THE CLEVELAND ORCHESTRA FRANZ WELSER-MÖST
2O18 SEASON 2O19
Welcome . . . . . . . . . . . . . . . . . . . . . . . . page 7 Week 15 — February
21, 22, 23 Beethoven’s Sixth . . . . . . . . . . . . . page 21 Week 16 — February
28, March 2 Stravinsky’s Pétrouchka . . . . . page 43 Week 16m — March
1 Rebel Without a Cause . . . . . . . page 63
WINTER
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
weeks 15 and 16 page
OF
About the Orchestra Perspectives from the President & CEO . . . . . . . . . . 7 Musical Arts Association. . . . . . . . . . . . . . . . . . . . . . . . . 9 Music Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 About The Cleveland Orchestra . . . . . . . . . . . . . . . 15 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Information and Policies . . . . . . . . . . . . . . . . . . . . . . . 87 Severance Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 15 beethoven’s Sixth Symphony
week
Concert: February 21, 22, 23 . . . . . . . . . . . . . . . . . Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . beethoven Symphony No. 6 (“Pastoral”) . . . . . . . . . . . . . . . . mendelssohn Symphony No. 3 (”Scottish”) . . . . . . . . . . . . . . . .
21 23
ON THE COVER The ceiling of the Richard J. Bogomoly and Patrica M. Kozerefski Grand Foyer at Severance Hall. Photgraph by Roger Mastroianni,
Copyright © 2019 by The Cleveland Orchestra and the Musical Arts Association Eric Sellen, Program Book Editor e-mail: esellen@clevelandorchestra.com Program books for Cleveland Orchestra concerts are produced by The Cleveland Orchestra and are distributed free to attending audience members. Program book advertising is sold through Live Publishing Company at 216-721-1800
27 31
Guest Conductor: Herbert Blomstedt. . . . . . . . . . . 25
16 Stravinsky’s Pétrouchka
week
Concert: February 28, March 2 . . . . . . . . . . . . . . . Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . eötvös Seven (violin concerto) . . . . . . . . . . . . . . . . . . . . . . debussy Rêve [Dream] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . stravinsky Pétrouchka, complete ballet music . . . . . . . . . .
2O18 SEASON 2O19
43 45 47 51 55
Guest Conductor: François-Xavier Roth . . . . . . . . . 58 Guest Soloist: Patricia Kopatchinskaja . . . . . . . . . . 59
The Cleveland Orchestra is grateful to the following organizations for their ongoing generous support of The Cleveland Orchestra: National Endowment for the Arts, the State of Ohio and Ohio Arts Council, and to the residents of Cuyahoga County through Cuyahoga Arts and Culture. The Cleveland Orchestra is proud of its long-term partnership with Kent State University, made possible in part through generous funding from the State of Ohio. The Cleveland Orchestra is proud to have its home, Severance Hall, located on the campus of Case Western Reserve University, with whom it has a long history of collaboration and partnership.
16m Rebel without a cause
week
Concert: March 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 Movie Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
NEWS
50%
Cleveland Orchestra News . . . . . . . . . 79
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.
Support Heritage Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 Severance Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 Annual Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
4
This program is printed on paper that includes 50% recycled content.
Table of Contents
The Cleveland Orchestra
energizing It’s more than music.
We are proud to support The Cleveland Orchestra and the transformative power of accomplished professionals working together to achieve excellence.
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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
7
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 further opportunities for easy curbside dropoff at Severance Hall — on February 17 or March 9. (More details can be found on page 81.) 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
FOUR FEATURED CONCERTS
Suites and Motets
Festival Chamber Choir and Orchestra René Schiffer, cello conductor, Dirk Garner
Mass in B Minor, BWV 232
Apollo’s Fire Amanda Powell, soprano; Amanda Crider, mezzo-soprano; Jacob Perry, tenor; Jesse Blumberg, baritone conductor, Jeannette Sorrell
Anderson & Roe Piano Duo
Perform two-piano arrangements of Bach and Baroque
Jesu, meine Freude
BW Motet Choir, professional soloists and orchestra conductor, Dirk Garner
440-826-8070 8
April 11-14, 2019
bw.edu/bachfest for complete schedule 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 ion 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
pas t boa r d Pr esid 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
TH E CL E V E LA N D O R C H E S T R A
Franz Welser-Möst, Music Director André Gremillet, President & CEO
Severance Hall 2018-19
Musical Arts Association
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THE CLEVELAND ORCHESTRA ADVISORY COUNCIL Larry Oscar, Chair Greg Chemnitz, Vice Chair Richard Agnes Mark J. Andreini Lissa Barry Dean Barry William P. Blair III Frank Buck Becky Bynum Phil Calabrese Paul Clark Richard Clark Kathy Coleman Judy Diehl Barbara Hawley Matt Healy Brit Hyde Rob Kochis Janet Kramer David Lamb Susan Locke
Todd Locke Amanda Martinsek Michael Mitchell Randy Myeroff George Parras Beverly Schneider Astri Seidenfeld Reg Shiverick Tom Stanton Fred Stueber Terry Szmagala Brian Tucker Peter van Dijk Diane Wynshaw-Boris Tony Wynshaw-Boris as of February 2 O19
EUROPEAN ADVISORY BOARD Herbert Kloiber, Chair Wolfgang Berndt, Vice Chair Gabriele Eder Robert Ehrlich Peter Mitterbauer Elisabeth Umdasch
The Cleveland Orchestra’s Board of Trustees is grateful to the community leaders listed on this page, who provide valuable knowledge, expertise, and support in helping propel the Orchestra forward into the future.
THE THE OPIOID OPIOID EPIDEMIC EPIDEMIC IS IS OUR OUR COMMUNITY’S COMMUNITY’S CRISIS CRISIS
THIS IS OUR RESPONSE:
THIS IS OUR RESPONSE:
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more more people people every every year. year. A A State State of of Ohio Ohio capital capital appropriation appropriation was was the the catalyst catalyst for for the the fundraising campaign campaign now now underway. underway. fundraising
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70 YEARS YEARS OF OF REBUILDING REBUILDING LIVES LIVES THROUGH THROUGH 70 ADDICTION TREATMENT TREATMENT AND AND RECOVERY RECOVERY ADDICTION
Advisory Councils and Boards
The Cleveland Orchestra
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. His schedule also includes performances of Richard 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.
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Caring for those in need never goes out of style. Whether we are feeding the hungry, comforting the sick, or caring for the elderly, our Jewish values have always inspired us to act. Those same values teach us to care for the next generation. By making a legacy gift, you leave your children and grandchildren a precious inheritance and a lasting testimony to your values. Find out how you can become a member of the Jewish Federation of Cleveland’s Legacy Society by contacting Carol F. Wolf for a confidential conversation at 216-593-2805 or cwolf@jcfcleve.org.
L’dor V’dor. From Generation to Generation. Create Your Jewish Legacy www.jewishcleveland.org
THE
CL E V E LA N D O R C H E S T R A
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
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16
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 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
Severance Hall 2018-19
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.
The Cleveland Orchestra
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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
1
Yu Yuan
Isabel Trautwein
18
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 SEASON 2O19 O rch e str 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
S
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
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THE
CLEVEL AND ORCHESTRA fr a n z we l ser - m Ö st
m u si c dire c tor
Severance Hall
Thursday evening, February 21, 2019, at 7:30 p.m. Friday evening, February 22, 2019, at 8:00 p.m. Saturday evening, February 23, 2019, at 8:00 p.m.
Herbert Blomstedt, conductor
2O18 SEASON 2O19
Symphony No. 6 (“Pastoral”) in F major, Opus 68
ludwig van beethoven
(1770-1827)
1. Awakening of cheerful feelings upon arriving in the country: Allegro ma non troppo 2. Scene by the brook: Andante molto mosso 3. Jolly gathering of country-folk: Allegro — 4. Thunderstorm, Tempest: Allegro — 5. Shepherd’s Song: Gladsome and thankful feelings after the storm: Allegretto
i n t e r m i ss i o n
felix mendelssohn
Symphony No. 3 (“Scottish”) in A minor, Opus 56
(1809-1847)
1. Introduction and Allegro agitato — 2. Scherzo assai vivace — 3. Adagio cantabile — 4. Allegro guerriero and Finale maestoso (played without pause)
This weekend’s concerts are sponsored by Thompson Hine LLP. The Thursday evening performance is dedicated to Mr. and Mrs. Donald M. Jack, Jr. in recognition of their 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, May 19, at 4:00 p.m.
Severance Hall 2018-19
Concert Program — Week 15
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February 21, 22, 23 THIS WEEK’S CONCERT Restaurant opens: THUR 4:30 FRI 5:00 SAT 5:00
Concert Preview: begins one hour before concert
Severance Restaurant Reservations (suggested) for dining:
216-231-7373
or via www.UseRESO.com
C O N C E R T P R E V I E W in Reinberger Chamber Hall
“Beethoven’s Brooks and Mendelssohn’s Moorlands” with Timothy Cutler, Cleveland Institute of Music Duration times shown for musical pieces (and intermission) are approximate.
Concert begins: THUR 7:30 FRI 8:00 SAT 8:00
BEETHOVEN Symphony No. 6 (“Pastoral”) . . . . . . . . . . . page 27 (40 minutes)
Share your memories of the performance and join the conversation online . . . facebook.com/clevelandorchestra twitter: @CleveOrchestra instagram: @CleveOrch
INTERMISSION (20 minutes)
(Please note that photography during the performance is prohibited.)
MENDELSSOHN Symphony No. 3 (“Scottish”) . . . . . . . . . . . page 31 (35 minutes)
Concert ends:
(approx.)
THUR 9:05 FRI 9:35 SAT 9:35
Cleveland Orchestra Store Located in the Smith Lobby on the groundfloor, the Cleveland Orchestra Store is open before and after concerts, and during intermission.
Opus Lounge Stop by our newly-redecorated speakeasy lounge (with full bar service) for post-concert drinks, desserts, and convivial comradery.
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This Week’s Concerts
The Cleveland Orchestra
INTRODUCING THE MUSIC
Natural Inspiration, Symphonic Journey
MENDELSSOHN
BEE THOVEN
T H I S W E E K E N D ’ S C O N C E R T S feature two famous symphonies in-
spired by nature — or, perhaps more accurately put, inspired by the composers’ feelings about natural landscapes and humanity’s place in it. They were written just a few decades apart, as Classical formalities gave way to the robust emotions and experimentation of musical Romanticism — yet both display clear form and the fundamentals of symphonic structure. Beethoven’s “Pastoral” Symphony depicts life in nature melded with the composer’s own emotional journey of walking within a beautiful setting. Premiered in 1808 (at the same concert that also first heard his Fifth Symphony), the “Pastoral” was soon seen as the perfect model for descriptive music, embraced by Romantic composers of all stripes. In the Sixth Symphony, Beethoven strayed from symphonic norm . . . to tell a story. Here, he portrays in music a romanticized life in the countryside, centered around a village and its people, and the farming and husbandry — and faith — that sustain them. Along with the natural world that nourishes and occasionally gets in their everyday way, including a magnificent thunderstorm to enliven the fourth movement. To close the evening, guest conductor Herbert Blomstedt leads Mendelssohn’s Third Symphony, nicknamed “Scottish.” Begun with musical ideas and scenic impressions from the composer’s journeys through the British Isles at the age of 20, it was completed over a decade later, in 1842. Here, Mendelssohn demonstrates his artful orchestration, great sense of proportion and musical architecture, and ear for melodic phrase and rhythmic energy. —Eric Sellen
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Introducing the Concert
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Herbert Blomstedt Swedish-American conductor Herbert Blomstedt has been leading orchestras for more than half a century. His leadership and artistry are especially associated with the San Francisco Symphony, Leipzig Gewandhaus Orchestra, and Dresden Staatskapelle. Mr. Blomstedt first conducted The Cleveland Orchestra in April 2006. His most recent concerts with the Orchestra were in July 2018. Born in Springfield, Massachusetts in 1927 to Swedish parents, Herbert Blomstedt began his musical education at the Royal Academy of Music in Stockholm and at the University of Uppsala. He later studied conducting at the Juilliard School, contemporary music in Darmstadt, and renaissance and baroque music at the Schola Cantorum Basiliensis. He also worked with Igor Markevich in Salzburg and Leonard Bernstein at Tanglewood. In 1954, Mr. Blomstedt made his conducting debut with the Stockholm Philharmonic Orchestra. He subsequently served as music director of the Danish Radio Symphony Orchestra, Oslo Philharmonic, Dresden Staatskapelle, and the Swedish Radio Symphony Orchestra. He is conductor laureate of the San Francisco Symphony, which he served as music director from 1985 to 1995. Subsequently, he was music director of Hamburg’s NDR Symphony Orchestra, and in 1998, became music director of Leipzig’s Gewandhaus Orchestra, serving through the 2004-05 season. In recent years, Herbert Blomstedt has been named honorary conductor of the Bamberg Symphony Orchestra,
Severance Hall 2018-19
Guest Conductor
Leipzig Gewandhaus Orchestra, Tokyo’s NHK Symphony Orchestra, and the Danish and Swedish radio symphony orchestras. In addition to these, he has guest conducted many of the world’s greatest orchestras, including the Berlin Philharmonic, London Philharmonic, Royal Concertgebouw Orchestra, and Vienna Philharmonic, as well as those of Boston, Chicago, Los Angeles, Montreal, New York, and Philadelphia. Herbert Blomstedt’s extensive discography includes over 130 works with the Dresden Staatskapelle, and the complete works of Carl Nielsen with the Danish Radio Symphony. His award-winning recordings with the San Francisco Symphony are on Decca/London. His collaborations with other ensembles, including the Leipzig Gewandhaus Orchestra, can be heard on Decca, Deutsche Grammophon, and RCA Red Seal. He has recorded the complete Bruckner symphonies with the Gewandhaus Orchestra for the German label Querstand. Among Mr. Blomstedt’s honors are several doctorate degrees and membership in the Royal Swedish Music Academy. In 2003 he received the German Federal Cross of Merit.
