The Cleveland Orchestra March 14-17, 21-23 Concerts

THE CLEVELAND ORCHESTRA FRANZ WELSER-MÖST

2O18 SEASON 2O19 WINTER

Welcome . . . . . . . . . . . . . . . . . . . . . . . . page 7 Week 17 — March

14, 15, 16, 17 Tchaikovsky’s Fifth . . . . . . . . . . . . page 21 Week 18 — March

21, 22, 23 Strauss: A Hero’s Life . . . . . . . . page 53

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 17 and 18 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 Severance Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 17 TCHAIKOVSKY’s Fifth Symphony

week

Concert: March 14, 15, 16, 17. . . . . . . . . . . . . . . . .

Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . haydn Symphony No. 34 . . . . . . . . . . . . . . . . . . . . . . . . . . . deutsch Okeanos (organ concerto). . . . . . . . . . . . . . . . . . . tchaikovsky Symphony No. 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . .

ON THE COVER 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.

21 23

Program book advertising is sold through Live Publishing Company at 216-721-1800

25 29 41

Music Director: Franz Welser-Möst . . . . . . . . . . . . . . 13 Guest Soloist: Paul Jacobs . . . . . . . . . . . . . . . . . . . . . . 37

18 STRAUSS: A HERO’S LIFE

week

Concert: March 21, 22, 23. . . . . . . . . . . . . . . . . . . . .

Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . schubert Symphony No. 4 (“Tragic”) . . . . . . . . . . . . . . . . . . webern Six Pieces for Orchestra, Opus 6 . . . . . . . . . . . . . strauss Ein Heldenleben [A Hero’s Life] . . . . . . . . . . . . . . .

2O18 SEASON 2O19

53 55 57 61

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.

65

Music Director: Franz Welser-Möst . . . . . . . . . . . . . . 13

NEWS Support

Cleveland Orchestra News. . . . . . . . . . 85

Heritage Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Severance Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Annual Support Individual Support . . . . . . . . . . . . . . . . . . . . . . . . .

Corporate Support . . . . . . . . . . . . . . . . . . . . . . . . .

Foundation/Government Support . . . . . . . . . .

4

50%

47 51

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

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

These books are printed with EcoSmart certified inks, containing twice the vegetable-based material and one-tenth the petroleum oil content of standard inks, and producing 10% of the volatile organic compounds.

72 80 82

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 March 2019 Later this month, Franz Welser-Möst and The Cleveland Orchestra set out on a three-week concert tour of Asia, featuring 11 performances in 7 cities. A number of us will have the opportunity to witness and share in this experience. Many of you have suggested to me that touring must be glamorous and fun. In fact, while it is certainly exciting and exhilarating, the unrelenting pace of living out of suitcases and working day André Gremillet after day in new locations also make it an exhausting and pressure-filled experience both for the musicians and the touring team that supports them.

Why should Clevelanders care that The Cleveland Orchestra is going to Asia?

First of all, we proudly carry the Cleveland name everywhere we go. To people far and wide, The Cleveland Orchestra represents the aspirations and excellence of our community, which has created and fostered one of the world’s great cultural institutions. The Orchestra takes pride in advocating the values of Ohio, our region, and our country on the world stage.

Secondly, Asia — and China in particular — represents an important and expanding market for classical music. Dozens of Chinese cities have built world-class concert halls in the past decade and have audiences eager to experience the best ensembles from across the globe. Despite political tensions that might arise between our two countries from time to time, music lovers and music makers in the United States and China have much to share with one another. The arts, culture, and education are a worldwide community, with many American students studying abroad and many foreign students coming here, including to the many quality institutions for higher education located in Northeast Ohio.

THIS MONTH Franz Welser-Möst leads The Cleveland Orchestra in two weeks of powerful music this month, including Tchaikovsky’s poignantly heartfelt Fifth Symphony and the imaginative showmanship of Richard Strauss’s “A Hero’s Life” — an oversized tone poem starring the composer himself. We also welcome Bernd Richard Deutsch for the first of two seasons as our Daniel R. Lewis Young Composer Fellow.

—ANDRÉ GREMILLET

The Cleveland Orchestra was invited to China specifically because of our global reputation for excellence and the unique artistry we offer. We have long been known overseas through our recordings and telecasts as one of the best orchestras in the world, but Chinese fans want to hear The Cleveland Orchestra live, to understand for themselves just how extraordinary our music-making is. It is an honor and privilege for Cleveland to be invited, and it is vitally important to share our music with fans everywhere — to confirm The Cleveland Orchestra’s position as one of the world’s top orchestras for the coming decades.

Touring represents a growing market. The 21st century offers us many opportunities and challenges as an institution. Just as we are working to play more music for more people at home in Northeast Ohio, we also seek to connect and engage with music lovers around the world, who revel in and worship the orchestral excellence of The Clevecontinues

Severance Hall 2018-19

From the President

7

continued

land Orchestra. Fans from across the globe offer us potential opportunities for support in the years ahead, in live performance, and through recordings and new media projects. I believe it is up to us to leverage our standing in the world toward ever greater good — both financially and in enthusiasm and in the understanding that our artform offers.

I would also add that playing away from home reminds us, each and every time, how very special and unique our hometown is — and how fortunate we are to have such an incredibly supportive and interested community.

There is no better, more supportive audience anywhere in the world. You listen intently, you root for us, you make us whole. Our primary focus is and always will be on Cleveland and Ohio, offering you the unique concert experiences you deserve.

Throughout the upcoming Asia tour, I look forward to our team keeping you informed through regular reports posted online at The Cleveland Orchestra’s website, and through social media including Twitter and Facebook.

André Gremillet President & CEO The Cleveland Orchestra

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

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 P r 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

9

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

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Advisory Councils and Boards

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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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GRAMMY AWARD WINNER, 2019 Baroque orchestra jeannette sorrell

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Conductor Jeannette Sorrell and her choir and orchestra are internationally respected for compelling performances of Bach’s sacred works.

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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. The Orchestra’s longstanding championship of new composers and the 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 21stcentury 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

15

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 a century of 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 — 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 contexts with new and older works. Franz

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.

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 classroom, and for the community.

The Cleveland Orchestra

The Cleveland Orchestra

Evolving Greatness. The Cleveland Orchestra was founded in 1918. Over the ensuing decades, the ensemble quickly grew from a fine regional organization to being one of the most admired symphony orchestras in the world. Seven music directors have guided and shaped the ensemble’s growth and sound: Nikolai Soko­loff, 1918-33; Artur Rodzinski, 1933-43; Erich Leins­dorf, 1943-46; George Szell, 194670; Lorin Maazel, 1972-82; Christoph von Dohnányi, 1984-2002; and Franz Wel­serMöst, since 2002.

The opening in 1931 of Severance

Hall as the Orchestra’s permanent home brought a special pride to the ensemble and its hometown. With acoustic refinements under Szell’s guidance and a building-wide restoration and expansion in 1998-2000, Severance Hall continues to provide the Orchestra an enviable and intimate acoustic environment in which to perfect the ensemble’s artistry. Touring performances throughout the United States and, beginning in 1957, to Europe and across the globe have confirmed Cleveland’s place among the world’s top orchestras. Year-round performances became a reality in 1968 with the opening of Blossom Music Center, one of the most beautiful and acoustically admired outdoor concert facilities in the United States.

Today, concert performances, community presentations, touring residencies, broadcasts, and recordings provide access to the Orchestra’s acclaimed artistry to an enthusiastic, generous, and broad constituency around the world.

Program Book on your Phone Visit www.ExpressProgramBook.com to read bios and commentary from this book on your mobile phone before or after the concert.

Severance Hall 2018-19

Thursday, March 28 Escher String Quartet World premiere of Andrew Norman quartet.

Thursday, April 18 For Lenny Pianist Lara Downes celebrates the creativity and humanity of Leonard Bernstein.

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

The Cleveland Orchestra

330-761-3460 tuesdaymusical.org 17

T H E

C l e v e la n d

Franz Welser-Möst Music Direc toR

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 Llinás2

Eli Matthews1

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 Switalski2 Scott Haigh1

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 Bernard2

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 Weiss1

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 r ch e st r a FLUTES Joshua Smith*

Elizabeth M. and William C. Treuhaft Chair

Saeran St. Christopher Jessica Sindell2

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 Rathbun2

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 McKelway2

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 Stees2

Sandra L. Haslinger Chair

Jonathan Sherwin contrabassoon Jonathan Sherwin

Severance Hall 2018-19

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 Steelman2

James P. and Dolores D. Storer Chair

Michael Miller CORNETs Michael Sachs*

Mary Elizabeth and G. Robert Klein Chair

Michael Miller TROMBONES Shachar Israel2 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*

Otto G. and Corinne T. Voss Chair

Tom Freer

2

Mr. and Mrs. Richard K. Smucker Chair

percussion Marc Damoulakis*

Margaret Allen Ireland Chair

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

Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair

librarians Robert O’Brien

Joe and Marlene Toot Chair

Donald Miller Endowed chairs currently unoccupied Sidney and Doris Dworkin Chair Blossom-Lee Chair Sunshine Chair Myrna and James Spira Chair Gilbert W. and Louise I. Humphrey Chair George Szell Memorial Chair

* Principal § Associate Principal 1 2

First Assistant Principal Assistant Principal

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

The Musicians

19

Photo by Roger Mastroianni, courtesy of The Cleveland Orchestra.

Photo by Roger Mastroianni, courtesy of The Cleveland Orchestra.

Paul PaulJacobs Jacobsperforms performsatatSeverance SeveranceHall Hall on onApril April28, 28,2018.

2018.

iconic

It’s It’smore morethan thanmusic. music.

We Weare areproud proudtotosupport supportThe TheCleveland ClevelandOrchestra Orchestra and andthe thetransformative transformativepower powerofofaccomplished accomplishedprofessionals professionals working workingtogether togethertotoachieve achieveexcellence. excellence.

bakerlaw.com bakerlaw.com

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, March 14, 2019, at 7:30 p.m.

Friday evening, March 15, 2019, at 8:00 p.m.

Saturday evening, March 16, 2019, at 8:00 p.m.

Sunday afternoon, March 17, 2019, at 3:00 p.m.

Franz Welser-Möst, conductor

f. joseph haydn

(1732-1809)

2O18 SEASON 2O19

Symphony No. 34 in D minor

1. Adagio 2. Allegro 3. Menuet — Trio 4. Presto assai

Okeanos (concerto for organ and orchestra)

bernd richard deutsch

(b. 1977)

UNITED STATES PREMIERE PERFORMANCES

1. [Water] quarter note = 66 2. [Air] quarter note = 132 3. [Earth] quarter note = 66 4. [Fire] quarter note = 140

paul jacobs, organ

int er mission

pyotr ilyich tchaikovsky

Symphony No. 5 in E minor, Opus 64

(1840-1893) 1. Andante — Allegro con

anima

2. Andante cantabile con alcuna licenza 3. Waltz: Allegro moderato 4. Finale: Andante maestoso — Allegro vivace

This weekend’s concerts are supported through the generosity of the BakerHostetler Guest Artist Series sponsorship.

Paul Jacobs’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from Mrs. Warren H. Corning.

In recognition of their extraordinary generosity in support of The Cleveland Orchestra, these performances are dedicated to: Ms. Beth E. Mooney (Thursday, March 14) Dr. and Mrs. Hiroyuki Fujita (Friday, March 15)

Severance Hall 2018-19

Concert Program — Week 17

21

2O18 SEASON 2O19

March 14, 15, 16, 17 THIS WEEK’S CONCERT Restaurant opens: THUR 4:30 FRI 5:00 SAT 5:00 SUN noon 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

“Across the Centuries” with composer Bernd Richard Deutsch and guest soloist Paul Jacobs in conversation with Caroline Oltmanns, Youngstown State University Duration times shown for musical pieces (and intermission) are approximate.

