The Cleveland Orchestra April 25-28, May 2-5 Concerts by Live Publishing

THE CLEVELAND ORCHESTRA FRANZ WELSER-MÖST

2O18 SEAS O N 2O19

Welcome . . . . . . . . . . . . . . . . . . . . . . . . page 7 Week 19 — April

25, 26, 27 Debussy & Scriabin . . . . . . . . . . . . page 21 Week 19m — April

28 Movie: Close Encounters . . . . . page 56 Week 20 — May

2, 3, 4, 5 Tchaikovsky/ Shostakovich . . page 63

spring

Severance Hall

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T H E CLEVELAN D O RC H ES T RA

PROGRAM BOOK

TA B L E

CONTENTS

weeks 19 and 20

About the Orchestra Perspectives from the President & CEO . . . . . . . . . . 7 Musical Arts Association. . . . . . . . . . . . . . . . . . . . . . . . . 9 About The Cleveland Orchestra . . . . . . . . . . . . . . . 15 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Severance Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 19 DEBUSSY & SCRIABIN

week

Concert: April 25, 26, 27. . . . . . . . . . . . . . . . . . . . . . Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . higdon blue cathedral . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . macmillan The Mysteries of Light . . . . . . . . . . . . . . . . . . . . . . debussy Prelude to the Afternoon of a Faun . . . . . . . . . . scriabin The Poem of Ecstasy . . . . . . . . . . . . . . . . . . . . . . . .

21 23

Program books for Cleveland Orchestra concerts are produced by The Cleveland Orchestra and are distributed free to attending audience members.

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

29 35 39

Cleveland Orchestra News. . . . . . . . . . 49

19m At the Movies

week

Concert: April 28 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 Synopsis: Close Encounters of the Third Kind . . . . 59

20 tchaikovsky & Shostakovich

week

Concert: May 2, 3, 4, 5 . . . . . . . . . . . . . . . . . . . . . . . . Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . tchaikovsky Violin Concerto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . shostakovich Symphony No. 11: The Year 1905 . . . . . . . . . . . .

ON THE COVER Photgraph by Roger Mastroianni

Eric Sellen, Program Book Editor e-mail: esellen@clevelandorchestra.com

Conductor: Stéphane Denève . . . . . . . . . . . . . . . . . 42 Guest Soloist: Jean-Yves Thibaudet . . . . . . . . . . . . 43

NEWS

2O18 SEAS O N 2O19

page

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.

63 65 67

50%

Conductor: Michail Jurowski . . . . . . . . . . . . . . . . . . . 78 Guest Soloist: Vadim Gluzman . . . . . . . . . . . . . . . . . 79

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

Support Severance Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Heritage Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Annual Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