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Symphony No. 6 (“Pastoral”) in F major, Opus 68 composed 1806-08
At a Glance
by
Ludwig van
BEETHOVEN born December 16, 1770 Bonn died March 26, 1827 Vienna
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Beethoven wrote his Sixth Symphony between 1806 and 1808. The first performance took place on December 22, 1808, in Vienna in a “marathon” concert that also included the world premiere of the Fifth Symphony (the numbering of the two symphonies was reversed, with the “Pastoral” billed as No. 5 and the C-minor symphony as No. 6; this was changed when they were published in order). The symphony was dedicated to Prince Franz Joseph von Lobkowitz and Count Andrei Razumovsky. This symphony runs about 40
minutes in performance. Beethoven scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 2 trombones, timpani, and strings. The Cleveland Orchestra first performed Beethoven’s Symphony No. 6 in December 1922, under Nikolai Sokoloff’s direction — and has played it often since. The most recent performances were in May and June 2018 as part of Franz Welser-Möst’s The Prometheus Project, featuring performances of all nine of Beethoven’s symphonies on three continents, in Cleveland, Vienna, and Tokyo.
About the Music
t h e pas t o r a l s y m p h o n y caused Hector Berlioz to de-
clare that music, in Beethoven’s hands, had come of age and had finally reached the point where the power of poets such as Virgil and Theocritus to evoke landscape had been conquered by the power of sound. Composed in 1806-08, it was recognized by all Beethoven’s successors as a signpost to the future and the father of a whole genre of music. It gave them the license to depict not just the natural world but all manner of physical and extra-musical concepts in symphonic language, to the point where program music thereafter dominated the orchestral repertoire central to concert life for the last two hundred years. Beethoven’s evocation of country life in sound has many times been emulated but scarcely ever surpassed. As in so many of Beethoven’s mighty middle-period works, the Sixth is both conventional and wholly new. The desire to convey people, places, and things in music was almost an obsession in the previous century, whose composers were no strangers to program music. Think of Vivaldi’s The Four Seasons. Or the animals that color the pages of Rameau and Haydn. Similarly, the intensely human emotions expressed by Mozart and Gluck are examples of the recurrent belief that instruments can convey the shape, sound, and impressions of the real world beyond any doubt. About the Music
27
Beethoven inherited that belief and applied it almost mechanically when he came to compose the “Pastoral” Symphony. At the same time, he gave the genre two profoundly original dimensions by conveying these sights and sounds as “feelings” (shown specifically in the headings of the first and last movements) and by casting the whole episode as an orchestral symphony. The world of the “Pastoral” is not just any landscape, it is the landscape of the composer’s experience, real or imagined. Beethoven frequented and loved the countryside around Vienna, but he is not simply depicting Austrian village life, he is transferring his own response to the country and making something extraordinary out of something ordinary, “more feeling than painting,” as he explained it himself. To fashion it as a symphony required Beethoven to step across its familiar limits. Most obviously, he depicts five scenes when a symphony normally permitted four, with the storm occurring between the scherzo and the finale, and leading to the mood of contentment and optimism in which Beethoven always ended his symphonies. The famous passage at the end of the slow movement — the most perfect evocation of serenity ever composed — when three birdcalls are heard (in turn nightingale, quail, and cuckoo), gives an astonishing jolt to the reverie and falls perilously close to bathos, yet it aptly serves Beethoven’s almost humorous purpose. The style of the symphony is not dramatic and knotty, like the famous Fifth, but expansive, in a plain diatonic language that avoids the abrupt dynamics and uneven rhythms of much of his earlier music. Beethoven’s favorite device, an early fermata or “hold,” in the fourth measure of the work’s opening movement places a question mark as if to ensure that the listener’s attention is truly engaged. And this, perhaps, is necessary, for there is no slow introduction (as in symphonies 1, 2, and 4) and the main theme of the movement is presented in as simple fashion as possible at the very outset. The movement suggests a leisurely stroll in the most innocent rustic environment. The development section, in particular, settles into long paragraphs of repeated figures against sustained chords that strikingly anticipate Bruckner’s style. The “Scene by the Brook” is a second movement of magnificent breadth. The water murmurs throughout and the leisurely unfolding of a full sonata form gives Beethoven space to indulge his command of heavenly melody, a legacy from his earliest years as a composer. The delicacy of his orchestration here is especially remarkable, with two cellos singled out to add an extra voice to the
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About the Music
The Cleveland Orchestra
“Beethoven Composing the Pastoral,” a lithograph in the Almanac of the Zurich Musikgesellschaft for 1834.
string texture and some lovely writing for woodwinds. The third movement Scherzo is a rustic dance, accompanied (evidently) by rustic instruments, and its Trio section is even more down-to-earth, with an emphatic drone bass and the rambunctious stamping of clogs. Here, two trumpets join the orchestra for the first time in the symphony, the full weight of trumpets and drums having been held back to lend force and ferocity to the storm that approaches with the warning of heavy raindrops and then breaks open with horrifying force as the fourth movement. Two trombones, held back with iron restraint, join the clamor, and a piccolo whistles for the wind. The trombones are permitted to join the merry-making of the fifth movement Finale, though the piccolo and drums are not. The mood and style are similar to that of the first movement, and Beethoven feels no need to step up the pace at the end to generate any false excitement. The end, in fact, is surprisingly low-key — as country life continues its endless cycle despite the dramatic intervention of the storm. Although just before the end, Beethoven allows the music to rise in a magnificently broad coda, hinting at the chorus “The Heavens Are Telling” from Haydn’s The Creation, and therefore, no doubt, intended to be heard as a thanksgiving to the Almighty.
A drawing of Beethoven out walking, circa 1815, by Johann Theodor Lyser.
—Hugh Macdonald © 2019 Severance Hall 2018-19
About the Music
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Symphony No. 3 (“Scottish”) in A minor, Opus 56 composed 1829-42
At a Glance
by
Felix
MENDELSSOHN born February 3, 1809 Hamburg died November 4, 1847 Leipzig
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Mendelssohn conceived the opening theme for this symphony while visiting the Holyrood Palace in Scotland in August 1829. He sketched out a plan for a full-length “Scottish” Symphony in 1830, and then worked on it sporadically over the next decade. He returned to it in 1841 and worked steadily on it throughout much of the year, completing the score in Berlin in early 1842. The first performance took place on March 3, 1842, at the Leipzig Gewandhaus, under the composer’s direction. Although Mendelssohn often referred privately to this work as his “Scottish” Symphony, it was first
presented and published without any such title. The score was published in 1842 with a dedication to Queen Victoria of England. This symphony runs about 35 minutes in performance. Mendelssohn scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, and strings. The Cleveland Orchestra first performed Mendelssohn’s Symphony No. 3 in November 1935, under Artur Rodzinski’s direction. The most recent performances were in November 2017, led by then-concertmaster William Preucil.
About the Music f e l i x m e n d e l sso h n ’s reputation as a composer has undergone a steadily evolving course over the past century and a half. Upon his early death in 1847 — aged only 38 years — he was hailed as one of world’s greatest music practitioners. He was an accomplished pianist, an extraordinarily gifted organist, a celebrated composer, and one of the first great conductors. Add to these his keen interest in science and literature, his ability to draw and paint, and his well-practiced skills for entertaining and socializing — Mendelssohn was very much a quintessential renaissance man of the Romantic era. The next hundred years, however, saw his reputation tarnish and fade, and much of his music was all but forgotten. The German supremacist composer Richard Wagner began a violent attack — on Mendelssohn’s music (and family origins) — as early as 1850. Changing tastes and lush “new” music often made Mendelssohn’s pieces seem quaintly out of step. Only in the past fifty years or so, with more thoughtful and objective studying of Mendelssohn’s work and contributions to 19th-century music, have the depth and range of his art begun to shine anew. Born into a well-to-do German family (his father and uncle were bankers, his grandfather a famous Jewish philosopher), Felix’s early abilities at the piano and as a composer echoed so
About the Music
31
Mendelssohn, in a 19th-century lithograph based on a painting by Edward Magnus
The essence of the beautiful is unity in variety.