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

Haydn Symphony No. 34 . . . . . . . . . . . . . . . . . . . . .

(15 minutes)

page 25

deutsch Okeanos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 29 (30 minutes)

Cleveland Orchestra Store

INTERMISSION

Located in the Smith Lobby on the groundfloor, the Cleveland Orchestra Store is open before and after concerts, and during intermission.

(20 minutes)

tchaikovsky Symphony No. 5 . . . . . . . . . . . . . . . . . . . . . . . page 41 (50 minutes)

Concert ends:

(approx.)

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

THUR 9:35 FRI 10:05 SAT 10:05 SUN 5:05

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22

This Week’s Concerts

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

The Cleveland Orchestra

i n t r o d u c i n g t h e MU S IC

Life’s Lessons in Music

relationship with Tchaikovsky’s music across my lifetime. At first, I was enthralled and enamored listening to his symphonies, especially the last three — with their raw emotion, vehement strength, and handsome melodies. Later on, I began to hear what I perceived to be flaws in his writing — excesses, repetition, lack of discipline.

Of course, early on I also thought I had an understanding of life’s stages, from youth to maturity, from sweet white wine to richer, darker reds, from childish ketchup to grainy vibrant mustard, from . . . well, Tchaikovsky . . . to the complexities of Mahler and Shostakovich.

Today, I understand I was conflicted (and naïve). Or perhaps my parents taught me too well to question everything around me — good, bad, indifferent — in search of understanding. Yet one of life’s lessons, surely, is that perceptions change, that something can feel very different when viewed from new vantage points along one’s personal journey here on planet earth.

In fact, as the decades roll, one homes in on certain truths. And perspectives change.

One returns to old ideas (and music) and looks at (and listens to) things anew. At least, that is my understanding of the world, and, indeed, of my role across the years with The Cleveland Orchestra. I’m not here to “explain” the music to you the listener, but simply to get you interested and curious. To open your ears and minds to something new, or to reconsider a piece you thought (think) you know so well. As my predecessor Klaus G. Roy understood better than I, the program book is both source and instigator, tradition and revolution. Yes, it needs to answer certain questions of fact, but most of all, it needs to egg you on, to prepare you to listen, to dare you to listen!

Like wines and condiments, there is no single path in terms of maturation and aging. White wines and red wines complement differently — as does music, as do ideas, poetry, visual art, theater. At any given moment, some may seem “better” than others, or at least feel deeper,

t c h a i ko v sk y

deutsch

H AYDN

i f y o u ask m e , I will admit that I’ve had something of a love-hate

continues

Severance Hall 2018-19

Introducing the Concert

23

continued from previous page

with more options for listening and contemplation right now. In my life today, I am searching for different things in music, for different emotional and intellectual truths. And that’s okay. Old songs (symphonies) can be rediscovered.

And, yes, I appreciate Tchaikovsky again, but in different ways.

This week’s concerts, in addition to a terrific symphony by “our Russian friend,” offer two further delights. First, an early symphony by Franz Joseph Haydn, when he was still learning the ropes and just getting started in experimentation. Yet what wonderful quality of writing and ideas are in this music, what a marvelous foretaste of his mature artistry to come — and of so many lineages of symphonic writing in which he served as ancestor . . . Mozart . . .

Beethoven . . . Schumann . . . Schubert (see next week’s concert!) . . . Brahms . . . Dvořák . . . Tchaikovsky . . . Mahler, to name only a few.

In the concert’s middle comes a new voice to Cleveland, the United States premiere of a very recent organ concerto by an Austrian composer.

Bernd Richard Deutsch is serving as The Cleveland Orchestra’s tenth Daniel R. Lewis Young Composer Fellow — and this work, titled Okeanos, serves as introduction and calling card for someone whose ideas and voice we will be hearing more of and getting to know. Listen with welcoming, open ears.

The concerts conclude with Tchaikovsky’s big and brash Fifth Symphony, from 1888. Here the composer wrestled with the weight that Fate had pressed against his shoulders — and argued himself (or at least his music) to a strong and optimistic ending. His own life was filled with as much trouble as triumph, and often overcome with insecurities. Art, however, can only partially imitate life — and this symphony has its own tale to tell, quite separate from Tchaikovsky’s inner demons. It is a fully satisfying experience, drenched in melody, grandeur, and structure.

I believe that, on certain weeks, this program book does a better job, compared to other weeks, in nudging audiences (that’s you! reading this now!) to open ears and listen hard. Some weeks, I’ve been told (and thank you to those who provide me feedback), these pages ably serve as prelude and companion to the glorious magnificence onstage. I humbly have my doubts. Because there is no other ensemble on earth with the week-in, week-out artistry of The Cleveland Orchestra. Across my several decades, listening to performances around the world, I’ve occasionally heard orchestras, on a given night, sound as good as, but no one is better — for Cleveland Orchestra performances are as good as it gets, in this world, on this planet.

—Eric Sellen

2018-19 is Eric Sellen’s twenty-sixth season as The Cleveland Orchestra’s program book editor.

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Introducing the Concert

The Cleveland Orchestra

Symphony No. 34 in D minor composed circa 1765

At a Glance

Haydn wrote this “Symphony in D minor” around 1765, when the composer was in his early thirties. The date of its first performance is unknown.

(Haydn’s symphonies were numbered after the composer’s death, in what was thought to be chronological order.)

This symphony runs up to about

by

F. Joseph

HAYDN

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

Severance Hall 2018-19

20 minutes in performance. Haydn scored it for a small orchestra of 2 oboes, bassoon, 2 horns, and strings.

A keyboard, such as harpsichord may also be used as a “continuo,” filling in or emphasizing harmonies.

The Cleveland Orchestra is presenting this symphony for the first time with this weekend’s concerts.

About the Music

f o r t h e f i r s t s i x t y y e a r s of his life, Haydn never moved beyond Vienna and its immediate eastern provinces — the area where Austria, the Czech Republic, and Hungary now converge.

As the son of a wheelwright, Haydn rose to world eminence and the patronage of kings and emperors solely through his musical gifts. The single element of luck in his career was the chance that brought the organist of Vienna’s St. Stephen’s Cathedral to the small town where eight-year-old Haydn was at school. His talent for music and his pleasing voice were sufficient to transport him (literally) to St. Stephen’s, the leading church in Vienna, within the ambience of the great notabilities of the Hapsburg Empire.

Of course, his adolescent voice deepened, so that his musical skills looked beyond his boy-choir performances. For his first years as a composer, he took what work he could find in Vienna.

Then in 1759, the year of his first symphony, he was engaged as music director to Count Morzin, a Viennese nobleman, and within a year he was taken on by Prince Esterházy, the first of four princes of that line for whom Haydn worked across the next forty years.

His contract with Esterházy stipulated, among other duties and obligations, that he “shall appear in uniform. The said Joseph Heyden shall take care that he and all the members of his orchestra follow the instructions given and appear in white stockings, white linen, powdered, and with either a queue or a tiewig.”

Moving between Vienna and the prince’s two sumptuous country palaces (Esterháza and Eisenstadt), Haydn was obligated to his employer for everything and could scarcely call his life, let alone his works, his own. Yet Nikolaus the Magnificent, who was prince from 1762 to 1790, adored music and valued Haydn enor-

About the Music

25

Esterháza Palace in Fertőd, Hungary, built by Prince Nikolaus I (1714-1790) and first occupied in 1766. It witnessed the premiere of many of Haydn’s middleperiod symphonies and operas.

mously. Haydn’s worldwide fame grew directly from the music he wrote for the prince — whether symphonies, quartets, or operas — and which the many visitors to the Esterházy palaces had occasion to enjoy (and talk about with their friends and acquaintances far and wide).

All in all, it was a form of artistic confinement that suited Haydn perfectly. He had no resentment about his status; his muse had room and time and resources (the prince’s private orchestra and musicians) to mature slowly and privately, until in his advanced years Haydn was ready to enjoy the fruits of seniority and celebrity, feted across Europe and especially in Paris and London.

Symphony No. 34, most likely written in 1765, is notable as Haydn’s first symphony in a minor key. It is often seen as a harbinger of the more animated Sturm und Drang, or “Storm and Stress,” symphonies that he began writing the next year. The minor key, however, is only in place for the Adagio opening movement (giving the work its titled key signature). In many symphonies of the time (and later), an adagio-paced movement is placed second; here, instead, it comes first, leaving the Allegro to come second.

This plan of flip-flopped opening movements is also found in Symphony No. 49 from 1768, nicknamed “La Passione” [The Passion] and also in a minor key. (The 20th-century composer Luigi Dallapiccola liked to tell how discombobulated he was as a young man when he first heard No. 49. Because it started slowly, he assumed this was just a languid introduction to the first movement, leading into a main Allegro. When it continued to the length of a full first movement, he felt he had been tricked. Let the listener beware!)

No. 34 is one of many of Haydn’s early symphonies in which every section of each movement is marked to be repeated. Conductors are, of course, free to decide whether to observe the re-

26

About the Music

The Cleveland Orchestra

peats or not, but in theory the work can last anywhere between 12 and 24 minutes as a result. It is considered generally customary today to observe the first repeat of Allegro movements and all the repeats in the Menuet and Trio, but the other choices will vary from one performance to the next, conductor to conductor. (In Haydn’s time, it was expected, on the return to the Menuet following the movement’s Trio section, that the repeats would be observed again, although that is very rarely heard in modern practice.) Mozart in his later works would occasionally write “Minuetto da capo senza repetizione,” which tells us that normally players observed repeats wherever and whenever they were marked. They had long evenings to fill, entertaining their masters, so repeats worked in their favor.

No doubt, in the case of Symphony No. 34 and other symphonies at Esterházy, Haydn’s aristocratic listeners enjoyed his music so much they were only too glad to hear it all again.

—Hugh Macdonald © 2019 Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis. He has written books on Beethoven, Berlioz, Bizet, and Scriabin

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About the Music

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Okeanos (concerto for organ and orchestra) composed 2014-15

At a Glance

by

Bernd Richard

deutsch

born Mödling, Austria, (just outside Vienna) May 15, 1977 living in Vienna

Severance Hall 2018-19

Deutsch wrote this organ concerto between September 2014 and August 2015, in Vienna and near Trieste, Italy, on a commission from Vienna’s Gesellschaft der Musikfreunde and the ORF Symphony Orchestra Vienna. It was premiered on November 26, 2015, in Vienna’s Musikverein, with Stefan Asbury conducting and Wolfgang Kogert as the soloist.

This concerto runs almost 30 minutes in performance. Deutsch scored it for large orchestra of 4 flutes (second and third doubling piccolo, fourth doubling alto flute), 3 oboes (third doubling english horn), 3 clarinets (third doubling bass clarinet), 3 bas-

soons (third doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (snare drum, bongos, tom-tom, pedal bass drum, brake drum, rute, temple blocks, woodblock, claves, wind machine, triangle, wind chimes, bell tree, crotales, bells, crash cymbals, 12 plate bells, gong, chinese opera gong, nipple gong, tam-tam, xylophone, anvil, vibraphone, 2 vibratone, glockenspiel), celesta, harp, and strings, plus the solo organ.

The Cleveland Orchestra is presenting this concerto for the first time with this weekend’s concerts.