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

Table of Contents

The Cleveland Orchestra

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

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Perspectives Spring 2019 Not long ago, Irish novelist Cecelia Ahern suggested that “Home isn’t a place, it’s a feeling.” But following The Cleveland Orchestra’s recent three-week visit to Asia (March 26 to April 14), I’ve come to believe that home can be both a place and a feeling. Although we had a marvelous journey, featuring eleven unforgettable performances in seven cities, and exposing legions of new fans to the extraordinary experience of André Gremillet hearing this remarkable orchestra for the first time, I found myself overcome with gratitude upon returning to our hometown of Cleveland — a special place that always seems poised to provide the warm and welcome embrace we need after an extensive trip across the globe. At the airport in Cleveland, I was asked what it’s like to work for the Orchestra — a question I hear daily, whether navigating the streets of Shanghai or wandering the sidewalks near University Circle. Music lovers across Northeast Ohio — and around the world — seem excited to peek behind the curtain and learn about the day-to-day operations of this legendary organization. Of course, it’s impossible to distill more than a century’s worth of tremendous performances, education programs, and ground-breaking initiatives into a brief conversation. But after several years of practice, I’m able to detail a few of the reasons why I remain honored and humbled to work for this incredible institution: Great Music. The primary goal of the musicians onstage, our staff, and volunteers is for the Orchestra to play more great music for more people — presenting breathtaking and inspirational concert experiences for audiences of all ages. Whether handing out program books, operating the lighting at Severance Hall, or serving drinks at one of our concession areas, every member of the Orchestra family feels a wave of pride when these spectacular musicians begin to play. Regardless of how you ended up here — maybe you’re a subscriber, you’re coming to celebrate a special occasion, or you received tickets as a gift — we know many of you choose to share important moments in your life with us. And we’re committed to doing everything in our power to make each concert performance a magical and memorable event. Enthralling Education and Community Programs. In the Orchestra’s longstanding commitment to serve this city, few initiatives have greater impact or importance than our education programs. Created to engage people in concert halls, classrooms, and everyday life, these initiatives are responsible for inspiring thousands of students and adults through the power and passion of music. From personal experience, I can assure you there’s nothing more rewarding than watching a young person transfixed and transported by these wonderful musicians — and knowing the joy of music has been sparked in future generations. Unparalleled Community Support. For more than a century, the people of Cleveland have consistently proven themselves to be one of the most generous music-minded communities in the country. An impressive-sized group of individual donors from across the region form the bedrock of our annual support campaign with gifts, large and small. We’re also grateful for the ongoing patronage provided by corporations and members of our Heritage Society, who’ve earmarked legacy gifts to help continue growing the Orchestra’s Endowcontinues

Severance Hall 2018-19

From the President

continued

ment. By making these charitable contributions, supporters are recognizing The Cleveland Orchestra as an integral and important part of this community’s quality of life. Finally, I wrap up any conversation by thanking each person for their interest in The Cleveland Orchestra. I tell them that none of these things would be possible without the incredible support of the generous people of Northeast Ohio. And as with my recent airport inquisitor, I often offer a sentiment that I know is shared by our acclaimed music director Franz Welser-Möst and the Orchestra’s talented musicians: It always feels good to be home.

André Gremillet President & CEO The Cleveland Orchestra P. S. Spring Community Challenge. Two special new groups have joined together to encourage new and increased giving this spring through a unique challenge grant. The Cleveland Orchestra’s Advisory Council (created in 2016) and our young professionals’ group, The Circle (founded in 2014), are jointly matching new and increased gifts to the Annual Fund. I urge you to take advantage of this opportunity to double the impact of each gift in support of your hometown orchestra. Complete details can be found in the center of this book, along with a gift envelope.

CARL FREDERICK GAERTNER (AMERICAN, 1898–1952) The Fisherman, 1946, 28 x 48 inches

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From the President

The Cleveland Orchestra

Musical Arts Association

as of February 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 A. 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 CLEVELAN D O RC H ES T RA

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

Severance Hall 2018-19

Musical Arts Association

T H E CLEVELAN D O RC H ES T RA 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.

Advisory Councils and Boards

The Cleveland Orchestra

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 onon Facebook social media (as of(April June 2019) 2016)

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 CLEVELAN D O RC H ES T RA

BY THE NUMBERS

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.

THE

CLEVELAN D O RC H ES T RA

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

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

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

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The Cleveland Orchestra

T H E

C l e v e l a 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

Yu Yuan

Isabel Trautwein

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 SEAS O N 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

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

T H E CLEVELAN D O RC H ES T RA

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

Mr. and Mrs. Joseph P. Keithley Mr. and Mrs. Douglas A. Kern KeyBank Knight Foundation Milton A. & Charlotte R. Kramer Charitable Foundation Kulas Foundation Mr. and Mrs. Dennis W. LaBarre Nancy Lerner and Randy Lerner Mrs. Norma Lerner and The Lerner Foundation Daniel R. Lewis Jan R. Lewis Peter B. Lewis* and Janet Rosel Lewis Virginia M. and Jon A. Lindseth The Lubrizol Corporation Maltz Family Foundation Elizabeth Ring Mather and William Gwinn Mather Fund Elizabeth F. McBride Ms. Nancy W. McCann William C. McCoy The Sisler McFawn Foundation Medical Mutual The Andrew W. Mellon Foundation Mr. and Mrs. Robert F. Meyerson* Ms. Beth E. Mooney The Morgan Sisters: Susan Morgan Martin, Patricia Morgan Kulp, Ann Jones Morgan John C. Morley John P. Murphy Foundation David and Inez Myers Foundation National Endowment for the Arts The Eric & Jane Nord Family Fund The Family of D. Z. Norton State of Ohio Ohio Arts Council The Honorable and Mrs. John Doyle Ong