—Felix Mendelssohn
closely Mozart’s talents from fifty years before that he was hailed in his youth as the “second Mozart.” Before he was twenty years old, he had composed music of incomparable beauty and form (his Overture to A Midsummer Night’s Dream, his String Octet, and his Symphony No. 1 are but three of the youthful masterpieces created by the time he was 17). More daringly, as a student he had organized and led — against the advice of his own teacher — one of the first performances of the St. Matthew Passion in at least fifty years, helping to ignite a widespread revival of interest in Bach’s music. Within weeks of his success with Bach’s St. Matthew, the 20-year-old Mendelssohn departed Berlin for Great Britain on the first part of a planned “grand tour” around Europe. Arriving in London in April 1829, Felix was met by his childhood friend Karl Klingemann and set about getting acquainted with the city. Arranged introductions from his father, uncle, and teachers during the next three months gave Mendelssohn access to many of London’s finest musical artists and resulted in his successful London debuts both as a composer and as a piano soloist (performances included his own two-piano concerto and First Symphony, as well as Beethoven’s “Emperor” Concerto, played from memory). S C O T T I S H I N S P I R AT I O N
At the end of the London concert season, Mendelssohn and Klinge mann set off to walk across parts of Scotland. Its “wild and rugged” landscapes held particular appeal for anyone with Romantic ideas of nature and art in the early 19th century, and the two friends filled the composer’s notebook — with Mendelssohn drawing landscape scenes and Klingemann writing accompanying poetic verses. From Edinburgh on July 30, Mendelssohn sent a letter to his family about his visit to the Palace of Holyrood House: “In the mists of twilight today, we went to the palace where Queen Mary lived and loved; the chapel . . . has now lost its roof . . . and it is at that broken-down altar that Mary was crowned Queen of Scots. Everything there is crumbling and decaying. . . . I think I may have found the beginnings of my Scottish Symphony.” In Mendelssohn’s notebook from that same day, he wrote out the musical phrase that now opens the symphony. Later that year, back home in Berlin, he created an outline for an entire “Scottish Symphony,” but it would be more than ten years before he managed to complete this new work. More quickly, he used impressions and musical sketches from his trip to Scotland to write the Hebrides Overture, at first known as Fingal’s Cave, which the composer premiered on his second trip to London, in 1832. (The success of Hebrides over the following decade, as well as its thematic similarities to the eventual symphony, hinted at the symphony’s Scottish-
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About the Music
33
ness even before Mendelssohn publicly admitted any connection.) During the decade between 1830 and 1840, while occasionally trying to advance his Scottish symphony, Mendelssohn completed and premiered his three other mature symphonies (now known as Nos. 5, 4, and 2, numbered in the order in which they were published rather than when they were written). Additionally, through his work as chief conductor — first in Düsseldorf and then of Leipzig’s Gewandhaus Orchestra — Mendelssohn gained important practical perspective on how scores come to Mendelssohn’s life in performance. In Leipzig, in addition to his own works, he conducted the symphonies of Beethoven, “Scottish” Symphoworks by Mozart, Berlioz, and Weber, the posthumous ny is not some kind premiere of Franz Schubert’s newly discovered “Great” of musical Brave C-Major Symphony in 1839, and the premiere of Robert heart, recounting Schumann’s First Symphony in 1841. Thus, by the time Mendelssohn finally sat down in sound various to complete his “Scottish Symphony” in 1841, he had battles and victories achieved new understanding and maturity as an orin history. Rather, chestral composer. The completion came easily. He it is a classically signed the new score in mid-January 1842 and scheduled its premiere for the following month. It was first formed symphony performed as “Symphony in A minor” and published agreeably touched later that year as “Symphony No. 3.” (Although Menby Romantic impresdelssohn had always referred privately to the work as his sions from a visit “Scottish” Symphony, the title was not officially added until after his death.) to Scotland. THE MUSIC
To help underline the cohesiveness of his new symphony’s thematic materials, Mendelssohn instructed that the four movements be performed attacca, without pauses. The lack of customary breaks between movements caused some confusion for the audience at the premiere in Leipzig. The fact was so commented on in reviews that, at the work’s second performance three weeks later, the audience anticipated the breaks and stopped the performance with applause after each of the two middle movements, completely foiling the composer’s intentions. Later composers have picked up on the idea, however, and modern audiences are now much more used to having movements conjoined for the greater sense of continuity it affords. The Symphony is cast in the customary four movements, with two shorter ones between the opening and finale. The second movement features a dance-like lilt, in contrast to the slower and quieter third move-
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About the Music
35
ment. While no musical themes are actually shared between movements, the material throughout the symphony is thematically related and carries a strong unity of sound and atmosphere. In the preface to the printed score of the symphony, the composer suggested a particular way of listing the movements in a printed program, as shown on page 21 of this book. In this, he indicated tempo markings that differ slightly from those that actually precede each movement in the printed score, giving performers a nuance of additional information about his intentions. Mendelssohn quotes no actual Scottish melodies, although in the second movement he does make use of a rhythm known as a “Scottish snap.” This, and an overall feeling similar to his earlier Hebrides Overture, can give listeners a sense that the symphony is litA sketch by Felix Mendelssohn drawn in his travel notebook during his tle more than some additional trek across Scotland in 1829. Scottish landscape painting in sound. But, like Mendelssohn’s sunny “Italian” Symphony, this work is more of an atmospheric piece about emotional feelings in and around Scotland than any attempt to depict actual places or — as has also been suggested — historic events. The “Scottish” Symphony is not, therefore, some kind of musical Braveheart, recounting in sound various battles and victories in Scottish history. Rather, it is a classically formed symphony agreeably touched by Romantic impressions from a visit to Scotland. Throughout the work, there are a number of passages that remind many listeners of the symphonies of Robert Schumann. The two men were certainly well acquainted with one another’s works, and Schumann’s First and Fourth Symphonies were premiered in Leipzig during the year that Mendelssohn was completing his “Scottish” Symphony (Schumann’s First was conducted by Mendelssohn
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About the Music
The Cleveland Orchestra
himself). Exactly who was influencing whom would require an extensive discussion, however, and any similarities are more an indication of a common approach to some of the inherent challenges of symphonic writing in the footsteps of Beethoven and Schubert. Mendelssohn’s passages often feature an airiness of orchestration that took Schumann several more years to fully capture. Likewise, some energetic string writing about halfway into the “Scottish” Symphony’s first movement has strong pre-echoes of the sound of rain-filled windstorms depicted in Richard Wagner’s opera The Flying Dutchman, written only a few years later. Composers and creative artists of all types frequently influence one another’s work — sometimes consciously, and sometimes more by osmosis. In both the first and last movements, Mendelssohn succeeds in orchestrating passages that sound, as he wanted them to, “clear and strong, like a choir of men’s voices,” advancing his extensive interest in and knowledge of choral writing. Particularly spirited in the last movement, the “choir” leads directly into the work’s robust and cheer-filled ending. —Eric Sellen © 2019 2018-19 is Eric Sellen’s twenty-sixth season as The Cleveland Orchestra’s program book editor.
History. Music. Community. Silver Hall Concert Series. Case Western Reserve University presents 19 community concerts at one of the city’s most historic landmarks—The Milton and Tamar Maltz Performing Arts Center at the Temple-Tifereth Israel. Now through May 2019 Reserve your free tickets at case.edu/maltzcenter/silverhallseries or email mpacinfo@case.edu
Severance Hall 2018-19
About the Music
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1918
Seven music directors have led the Orchestra, including George Szell, Christoph von Dohnányi, and Franz Welser-Möst.
16 17th
1l1l 11l1 l1l1 1 1
The The2017-18 2018-19season seasonwill marks mark Franz Welser-Möst’s 16th 17th year as music director.
Severance Hall, “America’s most beautiful concert hall,” opened in 1931 as the Orchestra’s permanent home.
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each year
Over 40,000 young people attend Cleveland Orchestra concerts each year via programs funded by the Center for Future Audiences, through student programs and Under 18s Free ticketing — making up 20% of audiences.
52 53%
Over half of The Cleveland Orchestra’s funding each year comes from thousands of generous donors and sponsors, who together make possible our concert presentations, community programs, and education initiatives.
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Followers Follows on onFacebook social media (as of (January June 2016) 2019)
The Cleveland Orchestra has introduced over 4.1 million children in Northeast Ohio to symphonic music through concerts for children since 1918.
129,452 200,000
1931
150
concerts each year.
The Orchestra was founded in 1918 and performed its first concert on December 11.
The Cleveland Orchestra performs over
T H E CL E V E LA N D O R C H E S T R A
BY THE NUMBERS
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
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Legacy Giving THE CLEVELAND ORCHESTR A HERITAGE SOCIETY l i s t i n g c o n t i n u ed
Mr. and Mrs. 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*
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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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T H E CL E V E LA N D O R C H E S T R A
John L. Severance Society Cumulative Giving The John L. Severance Society is named to honor the philanthropist and business leader who dedicated his life and fortune to creating The Cleveland Orchestra’s home concert hall, which today symbolizes unrivalled quality and enduring community pride. The individuals, corporations, foundations, and government agencies listed here represent today’s visionary leaders, who have each surpassed $1 million in cumulative gifts to The Cleveland Orchestra. Their generosity and support joins a long tradition of community-wide support, helping to ensure The Cleveland Orchestra’s ongoing mission to provide extraordinary musical experiences — today and for future generations. Current donors with lifetime giving surpassing $1 million, as of September 2018
Gay Cull Addicott American Greetings Corporation Art of Beauty Company, Inc. BakerHostetler Bank of America The William Bingham Foundation Mr. William P. Blair III Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Irma and Norman Braman Jeanette Grasselli Brown and Glenn R. Brown The Cleveland Foundation The George W. Codrington Charitable Foundation Robert and Jean* Conrad Mr. and Mrs. Alexander M. Cutler Cuyahoga County residents through Cuyahoga Arts and Culture Eaton FirstEnergy Foundation Forest City GAR Foundation Mr. and Mrs. Richard T. Garrett The Gerhard Foundation, Inc. Ann and Gordon Getty Foundation The Goodyear Tire & Rubber Company The George Gund Foundation Francie and David Horvitz Mr. and Mrs. Michael J. Horvitz Hyster-Yale Materials Handling, Inc. NACCO Industries, Inc. The Louise H. and David S. Ingalls Foundation Martha Holden Jennings Foundation Jones Day Myra Tuteur Kahn Memorial Fund of the Cleveland Foundation The Walter and Jean Kalberer Foundation
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Mr. and Mrs. Joseph P. Keithley Mr. and Mrs. Douglas A. Kern KeyBank Knight Foundation Milton A. & Charlotte R. Kramer Charitable Foundation Kulas Foundation Mr. and Mrs. Dennis W. LaBarre Nancy Lerner and Randy Lerner Mrs. Norma Lerner and The Lerner Foundation Daniel R. Lewis Jan R. Lewis Peter B. Lewis* and Janet Rosel Lewis Virginia M. and Jon A. Lindseth The Lubrizol Corporation Maltz Family Foundation Elizabeth Ring Mather and William Gwinn Mather Fund Elizabeth F. McBride Ms. Nancy W. McCann William C. McCoy The Sisler McFawn Foundation Medical Mutual The Andrew W. Mellon Foundation Mr. and Mrs. Robert F. Meyerson* Ms. Beth E. Mooney The Morgan Sisters: Susan Morgan Martin, Patricia Morgan Kulp, Ann Jones Morgan John C. Morley John P. Murphy Foundation David and Inez Myers Foundation National Endowment for the Arts The Eric & Jane Nord Family Fund The Family of D. Z. Norton State of Ohio Ohio Arts Council The Honorable and Mrs. John Doyle Ong
Severance Society / Lifetime Giving
Parker Hannifin Foundation The Payne Fund PNC Julia and Larry Pollock PolyOne Corporation Raiffeisenlandesbank Oberösterreich Mr. and Mrs. Alfred M. Rankin, Jr. Mrs. Alfred M. Rankin, Sr. Mr. and Mrs. Albert B. Ratner James and Donna Reid The Reinberger Foundation Barbara S. Robinson The Sage Cleveland Foundation The Ralph and Luci Schey Foundation Seven Five Fund Carol and Mike Sherwin Mrs. Gretchen D. Smith The Kelvin and Eleanor Smith Foundation The J. M. Smucker Company Mr. and Mrs. Richard K. Smucker Jenny and Tim Smucker Richard and Nancy Sneed Jim and Myrna Spira Lois and Tom Stauffer Mrs. Jean H. Taber* Joe and Marlene Toot Ms. Ginger Warner Robert C. Weppler Janet* and Richard Yulman Anonymous (7)
* deceased
Severance Hall 2018-19
THE CLEVELAND ORCHESTRA p r o g r a m
b o o k
i n s e r t
—
Feb 28 , m arch 2
The originally scheduled soloist for this weekend of concerts, violinist Patricia Kopatchinskaja, regrets that she has had to cancel her performances with The Cleveland Orchestra due to illness. Pianist Javier Perianes is graciously stepping in as soloist, with the concerto (and concert order) shown below.
Severance Hall
Thursday evening, February 28, 2019, at 7:30 p.m. Saturday evening, March 2, 2019, at 8:00 p.m.
François-Xavier Roth, conductor claude debussy
(1862-1918)
2O18 SEASON 2O19
Rêve [Dream] from Première Suite d’Orchestre
see page 51
(reconstructed/orchestrated by Philippe Manoury) maurice ravel
(1875-1937)
Piano Concerto in G major
see inside insert
1. Allegramente 2. Adagio assai 3. Presto JavieR PeRianeS, piano
int er mission igor stravinksy (1882-1971)
Pétrouchka, Burleske in Four Scenes (complete ballet music, 1947 revision) 1. 2. 3. 4.
The Shrovetide Fair In Pétrouchka’s Room In the Moor’s Room The Shrovetide Fair, toward evening
The soloist’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from Mrs. Paul D. Wurzberger. The Thursday evening performance is dedicated to The Walter and Jean Kalberer Foundation in recognition of their extraordinary generosity in support of The Cleveland Orchestra.
see page 55
THE CLEVELAND ORCHESTRA p r o g r a m
b o o k
i n s e r t
—
Feb 28 , m arch 2
Javier Perianes Spanish pianist Javier Perianes’s international career has taken him to five continents, performing with many of the world’s top orchestras and at many prestigious festivals. He was recently named Artist of the Year 2019 at the International Classical Music Awards. Mr. Perianes made his Cleveland Orchestra debut as part of the 2016 Blossom Music Festival. Recent and upcoming performances feature all five of Beethoven’s piano concertos across two consecutive evenings with the London Philharmonic Orchestra at Royal Festival Hall, Mozart’s Piano Concerto No. 27 on tour with the Orpheus Chamber Orchestra (including a performance at Carnegie Hall), and concerts with orchestras across Europe and the United States, including the Leipzig Gewandhaus, Toronto Symphony Orchestra, Orchestre de Paris, St. Louis Symphony Orchestra, and the San Francisco Symphony. In recital, Mr. Perianes’s season features an extensive European tour including performances in London, Paris, Frankfurt, Oslo, Lisbon, Istanbul, Barcelona, and Madrid, with a program of works by Chopin, Debussy, and Falla. As a chamber musician, he plays frequently with a variety of partners. Last season saw him partner with art-
ists including Tabea Zimmermann at the National Auditorium in Madrid and the Beethoven Haus in Bonn, and the Quiroga Quartet on a tour of Italy, Belgium, and the Netherlands — as well as recording Debussy’s Sonata for cello and piano in his first collaboration with Jean-Guihen Queyras. Javier Perianes records exclusively for Harmonia Mundi. He has a diverse discography — ranging from Debussy, Mendelssohn, and Chopin to Blasco de Nebra, Mompou, and Turina. His most recent albums include the Debussy album with Queyras (released this past autumn), solo sonatas by Schubert (D.960 and D.664), and Bartók’s Piano Concerto No. 3 with the Munich Philharmonic. For more information, please visit www.javierperianes.com.