About the Music

t h i s o r g a n c o n c e r t o — titled Okeanos after the Greek

personification for the world’s oceans — is intended as an introduction to Bernd Richard Deutsch. Aged 42, this native Austrian is The Cleveland Orchestra’s newest Daniel R. Lewis Young Composer Fellow. Thus, he is serving as composer-in-residence for the Orchestra for two seasons, bringing us the next chapter from a program conceived in 1998 and now boasting two decades’ success. Including Deutsch, ten composers have held a sequence of two-year Lewis fellowships (see page 35).

To begin, each new Lewis Composer Fellow is introduced to Severance Hall audiences through the performance of one or more of their existing works. This is followed by the culmination of their Lewis Fellowship with the world premiere of a brand-new work written especially for The Cleveland Orchestra. Deutsch’s new piece is scheduled for performance under Franz Welser-Möst’s direction at the far end of next season, in May 2020. In addition, each Fellow participates in a number of teaching activities during visits to Cleveland, including working with composition classes at local colleges, thus giving students access to a real-life living, breathing professional composer.

Bernd Richard Deutsch is said to be among the rising stars of what is sometimes called the “Third Viennese” school of About the Music

29

musical aesthetics — a term used to denote a group of composers surrounding the turn of the 20th into the 21st centuries, especially those who’ve worked closely with the Vienna Klangforum new music ensemble. (The “First Viennese School” was, of course, the era surrounding Mozart, Haydn, and Beethoven as 18th century became 19th, while the “Second” — and when both terms were really coined — comprised the avant-garde modernism of Arnold Schoenberg and his pupils a hundred years ago, especially Alban Berg and Anton Webern.)

So much musical ground was covered in the 20th century — and so many directions of experiment embarked on, embraced and abandoned — that it must seem challenging in today’s world for any new composer to find a unique voice. Yet, the best and most creative clearly do. And Bernd Richard Deutsch has already assembled a body of works that feel (and sound) like a distinct and distinctive family.

Like a number of composers today, many of Deutsch’s works are about something — that is, they are not pure music without any kind of story behind them. Each piece may involve a particular concept, or moment of inspiration from a literary work, from a photograph or experience, from a scientific (or science-fiction) idea or story, or a modern or classical philosophical touchstone — which is to say, his works may be “about” almost anything. Yet the inspiring idea often truly informs the completed work to a remarkable, if at times, subtle degree. Okeanos may, at first, seem like a rather generalized title, but the connection to the ancient Greek’s idea of water, alongside the other classical “elements” of fire, earth, and air, turns out to fit the differing qualities of the work’s four movements.

Ultimately, Deutsch appears to be taking a balanced middle approach to composing, hueing neither to outright programmatic music (the Wagner thread of classical music) nor to absolute, non-storyline ideas (Brahms just creating music). He writes freely within an idea’s boundaries, offering up neither a simple and obvious spelling out, nor merely a density of interesting sounds.

It can, of course, be dangerously misleading and perhaps entirely unnecessary to characterize a composer’s music prior to hearing their music for the first time. We should, instead, simply listen. And accept.

And welcome a new voice amongst us. Listen with open minds and accepting ears, and let yourself meld into the exciting possibilities and potentials in Deutsch’s soundworld — as we look forward to getting to know him better, and to a brand-new piece and world premiere here in May 2020.

—Eric Sellen © 2019

30

About the Music

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31

Okeanos

(concerto for organ and orchestra)

32

The following comments, written for the 2015 premiere of Okeanos, provide insight into the details, concept, and outline of this concerto: I N S T R U C T U R E A N D P E R F O R M A N C E , Okeanos follows the

principle of the “golden section,” which is to suggest that within the length of the whole work and the individual movements, the respective complete length relates exactly to its larger part as this larger part relates to the respective smaller part, etc. Thereby, the temporal and formal proportions of the work are determined by an exactly-conceived structure.

By way of the title, we also know from the outset that there is an overall association with “water,” whose motion in the first movement actually seems to be expressed by orchestral “waves.”

Movements 2, 3, and 4 have other characteristics, for which the other classical elements — air, earth, and fire — served the composer as inspiration or symbols, respectively.

The pace slows in the three-part first movement (quarter note = 66). Its opening chordal expanses of the strings display a latent descending motion (against a static antithesis in the organ). Contrasting ideas are soon introduced through soaring woodwind lines, beginning rich dialogue. This is confronted by a second idea in the organ, supported by plate bells, to which is added a descending line with broad chords.

The movement’s middle section at first appears to be characterized by rising, broken woodwind motifs over a dark string underground, out of which arise increasingly more powerful brass and wind lines, leading to a big climax. From this comes a short reprise, whose essential figurations are assigned to bells.

This music ultimately subsides and diminishes, and then leads directly [attacca] into the next movement.

The quickly-hurrying second movement (quarter note = 132) begins with virtuoso figurations in the organ, which are soon given chordal support in the pedal. From this contrast arises an intensification that culminates in the entry of the wind machine — thus establishing association for this movement with the element of “air.” In the movement’s middle section, the organ is again employed in a very soloistic manner, and then also sparks a chamber-music-like battle until, after a further climax, the reprise begins, leading to a tremendously dramatic, insistent fortefortissimo upswing into the third movement.

The third movement returns the music to a slow tempo (quarter note = 66), with this music representing the element of About the Music

The Cleveland Orchestra

“earth.” This, the composer says, was inspired by a picture of a wide grotto, where sounds are repeatedly reflected back in echo. After introductory organ motions, counterpointed by percussion, a seemingly mysterious layering of triads in semitone intervals begins. This fundamental idea is continually given new characteristics — until vibratones evoke the impression of drops inside a cave, and the triads become a series of semitones in a second section. Here, too, the chordal layers are continually given new spacing and illumination. Then, in the movement’s third section, broad spectral chords appear. The semitones are spread in wide layers, with the soloistic organ seeming to provide commentary, before a short reprise of the opening section once again reminds us, reminiscence-like, of the “drops” of water.

The finale fourth movement, with its increased tempo (quarter note = 140), is highly virtuosic. The many meter and rhythm changes act like a “fire” repeatedly flaring up and down, providing for repeated outbreaks of continually newly-fashioned sounds. An unfettered intensification of the basic motif (C–F–A–C-sharp) and its variants conclude the first section, which is followed by a nearly chamber-music-like and transparent section Ώκεανό determined by layers of semitones and thirds in the organ.

These are subsequently joined by concertante densificaŌ . ke . a . n ó s tions kindled by the solo instrument.

The movement’s reprise section is introduced folFor the ancient Greeks, lowing some music of tighter motion, which has the Okeanos (also known as effect of ending the previous dialogues. The reprise’s Ogenus or Oceanus) was richly-fashioned development section incorporates elethe personification of the ments of the second section, and then finds its climax in ocean, seen as a wide river an ecstatically-prepared voluminous chord that sees the encircling the nations and organ in forte-fortissimo. islands of the world.

Next, the musical events regress briefly, but soon push forward, again with elements from the second section, finally arriving at the coda with a chordal entry from the opening motif. Here, once more, several fundamental elements of the finale are addressed, until the organ, with a last intensification, leads into an extraordinarily full-throated quadruple fortissimo, with the organ and orchestra forming the concluding chord together.

Ōkeanós

—Hartmut Krones © 2015 Reprinted from Boosey & Hawkes music publishers, worldwide agent for Bernd Richard Deutsch.

Severance Hall 2018-19

About the Music

33

About the Composer b e r n d r i c h a r d d e u t s c h is

increasingly recognized among a new generation of Austrian composers of contemporary classical music.

He is serving as the Daniel R. Lewis Young Composer Fellow of The Cleveland Orchestra for the 2018-19 and 2019-20 seasons.

Born just outside Vienna in 1977, Deutsch’s first musical training included composing, piano, and bassoon.

He later studied electronic and electro-acoustic music, but remains firmly committed to writing for instruments and ensembles in live performance. As a student at the Vienna University of Music and Performing Arts 1995 to 2001, he studied with Erich Urbanner. He has also participated in masterclasses led by Bogusław Schaeffer, Manuel Hidalgo, and Detlev Glanert.

A number of Deutsch’s works have been recorded, including an album on the Kairos label featuring three pieces for smaller ensembles: Mad Dog, Second String Quartet, and Dr. Futurity. Other works include a Triple Concerto (for trumpet, trombone, and tuba soloists premiered in 2014), Oboe Concerto (2011), Murales (a concerto for orchestra and ensemble premiered in 2018, which features two groups of musicians together in a concerto format), and Lingua (a work from 2016 for sixteen voices a cappella). His projects and performances have included collaborations with a variety of notable soloists and conductors, including composer HK Gruber.

In addition to being appointed Lewis Young Composer Fellow, Mr. Deutsch’s honors and awards include Vienna’s Ernst Krenek Prize (2002), an Austrian state scholarship (2010), second prize in the 2011 Toru Takemitsu Composition Competition, Erste Bank Composition Prize (2013), Paul Hindemith Prize (2014), City of Music Prize (2015) and Australia’s Paul Lowin Prize for orchestral composition (2015), alongside numerous commissions with leading orchestras and festivals around the world.

More information can be found by visiting the composer’s website: www.berndrdeutsch.com.

Severance Hall 2018-19

About the Composer

Daniel R. Lewis Young Composer Fellows The Daniel R. Lewis Young Composer Fellows program is made possible by the Young Composers Endowment Fund, created with a generous gift to The Cleveland Orchestra from Daniel R. Lewis and Jan R. Lewis. The composers who have served as Young Composer Fellows to date are:

Marc-André Dalbavie 1999-2000 Matthias Pintscher 2001-03 Susan Botti 2003-05 Julian Anderson 2005-07 Johannes Staud 2007-09 Jörg Widmann 2009-11 Sean Shepherd 2011-13 Ryan Wigglesworth 2013-15 Anthony Cheung 2015-17 Bernd Richard Deutsch 2018-20

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Paul Jacobs American organist Paul Jacobs is celebrated internationally, gaining praise from audiences and critics alike for his technical skills and stage presence and for the nuance and depth of his musical performances. He has performed to acclaim on five continents and in each of the 50 United States and is the only organist ever to have won a Grammy Award.

Mr. Jacobs’s 2018-19 season has included the world premiere of John Harbison’s What Do We Make of Bach? for organ and orchestra with the Minnesota Orchestra in October, as well as performances in Los Angeles, Phoenix, and Madison, and in Europe. A year ago, he served as president of the jury of the first Shanghai International Organ Competition. He regularly performs with major orchestras on both sides of the Atlantic and has performed solo recitals on major instruments in the United Kingdom, in Europe, and across North America.

At the age of 15, Paul Jacobs was appointed head organist of a parish of 3,500 in his hometown of Washington, Pennsylvania. He later studied at the Curtis Institute of Music, double-majoring in organ with John Weaver and on the harpsichord with Lionel Party, and studied at Yale University with Thomas Murray. He made musical history at the age of 23 when he played J. S. Bach’s complete organ works in an 18-hour marathon performance on the 250th anniversary of the composer’s death. He has also performed the complete organ works of Olivier Messiaen.

A fierce advocate of new music, Mr. Jacobs has premiered works by Samuel Adler, Mason Bates, Michael Daugherty, Severance Hall 2018-19

Guest Soloist

Wayne Oquin, Stephen Paulus, and Christopher Theofanidis, among others. As a teacher, he has also been a vocal proponent of the redeeming nature of traditional and contemporary classical music.

Paul Jacobs’s recording of Messiaen’s Livre du Saint Sacrement received the 2010 Best Solo Instrumental Grammy of the Year. Other recordings include Michael Daugherty’s Once Upon a Castle, which he recorded with the Nashville Symphony Orchestra and which received a Grammy Award in 2016. He also appears frequently on radio and televisions programs.