Severance Society / Lifetime Giving

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

* deceased

The Cleveland Orchestra

THE

CLEVEL AND ORCHESTRA fr anz welser- mÖst

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

Severance Hall

Thursday evening, April 25, 2019, at 7:30 p.m. Friday morning, April 26, 2019, at 11:00 a.m.* Saturday evening, April 27, 2019, at 8:00 p.m.

Stéphane Denève, conductor

jennifer higdon

blue cathedral *

james macmillan

Piano Concerto No. 3: The Mysteries of Light

(b. 1962)

2O18 SEAS O N 2O19

(b. 1959)

1. Baptisma lesu Christi 2. Miraculum in Cana 3. Proclamatio Regni Dei 4. Tranfiguratio Domini Nostri 5. Institutio Eucharistiae

Jean-Yves Thibaudet, piano

int er mission *

Prelude to the Afternoon of a Faun *

claude debussy

(1862-1918)

alexander scriabin

(1871-1915)

The Poem of Ecstasy, Opus 54 *

Jean-Yves Thibaudet’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from The Hershey Foundation. Thursday evening’s performance is dedicated to William T. and Katherine J. O’Neill 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.

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* The Friday Morning Concert is performed without intermssion and features the works by Higdon, Debussy, and Scriabin.

Concert Program — Week 19

2O18 SEAS O N 2O19

April 25, 26, 27 THIS WEEK’S CONCERT Restaurant opens: THUR 4:30 SAT 5:00

Concert Preview: begins one hour before concert

Reservations (suggested) for dining:

216-231-7373

or via www.UseRESO.com

EVENING PREVIEWS Reinberger Chamber Hall

MORNING PREVIEW Concert Hall

“Themes of Light and Color”

“The Dawn of Dreams”

with Caroline Oltmanns, Youngstown State University

with Rose Breckenridge, Clevleand Orchestra Music Study Groups

higdon blue cathedral . . . . . . . . . . . . . . . page 25 (15 minutes)

(30 minutes)

DEBUSSY

Macmillan The Mysteries of Light . . . . . . . page 29

FRIDAY MORNING 11:00

higdon

Concert begins: THUR 7:30 SAT 8:00

Severance Restaurant

SCRIABIN

INTERMISSION (20 minutes)

12:00

debussy Prelude to the Afternoon of a Faun. . . . . . . . . . page 35 (10 minutes)

scriabin The Poem of Ecstasy . . . . . . . . . page 39 (20 minutes)

Severance Restaurant

Post-Concert Luncheon follows the Friday Morning concert.

Concert ends:

(approx.)