For Javier Perianes: Judson Management Group Inc., New York City
Tonight’s Concert a C h a n G e O F a R T i S T O R P i e C e often brings with it mixed emotions. There
is the disappointment of not hearing what or who we were expecting and anticipating. But alongside that, there can also be excitement in hearing someone different or new, or to simply take pleasure in a change of plans. This weekend’s revised concert brings us both. First, the disappointment of not hearing in live performance Péter Eötvös’s violin concerto Seven, a modern work of interesting and extraordinary beauty, which was to be performed by a violinist that serves as one of its ardent advocates. (Recordings are available, and I suggest you avail yourself of hearing it, though the inherent spacial/spatial qualities of how the instrumentalists are arranged on — and off — stage, of course, won’t be quite the same.) Yet, in place of that violin concerto we have the joy of hearing one of the 20th century’s most-inspired works for piano and orchestra — Ravel’s Concerto in G major — played by a pianist well in tune with this masterpiece’s mixing of classical and jazz sensibilities. —Eric Sellen
Piano Concerto in G major composed 1929-31
i n T h e 1 9 2 0 S , French composer Maurice Ravel wanted
by
Maurice
RaveL born March 7, 1875
Ciboure, Basses-Pyrénées died December 28, 1937 Paris
to write a piano concerto for his own use. In his public appearances as a concert pianist, he had for many years preferred to play relatively easy pieces, including the Sonatine he’d written in 1903-05. In part, he was all too conscious that his playing technique was not up to some other, more demanding works he’d created. But, as he began creating the new work for piano and orchestra, rather than write a piece within his own capacity, he was inspired to write a concerto of proper difficulty. And he convinced himself that he could simply acquire the required technique by practicing. Thus, his composition hours — already long and arduous compared with his earlier facility (by the end of the 1920s he was aware of the failing brain activity that cruelly silenced his last years) — were interspersed with hours devoted to practicing the piano (scales, and études by Czerny and Chopin) in an unavailing attempt, at the age of 55, to perfect his digital skills (a.k.a. piano keyboard fingering, not the computer variety we think of as “digital skills” today). It was only once the work was finished, late in 1931,
co n t i n u e d fr o m pr e v i o us pag e
with a premiere not many weeks away, that Ravel abandoned his aspirations and turned to Marguerite Long to give the first performance instead. This she did on January 14, 1932, in the Salle Pleyel, Paris, with Ravel conducting. But . . . where did his musical ideas for the concerto come from? Gustave Samazeuilh recounted that in 1911 he and Ravel spent a holiday in the Basque region of Spain (where both of them had been born) and that Ravel sketched a “Basque Concerto” for piano and orchestra. Without the right idea for a central linking movement, Ravel abandoned the work, only to bring parts of it back to life twenty years later within the G-major Concerto. This at least suggests a Basque origin for some of the themes. It is nonetheless easy to recognize that the livelier themes emerge from Ravel’s preoccupation with the brilliant percussive qualities of the piano itself, and that the languorous melodies betray his gift for giving a peculiarly sophisticated edge to the “new” language of jazz. It is striking that the sound of this concerto differs markedly from that of its sibling, the concerto for left hand, composed at the same time, not just in having ten fingers at work instead of five. Here, Ravel concentrated the fingers’ activity in the upper reaches of the keyboard and also utilized a smaller orchestra, more an ensemble of soloists than a grand tutti full orchestra. Ravel asserted that he composed the G-major Concerto in the spirit of Mozart and Camille Saint-Saëns, two composers of impeccably classical pedigree. The three movements are accordingly laid out on the classical plan, with two quick movements embracing a slow middle one. The first movement offers both quick and slow sections, the latter being the occasion for some virtuoso melodic flights for solo instruments, notably the bassoon in the first half, the harp and the horn in the second, while the piano is often required to be sweet in one hand and pungent in the other at the same time. (The “flattened” scale often associated with George Gershwin’s music, generally in the minor, is much in evidence.) Ravel spoke of writing the slow middle movement “one bar at a time” (which is both cryptic and not very enlightening). He also referred to Mozart’s Clarinet Quintet as a basis (which is scarcely more helpful, except that the idea of melody-with-accompaniment is prominent in both works). The music itself is pure, both in the simplicity of the piano style and the absence of chromatics. There is also a constant suggestion of wrong notes (not unlike the manner of Erik Satie), the wrongness in Ravel’s case being supremely calculated and . . . exactly right. Simplicity gives way to complexity and the melody returns on the english horn as the piano’s exquisite tracery continues to the end. The last movement is an unstoppable cascade, with the orchestra again tested to the limit, not just the soloist. The movement is neatly framed, with its opening clustered discords returning as a signing-off at the end. Performance Time: 25 minutes
THE
CLEVEL AND ORCHESTRA fr a n z we l ser - m Ö st
m u si c dire c tor
Severance Hall
2O18 SEASON 2O19
Thursday evening, February 28, 2019, at 7:30 p.m. Saturday evening, March 2, 2019, at 8:00 p.m.
François-Xavier Roth, conductor
Seven Memorial for the Columbia Astronauts
péter eötvös
(b. 1944)
(concerto for violin and orchestra)
.. ..
Part I: cadenza with accompaniment first cadenza [for Husband and McCool] second cadenza [for Anderson] third cadenza [for Clark and Brown] fourth cadenza [for Chawla and Ramon] Part II patricia kopatchinskaja, violin
i n t e r m i ss i o n
Rêve [Dream] from Première Suite d’Orchestre
claude debussy
(1862-1918)
(reconstructed/orchestrated by Philippe Manoury)
igor stravinksy
Pétrouchka, Burleske in Four Scenes
(1882-1971) (complete ballet music, 1947
revision)
1. The Shrovetide Fair 2. In Pétrouchka’s Room 3. In the Moor’s Room 4. The Shrovetide Fair, toward evening
Patricia Kopatchinskaja’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from Mrs. Paul D. Wurzberger. The Thursday evening performance is dedicated to The Walter and Jean Kalberer Foundation in recognition of their extraordinary generosity in support of The Cleveland Orchestra.
Severance Hall 2018-19
Concert Program — Week 16
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February 28, March 2 THIS WEEKEND’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 Reinberger Chamber Hall
“Powerful Evocations”
with Eric Charnofsky, Case Western Reserve University
EÖTVÖS Seven (violin concerto) . . . . . . . . . . . . . . . . . . . page 47 (20 minutes)
Duration times shown for musical pieces (and intermission) are approximate.
INTERMISSION (20 minutes)
DEBUSSY Rêve [Dream]. . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 51 (8 minutes)
STRAVINSKY Pétrouchka, complete ballet music. . . . . . . . page 55 (35 minutes)
Share your memories of the performance and join the conversation online . . .
Concert ends:
facebook.com/clevelandorchestra twitter: @CleveOrchestra instagram: @CleveOrch
(approx.)
THUR 9:00 SAT 9:30
Opus Lounge Stop by our newly-redecorated speakeasy lounge (with full bar service) for post-concert drinks, desserts, and convivial comradery.
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This Week’s Concerts
(Please note that photography during the performance is prohibited.)
The Cleveland Orchestra
INTRODUCING THE CONCERT
Tribute, Dreams& Stories
T H I S W E E K E N D ’ S C O N C E R T S offer three works of a decidedly mod-
ern cast, each by a composer who rarely shied (or shies) from writing new ideas and challenging convention. One is a long-admired favorite. One is a newer violin concerto that mourns a space-age disaster. The third is the musings of a young composer not yet known, of a score thought lost but recently rediscovered and reconstructed. The evening begins with a concerto for violin and orchestra, written by Hungarian composer Péter Eötvös and premiered in 2007. Titled Seven, it is a modern work, both in its music and in its subject matter. Eötvös wrote this music as a memorial to the seven astronauts who died in 2003, as their space shuttle disintegrated while returning to earth. Eötvös has long been interested in space flight; he wrote an early work to celebrate Russian astronaut Yuri Gagarin’s first flight orbiting the earth. Yet here, in music of fascinating breadth and imagination, Eötvös writes of humanity’s varying roles in any technological adventure. Violinist Patricia Kopatchinskaja plays the piece’s solo role — augmented by six violinists from The Cleveland Orchestra to represent the seven lost astronauts. After intermission, guest conductor FrançoisXavier Roth leads two works from a century ago, beginning with a youthful piece by Claude Debussy recently revived. Rêve, or “Dream,” is a fascinating look at this composer’s earliest artful thinking and tinkering, before he fully developed the musical vocabulary and voice we all know (and love). The ballet score for Pétrouchka was an unexpected sidetrack for Igor Stravinsky in 1910. It was written between The Firebird, which first brought the composer international fame, and the epochal Rite of Spring, which he was supposed to be composing. His commissioner, the ballet impresario Sergei Diaghilev, believed strongly enough in this young composer to accept the diversion and delay, and to pay for Pétrouchka as a new project. The storyline of a winter fair — and the antics of puppets in love, anger, and dispair, ultimately turning violent — inspired Stravinsky to create a masterful depiction of scenes and events told through music. —Eric Sellen
above
The space shuttle Columbia begins its final voyage, January 2003. Severance Hall 2018-19
Introducing the Concert
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Seven: Memorial to the Columbia Astronauts (concerto for violin and orchestra) composed 2006-07
At a Glance
by
Péter
EÖTVÖS born January 2, 1944 Székelyudvarhely, Transylvania (then part of Hungary; now in Romania) resides in Budapest, Hungary
Severance Hall 2018-19
Eötvös wrote his violin concerto Seven in 2006 as a memorial to the seven astronauts killed when the United States space shuttle Columbia broke apart during re-entry in February 2003. He revised the work surrounding its world premiere on September 6, 2007, with the Lucerne Festival Academy Orchestra conducted by Pierre Boulez and Akiko Suwanai as violin soloist. This concerto runs just over 20 minutes in performance. Eötvös scored it for 49 musicians divided into 7 groupings. These include the solo violinist together with 6 violinists arranged throughout the
performing space. The ensemble includes 3 flutes (first doubling alto flute, second and third doubling piccolo), 3 oboes, 3 clarinets and bass clarinet, saxophone (playing both alto and baritone), 3 bassoons, 2 horns, 2 trumpets, 2 trombones, tuba, percussion (4 players, performing on crotales, gongs, anvils, bells, cymbals, tibetan cymbals, tam-tam, triangle, coil springs, sistrum, glockenspiel), harp, keyboard sampler, electric bass, and strings (5 violas, 5 cellos, and 4 double basses) The Cleveland Orchestra is performing this work for the first time with this weekend’s concerts.