Mr. Jacobs chairs the organ department at the Juilliard School, and also serves as director of the organ institute at the Oregon Bach Festival. He was awarded Juilliard’s William Schuman Scholar’s Chair in 2007, which included the privilege of giving two special lecture-recitals.

Mr. Jacobs made his Severance Hall debut in October 2005, returned in February 2015 to play solo organ works as part of a Cleveland Orchestra concert, and performed as soloist with The Cleveland Orchestra for the first time in September 2016. He appeared twice with the Orchestra during the 2017-18 centennial season.

For more information, visit www. pauljacobsorgan.com.

37

Specification of the E. M. Skinner Pipe Organ

Norton Memorial Organ at Severance Hall, Opus 816 Norton Memorial Organ

Specification of the E.M. Skinner Pipe Organ, Opus 816, at Severance Hall Great Organ

Great Organ

Organ Layout

6” Wind Pressure

6" Wind Pressure 16’ Double Diapason 61 pipes Double Diapason pipes 8’ 16' First Diapason 6161pipes First Diapason pipes 8’ 8' Second Diapason 6161pipes Second Diapason

pipes 8’ 8' Third Diapason [enclosed in Choir] 6161pipes Third Diapason pipes 8’ 8' Harmonic Flute [enclosed in Choir] 6161pipes Harmonic Flute in Choir] pipes 8’ 8' Gedeckt [enclosed 6161pipes Gedeckt [enclosed in Choir] pipes 8’ 8' Viola [enclosed in Choir] 6161pipes Viola [enclosed in Choir] pipes 8’ 8' Erzähler 6161pipes 8' Quinte Erzähler pipes 5-1/3’ 6161pipes 1 Quinte pipes 4’ 5 /3' Octave 6161pipes Octave pipes 4’ 4' Flute [enclosed in Choir] 6161pipes 4' Twelfth Flute [enclosed in Choir] pipes 2-2/3’ 6161pipes 61 pipes 2 2/3' Twelfth 2’ Fifteenth 61 pipes 2' Fifteenth 61 pipes Chorus Mixture VII 427 pipes

Chorus Mixture VII 427 pipes (15-19-22-26-29-33-36) (15-19-22-26-29-33-36) Harmonics IV (17-19-flat21-22) 244 pipes

Harmonics IV (17-19-fl at21-22) 244 pipes 61 pipes 16’ Trumpet 10” Wind 61 pipes 16' Trumpet — 10” Wind 61 pipes 8’ Tromba 10”Wind 61 pipes 8' Tromba — 10” Wind 61 pipes 4’ Clarion 10”Wind 61 pipes 4' Clarion — 10” Wind Chimes (Solo)

Chimes (Solo) Solo High Pressure Reeds (Solo)

Solo High Pressure Reeds (Solo)

Swell Organ Swell Organ

6” Wind Pressure 6” Wind Pressure Melodia Melodia Diapason Diapason Rohrflöte Rohrflöte Flauto Dolce Flauto FluteDolce Celeste [TC] Flute Celeste [TC] Salicional Salicional Voix Celeste Voix Celeste Echo Gamba Echo Gamba Echo Gamba Celeste Echo Gamba Octave Celeste Octave Flute Triangulaire Flute Triangulaire Flautino

Flautino Mixture V (15-19-22-26-29) Mixture

CornetVV(15-19-22-26-29) (12-15-17-19-22) V (12-15-17-19-22) 16' Cornet Waldhorn — 10” Wind 16’ 8' Waldhorn 10” Wind Trumpet10” —Wind Wind 8’ 8' Trumpet French 10” Trumpet 8’ 8' French OboeTrumpet d'A more 8’ 4' Oboe d’Amore Clarion — 10” Wind 10”Wind 4’ 8' Clarion Vox Humana 8’ Tremolo Vox Humana Tremolo

Harp (Choir) Harp

Celesta (Choir) Celesta 16' 16’ 8' 8’ 8' 8’ 8' 8’ 8' 8’ 8' 8’ 8' 8’ 8' 8’ 8' 8’ 4' 4’ 4' 4’ 2' 2’

Choir Organ

73 pipes 73 pipes 73 pipes 73 pipes 73 pipes 73 pipes 73 pipes 7361pipes pipes 6173pipes pipes 7373pipes pipes 7373pipes pipes 7373pipes pipes 7373pipes pipes 7373pipes pipes 7361pipes pipes 61 305pipes pipes 305 305pipes pipes 30573pipes pipes 7373pipes pipes 7373pipes pipes 7373pipes pipes 7373pipes pipes 7373pipes pipes 73 pipes (Choir) (Choir)

6” Wind Pressure

Choir Organ

16' Gamba 8' Geigen 6” Wind Pressure 16’ 8' Gamba Concert Flute 8’ 8' Geigen Dulciana 8’ 8' Concert GambaFlute

8’ 8' Dulciana Dulcet II 8’ 4' Gamba Octave 8’ 4' Dulcet Flute II 4’ 4' Octave Gambette 4’ 2 2/3 ' Flute Nazard 4’ 2' Gambette Piccolo 3 2-2/3’ Tierce 1 /5 ' Nazard 2’ Piccolo 1-3/5’ Tierce

38

73 pipes 73 pipes 7373pipes pipes 7373pipes pipes 7373pipes pipes 73 146pipes pipes 7373pipes pipes 14673pipes pipes 7373pipes pipes 7361pipes pipes 7361pipes pipes 6161pipes pipes 61 pipes 61 pipes

Organ Layout

1 1/3 ' Larigot Larigot 1-1/3’

Carillon III (12-17-22) Carillon III (12-17-22) 16' Fagotto Fagotto 16’ 8' Orchestral Trumpet 8’ 8' Orchestral OrchestralTrumpet Oboe 8’ Orchestral Oboe 8'

Clarinet 8’ Clarinet 73 pipes Tremolo Tremolo

Harp10” 10”Wind Wind Harp

Celesta (ext.)

Celesta

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

6161bars bars (ext.)

Solo Organ

Solo 10 ” WindOrgan Pressure 8' Flauto Mirabilis 10” Wind Pressure GambaMirabilis

8’ 8' Flauto Gamba Celeste 8’ 8' Gamba Orchestral Flute 8’ 4' Gamba Celeste Corno di Bassetto 4’16' Orchestral Flute Tuba Mirabilis — 20” Wind 16’8' Corno di Bassetto 20” Wind French Horn — 20” Wind 8’ 8' Tuba Mirabilis Corno di Bassetto (ext.)

20”Wind 8’ 8' French Horn EnglishdiHorn

8’ 8' Corno Bassetto Tuba Clarion 8’ 4' English Horn — 20” Wind 4’ Tremolo Tuba Clarion 20”Wind

Chimes Tremolo Chimes

Pedal Organ

73 pipes 73 pipes 73 pipes 73 pipes 73 pipes 73 pipes 73 pipes 85 pipes 73 pipes 73 pipes 85 pipes 73 pipes 73 pipes 73 pipes 73 pipes (ext.)

73 pipes 73 pipes 73 pipes 25 bells 25 bells

6” Wind Pressure

32' Major Bass Pedal Organ 56 pipes 16' Diapason 32 pipes 6” Wind Pressure 16' Major ContraBass Bass 56 pipes 32’ 56 pipes 16' Diapason Diapason (Great) 16’ 32 pipes 16'

Bourdon

(ext.

Major Bass) 16’ Contra Bass 56 pipes 16'

Melodia

(Swell) 16’ Diapason (Great) 16' Bourdon Dulciana 32 pipes 16’ (ext. Major Bass) 16'

Gamba

(Choir) 16’ Melodia (Swell) 8'

Octave

(ext.

Contra Bass) 16’ Dulciana 32 pipes Gedeckt (ext. Major Bass) 16’8' Gamba (Choir) 8'

Cello

(Choir 16' Gamba) 8’ Octave (ext. Contra Bass) Still Gedeckt (Swell Melodia) 8’ 8' Gedeckt (ext.16' Major Bass) 4'

Super Octave

(ext.

Contra Bass) 8’ Cello (Choir 16’ Gamba) Mixture IV 8’ Still Gedeckt (Swell 16’ Melodia) (10-12-fl at14-15) — 5” Wind 128 pipes 4’ Super Octave (ext. Contra Bass) 56 pipes 32' Mixture Bombarde — 20” Wind 128 pipes IV (10-12-flat14-15) 5” Wind 12 pipes 32' Fagotto 1-12 — 10” Wind 56 pipes 32’ Bombarde 20”Wind (ext. Bombarde) 16' Trombone — 15” Wind 12 pipes 32’ Fagotto 1-12 on 10”Wind 16' Waldhorn (Swell) (ext. Bombarde) 16’ Trombone 15”Wind 16' Fagotto (Choir) 16’ Waldhorn (Swell) 8' Tromba (ext. Bombarde) 16’ Fagotto (Choir) Chimes 8’ Tromba (ext. Bombarde) Chimes

Norton Memorial Organ

The Cleveland Orchestra

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

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

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

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

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

Severance Hall 2018-19

Norton Memorial Organ

39

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Symphony No. 5 in E minor, Opus 64 composed 1888

At a Glance

by

Pyotr Ilyich

tchaikovsky born May 7, 1840 near Votkinsk, Russia died November 6, 1893 St. Petersburg

Severance Hall 2018-19

Tchaikovsky wrote his Fifth Symphony in 1888, completing it on August 26.

He conducted its premiere on November 17, 1888, in St. Petersburg. The first performance in the United States was given on March 5, 1889, by conductor Theodore Thomas in New York City.

This symphony runs about 45 minutes in performance. Tchaikovsky scored it for 3 flutes (third doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trom-

bones, tuba, timpani, and strings.

The Cleveland O ­ rch­estra first performed Tchaikovsky’s Fifth during its second season in 1919-20, and has performed it with great frequency since that time. The most recent performances were on tour at Blossom in August 2017, conducted by Robert Trevino, and in January 2015 at Severance Hall, conducted by Hannu Lintu.

Franz Welser-Möst will conduct it as part of the Orchestra’s 2019 Asia Tour.

About the Music t c h a i ko v sk y ’s three great mature symphonies — Nos. 4,

5, and 6 — were written across a span of a decade and a half, between 1876 and 1893.

The Fourth was born in a time of great upheaval in the composer’s personal life, relating to his disastrous and ill-conceived marriage. It also coincided with his introduction to the woman who would become the great patron of his life, Nadezhda Filaretovna von Meck. Madam von Meck supported Tchaikovsky both financially and emotionally over the next decade, writing to him and responding to his letters with connection and understanding. Their extensive correspondence shows her strength against the composer’s many insecurities. (Although she insisted that they never meet, the two accidentally bumped into one another once, but said nothing out loud).

When he began the Fifth Symphony, in 1888, Tchaikovsky was at the height of his mastery as a composer. Over the next few years, he would create several of his most enduring masterpieces, including the ballets Swan Lake and The Nutcracker, and the opera The Queen of Spades.

Throughout his career, despite a near constant outpouring of genuine and heart-felt music, Tchaikovsky harbored great selfdoubt as a composer. He was continually worried that he had “run out” of material in his brain. And, while he certainly experienced some great successes in the concert hall, the reception of the public and colleagues to many of Tchaikovsky’s new pieces About the Music

41

pYotr ilyich tchaikovsky 1840-1893 1

2

1. Tchaikovsky at the age of twenty in 1860.

2. The three Tchaikovsky brothers in 1875. Family friend Nikolai Dmitrievich Kondratiev (standing at left), Anatoli Tchaikovsky (seated), Modest Tchaikovsky, and Pyotr.

varied erratically. The world seemed as likely to pan the next piece as to applaud it. Even with Madam von Meck’s support — and the awarding of a lifetime pension from the Tsar, in recognition of his artistic talents — Tchaikovsky’s self-doubt lingered.