THUR 9:10 SAT 9:40

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

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

This Week’s Concerts

The Cleveland Orchestra

INTRODUCING THE MUSIC

Influence &Direction

E V E R Y P I E C E O F M U S I C is, of course, new when it is first created or

heard. Yet some works sound newer — and lean more toward the future — than others. This week’s concerts feature four pieces (three at the matinee), all of which still sound new, years (even a century) after their premieres. Together, they represent a fraction of the many directions that music has taken and is taking in our modern world. The concerts open with a hit orchestral work by American Jennifer Higdon titled blue cathedral. Written in 1999, at a time when the composer was mourning the death of her brother, Andrew, this music has been performed by orchestras around the world, offering a freshness and focus of sounds that is at once pleasing, present, and filled with joy, possibilities, and uncertainty. For evening attendees, the concerts feature a piano concerto from a decade ago, written by Scotsman James MacMillan. Titled The Mysteries of Light, this work derived inspiration through the composer’s devout Catholic faith — coupled with his intense intellectual interest in religious ritual, meaning, and understanding. Yet it is a concert work, created for the concert hall and not the church. Its music carries belief, imbued with a modernistic joy in intercultural beauty. Jean-Yves Thibaudet, who premiered the work in 2011, is our soloist. The concerts continue with Claude Debussy’s first great masterpiece, Prelude to the Afternoon of a Faun. At its premiere in 1894, the languorous and doleful lines of its melodies and harmonies announced that Debussy wanted to take music in new directions — an impresLéon Bakst’s drawing of the sion still discernible to our modern ears, even in today’s faun, for a famous 1912 ballet world of complex musical varieties, cross-currents, and version of Debussy’s work. everyday soundtracks. To close these concerts, guest conductor Stéphane Denève leads performances of The Poem of Ecstasy, written a century ago by Russian composer Alexander Scriabin. Premiered in 1908 in New York City, this “symphony” of pulsing, emotionally-charged music was intended as commentary, embodiment, and a searching quest within life’s intellectual powers and pleasures. —Eric Sellen

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Introducing the Concert

blue cathedral composed 1999

At a Glance

Higdon composed blue cathedral in 1999 on a commission from the Curtis Institue of Music for its 75th anniversary. The Curtis Symphony Orchestra premiered the work on May 1, 2000. This work approaches 15 minutes minutes in performance. Higdon scored the piece for 2 flutes (second doubling piccolo), oboe, english horn, 2 clarinets, 2 bassoons, 4 horns, 3

Jennifer

HIGDON born December 31, 1962 Brooklyn, New York residing in Philadelphia, Pennsylvania

Severance Hall 2018-19

trumpets, 3 trombones, tuba, timpani, percussion (bell tree, chimes, chinese bells, crotales, 2 triangles, sizzle cymbal, suspended cymbal, marimba, 2 tam-tams, tom-tom, bass drum, vibraphone, 8 crystal glasses, glockenspiel), harp, piano, celeste, and strings. The Cleveland Orchestra is presenting blue cathedral for the first time with this weekend’s concerts.

About the Music

The composer has written the following comments about this work, which was created in part as an artist’s response to the death of her younger brother in 1998: I b e g a n w r i t i n g t h i s p i e c e at a unique juncture in my life and found myself pondering the question of what makes a life. The recent death of my younger brother, Andrew Blue, made me reflect on the amazing journeys that we all make in our lives, crossing paths with so many individuals singularly and collectively, learning and growing each step of the way. Thus, the piece blue cathedral represents expression of the individual and the group — our inner travels and the places our souls carry us, the lessons we learn, and the growth we experience. In tribute to my brother, I feature solos for the clarinet (the instrument he played) and the flute (the instrument I play). Because I am the older sibling, it is the flute that appears first in this dialog. At the end of the work, the two instruments continue their dialogue, but it is the flute that drops out and the clarinet that continues on in an upward progressing journey. This is a story that commemorates living and passing through places of knowledge and of sharing, and of that song called life — Blue . . . like the sky. Where all possibilities soar. Cathedrals . . . a place of thought, growth, spiritual expression . . . serving as a symbolic doorway into and out of this world. Blue represents all potential and the progression of journeys. Cathedrals represent a place of beginnings, endings, soliAbout the Music

tude, fellowship, contemplation, knowledge and growth. As I was writing this piece, I found myself imagining a journey through a glass cathedral in the sky. Because the walls would be transparent, I saw the image of clouds and blueness permeating from the outside of this church. In my mind’s eye, the listener would enter from the back of the sanctuary, floating along the corridor amongst giant crystal pillars, moving in a contemplative stance. The stained glass windows’ figures would start moving with song, singing a heavenly music. The listener would float down the aisle, slowly moving upward at first and then progressing at a quicker pace, rising toward an immense ceiling, which would open to the sky. As this journey progressed, the speed of the traveler would increase, rushing forward and upward. I wanted to create the sensation of contemplation and quiet peace at the beginning, moving towards the feeling of celebration and ecstatic expansion of the soul, all the while singing along with that heavenly music. These were my thoughts when the Curtis Institute of Music commissioned me to write a work to commemorate the conservatory’s 75th anniversary. For me, Curtis is a house of knowledge — a place to reach toward the kind of beautiful expression of the soul that comes through music.