About the Music
p É t e r e Ö t v Ö s has been an important voice across more
than half a century of modern classical music. Throughout much of that time, his compositions have too often been unfairly labelled as unrelentingly modernist. Yet he is clearly filled with contradictions of both creative desire and intent — at one moment saying that art is a very personal thing and who cares if anyone is listening!?, while in the next breath proclaiming his many years of work creating music for theater during which, he says, he learned, audience by audience, night by night, how important it is to keep listeners’ interest and attention. Eötvös has built his long career in the dual role of conductor and composer, dividing time equally between the two (with some teaching tossed in, along with overseeing his own foundation for encouraging new music and musicians). Conducting other composers’ works, he understands, continues to change his own view of music’s potential as a language. “My experience as a conductor is reflected in the scores I compose,” he has noted, “and, of course, this works the other way around, too.” Eötvös’s name is associated with many of the most famous creative spirits of modernist 20th-century music, including Pierre About the Music
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LEARN MORE Péter Eötvös’s compositions extend beyond the concert hall, including a number of operas based on famous theatrical works, such as Chekhov’s Three Sisters and a recent opera based on Tony Kushner’s Angels in America. To learn more about Péter Eötvös, visit www.petereotvos.com
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Boulez and Karlheinz Stockhausen. In 1972, Boulez invited him to conduct the opening concert of the Institut de Recherche et Coordination Acoustique/Musique (IRCAM) in Paris, and Eötvös served for nearly two decades (1973-91) as music director of the Ensemble intercontemporain, the world's leading modern music ensemble originally formed in Paris by Boulez. (The group’s current music director is Matthias Pintscher, well-known to Cleveland audiences for his own dual career as both composer and conductor.) Eötvös visited Severance Hall in April 2008 to lead a weekend of concerts with The Cleveland Orchestra that featured the United States premiere of one of his own pieces (a double concerto for two pianos), plus well-known works by Hungarian compatriots Béla Bartók — a composer whose music he has said is his own “mother tongue” — and by Zoltán Kodály, with whom Eötvös once studied. Several of his works, including the violin concerto Seven being presented on this weekend’s concerts, feature a carefullyplanned rearrangement of the orchestra onstage (and beyond), reinforcing the composer’s strong belief in a contextual aural environment. The direction of where sounds begin and how they mix — and our ability to see aspects of that as an idea in front of us — is important to his music. So too is borrowing, or in today’s vernacular, “sampling” the music of others, which has informed several aspects of Eötvös’s compositional palette. The sampling is sometimes openly apparent, but also often veiled and used merely as a starting point, not unlike the careful selection of ingredients from which to create a new musical meal. Some ingredients, mixed together and through the chemistry of cooking (composing), vanish entirely but still shape the final tasting (hearing). “With each piece I write, there is generally a seed of an idea, but I don't know exactly what it’s going to grow into,” he has said. “How tall the flower will be, or how big the tree, I don’t always know. I only see the little seed, and it grows slowly. In the process of composing, I follow the stream of my thoughts, which derive from the material I’ve got in front of me.” Not unlike a number of Boulez’s works, the concept behind some Eötvös compositions can seem, at first, more intriguing and interesting than the music itself, with the score “worked out” almost like a mathematical formula or an exquisitely detailed theatrical staging plan. Listen carefully, however, and the About the Music
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patterns and aspects of design can often be appreciated within the piece, as it plays itself out through time and space. “It’s really important to me that the first note the audience hears represents an invitation for them to continue listening,” Eöt vös says. “I want to involve my audience: I don’t just want them to listen, I want them to take part.” —Eric Sellen © 2019 The composer has written the following comments about his violin concerto, premiered in 2007 at the Lucerne Festival: T H E C O L U M B I A D I S A S T E R on 1 February 2003 was a dramatic
incident that moved me very deeply. Especially the television image of an empty astronaut’s helmet, which had been found intact in a field among numerous pieces of debris, symbolized to me the tragedy of this disaster that claimed the lives of seven people shortly before the return of the space shuttle to Earth. For a long time, I had thought of writing a violin concerto. Against the background of the tragic events concerning the 28th Space Shuttle Mission, I took up this idea again. The violin concerto as a musical dialogue between soloist and orchestra seemed to me particularly suited to lend musical shape to the memory of the killed astronauts. In the piece, each of the seven astronauts has been given a personal dedication cadence, within the cadenzas that make up the works first section. Even the representation of their characters is reflected in the composition — for example by reminiscences of the musical cultures of Kalpana Chawla, the India-born American female astronaut, and of Ilan Ramon, the first Israeli in space. The number 7 determines the musical and rhythmic structure of the work, describing at the same time the basic principle of the composition. 49 musicians are divided into 7 groups. This includes the solo violin, with 6 other violins arranged in the performing space. Together, but apart, they are like seven satellites or souls sounding and hovering in space. The violin concerto Seven is a very personal monologue and the musical expression of my sympathy towards the seven astronauts who lost their lives while exploring space in fulfillment of a fundamental dream of humanity. —Péter Eötvös, 2007
Severance Hall 2018-19
About the Music
The crew (left to right): David Brown Rick Husband Laurel Clark Kalpana Chawla Michael Anderson William McCool Ilan Ramon
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Georgia O’Keeffe: Living Modern Final days! Now through March 3. Discover the fascinating connections between the paintings, personal style, and public persona of one of America’s most iconic artists.
Georgia O’Keeffe: Living Modern is organized by the Brooklyn Museum with guest curator Wanda M. Corn, Robert and Ruth Halperin Professor Emerita in Art History, Stanford University, and made possible by the National Endowment for the Arts.
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Georgia O’Keeffe with Painting in the Desert, N.M. (detail), 1960. Tony Vaccaro (American, b. 1922). Chromogenic print; 35.2 x 45.7 cm (13 7/8 x 18 in.). Georgia O’Keeffe Museum, 2007.3.2. Photo: Tony Vaccaro/Tony Vaccaro Studio
Rêve [Dream] from Première Suite d’Orchestre
composed 1883-84, reconstructed/reorchestrated by Philippe Manoury from the piano score
At a Glance
by
Claude
DEBUSSY born August 22, 1862 St. Germain-en-Laye, France died March 25, 1918 Paris
Severance Hall 2018-19
Debussy wrote his four-movement First Suite for Orchestra sometime in 1882-84, during his last years as a student at the Paris Conservatory. It was most likely not performed at that time. The manuscripts (a version for two pianos as well as the orchestral work) were among papers kept by a friend of Debussy’s, and eventually ended up in the collection of the Pierpont-Morgan Library in New York. They were discovered there in 2008, but without the orchestral parts for the third movement. The ensemble Les Siècles and its founder, François-Xavier Roth, commissioned French composer
Philippe Manoury to reconstruct or reorchestrate the third movement, titled Rêve. The entire suite was premiered in February 2012. This movement runs a bit under 10 minutes in performance. Manoury’s score calls for 2 flutes, 2 oboes and english horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 2 trombones, tuba, timpani, percussion (crotales, glockenspiel), harp, and strings. The Cleveland Orchestra is presenting the United States premiere of this reconstructed movement with this weekend’s concerts.
About the Music m u s i c h i s t o r y abounds with stories of works planned and
manuscripts lost, of pieces rediscovered or completed by others, and premieres delayed by decades. With Debussy’s Rêve, or Dreams, we have a bit of all this — including the United States premiere, with this weekend’s concerts, of a rediscovered and reconstructed early work by a composer we think we know well. Debussy was a promising young student when he entered the Paris Conservatoire in 1872 at age ten. The Conservatoire, however, was a relatively staid and conservative place. And the way it advanced young Claude across the next decade was as much by focusing his understanding of what he didn’t believe in, rather than encouraging him to work on his own new ideas. He regularly failed exams about the “rules of music,” because he was convinced the rules didn’t matter (or didn’t really exist). He was a brilliant pianist, but introduced such odd harmonies and chords into his writing that teachers — and even many of his fellow students — thought he was going mad. Sometime toward the end of his years at the Conservatoire, in 1883, before he won the Prixe de Rome in 1884, Debussy wrote a “First Suite for Orchestra” [Première Suite d’Orchestre]. About the Music
51
But it was early on lost to history, probably without ever being performed. Debussy, of course, went on to trailblaze his way into worldwide recognition as a French musical “Impressionist” (who disliked the term and didn’t want any label applied to his body of work). The oceans still churn, but Debussy brought the play of light and waters (and sound and harmonies) to life in La Mer [“The Sea”] and other works. Decades later, in 1977, scholar François Lesure included the First Suite in his catalog of Debussy’s work, based on references to it in some of the composer’s correspondence. But everyone assumed it was entirely lost. That, however, was not the case, and two manuscripts of it turned up in New York’s Pierpont-Morgan Library in 2008. One was a two-piano score (either derived from the full score or as a step toward it), plus orchestral parts for three of the suite’s four movements. The other movement, 3. Rêve, was missing from the orchestral scoring, however. French composer Philippe Manoury was enlisted to rebuild or devise a suitable orchestration for Rêve — and the entire Première Suite was given its first performance (and recorded) in 2012
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About the Music
10:02 AM Severance1/23/19 Hall 2018-19
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to honor the composer’s 150th birthday, conducted by FrançoisXavier Roth (with an ensemble playing, it should be noted, instruments from the period in which the work was written). This weekend, we hear Rêve played by a modern symphony orchestra and can, at least in part, judge aspects of Debussy’s artistic development before he became world-famous. For many, Rêve will indeed sound like an early study for musical Impressionism, with clear signs of the Dubssy we know and definite attempts to break from the rulebook of the Conservatoire. How successful or authentic the reorchestration by Manoury is can probably never be fully judged. Hindsight affects our hearing just as it influenced the arranger’s own choices. But, evenso, how exciting to have a new look at Debussy’s process of becoming the artist we know. The complete Suite is well worth listening to for a fuller idea of the musical context within Debussy’s own development — and can be heard on the recording led by conductor Roth, with the ensemble Les Siècles on the Musicales Actes Sud label.
—Eric Sellen © 2019
Severance Hall 2018-19
About the Music
53
“The “The trouble trouble with with music music appreciation appreciation inin general general is is that that people people are are taught taught toto have have too too much much respect respect forfor music. music. They They should should bebe taught taught toto love love it it instead.” instead.” —Igor —Igor Stravinsky Stravinsky
Pétrouchka,1 Burleske in Four Scenes
composed 1910-11; revised for smaller orchestra 1947, performed in the 1947 edition
At a Glance
by
IGOR
STRAVINSKY born June 17, 1882 Oranienbaum, near St. Petersburg died April 6, 1971 New York
Stravinsky composed the ballet Pétrouchka between August 1910 and May 1911 for Sergei Diaghilev’s company, the Ballets Russes. It was presented for the first time at the Théàtre du Châtelet in Paris on June 13, 1911; Pierre Monteux conducted, with Vaslav Nijinsky dancing the role of Pétrouchka and Tamara Karsavina as the Ballerina; the choreography was by Michel Fokine, with sets and costumes by Alexandre Benois, who had also helped Stravinsky with the storyline and to whom the score was dedicated. Stravinsky reorchestrated the score for a slightly smaller orchestra in 1947. Pétrouchka runs about 35 minutes in performance. Stravinsky’s 1947 version calls for an orchestra of 3 flutes (third doubling piccolo), 2 oboes, english horn, 3 clarinets (one doubling bass clarinet), 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, snare drum, tambourine, tam-tam, triangle, cymbals,
xylophone), harp, piano, celesta, and strings. Pétrouchka was first presented in Cleveland as a fully-staged ballet, in March 1916 performances by the touring Ballets Russes; the presentation was sponsored by the Musical Arts Association (which would create The Cleveland Orchestra in 1918) as the first undertaking after its incorporation in 1915. The Cleveland Orchestra and the Ballet Russes de Monte-Carlo collaborated in staged performances of the ballet in December 1934 and again in March 1937. The Orchestra’s first concert performances of the ballet music were given at Severance Hall in December 1932, conducted by Artur Rodzinski. Stravinsky conducted performances with the Orchestra in 1937 and again in 1947. Since then, the music has appeared on the Orchestra’s programs with some frequency, most recently in 2015, led by Susanna Mälkki.
About the Music w h e n t h e b a l l e t i m p r e sa r i o Sergei Diaghilev visited Stravinsky in Lausanne, Switzerland, in the fall of 1910, he was expecting to hear the first sketches for The Rite of Spring. Instead, the composer played him part of a new orchestral piece inspired, as Stravinsky later said, by “a distinct picture of a puppet, suddenly endowed with life.” A solo piano would play the puppet, “exasperating the orchestra with diabolical cascades of arpeggios.” Diaghilev took the short step from the composer’s fantasy 1 Stravinsky and Diaghilev called their ballet score Pétrouchka (pronounced pe h- truush- ka), using the then-current French transliteration from Russian of the puppet’s name, Петрушка. A variety of modern transliterations and alternative spellings can be found — on recordings, program books, and printed scores — including Petrushka, Petrussia, and Petroushka, in addition to Pétrouchka. In Russian, in addition to being a familiar puppet character, the word Petrushka (or however one chooses to spell it) is a familiar nickname for young boys named Piotr or Pyotr (or Peter, Pierre, Pedro, etc).
