

PRODUCTION MANAGER

Ian Mercer OPERATIONS ASSISTANT

Marketing & Audience Services Julie Stapf SENIOR DIRECTOR OF MARKETING

Stage Joe Short STAGE MANAGER

Gil Gerity John Riley Don Verba Dave Vacca STAGEHANDS

Sales & Marketing Dee Bierschenk , DIRECTOR Valerie Szepiwdycz MARKETING MANAGER

Jaclyn Nachman SALES MANAGER

Carlo Claridad MANAGER, DATA MARKETING & ANALYTICS

Facilities Ron Willner DIRECTOR OF FACILITIES

Laura Clelland FACILITIES COORDINATOR

Jessica Norris MANAGER, CONCERTS & SPECIAL EVENTS

Kim Svenson ASSOCIATE MANAGER, CONCERTS & SPECIAL EVENTS

Pete Wieneke LEAD BUILDING ENGINEER

Bob Nock Jimmy Watt Christopher Downey Michael Evert Renee Pettway (apprentice) BUILDING ENGINEERS

Shelia Baugh George Felder Michelle Williams DOOR PERSONS

Quinn Chambers Steven Washington Pauletta Hughes HALL STAFF LEADS

Antonio Adamson Kervin Hinton Dwayne Johnson Jerome Kelly Renee Pettway Darrell Simmons Glynis Smith Dwayne Taylor HALL STAFF & CLEANERS

Rolland Allen GROUNDSKEEPER

David Szekeres SENIOR MANAGER, DESIGN & PUBLICATIONS

Brett Della Santina MANAGER, MARKETING & GRAPHIC DESIGN

Don McClung , DIGITAL MEDIA CONSULTANT Digital Experience & Website Ryan Buckley DIRECTOR, DIGITAL EXPERIENCE

Andrew Kuhar DIGITAL MANAGER

Patron Services Robert Phillips DIRECTOR, CUSTOMER EXPERIENCE

Adam Clemens HOUSE MANAGER

Patricia Fernberg ASSOCIATE HOUSE MANAGER

Eric Fehrman MANAGER, RETAIL & CUSTOMER EXPERIENCE

Ellen Cubberley Debbie Kummer RETAIL ASSOCIATES

Ticket Services Tim Gaines TICKET OFFICE MANAGER

Carrie Felder, ASSISTANT MANAGER Cindy Adams Monica Berens Larry Parsons Randy Yost CUSTOMER SERVICE REPRESENTATIVES

Mary Ellen Snyder Sharon Matovich Cedric Lewis TICKETING SERVICE REPRESENTATIVES

Facility Sales Bob Bellamy SALES MANAGER, SEVERANCE HALL

Administrative Staff

The Cleveland Orchestra

clevelandorchestra.com

Public Relations & Communications Justin Holden Senior director, communications

Rebecca Calkin manager, media relations

Michael Ritzert editorial & media relations coordinator

Andria Hoy Archivist

Deborah Hefling Archives Assistant

FINANCE & Administration James E. Menger Chief Financial officer

Julie Gergotz Administrative Assistant

Finance Janice Brennan Controller

Barbara S. Snyder Accounting Manager

Carolann Oravec Payroll Manager

Kelley Martin Manager, Analysis & REPORTING

Christina Dutkovic Accounting Associate

Information Technology David Vivino director

Randy Conn database Analyst

Theresa Henderson Network Administrator

Mailroom Jim Hilton Supervisor

Delores Perry

PHILANTHROPY & ADVANCEMENT Rachel Lappen senior director of development

Judy Murphy Director

Suzanne Schloss Senior Human Resources generalist

Lisa Saneda

11001 Euclid Avenue Cleveland, OH 44106

Allison Denham Senior development associate

Emily Kilduff Senior development coordinator

Carey Skinner manager, development communications

Maredith Sheridan development production associate

Leadership & Individual Giving Yvette Hansel director, annual giving

Em Ezell

Administrative Offices

216-231-7300 Ticket Office

216-231-1111 or 800-686-1141 Group Sales

216-231-7493

annual Giving officer

Joshua Landis annual Giving acquisition associate

Laurie Burman senior major gift officer

Carolyn Teter Gordon major gift officer

Corporate Giving, Foundation and Government Support Andrew Bednarski Corporate and government relations Officer

Nancy Starner

Education & Community Programs

216-231-7355 Media & Public Relations

216-231-7476 Archives

216-231-7382

Foundation Gift Officer

Legacy Giving Dave Stokley Legacy Giving officer

Development Stewardship, Volunteers, & Events Jill Robinson Director

Lori Cohen Community Leadership Liaison

Sarah Jessie Coordinator, stewardship & development events

Mailroom Clerk

human resources

Severance Hall

Development Data Operations Mark Halford director, Development data

Juliane Cassidy

Individual Giving

216-231-8400 Corporate Giving

216-231-7518

Foundation Giving

216-231-7549

Legacy Giving

216-231-8006 Volunteers

216-231-7557

development database coordinator

Mary Finnerty development operations associate

Human Resources Associate

Customer Experience

216-231-7441 Severance Hall Rental Office

216-231-7421

Severance Hall 2018-19

Administrative Staff

Rainey Institute El Sistema Orchestra

A SYMPHONY OF

success

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

(877) 554-5054 clevelandfoundation.org/success