—Jennifer Higdon, March 2000

Program Book on your Phone Read about the music before the concert. To read bios and commentary from this book on your mobile phone, you can visit ExpressProgramBook.com before or after the concert.

Cleveland Cleveland Cleveland Pops Pops Orchestra Pops Orchestra Orchestra and Chorus andand Chorus with Chorus Carl withwith Topilow CarlCarl Topilow Topilow and soloists and soloists and from soloists The from U.S. from The Army U.S. The Soldiers’ U.S. ArmyArmy Soldiers’ Chorus Soldiers’ Chorus Chorus

18th 18th 18th Annual Annual Annual AMERICAN AMERICAN AMERICAN SALUTE SALUTE SALUTE Friday, Friday, Friday, May May 24th May 24th  24th 8:00  8:00  PM8:00  PM PM  SEVERANCE  SEVERANCE SEVERANCE HALL HALL HALL Tickets: Tickets: 216 Tickets: -231-1111 216 -231-1111 216 -231-1111

CPOPS_SEV_1819_AmericanSalute-Bks CPOPS_SEV_1819_AmericanSalute-Bks ... ... ... 26CPOPS_SEV_1819_AmericanSalute-Bks page 1 page 1page 1

Tuesday,Tuesday, April 9, Tuesday, 2019 April17:02 9,April 2019 9,17:02 2019 17:02 About the Music The Cleveland Orchestra Magenta Yellow Cyan Magenta Yellow Cyan Magenta Yellow Cyan Black Black Black

About the Composer J ENNIFER HIGD O N is among America’s

most acclaimed figures in contemporary classical music. Her many accolades include two Grammy Awards, in 2018 for her Viola Concerto and in 2010 for her Violin Concerto, and the 2010 Pulitzer Prize in Music for her Violin Concerto. Most recently, she received the prestigious Nemmers Prize from Northwestern University, which is awarded to contemporary classical composers of exceptional achievement who have significantly influenced the field of composition. Ms. Higdon’s works enjoy several hundred performances a year, with blue cathedral being one of today’s most performed contemporary orchestral works (over 600 performances worldwide to date). Her music has been featured on more than sixty albums. Her first opera, Cold Mountain, premiered in 2015 by Santa Fe Opera, received the International Opera Award for best world premiere — becoming the first American opera to do so in the award’s history. Performances of Cold Mountain sold out its premiere runs in Santa Fe, in North Carolina, and in Philadelphia; the opera’s recording was nominated for two Grammy awards. Ms. Higdon has been a featured composer at many festivals, including Aspen, Tanglewood, Vail, Norfolk, Grand Teton, and Cabrillo. She has served as composerin-residence or creative director with several orchestras, including Pittsburgh, Philadelphia, Fort Worth, and Cincinnati Symphony, and served two seasons as visiting scholar at the University of Missouri Kansas City. Upcoming commissions include a chamber opera for Opera Philadelphia, a string quartet for the Apollo Chamber Players, a double percussion concerto for the Houston Symphony, an orchestral suite for the Made In America project, and a flute concerto for the National Flute Associations’ 50th anniversary in 2022. Jennifer Higdon received a bachelor’s degree in music from Bowling Green State University, an artist diploma from the Curtis Institute of Music, and MA and PhD degrees from the University of Pennsylvania. She teaches at Curtis, where she holds the Milton L. Rock Chair in composition. Her music is published exclusively by Lawdon Press. For more information, please visit www.jenniferhigdon.com. Severance Hall 2018-19

About the Composer: Jennifer Higdon

Exclusively in Cleveland. Discover rarely seen Japanese

Shinto: Discovery of the Divine in Japanese Art is organized by the Cleveland Museum of Art with the special cooperation of the Nara National Museum.