All artists face uncertainty with the public and in their own abilities, but Tchaikovsky felt the angst more than most. Across his lifetime, Tchaikovsky viewed Fate as a strong and uncontestable force. His operatic subjects often explored this vein, of important moments when a choice by one person sets off a particular chain of events in the lives of many others, of love unannounced, unrequited, or rejected.

The storyline

Unlike his Fourth Symphony, which Tchaikovsky carefully explained in a letter to Madam von Meck, and which clearly outlines a triumph over Fate’s frowning presence, the story within the Fifth Symphony remains less certain. The composer did write some words in a notebook just before he started composing: “Introduction. Complete resignation before Fate, or, which is the same thing, before the inscrutable predestination of Providence. Allegro. (1)

42

About the Music

The Cleveland Orchestra

3

5

4

3. With his wife Antonina Miliukova, during their brief marriage in 1877.

4. His patroness, Nadezhda von Meck.

5. Late in life, in the early 1890s.

Murmurs of doubt, complaints, reproaches against XXX. (2) Shall I throw myself in the embraces of faith??? A wonderful program, if only it can be carried out.”

But what is “XXX”? Some biographers have suggested this stands for Tchaikovsky’s homosexuality, although that does not seem to have been an issue churning particularly strongly for him at the time he was writing the symphony. Others have tied XXX more to the composer’s on-again off-again doubt in God and Providence (one of Tchaikovsky’s close friends had died the year before). Regardless, the words appear to be only about the opening movement, and give us little to work with for the symphony overall.

As things turned out, Tchaikovsky’s Fifth Symphony was one of the greatest successes of his career. It was warmly applauded at the premiere in 1888 and quickly became one of his most-often performed works.

T h e MU S IC

The symphony opens with a memorable “Fate” motif voiced on the clarinets, with low strings underneath. Tchaikovsky ingeSeverance Hall 2018-19

About the Music

43

niously uses this motto throughout the symphony, transforming it as an integral part of each movement — and matching its changes to the very different contexts of each.

From the initial statement, the first movement builds into a ferocious storm and then ends in gloom.

The slow second movement features an extended solo horn section, whose melody was borrowed a half century later for the pop song “Moon Love,” made famous by Glenn Miller, Frank Sinatra, and others just before World War II.

The symphony’s third movement is a big waltz, as beautifully written as any from the composer’s great ballet scores.

Then, like the first movement, the last opens with the “Fate” motto. But here it is immediately transformed, from E minor to E major, as a hymn. A sense of certainty and greatness continues, and then builds. Working from the motto kernel, Tchaikovsky creates a triumphant statement of repeated joy and ultimate glory.

—Eric Sellen © 2019 2018-19 is Eric Sellen’s twenty-sixth season as The Cleveland Orchestra’s program book editor.

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44

About the Music

The Cleveland Orchestra

A portrait of Tchaikovsky, painted in 1893 at the height of his fame, by Nikolai Kuznetsov.

Undoubtedly I should have gone mad but for music. Music is indeed the most beautiful of all Heaven’s gifts to humanity wandering in the darkness. Alone it calms, enlightens, and stills our souls. It is not the straw to which the drowning man clings — but a true friend, refuge, and comforter, for whose sake life is worth living.

—Pyotr Ilyich Tchaikovsky

About the Music

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

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 February 2019.

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 Fran and Jules Belkin 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 Dr. Thomas Brugger and Dr. Sandra Ross Mr. and Mrs. Harvey Buchanan* Joan and Gene* Buehler Gretchen L. Burmeister

Stanley and Honnie Busch* Milan and Jeanne* Busta Ms. Lois L. Butler 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 listing continues

The Cleveland Orchestra

Legacy Giving

47

Legacy Giving THE CLEVELAND ORCHESTR A HERITAGE SOCIETY l i s t i n g c o n t i n u ed

Bev and Bob Grimm Candy and Brent Grover Thomas J.* and Judith Fay Gruber Henry and Komal Gulich 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 Raymond G. Hamlin Jr. 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.

48

David and Gloria Kahan Julian and Etole Kahan David George Kanzeg Bernie and Nancy Karr Drs. Julian and Aileen Kassen* Milton and Donna* Katz Nancy F. Keithley and Joseph P. Keithley Patricia and Walter Kelley* Bruce and Eleanor Kendrick Malcolm E. Kenney Mr. and Mrs. Douglas A. Kern Charles M. and Janet G. Kimball* James and Gay* Kitson Mr. Clarence E. Klaus, Jr. Mary Elizabeth and G. Robert Klein* Fred* and Judith Klotzman Paul and Cynthia Klug Martha D. Knight Mr. and Mrs. Robert Koch Dr. Vilma L. Kohn* Mr. Clayton Koppes Susan Korosa Mr.* and Mrs. James G. Kotapish, Sr. Margery A. Kowalski Janet L. Kramer Mr. James Krohngold Mr. and Mrs. Gregory G. Kruszka Thomas* and Barbara Kuby Eleanor* and Stephen Kushnick Mr. and Mrs. Dennis W. LaBarre James I. Lader Mr. and Mrs. David A. Lambros Mrs. Carolyn Lampl Marjorie M. Lamport* Louis Lane* Kenneth M. Lapine and Rose E. Mills Lee and Susan Larson 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 Dr. Jack and Mrs. Jeannine Love Jeff and Maggie Love Dr. Alan and Mrs. Min Cha Lubin Linda and Saul Ludwig Kate Lunsford Patricia MacDonald

Legacy Giving

Alex and Carol Machaskee Jerry Maddox Mrs. H. Stephen Madsen Alice D. Malone* Mr. and Mrs. Donald Malpass, Jr. Lucille Harris Mann* Mr. and Mrs. Richard A. Manuel* Clement P. Marion Dr. and Mrs. Sanford E. Marovitz 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

The Cleveland Orchestra

Legacy Giving THE CLEVELAND ORCHESTR A HERITAGE SOCIETY Lois S. and Stanley M. Proctor* Mr. David C. Prugh* Leonard and Heddy Rabe M. Neal Rains Mrs. Alfred M. Rankin, Sr. James and Donna Reid Mrs. Charles Ritchie Dr. Larry J.B.* and Barbara S. Robinson Margaret B. Robinson 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*

Severance Hall 2018-19

Helen and Fred D. Shapiro Norine W. Sharp* Norma Gudin Shaw Elizabeth Carroll Shearer* Dr. and Mrs. William C. Sheldon John F. Shelley and Patricia Burgess* Frank* and Mary Ann Sheranko Kim Sherwin Mr. and Mrs. Michael Sherwin 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 Dr. and Mrs. William H. Stigelman, Jr. 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

Legacy Giving

John and Deborah Warner Mr. and Mrs. Russell Warren Joseph F. and Dorothy L.* Wasserbauer Reverend Thomas L. Weber Etta Ruth Weigl* Lucile Weingartner Max W. Wendel William Wendling and Lynne Woodman Robert C. Weppler Paul and Suzanne Westlake Marilyn J. White 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 (72)

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, please call 216-231-8006.

49

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.

40,000

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.

4million

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

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

Parker Hannifin Foundation The Payne Fund PNC Julia and Larry Pollock PolyOne Corporation Raiffeisenlandesbank Oberösterreich Mr. and Mrs. Alfred M. Rankin, Jr. Mrs. Alfred M. Rankin, Sr. Mr. and Mrs. Albert B. Ratner James and Donna Reid The Reinberger Foundation Barbara S. Robinson The Sage Cleveland Foundation The Ralph and Luci Schey Foundation Seven Five Fund Carol and Mike Sherwin Mrs. Gretchen D. Smith The Kelvin and Eleanor Smith Foundation The J. M. Smucker Company Mr. and Mrs. Richard K. Smucker Jenny and Tim Smucker Richard and Nancy Sneed Jim and Myrna Spira Lois and Tom Stauffer Mrs. Jean H. Taber* Joe and Marlene Toot Ms. Ginger Warner Robert C. Weppler Janet* and Richard Yulman Anonymous (7)

Severance Society / Lifetime Giving

* deceased

51

Ralph Waldo Emerson

Thanksto tothe the richness richness of Thanks of Cleveland’s Cleveland’scultural cultural heritage and the excellence of The heritage and the excellence of The Cleveland ClevelandOrchestra, Orchestra, literally millions literally millions of ofmen, men,women, women and and children children have experienced experienced such . . . and it is have such aa dawn dawn… is unforgettable. unforgettable.

NACCO Industries, Inc. NACCO Industries, Inc.

Hyster-Yale Materials Handling, Inc.

Hyster, Yale, and Utilev lift trucks The North American Coal Corporation are:Solutions The North American Coal Corporation; Nuvera HydrogenWe Power North American Mining Hamilton Beach® and Proctor Silex® small electric appliances; Bolzoni Attachments ® and The Kitchen Collection and Le Gourmet Chef® retail stores.

THE

CLEVEL AND ORCHESTRA FR ANZ WELSER- MÖST

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

Severance Hall

Thursday evening, March 21, 2019, at 7:30 p.m.

Friday morning, March 22, 2019, at 11:00 a.m.* Saturday evening, March 23, 2019, at 8:00 p.m.

Franz Welser-Möst, conductor

2O18 SEASON 2O19

Symphony No. 4 (“Tragic”) in C minor, D417 *

franz schubert

(1797-1828)

1.

2.

3.

4.

Adagio molto — Allegro vivace Andante Menuetto: Allegro vivace — Trio Finale: Allegro

Six Pieces for Orchestra, Opus 6

anton webern

(1883-1945)

1.

2.

3.

4.

5.

6.

Langsam [Slowly] Bewegt [Animated, with motion] Mässig [Moderately] Sehr mässig [At a very moderate page] Sehr Langsam [Very slowly] Langsam [Slowly]

INT ER MISSION *

A Hero’s Life [Ein Heldenleben], Opus 40

richard strauss (1864-1949)

1.

2.

3.

4.

5.

6.

The Hero — The Hero’s Adversaries — The Hero’s Companion — The Hero’s Battlefield — The Hero’s Works of Peace — The Hero’s Withdrawal from the World and the Fulfillment of His Life (played without pause)

solo violin: Peter Otto

This weekend’s concerts are sponsored by Hyster-Yale Materials Handling, Inc. Thursday evening’s performance is dedicated to Mr. and Mrs. Douglas A. Kern in recognition of their extraordinary generosity in support of The Cleveland Orchestra.

The Cleveland Orchestra’s Friday Morning Concert Series is endowed by the Mary E. and F. Joseph Callahan Foundation. * The Friday Morning Concert features the works by Webern and Strauss, and no intermission.

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Concert Program — Week 18

53

2O18 SEASON 2O19

March 21, 22, 23

THIS WEEKEND’S CONCERT Restaurant opens: THUR 4:30 FRI noon SAT 5:00

Concert Preview: begins one hour before concert

Reservations (suggested) for dining:

216-231-7373

or via www.UseRESO.com

CONCERT PREVIEW

“Keys and Colors”

with Rose Breckenridge, Cleveland Orchestra Music Study Groups

FRIDAY MORNING 11:00

page 55

WEBERN Six Pieces for Orchestra, Opus 6 . . .

page 59

(30 minutes)

(10 minutes)

STRAUSS

SCHUBERT Symphony No. 4 (“Tragic”). . . . . . . . .