The Cleveland Orchestra
About the Music
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to an idea for a ballet, and persuaded Stravinsky to finish the piece in that form. Produced the following year by the Russian Ballet with choreography by Fokine, Pétrouchka has been a ballet perennial ever since. In 1921, Stravinsky made a solo piano transcription for Arthur Rubinstein that remains a popular recital showpiece. In 1947, Stravinsky returned to the score again, reducing and clarifying its orchestration, apparently to make it more practical for concert performance and less dependent for its impact on dancing and scenery (and also to help extend its copyright); this is the version that is heard on this weekend’s concerts. the music and storyline
Composer Igor Stravinsky with Vaslav Nijinsky in his costume as Pétrouchka.
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In the ballet, the burlesque love-triangle story of three puppets is framed by scenes of revelry at St. Petersburg’s Shrovetide Fair, or Mardi Gras. As the curtain rises, a crowd of people of all ages and social classes is milling around the square. After some bustling figures in the music, Stravinsky quotes directly an Easter Song from the province of Smolensk, which he found in a collection of 100 Russian Folk Songs arranged by his teacher Rimsky-Korsakov. A street musician sets up a hurdy-gurdy, then another comes along with a music box. Their duel for the crowd’s attention creates a kind of atmosphere of chaos and bitonalism reminiscent of the music of Charles Ives; this will be echoed in the bitonal music of the puppet Pétrouchka.1 A sudden roar of drums calls a halt to this rivalry, as the Showman steps through the curtain stage center and draws it aside to reveal the three puppets — Pétrouchka, the Ballerina, and the Moor — on their stands. With his flute, he seems to bring them to life, to the crowd’s amusement — and then their amazement, as the puppets leap down from the stage and dance among the people to the “Russian Dance,” a combination of original Stravinsky tunes with a folk song from the county of Totemsk. The driving rhythms, repeated phrases, and barbaric energy of this section delighted the 1911 audience — and similar ideas, pushed a few steps further in The Rite of Spring two years later, would cause the most famous protest demonstration in music history. The tattoo of drums from the fair now becomes the way Stravinsky will announce each new scene of the ballet, beginning with Scene 2 in Pétrouchka’s cell, where two clarinets play the phrase, in the clashing keys of C major/F-sharp major, that symbolizes not only Pétrouchka’s clownish character, but his About the Music
Severance Hall 2018-19
dual nature, half-puppet, half-human. The puppet’s rage at his helplessness and dependence on the Showman is relieved for a time by a visit from the Ballerina, with whom he is in love. His frantic response to her delicate dance frightens her off, and in his frustration he knocks a hole in the cardboard wall separating his box from that of the Moor. Scene 3 takes place in the room or cell where the richly-dressed Moor lounges, playing with a coconut. (His musical portrait, painted with bass clarinet, english horn, drum, harp, and cymbals, recalls the jangling “Janissary” music with which Mozart and his Viennese contemporaries depicted the menacing Turks.) The Moor’s brutal yet sensual character proves irresistible to the Ballerina, who enters to a march tune for solo trumpet, then dances a delicate puppetwaltz with him (both of whose themes are borrowed from the early Viennese waltz master Joseph Lanner); the stumbling english horn makes it clear that the Moor has two left feet. The jealous Pétrouchka rushes in on this scene, only to be chased off by the Moor. In Scene 4, the frame pulls back to take in the entire fair again, and we hear shimmering string chords that suggest a wheezy accordion. The merry scene includes groups of wet-nurses and coachmen dancing separately and together, a peasant with a performing bear, a drunken merchant scattering bank notes among the crowd, and masqueraders representing the Devil and his companions Greed (a pig) and Lust (a goat). Actual Russian folk tunes abound, including two in the wet-nurses’ dance (one lively and one lyrical), and, following the bear’s ponderous dance, a strongly-marked staccato theme in unison strings for the coachmen. The Devil drives all this revelry to a fever pitch, at which point Pétrouchka and the Moor burst out of the puppet theater. Pétrouchka has saved the Ballerina from rape by the Moor; he and the Moor fight briefly, and Pétrouchka is killed. Barely noticing this incident, the crowd wanders off, leaving the Showman to collect his broken puppet, while the ghost of Pétrouchka jeers at him (in acid muted trumpets) from atop the little theater. —David Wright © 2019 David Wright lives and writes in New Jersey. He previously served as program annotator for the New York Philharmonic.
The Cleveland Orchestra
About the Music
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François-Xavier Roth French conductor François-Xavier Roth has proved himself in leadership positions with orchestras across Europe and as a welcome guest conductor with leading ensembles in Europe and America. He is making his Cleveland Orchestra debut with this weekend’s concerts. In 2003, Mr. Roth founded Les Siècles, an innovative orchestra performing contrasting programs on modern and period instruments, often within the same concert. With Les Siècles, he has given concerts throughout Europe and toured to China and Japan. They recreated the original sound of Stravinsky’s The Rite of Spring in its centenary year in 2013 and subsequently performed the ballet with the Pina Bausch and Dominique Brun dance companies in London, Paris, Frankfurt, Beijing, Nanjing, Shanghai, and Tokyo. Since 2015, Mr. Roth has served as music director for the City of Cologne, leading both the Gürzenich Orchestra/ Cologne Philharmonic and the Cologne Opera. Following a decades’ long relationship with the London Symphony Orchestra, he also became the ensemble’s principal guest conductor in 2017. In addition, he is the first-ever associate artist of the Philharmonie de Paris. Earlier, he served as principal conductor (2011-16) of the SWR Sinfonieorchester Baden-Baden & Freiburg. As a guest conductor, recent and upcoming engagements include Mr. Roth’s return to the Berlin Philharmonic and appearances with the San Francisco Symphony, Montreal Symphony Orchestra, Hamburg’s NDR ElbPhilharmonie, and the Bavarian Radio Symphony Orchestra. This season he continues a focus on
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composer Philippe Manoury, leading the world premiere in Cologne of Lab.Oratorium, the third of a trilogy of works commissioned by the Gürzenich Orchestra. With Cologne Opera, he leads new productions of Strauss’s Salome and Offenbach’s La Grande-Duchesse de Gérolstein, marking the bicentennial of that composer’s birth in Cologne. Engagement with new audiences has long been a crucial part of Mr. Roth’s work as an artist. Together, he and Les Siècles launched Presto!, a French television series attracting weekly audiences of over three million. With the Festival Berlioz and Les Siècles, he founded the Jeune Orchestre Européen Hector Berlioz, an authentic instrument academy with its own collection of period instruments. Mr. Roth’s extensive discography features the complete tone poems of Richard Strauss, along with several of Stravinsky’s ballet scores and Berlioz’s Symphonie fantastique recorded with Les Siècles, and Mahler’s Symphonies Nos. 1, 3, and 5 with the Gürzenich Orchestra. Two albums have been released of a planned cycle of Ravel’s complete orchestral works. In addition, an album to honor the centenary of Debussy’s death was released in November 2018. For more information, please visit www.francoisxavierroth.com. Guest Conductor
The Cleveland Orchestra
Patricia Kopatchinskaja Moldovan-born violinist Patricia Kopat chinskaja performs a diverse repertoire ranging from baroque and classical works, often played on gut strings, to new commissions and modern masterpieces. She is making her Cleveland Orchestra debut with this weekend’s concerts. This season, Ms. Kopatchinskaja plays Tchaikovsky’s Violin Concerto with Musica Aeterna in Russia and tours with the ensemble to Tokyo and Osaka. In addition, the current season features performances of Ligeti’s Violin Concerto with the Mahler Chamber Orchestra, Orchestra Sinfonica Nazionale della RAI, and Aurora Orchestra, and Stravinky’s Violin Concerto with the London Philharmonic, Zurich Tonhalle Orchestra, and Rotterdam Philharmonic. Recent and upcoming appearances also include concerts with the orchestras of Montreal, Berlin, and Los Angeles, as well as with England’s City of Birmingham Symphony Orchestra. Chamber music is also an important focus for Ms. Kopatchinskaja, and she performs regularly with artists including Reto Bieri, Jay Campbell, Sol Gabetta, Markus Hinterhäuser, Polina Leschenko, and Anthony Romaniuk, regularly appearing in Amsterdam, Berlin, London, Vienna, and other major cities. Ms. Kopatchinskaja became artistic director of Camerata Bern with the 2017-18 season. With pianist Polina Leschenko, she released Deux in 2018, which the duo toured to a number of summer festivals. The two are making their debut tours to the U.S. and Japan this season. As music director of California’s Ojai Music Festival in 2018, Ms. Kopatchinskaja led the Mahler Chamber Orchestra in Severance Hall 2018-19
Guest Soloist
the North American premiere of Bye Bye Beethoven, a staged production featuring music by composers including Charles Ives, John Cage, György Kurtág, Bach, and Beethoven. Patricia Kopatchinskaja received a Gram my Award in 2018, with the Saint Paul Chamber Orchestra, for their album Death and the Maiden. Her discography also includes an album of Kancheli’s music with Gidon Kremer and the Kremerata Baltica, along with a disc of duos titled Take Two. She has recorded Tchaikovsky’s Violin Concerto with Musica Aeterna and Schumann’s Violin Concerto and Violin Fantasy with WDR Sinfonieorchester Köln. A selection of concertos by Bartók, Ligeti, and Péter Eötvös (including Seven) was named Recording of the Year by Gramophone magazine and also received a Grammy nomination. Ms. Kopatchinskaja has held the position of artistic partner with the Saint Paul Chamber Orchestra since 2014. She was artist-in-residence with four major European venues and festivals for the 2017-18 season: Berlin Konzerthaus, Lucerne Festival, London’s Wigmore Hall, and the Kissinger Sommer Festival. For more information, please visit www.patriciakopatchinskaja.com.
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Steve Norris and Emily Gonzales love to find new ways to get involved and support The Cleveland Orchestra. Not only do they belong to the Orchestra’s young professionals group, The Circle, they are also the youngest members of the Heritage Society, a group of over 650 generous individuals who have remembered the Orchestra in their estate plans. Steve and Emily met in college, where they took music classes together. After graduation, Steve introduced Emily to summer concerts at Blossom and the beauty of Severance Hall. “Music is an important part of our love story, and we want it to be part of our legacy,” says Steve.
is an “Music important part of
our love story, and we want it to be part of our legacy.”
“Hopefully, our story encourages others to give so that this Cleveland gem will be around for everyone to enjoy for another century and more.” Steve and Emily are living proof: It’s never too early to plan your legacy. To find out more about investing in the future of The Cleveland Orchestra with a planned gift that costs nothing today, contact:
Steve Norris and Emily Gonzales
Everyone Can Leave a
Dave Stokley Legacy Giving Officer The Cleveland Orchestra 216-231-8006 dstokley@clevelandorchestra.com
Legacy
THE CLEVELAND ORCHESTRA
PHOTOGRAPHY by ROGER MASTROIANNI
your passion inspires us all. your your passion yourpassion passion your passion your passion inspires inspires us all. inspiresus usall. all. inspiresususall. all. inspires
your passion your passion inspires us all.
The arts serve as a source of inspiration for us all. That’s why PNC
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is proud to sponsor The Cleveland Orchestra.
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t’s whyinspiration PNC That’s That’s why PNC PNC inspiration for for usus all. all. inspiration for us all.why That’s why PNC and is proud is proud to to sponsor sponsor The The Cleveland Cleveland The arts serve as a source The arts as a source of of is proud to serve sponsor The Cleveland Orchestra. Orchestra. inspiration all. That’s why PNC Orchestra. inspiration for usfor all.usThat’s why PNC is to proud to sponsor The Cleveland is proud sponsor The Cleveland Orchestra. Orchestra.
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THE
CLEVEL AND ORCHESTRA fr a n z we l ser - m Ö st
m u si c dire c tor
Severance Hall
Friday evening, March 1, 2019, at 8:00 p.m. at
the
mov i es
2O18 SEASON 2O19
REBEL WITHOUT A CAUSE directed by Nicholas Ray adapted by Irving Shulman from a story by Nicholas Ray screenplay by Stewart Stern produced by David Weisbart cinematography by Ernest Haller musical score by Leonard Rosenman with the music performed live by
THE CLEVELAND ORCHESTRA conducted by Scott Dunn
T he C ast James Dean. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jim Stark Natalie Wood . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Judy Sal Mineo . . . . . . . . . . . . . . . . . . . . . John “Plato” Crawford Jim Backus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Frank Stark Ann Doran . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Carol Stark Corey Allen . . . . . . . . . . . . . . . . . . . . . . . . Buzz Gunderson William Hopper . . . . . . . . . . . . . . . . . . . . . . . . Judy’s father Rochelle Hudson . . . . . . . . . . . . . . . . . . . . . . . Judy’s mother also appearing: Edward Platt, Marietta Canty, Virginia Brissac, Dennis Hopper, Jack Grinnage, Frank Mazzola, Ian Wolfe, Beverly Long, Robert Foulk, Jack Simmons, Tom Bernard, Nick Adams, Steffi Sidney, Clifford Morris
The film is presented with one intermission, and will end at approximately 10:15 p.m. Producer: John Goberman Live Orchestral Adaptation: Scott Dunn Technical Supervisor: Pat McGillen Music Preparation: Stephen Biagini Original orchestrations reconstructed by John Wilson, Paul Campbell, and Andrew Cottee.