The Cleveland Museum of Art gratefully acknowledges:

Presenting Sponsors

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the divine.

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Kenneth S. and Deborah G. Cohen

The John D. Proctor Foundation

Thomas and Beatrice Taplin Fund

Additional Support Blakemore Foundation Andrew W. Mellon Foundation Endowment Fund Iwashimizu HachimangĹŤ Shrine Samukawa Jinjya Shrine Miyajidake Jinjya Shrine

Seated Tenjin, 1259. Kamakura period (1185â&#x20AC;&#x201C;1333). Wood with color; 94.9 x 101.5 x 68.8 cm. Yoki Tenman Jinja, Sakurai, Nara Prefecture. Important Cultural Property. Photo: Nara National Museum

EVENING C O NCERT S O NLY

Piano Concerto No. 3: The Mysteries of Light composed 2007-08

At a Glance

James

MacMILLAN born July 16, 1959 Kilwinning, North Ayrshire, Scotland living in Glasgow, Scotland

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MacMillan wrote his third piano concerto, titled The Mysteries of Light, in 2007-08. It was premiered on April 14, 2011, by the Minnesota Orchestra conducted by Osmo Vänskä, with Jean-Yves Thibaudet as soloist. This concerto runs about 25 minutes in performance. MacMillian scored it for 3 flutes (third doubling piccolo), 2 oboes, english horn, 3 clarinets (third doubling bass clarinet), 2 bassoons, contrabassoon, 4 horns,

3 trumpets, 3 trombones (third doubling bass trombone), tuba, timpani, percussion (snare drum, bass drum, brake drums, tam-tam, tom-toms, vibraslap, tuned gongs, water gong, metal bar, tubular bells, chime tree, suspended cymbal, tambourine, güiro, vibraphone, glockenspiel), harp, and strings. The Cleveland Orchestra is presenting this concerto for the first time with this weekend’s concerts.

About the Music

m u c h g r e a t a r t has been inspired by religious faith, either

directly from within the artists’ own belief or secondarily from the powerful storytelling that religion often infuses with meaning. In particular, many classical composers have been inspired by the ceremonies and promises of the Christian faith. From so many of the well-known canon of names across Western music — Palestrina, Vivaldi, Haydn, Handel, Mozart, Beethoven, Berlioz, Rossini, Brahms, Verdi — came a plethora of works founded in religious fervor and/or spiritual calling. The trend has, perhaps, waned more recently, as modern composers have found patronage far beyond the religious. Yet few composers have combined musical art with religious conviction as thoroughly and passionately as Scottish composer James MacMillan, one of today’s most-played classical composers. While religious inspiration permeates most of MacMillan’s output, he understands that, for many, music must speak for itself. Nevertheless, he is extraordinarily articulate and unafraid to talk about how his religious beliefs — as a minority Catholic in a majority protestant land — have infused, extended, and shaped his artistic creativity. “I have often noticed that among those who love music, whether they’re religious or not, that the description of music as ‘the most spiritual of the arts’ keeps coming up,” MacMillan has said. “And in some respects, that is quite a curious thing for secular people to say. I think what they mean is that music seems to penetrate them in a way that other arts and other aspects of culture don’t. And that music has an ability to open a window on the About the Music