WEBERN

Concert begins: THUR 7:30 SAT 8:00

Severance Restaurant

INTERMISSION (20 minutes)

12:05

STRAUSS Ein Heldenleben [A Hero’s Life] . . . . .

(40 minutes)

page 63

Severance Restaurant

Post-Concert Luncheon follows the Friday Morning concert.

Concert ends:

(approx.)

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

THUR 9:15 SAT 9:45

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

54

This Week’s Concerts

The Cleveland Orchestra

introducing the concert

Heroes, Scores& Tragedy

t h i s w e e k e n d ’ s c o n c e r t s offer three works of decidedly differ-

ent sorts — from Classical tinged with emotions, to full-out Romantic hero worship, to a piece (or a set of pieces) that still sounds utterly modern (and extraordinary) more than a century after its premiere.

The evening concerts begin with Schubert’s “Tragic” Symphony — labelled that by the composer himself, just as he was passing out of his teenage years. This work from 1816 was built on the structural format of earlier works by Haydn, Mozart, and especially Beethoven. Unperformed (as far as we know) during Schubert’s lifetime, this symphony (like the rest of his first five) was as much a personal learning exercise as a clear demonstration of his evolving greatness as a composer. Nevertheless, and evenso, how impressive was his command of musical vocabulary and rules — and how perfectly willing (and able) he was to bend rules for sublime effect.

The morning concert begins, and the evenings continue, with a remarkable work written and premiered in 1909: Anton Webern’s Six Pieces for Orchestra. Webern was a pupil of Arnold Schoenberg, and later adopted (some say perfected) Schoenberg’s idea for serialism or twelve-tone music.

Six Pieces is not yet that, but is instead written within Webern’s own early and sparse view of how music should work. He was a man of few pieces — his entire published musical catalog runs just over three hours. And he was very much a man in favor of saying only what needs to be said. His Six Pieces, generated while mourning the death of his mother, present a stark soundscape . . . of memory, of emotion, of saying . . . just enough.

Franz Welser-Möst concludes the concerts with one of Richard Strauss’s grand and grandiloquent tone poems, from 1897-98. In Ein Heldenleben (or “A Hero’s Life”), Strauss wrote his own autobiography in orchestral prose, complete with heroic struggles against his critics, love and conflicts with his wife, adulation of his patrons, and contemplation of his triumphs — what some saw as Love of Self. All of this, including a soaringly beautiful role for the solo violin, played by first associate concertmaster Peter Otto, is deftly offered in proper form and compelling music.

—Eric Sellen

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 5, at 4 p.m.

Severance Hall 2018-19

Introducing the Concert

55

DON PARKS GORDON PAR GORDON GORDON PARKS W TIDE, EARLY WORKPARKS THE NEW GORDO TIDE, EARLY

1940 –1950 THE–1950 NEW TID THE NEW TIDE, EARLY WORK 1940 THE NEW TIDE, EARLY WORK194 March 23–June 9 |–1950 FREE 1940

1940–1950

GORDON PARKSGORDON THE NEW TIDE,PARKS EARLY WORK

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Discover the pioneering photographs of iconic American artist Gordon Parks as he chronicled life in the 20th century.

Bank of America is proud to be the national sponsor of Gordon Parks: The New Tide, Early Work 1940–1950.

Supporting Sponsors

GORDON

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Organized by the National Gallery of Art, Washington, in collaboration with The Gordon Parks Foundation

ClevelandArt.org

THE NEW TIDE, 1940–1950 EARLY WORK

Self-Portrait (detail), 1941. Gordon Parks (American, 1912–2006). Gelatin silver print; 50.8 x 40.6 cm.

Private collection. Courtesy of and copyright The Gordon Parks Foundation

THE N 1940–1950 EAR

E ven in g Co n c er t s On ly

Symphony No. 4 (“Tragic”) in C minor, D.417 composed 1816

At a Glance

by

Franz

SCHUBERT born January 31, 1797 Himmelpfortgrund, near Vienna died November 19, 1828 Vienna

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Schubert completed his C-minor symphony on April 27, 1816. The name “Tragic” was added by the composer himself at a later date. The symphony was probably performed privately the year it was written; however, the first documented public performance — led by A. F. Riccius in Leipzig — did not take place until November 19, 1849, the 21st anniversary of Schubert’s death. The first American performance was conducted by Eugene Luening at the Milwaukee Academy

of Music on February 2, 1897, three days after the 100th anniversary of Schubert’s birth.

This symphony runs about 30 minutes in performance. Schubert scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, and strings.

The Cleveland Orchestra first performed Schubert’s Fourth Symphony in February 1963, under Robert Shaw.

The Orchestra’s most recent performances were in November 2016.

About the Music a lt h o u g h m os t l i s t e n e r s will agree that the nickname

“Tragic” only really describes the opening few minutes of this symphony, it was put there by Schubert himself. For the composer, then aged nineteen, most music was light and cheerful.

Indeed, he likely surprised himself with this unexpected burst of intensity and gloom. Yes, in the hundreds of songs he created in his teenage years there are plenty of soulful moments, occasionally even tragedy, but his youthful instrumental music and symphonies have a vital energy that rarely touches upon sorrow, let alone despair.

When he composed his Symphony No. 3, in 1815, Schubert had been teaching at his father’s school for two years and was already tiring of it. Early in 1816, as he began the Fourth Symphony, he applied for a post as music teacher at a training college in Laibach (now Ljubljana in Slovenia). He included a testimonial from Salieri, one of Vienna’s leading musicians, but failed to get the post. Instead, he decided to give up teaching and went, against the advice of his father, to live in the center of Vienna with his friend Franz von Schober. He was hoping to make a living from his compositions and some private teaching.

Schubert’s plan for making a livelihood proved to be difficult, and remained so for the rest of his short life. Yet nothing ever stemmed the flow of new compositions. He kept writing works, of every kind — songs, operas, chamber music, piano music, and, later, in 1816, his Fifth Symphony.

About the Music

57

His first five symphonies, composed within three years, may have been performed — or at least played through — if Schubert was able to collect enough musicians together to run through them.

But we have no documentation of that, and we don’t know if he ever heard them performed. They emerged after Schubert’s death in the hands of his brother, and while the Fourth found a welcome in Leipzig in 1849, the others had to wait until George Grove, founder of the famous Grove’s Dictionary of Music and Musicians, persuaded August Manns to give their first performances at concerts in the Crystal Palace in London, across the years 1873-81.

These early symphonies invariably convey a sense of divine fluency, as if the music simply flowed without effort from Schubert’s pen, as indeed it must have done. There is never hesitation, and the melodies are graceful and beautifully shaped, with harmony that never jars. No wonder his music teacher at the Stadtkonvikt remarked, “He has learned everything directly from God, that Schubert lad.”

THE MU S IC

In Schubert’s music, it is always fascinating to observe how closely he followed in Beethoven’s footsteps — and how freely he departed from them. By the time Schubert had come to maturity, Beethoven was unchallenged as the focal figure in Vienna’s music scene, already world-famous and notably eccentric and unpredictable both in his social life and his music. Schubert had almost no personal contact with him, surprisingly, but could not help learning a great deal from Beethoven’s scores, so long as he was composing sonatas, quartets, and symphonies. And, because Beethoven had already demonstrated varying ways to break the rules of classical form inherited from Haydn and Mozart, Schubert surely felt free to do so too — but the young Schubert did it in his own way, at times breaking even from Beethoven’s path.

These early Schubert symphonies thus often sound Mozartian in spirit, but push out the boundaries of what was then “current practice” in new directions.

The symphony’s first movement opens with an expressive Adagio introduction modeled on Haydn and Beethoven, which then leads into the movement’s main Allegro section. Anticipating some of his later, greater works, Schubert’s Fourth Symphony exhibits a new approach to the form of a first movement — which may be too technical to some readers and listeners (so feel free to skip ahead to the next paragraph, if you wish). Put briefly, the Allegro in a minor-key work, as here, normally offered an exposition section that moved up a

58

About the Music

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third from the key’s tonic to the relative major (C minor to E-flat major), while the later recapitulation of this same material remained in the tonic throughout (C minor to C major). In Schubert’s movement, however, the exposition moves from the tonic not up to E-flat major but down to A-flat major. And, by starting the recapitulation in G minor, rather than C minor, he can then move down to E-flat, a key missing in the exposition. Yet the movement still has to end in C major, so Schubert twists the final passages further and adds a noisy coda to seal the deal in the right key, after these unexpected Schubert’s early symphodetours. nies invariably convey a

Twisting from key to key was already a skill that Schubert possessed in abundance, so it sense of divine fluency, as may be said that this playful tinkering with the if the music simply flowed structures of classical music was perfectly natural to him. Nevertheless, what is admirable is that without effort from his clever shifts from key to key never distract Schubert’s pen. There is the listener from the main goal and are always handled judiciously. Otherwise Schubert could never hesitation, the melhave started in one key and freely ended in anodies are graceful and other (a liberty not regularly taken by composers until the 20th century). beautifully shaped, the The second movement offers an enchanting melody, with a contrasting, more active “B” harmony never jars. section to follow. An A-B-A form would have been perfectly acceptable, but Schubert extends it into A-B-A-BA, simply because he has so much to say and can draw ever more interesting offspring from the original material.

The scherzo-like Menuetto and its trio in E-flat major come next, as the symphony’s third movement. Then, in the finale fourth movement, Schubert again plays teasing games with keys, but eventually arriving at the sunshine of C major, as if to eliminate any thought that this was ever supposed to be a “tragic” symphony. With so many hints of marvels to come in his later music, it is impossible not to see in this work a demonstration of a young composer’s prodigious talent already on full display.

—Hugh Macdonald © 2019 Italian husband and wife duo

Antonio Pompa-Baldi and Emanuela Friscioni 2 p.m. on March 24

18-0864

The Cleveland Museum of Art | FREE

18-0864 CLE Orchestra Emanuela 5.375x.875 Ad.indd 1

Severance Hall 2018-19

About the Music

2/18/19 11:57 AM

59

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Six Pieces for Orchestra, Opus 6 composed 1909; performed in the revised scoring from 1928

At a Glance

by

Anton

webern born December 3, 1883 Vienna, Austria died September 15, 1945 Mittersill, Austria

Webern wrote his Six Pieces for Large Orchestra in the summer of 1909; Arnold Schoenberg (to whom the score was dedicated) conducted the premiere on March 13, 1913, in Vienna. In 1928, Webern prepared a new version of the score, reducing the size of the “large orchestra” involved, eliminating about a dozen players. (In 1921, he had also made an arrangement for chamber ensemble.) For this weekend’s performances, The Cleveland Orchestra is playing the 1928 score.

This work runs somewhat more than 10 minutes in performance.

Webern’s 1928 scoring calls for an orchestra of 2 flutes (second doubling piccolo), 2 oboes, 2 english

horns, 2 clarinets, bass clarinet, 2 bassoons (second doubling contrabassoon), 4 horns, 4 trumpets, 4 trombones, tuba, timpani, percussion (cymbals, tam-tam, snare drum, bass drum, glockenspiel), harp, celesta, and strings.

The Cleveland Orchestra first performed Webern’s Six Pieces at a weekend of concerts in February 1959, under the direction of George Szell (the work was played twice at each concert, both before and after intermission). It has been programmed several times since then, in both the original and 1928 scoring. The most recent performances were in autumn 2000, conducted by Pierre Boulez.

About the Music

A r i o t b r ok e o u t at the concert in which Anton Webern’s

Six Pieces for Orchestra was premiered in Vienna in March 1913.