Film courtesy of Warner Bros. Entertainment Inc. The producer wishes to acknowledge the contributions and extraordinary support of John Waxman (Themes & Variations). “Rebel Without a Cause” is a production of PGM Productions, Inc. of New York, and appears by arrangement with IMG Artists. Original release date: October 27, 1955
The Cleveland Orchestra’s At the Movies Series is sponsored by PNC. Severance Hall 2018-19
At the Movies: Rebel Without a Cause
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Scott Dunn American conductor Scott Dunn is also a pianist and noted arranger-orchestrator. Recent engagements have featured him leading performances with the Atlanta Symphony Orchestra, Los Angeles Philharmonic, Royal Philharmonic Orchestra, Seattle Symphony, Sydney Symphony Orchestra, and Vienna Radio Orchestra, as well as the premieres of new one-act operas and Jonathan Dove’s Mansfield Park with UCLA Opera. Mr. Dunn led a number of live orchestral performances of film scores, including Star Trek Beyond, Ratatouille, and Rebel Without a Cause (the score of which he arranged for live performance and led the premiere with the Los Angeles Philharmonic). He has also worked with many star headliners, including Trey Anastasio, Beck, Bill Charlap, Elvis Costello, Sutton Foster, Steve Martin, Leslie Odom Jr., and Wynonna. Scott Dunn is a passionate promoter of American and contemporary music, including film scores and cross-over composers — ranging from George Gershwin and Vernon Duke to Leonard Rosenman and Danny Elfman. His advocacy for scores outside the classical canon can be traced to his long friendship with the late Richard Rodney Bennett, who served as Mr. Dunn’s mentor. Through Bennett, he discovered the work of composer Vernon
Duke (a.k.a. Vladimir Dukelsky) and subsequently premiered Duke’s “lost” Piano Concerto in C at Carnegie Hall and in Moscow. He also edited the Vernon Duke Songbook for Hal Leonard and recorded several of Duke’s compositions, including his cello concerto, violin concerto, and complete works for violin with Elmira Darvarova. In 2016, he conducted the cast recording of a new musical titled Misia, based on the life of Parisian muse and Sergei Diaghilev confidant Misia Sert and set to music by Duke arranged and adapted by Dunn, with orchestrations by Jonathan Tunick, and book and lyrics by Barry Singer. Mr. Dunn has served as associate conductor of the Los Angeles Philharmonic’s Hollywood Bowl Orchestra since 2012. Born and raised in Iowa, he made his Carnegie Hall debut as a pianist in 1999. He is a former assistant to Lukas Foss and student of Byron Janis. Although he does not practice medicine, Mr. Dunn holds a medical degree and board certification in eye surgery.
ALWAYS IN TUNE FROM START TO FINALE
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At the Movies: Conductor
The Cleveland Orchestra
REBEL WITHOUT A CAUSE movie Synopsis In the 1950s, Los Angeles. Not long after moving to L.A. with his parents, 17-yearold Jim Stark (James Dean) is arrested for public drunkenness. At the police station, he meets two other teenagers — Judy (Natalie Wood) and John “Plato” Crawford (Sal Mineo) — who, like Jim, are struggling with problems at home. More than anything, Jim wants his weakwilled father (Jim Backus) to stand up to his domineering mother (Ann Doran). The next morning, Jim’s first day at Dawson High, he is shunned by most of the other students, including Judy and her boyfriend Buzz Gunderson (Corey Allen). But he is befriended by Plato, who begins to view Jim as a father figure. During a class trip to Griffith Observatory, Buzz challenges a reluctant Jim to a knife fight. After Buzz loses the skirmish, he looks to restore his status by proposing the two compete in a “Chickie Run,” where they will drive stolen cars toward a cliff, with the first boy to leap from his car being the loser. At home, Jim tries to coax advice from his father about defending one’s honor when faced with a dangerous situation — and his father suggests avoiding confrontation at all cost. Later that evening, Jim and Buzz engage in the “Chickie Run,” but when Buzz’s jacket gets caught on a door handle he plunges to his death. Plagued by guilt, Jim attempts to unburden himself of the night’s events by speaking to his parents and then a police sergeant — though no one seems to listen. He eventually meets up with Judy and Plato. The three play “house” in an abandoned mansion, with Jim and Judy filling the role of Plato’s parents. However, their happiness is short-lived; they are soon pursued by Buzz’s revenge-minded friends and the police. At Griffith Observatory, Plato — who has stolen his mother’s pistol — finds himself cornered. In the tragic aftermath of Plato’s exchange with the police, Jim is comforted by his father, who promises to be stronger. As dawn approaches, Jim introduces his parents to Judy. Severance Hall 2018-19
At the Movies: Rebel Without a Cause
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THE CLEVELAND ORCHESTRA
Individual Annual Support The Cleveland Orchestra is sustained through the annual support of thousands of generous patrons. The leadership of those listed on these pages (with gifts of $2,000 and more) shows an extraordinary depth of support for the Orchestra’s music-making, education programs, and community initiatives.
Giving Societies gifts in the past year, as of September 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: +
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George Szell Society Dr. and Mrs. Wolfgang Berndt (Europe) Mr. William P. Blair III+ Blossom Friends of The Cleveland Orchestra Laurel Blossom Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski+ The Brown and Kunze Foundation Mr. and Mrs. John E. Guinness Mrs. John A Hadden Jr. Mr. and Mrs. Donald M. Jack, Jr. Mr. and Mrs. Douglas A. Kern Mr. and Mrs. Dennis W. LaBarre+ Toby Devan Lewis Virginia M. and Jon A. Lindseth Ms. Nancy W. McCann+ William J. and Katherine T. O’Neill The Honorable and Mrs. John Doyle Ong+ Mrs. Alfred M. Rankin, Sr. Charles and Ilana Horowitz Ratner+ Barbara S. Robinson (Cleveland, Miami)+ The Ralph and Luci Schey Foundation+ Sally and Larry Sears+ Dr. Russell A. Trusso Barbara and David Wolfort (Cleveland, Miami)+ Anonymous+
With special thanks to the Leadership Patron Committee for their commitment to each year’s annual support initiatives: Barbara Robinson, chair Robert N. Gudbranson, vice chair Ronald H. Bell Iris Harvie James T. Dakin Faye A. Heston Karen E. Dakin Brinton L. Hyde Henry C. Doll David C. Lamb Judy Ernest Larry J. Santon Nicki N. Gudbranson Raymond T. Sawyer Jack Harley
Individual Annual Support
The Cleveland Orchestra 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 guide to Fine
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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
Your legacy helps create a healthier community. Gifts to University Hospitals enable us to live our mission every day and continue the legacy of giving from generation to generation. With your support, we’ll continue advancing the science of health and the art of compassion for the benefit of our patients and our community. Join the many who are leaving their legacy.
To learn more, contact our Gift Planning Team: UHGiving.org | 216-983-2200
Š 2019 University Hospitals
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 O’Brien Richard and Jolene O’Callaghan+ Mr. and Mrs. John Olejko Harvey and Robin Oppmann Mr. Robert Paddock Ms. Ann Page Mr. John D. Papp George Parras Dr. Lewis E. and Janice B. Patterson+ David Pavlich and Cherie Arnold Matt and Shari Peart Nan and Bob Pfeifer
Individual Annual Support
Mr. Charles and Mrs. Mary Pfeiffer Dale and Susan Phillip Ms. Irene Pietrantozzi Maribel A. Piza (Miami)+ Dr. Marc A. and Mrs. Carol Pohl Brad Pohlman and Julie Callsen Peter Politzer In memory of Henry Pollak Mr. Robert and Mrs. Susan Price Sylvia Profenna Mr. Lute and Mrs. Lynn Quintrell Drs. Raymond R. Rackley and Carmen M. Fonseca+ Mr. Cal Ratcliff Brian and Patricia Ratner Dr. Robert W. Reynolds David and Gloria Richards Ms. Carole Ann Rieck Joan and Rick Rivitz Mr. D. Keith and Mrs. Margaret Robinson Mr. Timothy D. Robson+ Ms. Susan Ross Dr. and Mrs. Robert C. Ruhl Mr. Kevin Russell (Miami) Mrs. Elisa J. Russo+ Lawrence H. Rustin and Barbara C. Levin (Miami) Dr. Harry S. and Rita K. Rzepka+ Peter and Aliki Rzepka Dr. Vernon E. Sackman and Ms. Marguerite Patton+ Michael Salkind and Carol Gill Fr. Robert J. Sanson Ms. Patricia E. Say+ Mr. Paul H. Scarbrough+ Robert Scarr and Margaret Widmar Mr. Matthew Schenz Don Schmitt and Jim Harmon Ms. Beverly J. Schneider Ms. Karen Schneider John and Barbara Schubert Mr. James Schutte+ Mrs. Cheryl Schweickart Dr. John Sedor and Ms. Geralyn Presti Ms. Kathryn Seider Lee and Jane Seidman Charles Seitz (Miami) Rafick-Pierre Sekaly Ginger and Larry Shane Harry and Ilene Shapiro Ms. Frances L. Sharp Larry Oscar and Jeanne Shatten+ Dr. and Mrs. William C. Sheldon+ Terrence and Judith Sheridan Mr. Richard Shirey+ Mr. and Mrs. Reginald Shiverick+ Mrs. Dorothy Shrier Mr. Robert Sieck Laura and Alvin A. Siegal Mr. and Mrs. Bob Sill Jim Simler and Doctor Amy Zhang Howard and Beth Simon Ms. Ellen J. Skinner Robert and Barbara Slanina Ms. Anna D. Smith Bruce L. Smith David Kane Smith listings continue
Cleveland Orchestra Orchestra The Cleveland
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
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THE CLEVELAND ORCHESTRA
Corporate Support The Cleveland Orchestra extends heartfelt gratitude and partnership with the corporations listed on this page, whose annual support (through gifts of $2,500 and more) demonstrates their belief in the Orchestra’s music-making, education programs, and community initiatives.
Annual Support gifts in the past year, as of September 1, 2018 The Partners in Excellence program salutes companies with annual contributions of $100,000 and more, exemplifying leadership and commitment to musical excellence at the highest level. PARTNERS IN EXCELLENCE $300,000 AND MORE
Hyster-Yale Materials Handling NACCO Industries, Inc. KeyBank The J. M. Smucker Company Anonymous PARTNERS IN EXCELLENCE $200,000 TO $299,999
BakerHostetler Jones Day PNC Raiffeisenlandesbank Oberösterreich (Europe) PARTNERS IN EXCELLENCE $100,000 TO $199,999
American Greetings Corporation Eaton Medical Mutual Nordson Corporation Foundation Squire Patton Boggs (US) LLP Swagelok Thompson Hine LLP Quality Electrodynamics
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$50,000 TO $99,999
Dollar Bank Foundation Forest City Parker Hannifin Foundation voestalpine AG (Europe) $15,000 TO $49,999
Buyers Products Company Case Western Reserve University DLR Group | Westlake Reed Leskosky Ernst & Young LLP Frantz Ward LLP The Giant Eagle Foundation Great Lakes Brewing Company Hahn Loeser & Parks LLP The Lincoln Electric Foundation The Lubrizol Corporation MTD Products, Inc. Ohio Savings Bank, A Division of New York Community Bank Olympic Steel, Inc. Park-Ohio Holdings RPM International Inc. The Sherwin-Williams Company Westfield Insurance United Airlines
Corporate Annual Support
$2,500 TO $14,999 American Fireworks, Inc. Applied Industrial Technologies BDI Blue Technologies Brothers Printing Co., Inc. Calfee, Halter & Griswold LLP Cleveland Steel Container Corporation The Cleveland Wire Cloth & Mfg. Co. The Cliffs Foundation Cohen & Company, CPAs Consolidated Solutions Deloitte & Touche LLP Dominion Energy Charitable Foundation Evarts Tremaine The Ewart-Ohlson Machine Company Arthur J. Gallagher & Co. Glenmede Trust Company Gross Builders Huntington National Bank Johnson Investment Counsel KPMG LLP Littler Mendelson, P.C. Live Publishing Company Materion Corporation Miba AG (Europe) Oatey Ohio CAT Oswald Companies PolyOne Corporation PwC RSM US, LLP Stern Advertising Struktol Company of America Ulmer & Berne LLP University Hospitals Ver Ploeg & Lumpkin (Miami) Anonymous (2)
The Cleveland Orchestra
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
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
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$15,000 TO $49,999
The Abington Foundation The Batchelor Foundation, Inc. (Miami) Mary E. & F. Joseph Callahan Foundation The Helen C. Cole Charitable Trust Cuyahoga Community College Mary and Dr. George L. Demetros Charitable Trust The Char and Chuck Fowler Family Foundation The Gerhard Foundation, Inc. The Helen Wade Greene Charitable Trust The Kirk Foundation (Miami) The Frederick and Julia Nonneman Foundation National Endowment for the Arts The Reinberger Foundation Sandor Foundation Albert G. & Olive H. Schlink Foundation Jean C. Schroeder Foundation The Sisler McFawn Foundation Dr. Kenneth F. Swanson Fund for the Arts of Akron Community Foundation The Veale Foundation The Edward and Ruth Wilkof Foundation
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.