sacred and the divine, regardless of one’s specific religous outlook.” MacMillan’s own religious views, while deeply Catholic, are also built on a foundation of introspection and deep questioning — of a faith that is unafraid of questions and unknowns, and that is informed by knowledge. He sees the church as a platform for thinking and reflection, and as a highly intellectual endeavor. Belief must be rigorously tested, leaving only a core set of principals to a kind of blind faith. The Catholic Church in his best scenarios embraces a centuries’ old tradition of scholarship and study, of serious dicusssion too often lost in a modern world filled with more simplistic and conflicting views of reglious belief — whether Christian, Jewish, Islam, Hindu, etc. MacMillan’s career, as with so many successful lifestories, had a few moments of good luck to help it really get started. The sky-rocketing success of two early works — The Confession of Isobel Gowdie (1990) and the percussion concerto Veni, Veni Emmanuel (1992) — propelled him to wide notice across the globe. The championship of that concerto by fellow Scot musician Evelyn Glennie certainly helped, and it alone has been heard in hundreds of performances across three decades. MacMillan’s life itself also makes a good story. His youthful stint playing in a folk band makes compelling copy and connects with audience members. In addition to his Catholic faith, MacMillan’s musical creations often reflect the composer’s Scottish heritage, his social conscience, and his intimate understanding of Celtic folk music. Yet as a modernist composer, he nonetheless tracts somewhat conservative and traditional in his view of music’s role in the world. “When I hear music by other Scots, there are links in sound and feeling with Nordic composers. And, for all us northerners, Sibelius is the gold standard for reference. There’s an attraction to cragginess and an austere beauty, a darkness in the orchestral palette. There is a northern soul, tempered in my case by something Gaelic and Catholic. Quite a mix!” As MacMillan explains in his own program note about the Third Piano Concerto (see page 33), this work is an attempt to revive an old conception in music, mirroring and expounding upon mysteries of religious belief that go beyond science and understanding. —Eric Sellen © 2019

About the Music

The Cleveland Orchestra

About the Composer J a m e s M a c M i l l a n is the pre-emi-

nent Scottish composer of symphonic and classical music of his generation. He first attracted attention with the BBC Proms premiere of his The Confession of Isobel Gowdie in 1990. His percussion concerto Veni, Veni Emmanuel, premiered two years later in 1992, has received over 500 performances by orchestras worldwide — including the London Symphony Orchestra, New York and Los Angeles Philharmonics, and The Cleveland Orchestra. Other major works include the cantata Seven Last Words from the Cross (1993), Quickening (1998; for soloists, children’s choir, mixed choir, and orchestra), the operas Inès de Castro (2001) and The Sacrifice (2005-06), along with his Saint John Passion (2007) and Saint Luke Passion (2013). He has been the featured composer with the Edinburgh Festival (1993), Southbank Centre (1997), BBC’s Barbican Composer Weekend (2005), and at the Grafenegg Festival (2012). Recordings of his many works can be found on BMG/RCA Red Seal, BIS, Chandos, Naxos, Hyperion, Coro, Linn and Challenge Classics. The past decade has brought a sequence of concertos for a set of distinguished international soloists: for violinist Vadim Repin, pianist Jean-Yves Thibaudet (Piano Concerto No. 3, titled The Mysteries of Light), oboist Nicholas Daniel, violist Lawrence Power, percussionist Colin Currie (MacMillan’s second percussion concerto), and trombonist Jörgen van Rijen. Other new works include Woman of the Apocalypse, Symphony No. 4, A European Requiem, Stabat Mater, and an armistice oratorio, All the Hills and Vales Along, first heard at the Cumnock Tryst festival founded by the composer in his childhood town in Scotland. James MacMillan read music at Edinburgh University and took doctoral studies in composition at England’s Durham University with John Casken. After working as a lecturer at Manchester University, he returned to Scotland and settled in Glasgow. The premiere of his composition Tryst at the 1990 Saint Magnus Festival led to his appointment as affiliate composer with the Scottish Chamber Orchestra. He was Artistic Director (1992-2002) of the Philharmonia Orchestra’s “Music of Today” series of contemporary music concerts in London. He is internationally active as a conductor, and worked as composer/conductor with the BBC Philharmonic for a decade starting in 2000. He was appointed a principal guest conductor of the Netherlands Radio Chamber Philharmonic in 2010. Mr. MacMillan was awarded the Commander of the British Empire in 2004 and knighted in 2015. His music is published exclusively by Boosey & Hawkes. Severance Hall 2018-19

About the Composer: James MacMillan

About the Music —James MacMillan

PHOTO © BY PHILIP GATWORD

Sometimes the composer is the least able person to explain what the intentions of a partic ular piece of music are. Does it matter if the audi ence recognizes the Catholic references in this music? I don’t think so. This is liturgy — it’s not part of a religious ritual, though it’s shaped by both religion and ritual. It has to work in a neutral, secu lar space where most of the audience won’t have any great experience with the rosary.