Hisses and catcalls greeted Webern’s music, and, as the program continued — with other new works by Arnold Schoenberg and Alban Berg — loud arguments among the audience broke out.

Eventually, physical blows were traded between admirers and detractors, and the situation got so heated that the police were called. Arrests were made and the final work of the evening, Mahler’s Songs on the Death of Children [Kindertotenlieder], was abruptly dropped and everyone sent home early.

That opinions about music can be so vehemently felt should, perhaps, come as little surprise. The premiere of Stravinsky’s The Rite of Spring led to similar fighting and arrests just two months later in Paris. But what was everyone really arguing about? Experimentation in music (and many other things) has often offended those comfortable with the status quo. Can the rules of harmony and music be completely broken or merely artfully bent? (In truth, the scandal was caused by a group of conservatives who were more interested in creating trouble than in seriously discussing where the future of music was headed.)

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About the Music

61

Webern, along with Berg, had been one of Arnold Schoenberg’s pupils at the University of Vienna a few years earlier. Together with Mahler and others, they had founded an organization of friends and like-minded professionals to ensure that performances of truly new musical works could be given a hearing, which is exactly what was happening with the concert in March 1913 at Vienna’s Musikverein.

All of this was a decade before Schoenberg developed his idea (and “rulebook”) for twelve-tone serialism, for writing music based on a specific set of sequence (series) of notes, rather than the traditions of Western classical harmony. Webern also took up serialism — and many feel he practiced it with more care, specificity, and art than his teacher.

But even before twelve-tone technique, Schoenberg and his pupils (and Mahler and Richard Strauss, too) were testing the limits of musical grammar that had been handed down to them — and breaking bonds with customary ideas of tonality and harmony, of phrasing and instrument voicing. Webern’s musical writing especially coalesced around a set of innate and almost self-replicating ideas for musical creation — stark, crisp, tightly focused, and centered on inner values within the notes and phrase lines themselves.

Across the years, Webern was, for the most part, publicly unwilling to discuss or explain his music. Yet there is sufficient evidence that he wrote Six Pieces in 1909, in part, as a response to his mother’s death three years earlier. His own cryptic program note fits this telling, which he explained more fully (but not quite with full transparency) in a letter to Schoenberg. In this, the movements provide a sequence of: 1. expecting the catastrophe (death); 2. the certainty and fact of death; 3. followed by tender understanding; 4. a funeral march; 5. remembrance, and 6. resignation and acceptance.

Averaging just 25 measures long apiece (the longest is 41 measures, the shortest just 11), each of the Six Pieces is clearly short. Each is stated musically in barest outline. Taking some of Mahler’s techniques to an extreme, Webern uses his large orchestra sparingly, sometimes just one or two instruments at a time (in the original, several instruments only play a few notes each) and only rarely asks the entire ensemble to all play together. Melodies are voiced across instruments, passed almost imperceptibly from one to another to create a melodic arc.

Even a century later, some listeners find this music challenging to understand. And it is a departure, a kind of boiling down to the essences and outline of what Western classical tradition would have “preferred” and aimed at. Yet the crisp, crystalline structure of these pieces is fascinating and exhilarating, focused and tantalizing.

—Eric Sellen © 2019

62

About the Music

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Anton Webern, 1914, painted by Oskar Kokoschka

Your ears will always lead you right, but you must understand the why that makes it so.  

—Anton Webern

Ein Heldenleben [A Hero’s Life], Opus 40 composed 1897-98

At a Glance

by

Richard

STRAUSS born June 11, 1864 Munich died September 8, 1949 Garmisch-Partenkirchen, Bavaria

The Cleveland Orchestra

Strauss completed his symphonic poem Ein Heldenleben (“A Hero’s Life”) in 1897-98, and conducted the first performance in Frankfurt on March 3, 1899. The United States premiere took place a year later, on March 10, 1900, with Theodore Thomas conducting the Chicago Symphony Orchestra. The published score was dedicated to Willem Mengelberg and the Amsterdam Concert­gebouw Orchestra.

Ein Heldenleben runs approximately 40 minutes in performance.

Strauss scored it for large orchestra: 3 flutes, piccolo, 4 oboes (fourth doubling english horn), 2 clarinets,

small clarinet in E-flat, bass clarinet, 3 bassoons, contrabassoon, 8 horns, 5 trumpets, 3 trombones, tenor tuba, bass tuba, timpani, percussion (bass drum, tenor drum, snare drum, cymbals, tam-tam, triangle), 2 harps, and strings.

The Cleveland Orchestra first performed Ein Heldenleben in February 1928, at a pair of subscription concerts conducted by Nikolai Soko­loff. The most recent performances were led by Antonio Pappano in April 2016. Franz Welser-Möst leads performances during the Orchestra’s upcoming 2019 Asia Tour — in Taipei, Beijing, Nanjing, Shenzhen, and Shanghai.

About the Music r i c h a r d s t r a u ss made no secret of the fact that Ein Heldenleben, “a Hero’s Life,” is about himself. The hero is not Hercules, not El Cid, not Napoleon, but the living, breathing Richard Strauss.

At the time, he was a notorious young German conductor and composer, aged thirty-four, who had fought no battles and rescued no damsels in distress, but nonetheless — from everything we know about and can hear in this piece — thought a lot of himself.

Nor had his path to fame been a struggle. His father played principal horn in the Munich Court orchestra, and young Richard was introduced to leading German musicians as a boy. His natural talent was noticed and encouraged, and, with the right connections, he was soon launched on a successful career.

The one big choice that all young German musicians had to make at the time, in the closing years of the 19th century, was whether to follow the flag of Richard Wagner or Johannes Brahms. His father had played for Wagner and disliked the music and the man. So that instead of the Romanticism of Wagner’s operas, young Richard Strauss was steered toward the more formal world of sonatas and quartets — music without storylines.

About the Music

65

He found his true path, however, or at least a path that would serve him for the beginning of his career, in the tone-poem, building on the pioneering efforts of Franz Liszt’s “orchestral tales.”

Strauss began with a four-movement depiction of Italian life, Aus Italien, in 1889 and then embarked on the magnificent series of tone-poems, creating one after another for more than a decade, and finally concluding with the Alpine Symphony in 1915.

In 1897, with Macbeth, Don Juan, Death and Transfiguration, Till Eulenspiegel, Thus Spake Zarathustra, and Don Quixote behind him, Strauss must have felt there was no subject on earth he could not turn into a blaze of modern music. The last two of these ranged from contemporary philosophy to comic adventures, from the quest for the meaning of life to earthy fantastical humor.

Perhaps most importantly, he did it all with instruments. He had no need for text or voices. The scores have occasional headings to guide the listener (or the performers), but the orchestra, with its intricate blend of sounds, had become in Strauss’s hands so expressive that any attentive listener was expected to follow the action or the argument without additional help.

Strauss is said to have boasted that he could portray a tea-

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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 66

April 11-14, 2019

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spoon in music, and he came close, if not in his tone poems, then in his operas, to literal representations of this kind. Very few people questioned the aesthetic rectitude of using music as a paint-brush or as a story-teller. In fact, since long before Vivaldi’s Seasons there had been a growing glossary for how to mimic a large number of worldly sounds. There was never a problem with military scenes or storms or birdsong. These were found everywhere. But a question arose with abstract states of mind, so that although it was agreed that the opening of Beethoven’s Fifth meant something, there was no agreement as to what that something might be. Beethoven’s amanuensis Anton Schindler may have been a liar, but his claim that the great man had told him it was “Fate Knocking at the Door” offered at least one answer.

Strauss avoided that delicate issue by telling us what his pieces were about. And he dug deep into the repertoire of musical associations to find the right sonorities — the proper brushes and paints, as it were — with which to describe them. If some of his critics felt that Thus Spake Zarathustra failed to enter the heart of Nietzsche’s philosophical thought, there was no question that Till Eulenspiegel brought its subject brilliantly to life. The choice for his next tone-poem fell on Cervantes’s immortal Don Quixote, obviously as a follow-up to Till Eulenspiegel, since it recounts a number of humorous adventures in the picaresque tradition, all drawn from a classic masterpiece that The Cleveland Orchestra

About the Music

Richard Strauss, in addition to being a composer, was also one of the most gifted conductors of his generation (he was an early champion of Gustav Mahler’s music). In this period pictorial, the wildness of Strauss’s music is lampooned in the angry, hard-working musicians.

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Formal Outline of Ein Heldenleben

(based on the studies of Norman Del Mar)

I. The Hero

1st subject

II. The Hero’s Adversaries (or critics)

Transition

III. The Hero’s Companion

2nd subject

IV. The Hero’s Battlefield Development V. The Hero’s Works of Peace Recapitulation

(and struggles in the face of (with added episode)

continued criticism) VI. The Hero’s Withdrawal from

the World and the Fulfillment of His Life

Coda

most of his audiences would have read and known and loved.

Next, he decided to tell the story of his own life, in two tone poems, what became Ein Heldenleben and then Symphonie Domestica — though whether he decided initially to write one or two is less certain than his later setting out to write a sequel to the first, original “musical hero.”

In Ein Heldenleben, Strauss introduces himself (the hero), portrays adversaries (his critics), his companion (wife Pauline), his work (his own music), and his retirement from the world, all done with a self-confidence and élan that carry the listener along on the same glorious path.

The music is divided into six sections (as shown in the box above). The sections are clearly marked in the score and act much like movements in a symphony. Structurally, they are patterned out as a formally built framework of Classical sonata form (as noted in the box) — very much dividing the difference, or combining, Wagnerian emotions with Brahmsian formality. The hero is represented in a series of energetic, virile themes. The orchestra is fully engaged, enlarged with even more instruments than ever.

After introducing the Hero’s own theme with horns playing in E-flat major, a silence precedes the appearance of the hero’s enemies, mean-minded critics who leave a trail of ugliness and spite, mostly conveyed by angular woodwinds supported by two clumsy tubas.

The Hero has to step in and send them packing, especially since he wants to introduce his wife, impersonated by a solo violin. Her section of the work moves like operatic recitative or a solo cadenza with no clear tempo named. Her character is clearly changeable in The Cleveland Orchestra

About the Music

69

mood, as Strauss well knew his wife to be, and shifts in and out of clear indications of any particular tonal key. Seductive and shrewish, sweet and severe — all these make up a very honest portrait of the woman who stood by her genius husband for 55 years. Eventually, in the music, this develops into a love scene of great rapture leading to a state of repose.

The dreaded cackle of a critic is heard on the flute, and before long the trumpets offstage give the signal for battle. Once the snare drum enters the fray, the battle is fierce and hard-fought. All the work’s themes are hurled into the front line in a display of orchestral virtuosity as if the composer’s every resource was needed to survive. Sure enough, the hero does come out on top, his critics are laid low in the dust, and the glorious victory of E-flat major, the main key of the work, is proclaimed.

Yet there are still additional paths to conquer, so a new key and a new theme on trumpet and violins leads into a section in which, after a short silence, Strauss creates a tapestry of quotations from his own earlier works, beginning with Don Juan. Over thirty snatches from the previous tone-poems and the opera Guntram are woven with the themes of the hero and his wife, all to suggest a lifetime of productive labor, the hero’s “works of peace.”

After that, even more doubt and adversity must be overcome before the hero eventually achieves the serenity and peace that he claims as a reward for a life of toil.

In listening to Ein Heldenleben, we should not forget that Strauss was still a young man; he was looking forward to what turned out to be a long and productive life in the companionship of his wife, and leading to the comfortable life of celebrity and satisfaction that he did very soon achieve. The final pages of Ein Heldenleben can also be heard as a distant prophecy of the very beautiful works of his last years, several decades later, including Metamorphosen for strings and the Four Last Songs.