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The Cleveland Orchestra
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Franz Welser-Möst and Cleveland Orchestra look toward Asia tour in spring 2019 . . . t h e c l e v e l a n d o r c h e s t r a and Franz Welser-Möst embark on their nineteenth international tour together in spring 2019, with eleven performances scheduled across Asia in seven cities: Taipei, Macau, Shenzhen, Shanghai, Nanjing, Wuhan, and Beijing. The tour’s repertoire showcases four musical works, two from the 19th century and two from the 20th, with Beethoven’s “Emperor” Piano Concerto (No. 5) featuring soloist Daniil Trifonov and Tchaikovsky’s Fifth Symphony, alongside Richard Strauss’s tone poem Ein Heldenleben and Prokofiev’s Third Symphony. The 2019 Asia Tour will be the Orchestra and Welser-Möst’s third trip together to Asia and features their first joint appearances in China. The tour includes the first Cleveland Orchestra performances in Macau, Shenzhen, Wuhan, and Nanjing, along with return visits to Beijing and Shanghai (which the Orchestra first visited in 1998) and to Taipei (where the Orchestra played in 1987). “The Cleveland Orchestra has toured internationally almost every season for the past half century,” says André Gremillet, Cleveland Orchestra 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
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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.”
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orchestra news
the cleveland orchestra
New solo album features Cleveland Orchestra trumpeter Jack Sutte
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.
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.
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Cleveland Orchestra News
The Cleveland Orchestra
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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, minor repairs DROP-OFF for Cleveland’s made, and gifted to children participating in programs in the LOCATION children! Glenville 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 along EastCleveland, Boulevard in University Circle. A drive-up collection area will be set up on East Boulevard near Euclid Avenue on Severance Hall, 11001 Euclid 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.
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PHOTO BY ROGER MASTROIANNI
orchestra news
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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
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Cleveland Orchestra Reviews
The Cleveland Orchestra
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T H E CL E V E LA N D O R C H E S T R A
I.N M.E .M.O.R.I. a .m
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.”
Bill Naiman
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).
The international collaboration returns to Cleveland with Laura Alonso
MARCH 15, 2019 7PM www.verbballets.org
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Musicians Emeritus of
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Listed here are the living members of The Cleveland Orchestra who served more than twenty years, all of whom now carry the honorary title of Emeritus. Appointed by and playing under four music directors, these 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
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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
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Special thanks to musicians for supporting the Orchestra’s long-term financial strength The Board of Trustees extends a special acknowledgement to the members of The Cleveland Orchestra for supporting the institution’s programs by jointly volunteering their musical services for several concerts each season. These donated services have long played an important role in supporting the institution’s financial strength, and were expanded with the 2009-10 season to provide added opportunities for new and ongoing revenuegenerating performances by The Cleveland Orchestra. “We are especially grateful to the members of The Cleveland Orchestra for this ongoing and meaningful investment in the future of the institution,” says André Gremillet, 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.”
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MainStage series 7:30 p.m. , Akron’s EJ Thomas Hall $45 / $40 / $25 / free for students
Tuesday, March 12 Russian Mastery Chamber Music Society of Lincoln Center Taneyev’s epic Piano Quintet anchors this program that affirms the composer’s mastery through the genius of his students Prokofiev and Rachmaninoff — and reveals Taneyev’s roots in the music of his mentor Tchaikovsky.
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11001 Euclid Avenue Cleveland, Ohio 44106 clevelandorchestra . com
WELCOME
learn more
Severance Hall is Cleveland’s “musical home” for symphonic music and many other presentations. We are strongly committed to making everyone feel welcome. The following information and guidelines can help you on your musical journey.
Concert Previews
Doors Open Early
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.
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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
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sharing the space
access and services
The concert halls and lobbies are shared by all audience members. Please be mindful and courteous to others. To ensure the listening pleasure of all patrons, please note that anyone creating a disturbance may be asked to leave the performance.
We welcome all guests to our concerts and strive to make our performances accessible to all patrons.
Late Seating Performances at Severance Hall start at the time designated on the ticket. In deference to the performers onstage, and for the comfort and listening pleasure of audience members, late-arriving patrons will not be seated while music is being performed. Latecomers are asked to wait quietly until the first break in the program, when ushers will assist them to their seats. Please note that performances without intermission may not have a seating break. These arrangements are at the discretion of the House Manager in consultation with the conductor and performing artists. Happy artists make better concerts.
Photography and selfies, video and audio recording Photographs of the hall and selfies to share with others through social media can be taken when the performance is not in progress. However, audio recording, photography, and videography are prohibited during performances at Severance Hall.
phones and watches As a courtesy to others, please turn off or silence any phone or device that makes noise or emits light — including disarming electronic watch alarms. Please consider placing your phone in “airplane mode” upon entering the concert hall.
hearing aids Patrons with hearing aids are asked to be attentive to the sound level of their hearing devices and adjust them accordingly so as not to disturb those near you.
Medical assistance Contact an usher or a member of the house staff if you require medical attention. Emergency medical assistance is provided in partnership with University Hospitals Event Medics and the UH Residency Program.
Security and firearms For the security of everyone attending concerts, large bags (including all backpacks) and musical instrument cases are prohibited in the concert halls. These must be checked at coatcheck and may be subject to search. Severance Hall is a firearms-free facility. With the exception of on-duty law enforcement personnel, no one may possess a firearm on the premises.
in the event of an emergency Emergency exits are clearly marked throughout the building. Ushers and house staff will provide instructions in the event of an emergency.
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Services for persons with disabilities
Severance Hall provides special seating options for mobility-impaired persons and their companions and families. There are wheelchair- and scooter-accessible locations where patrons can remain in their wheelchairs or transfer to a concert seat. Aisle seats with removable armrests are also available for persons who wish to transfer. Tickets for wheelchair accessible and companion seating can be purchased by phone, in person, or online. As a courtesy, Severance Hall provides wheelchairs to assist patrons in going to and from their seats upon entering the building. Patrons can make arrangements by calling the House Manager in advance at 216-231-7425. Service animals are welcome at Severance Hall. Please notify the Ticket Office as you buy tickets.
Assistance for the deaf or hard of hearing Infrared Assistive Listening Devices (ALDs) are available without charge for most performances at Severance Hall, in Reinberger Chamber Hall and upstairs in the Concert Hall. Please inquire with a Head Usher or the House Manager to check out an ALD. A driver’s license or ID card is required, which will be held until the return of the device.
large print programs and Braille editions A large print edition of most Cleveland Orchestra program books are available; please ask an usher. Braille versions of our program books can be made available with advance request; please call 216-231-7425.
children and families Our Under 18s Free ticket program is designed to encourage families to attend together. For more details, visit clevelandorchestra.com/under18. Regardless of age, each person must have a ticket and be able to sit quietly in a seat throughout the performance. Cleveland Orchestra subscription concerts are not recommended for children under the age of 8. However, there are several age-appropriate series designed specifically for children and youth, including: Musical Explorers! (recommended for children 3 to 6 years old) and Family Concerts (for ages 7 and older).
younger children We understand that sometimes young children cannot sit quietly through a full-length concert and need to get up and move or talk freely. For the listening enjoyment of those around you, we respectfully ask that you and your active child step out of the concert hall to stretch your legs (and baby’s lungs). An usher will gladly help you return to your seat at an appropriate break.
Guest Information
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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.
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.
Estate Planning Practice Group Nicola, Gudbranson & Cooper, LLC 216-621-7227 | www.nicola.com
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.
CLE_ORCH.pdf
Severance Hall 2018-19
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Unable to use your tickets? Ticket holders unable to use or exchange their tickets are encouraged to notify the Ticket Office so that those tickets can be resold. Because of the demand for tickets to Cleveland Orchestra performances, “turnbacks” make seats available to other music lovers and can provide additional income to the Orchestra. If you return your tickets at least two hours before the concert, the value of each ticket can be a tax-deductible contribution. Patrons who turn back tickets receive a cumulative donation acknowledgement at the end of each calendar year.
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1-877-698-6264 www.VNAOhio.org Nursing & Rehabilitation • Behavioral Health • Hospice • Private Duty
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Dreams can come true
Cleveland Public Theatre’s STEP Education Program Photo by Steve Wagner
... WITH INVESTMENT BY CUYAHOGA ARTS & CULTURE Cuyahoga Arts & Culture (CAC) uses public dollars approved by you to bring arts and culture to every corner of our County. From grade schools to senior centers to large public events and investments to small neighborhood art projects and educational outreach, we are leveraging your investment for everyone to experience.
Your Investment: Strengthening Community Visit cacgrants.org/impact to learn more.
T H E C LEVELAND O R C H E S T R A Administrative Staff EXECUTIVE OFFICE André Gremillet president and CEO
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 15, 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
David Szekeres
Facilities
Senior manager, Design & Publications
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
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
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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 Hanzel 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 Individual Giving Manager
Laurie Burman senior major gift officer
Henry Peyrebrune gift officer (Consultant)
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
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ENJOY THE INTIMATE SETTING OF ONE OF THE NATION’S BEST ACADEMIC ART MUSEUMS. LOCATED ON THE OBERLIN COLLEGE CAMPUS Free to the public since 1917, the Allen Memorial Art Museum presents an acclaimed collection of more than 15,000 objects from virtually every culture and time period. FIRST THURSDAY EVENING HOURS Galleries remain open until 7:30 p.m., with a guest lecture or musical performance, on March 7, April 4, and May 2. These free programs begin at 5:30. Select current exhibitions: THE BODY IS THE MAP: APPROACHES TO LAND IN THE AMERICAS AFTER 1960—Postwar art that evokes the presence of the human body, with works by Christo, Leonardo Drew, Dennis Oppenheim, Ana Mendieta, Robert Smithson, and others. NATURE AND NOSTALGIA IN EARLY 20thCENTURY JAPANESE ART—White egrets and kimono-clad women populate idealized landscapes in prints and painted screens. The works reflect a wish to escape the city and return to an earlier time more in harmony with nature and tradition. WOMEN BOUND AND UNBOUND—Depictions of women in prescribed roles, and those who challenged stereotypes, spanning five millennia. Allen Memorial Art Museum 87 North Main St. Oberlin, Ohio
Open Tuesday to Saturday 10–5 Sunday 1–5 Closed Mondays and major holidays
Free admission www.oberlin.edu/ amam
11001 Euclid Avenue Cleveland, Ohio 44106
P H OTO BY S T E V E H A L L © H E D R I C H B L E S S I N G
clevelandorchestra . com
the world’s most beautiful concert halls, Severance Hall has been home to The Cleveland Orchestra since its opening on February 5, 1931. After that first concert, a Cleveland newspaper editorial stated: “We believe that Mr. Severance intended to build a temple to music, and not a temple to wealth; and we believe it is his intention that all music lovers should be welcome there.” John Long Severance (president of the Musical Arts Association, 1921-1936) and his wife, Elisabeth, donated most of the funds necessary to erect this magnificent building. Designed by Walker & Weeks, its elegant
h a i l e d as o n e o f
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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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. That’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