His next tone-poem, the Sinfonia Domestica (premiered in 1903), was even more revealing — and applauded and cursed for being so. Yet its inside-the-house portrayal of everyday events is all the more telling after Heldenleben’s grappling with the heroics of life in the public eye.

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

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About the Music

Severance Hall 2018-19

OBERLIN COLLEGE & CONSERVATORY

ARTIST RECITAL SERIES 2018-19 A CELEBRATION OF THE ARTS AT OBERLIN SINCE 1878

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FINNEY CHAPEL (90 NORTH PROFESSOR STREET, OBERLIN) TICKETS: $35 ($30 SENIORS, MILITARY, OC STAFF, FACULTY, ALUMNI, $10 STUDENTS)

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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

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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

93 73

The Cleveland Orchestra guide to Fine

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

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

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

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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

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Individual Annual Support

listings continue

95 75

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

96 76

Individual Annual Support

The The Cleveland Cleveland Orchestra Orchestra

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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

Orchestra The Cleveland Orchestra

listings continued

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

+ has signed a multiyear

pledge (see information box earlier in these listings)

Thank You The Cleveland Orchestra is sustained through support of thousands The Cleveland Orchestra is sustained through thethe support of thousands of generous patrons, including Leadership donors listed these pages. of generous patrons, including the the Leadership donors listed onon these pages.

Listings all annual donors of $300 and more are published Listings of allofannual donors of $300 and more eacheach year year are published annually, and be canviewed be viewed online at clevelandorchestra annually, and can online at clevelandorchestra .com.com For information about you play can play a supporting For information about how how you can a supporting role role for Cleveland The Cleveland estra’s ongoing artistic excellence, for The Orch­Orch estra’s ongoing artistic excellence, education programs, and community partnerships, education programs, and community partnerships, please contact our Philanthropy & Advancement Office please contact our Philanthropy & Advancement Office by phone: 216-231-7545 or email: miqbal@clevelandorchestra.com by phone: 216-231-7556 or email: annualgiving@clevelandorchestra.com.

T HE

CLEVELAND ORC HE STR A FRANZ WELSER-MÖST

* deceased

The Cleveland Severance HallOrchestra 2018-19

Individual Annual Support

99 79

THE CLEVELAND ORCHESTRA

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

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

PARTNERS IN EXCELLENCE $300,000 AND MORE

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

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

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

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$50,000 TO $99,999

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

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

Corporate Annual Support

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

The Cleveland Orchestra

THE CLEVELAND ORCHESTRA

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

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

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

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

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

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

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

90 82

$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)

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The Cleveland Orchestra

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the cleveland orchestra

Franz Welser-Möst and Cleveland Orchestra look toward Asia tour in spring 2019 . . . t h e c l e v e l a n d o r c h e s t r a and Franz Welser-Möst embark on their nineteenth international tour together in spring 2019, with eleven performances scheduled across Asia in seven cities: Taipei, Macau, Shenzhen, Shanghai, Nanjing, Wuhan, and Beijing. The tour’s repertoire showcases four musical works, two from the 19th century and two from the 20th, with Beethoven’s “Emperor” Piano Concerto (No. 5) featuring soloist Daniil Trifonov and Tchaikovsky’s Fifth Symphony, alongside Richard Strauss’s tone poem Ein Heldenleben and Prokofiev’s Third Symphony.

The 2019 Asia Tour will be the Orchestra and Welser-Möst’s third trip together to Asia and features their first joint appearances in China. The tour includes the first Cleveland Orchestra performances in Macau, Shenzhen, Wuhan, and Nanjing, along with return visits to Beijing and Shanghai (which the Orchestra first visited in 1998) and to Taipei (where the Orchestra played in 1987).

“The Cleveland Orchestra has toured internationally almost every season for the past half century,” says André Gremillet, Cleveland Orchestra President & CEO, “and we are very proud to represent Cleveland and Ohio around the world. Touring is also an essential part of our season both from an artistic and an audience development perspective.”

“We are very fortunate to be able to share our music-making with people from all around the world,” continued Gremillet. It’s been over two decades since The Cleveland Orchestra last appeared in China — and we are excited to return to a country that is now one of the most important music markets in the world and to perform for audiences that are so enthusiastic and appreciative of classical music.”

Praise for The Cleveland Orchestra’s collaborative partnership with Franz Welser-Möst continues to grow each season. Recently, the New York Times called the ensemble “… America’s most brilliant orchestra.” Two tours during its 100th season, to Europe in 2017 and to Europe and Japan in 2018, demonstrated the Cleveland/ Welser-Möst partnership to sold-out houses.

“Whenever we go to a part of the world, to a place we haven’t been for a long time, or in this case to some cities where The Cleveland Orchestra

Severance Hall 2018-19

BEIJING

CHINA

WUHAN

n

NANJING n SHANGHAI

n

n

TAIPEI

Shenzhen

n

MACAU

has never been before, I believe it is important to present a range of repertoire that showcases the Orchestra’s abilities and lets the artistry of this ensemble really shine,” said Franz Welser-Möst.

“I can’t claim this idea, but live music is one of the only art forms that can truly travel the world,” commented Richard K. Smucker, Cleveland Orchestra Board Chair. “In our case, the Orchestra spreads the reputation and quality of Cleveland itself — not only domestically but internationally.

Founded in 1918, The Cleveland Orchestra’s first tour took place the next year, when the ensemble’s musicians traveled by train to perform in nearby cities, including Pittsburgh, Pennsylvania, and Youngstown, Ohio. They crossed an international border for the first time in 1922, to perform in Canada, and also made their first appearance at New York City’s famed Carnegie Hall in 1922. The Orchestra first crossed ocean waters in 1927 to perform in Cuba. Major overseas and international touring began in 1957, with the ensemble’s first trip to Europe, featuring 29 concerts across more than five weeks that spring.

As the Orchestra’s fame spread — fanned by recordings and radio broadcasts — new and lengthy concert tours of Europe followed in the 1960s, as well as the first trip to Asia in 1970, featuring 12 concerts in Japan and Korea.

Touring expanded in the following decades, with Cleveland’s first tour to Australia and New Zealand (1973), and South America and Mexico (1975), along with increasingly frequent visits to Europe and appearances across the United States.

“Music is the most universal language,” adds André Gremillet. “While we come from different cultures and live in different environments, experiencing great music together reminds us that what we all have in common is greater than what might separate us.”

Cleveland Orchestra News

85

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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 Severance Hall 2018-19

Cleveland Orchestra Reviews

87

orchestra news Audition dates set for Youth Chorus and Youth Orchestra for 2019-20 season

THE CLEVELAND ORCHESTRA

New solo album features Cleveland Orchestra trumpeter Jack Sutte

Auditions are being held later this spring for both the Cleveland Orchestra Youth Chorus and Youth Orchestra for the 2019-20 season.

For the Youth Chorus, auditions will take place on June 2, June 13, and September 7, by appointment only. Auditions are open to students entering grades 9-12 in the fall of 2019, as well as 8th grade boys with changed voices.

To reserve an audition appointment, please send an email to chorus@clevelandorchestra.com or call 216-231-7374.

Youth Orchestra auditions will take place in May. Requirements and applications are available at www.clevelandorchestrayouthorchestra. com. Auditions are open to middle and high school instrumentalists, with application deadline of March 29. Questions? Call 216-231-7352 or write coyo@clevelandorchestra.com.

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.

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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

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).

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Severance Hall 2018-19

A native of Philadelphia, Rich Weiner was the first percussionist to be awarded a performer’s certificate from Indiana University, where he earned a master of music degree. Later in life he also earned a Juris Doctor degree from Cleveland State University.

At the time of his death, Mr. Weiner was a faculty member at the Cleveland Institute of Music, where he taught and influenced generations of young musicians for fifty-five years and had chaired the timpani and percussion department for more than four decades.

“Richard Weiner was a role model to all of us during our school days in Cleveland,” said Robert van Sice, chair of percussion studies at Yale University. “He was a man who played the way he lived — with tons of class.”

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Your Role . . . in The Cleveland Orchestra’s Future Generations of Clevelanders have supported the Orchestra and enjoyed its concerts. Tens of thousands have learned to love music through its education programs, celebrated important events with the power of its music, and shared in its musicmaking — at school, at Severance Hall, at Blossom, in downtown Cleveland, on the radio, and with family and friends.

As Ohio’s most visible international ambassador, The Cleveland Orchestra proudly carries the name of our great city everywhere we go. Here at home, we are committed to serving all of Northeast Ohio with vital education and community programs, presented alongside wide-ranging musical performances. Ticket sales cover less than half the cost of presenting the Orchestra’s season each year. By making a donation, you can make a crucial difference in helping to ensure our work going forward. To make a gift to The Cleveland Orchestra, please visit us online, or call 216-231-8400.

clevelandorchestra.com

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M . U. S . I .C . i . a . N s . a . l . u .T. E The Musical Arts Association gratefully acknow­ ledges the artistry and dedication of all the musicians of The Cleveland Orch­estra. In addition to rehearsals and concerts throughout the year, many musicians offer performance and coaching time in support of Orchestra’s education, commun­ity engagement, fundraising, and audience development activities. We are pleased to recognize these musicians, listed below, who offered their talents and artistry for such presentations during the 2017-18 season.

Mark Atherton Charles Bernard Katherine Bormann Lisa Boyko Charles Carleton Jiah Chung Chapdelaine Hans Clebsch John Clouser Kathleen Collins Wesley Collins Marc Damoulakis Vladimir Deninzon Maximillian Dimoff Elayna Duitman Bryan Dumm Mark Dumm Tanya Ell Kim Gomez Wei-Fang Gu Scott Haigh David Alan Harrell Miho Hashizume Shachar Israel Dane Johansen Joela Jones Arthur Klima Alicia Koelz Stanley Konopka Mark Kosower Analisé Kukelhan Paul Kushious Massimo La Rosa Jung-Min Amy Lee Jessica Lee Yun-Ting Lee Emilio Llinás Takako Masame Eli Matthews Jesse McCormick Daniel McKelway Michael Miller

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

Severance Hall 2018-19

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

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

Cleveland Orchestra News

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THE CLEVELAND ORCHESTRA

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Late Seating As a courtesy to the audience members and musicians in the hall, late-arriving patrons are asked to wait quietly until the first convenient break in the program, when ushers will help you to your seats. These seating breaks are at the discretion of the House Manager in consultation with the performing artists.

Pagers, Cell Phones, and wristwatch alarms Please silence any alarms or ringers on pagers, mobile phones, or wristwatches prior to the start of the concert.

h a i l e d as o n e of 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, 19211936) and his wife, Elisabeth, donated the funds necessary to erect this magnificent building. Designed by Walker & Weeks, its elegant 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.

Severance Hall 2018-19

Severance Hall

Photography, Videography, and Recording Audio recording, photography, and videography are prohibited during performances at Severance Hall. Photographs of the hall and selfies to share with others can be taken when the performance is not in progress. As courtesy to others, please turn off any phone of device that makes noise or emits light.

In the Event of an Emergency Contact an usher or a member of house staff if you require medical assistance. Emergency exits are clearly marked throughout the building. Ushers and house staff will provide instructions in the event of an emergency. age restrictions 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). cleveland orchestra store A variety of items relating to The Cleveland Orchestra — including logo apparel, compact disc recordings, and gifts — are available for purchase at the Cleveland Orchestra Store before and after concerts and during intermission, located on the groundfloor in the Smith Lobby near the Ticket Office

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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.

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