The Cleveland Orchestra

The Mysteries of Light The composer has written the following comments concerning the origins, inspiration, and meaning behind this concerto: m y t h i r d p i a n o c o n c e r t o , The Mysteries of Light, attempts to revive

the ancient practice of writing music based on the structure of the Roman Catholic Rosary. The most famous example of this is the collection of the Rosary (or Mystery) Sonatas for violin by Heinrich Biber, written in the late 17th century. These consist of fifteen movements based on the Joyful, Sorrowful, and Glorious Mysteries. In 2002, a new set of meditations were introduced by Pope John Paul II, called the Luminous Mysteries, and these form the basis of the five sections of my concerto. The music, however, is in no way geared towards liturgy, or devotional in any accepted, traditional sense. Rather, each image or event becomes the springboard for a subjective reflection, and proceeds in quasi-dramatic fashion, not too distant in concept from an orchestral tone poem. The fusion of symphonic poem with concerto forms has long been a favourite pursuit of mine in earlier works. This concerto is in one single, continuous span, comprising five distinct portions: 1). Baptisma Iesu Christi — A snatch of plainsong acts as a refrain around which the piano plays fast, virtuosic episodes accompanied by a tolling bell and an ominous cantus firmus. 2). Miraculum in Cana — Speeds fluctuate here, but the general mood is celebratory and dance-inspired. A more solemn chorale theme is heard intermittently on lower instruments. 3). Proclamatio Regni Dei — After an initial flourish and trumpet proclamation, the general tone is serene and intimate, with a cantabile melody on the piano, decorated with upper ornamentation and resonance. Momentarily, the mood darkens more boisterously before subsiding. 4). Transfiguratio Domini Nostri — This fast movement begins in the lower orchestral registers and gradually rises, adding more layers and activity before a climax. Only then does the piano appear, with music contrasted and mysterious, accompanied by tuned percussion and harp. 5). Institutio Eucharistiae — The finale is joyous and rhythmic, framed by syncopated dance-like refrains. This is interrupted by a more declamatory, incantatory episode, where the piano writing is more ruminative, freer, and cadenza-like. In the final moments, the opening plainsong idea makes a last appearance. —James MacMillan, 2011 Severance Hall 2018-19

About the Music

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Prelude to the Afternoon of a Faun [Prélude à l’Après-midi d’un Faune] composed 1892-94

At a Glance

Claude

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

Severance Hall 2018-19

Debussy began writing his Prélude à l’après-midi d’un faune (“Prelude to the Afternoon of a Faun”) in 1892 and completed it in the summer of 1894. His original plan to compose a Prélude, Interlude, and Paraphrase finale — in which Mallarmé’s original verses, according to the poet’s wishes, would be recited by an actor — was abandoned, and a projected performance in Brussels (planned by Eugène Ysaÿe to introduce the young Debussy’s music) did not come about. The first performance took place in Paris on December 22, 1894,

conducted by Gustave Doret. This work runs about 10 minutes in performance. Debussy scored it for 3 flutes (the first including extensive solo passages), 2 oboes, english horn, 2 clarinets, 2 bassoons, 4 horns, 2 harps, antique cymbals, and strings. The Cleveland Orchestra first performed Prelude to the Afternoon of a Faun in October 1919, under the direction of Nikolai Sokoloff. It has been frequently programmed ever since, most recently during November 2015 led by Lionel Bringuier.

About the Music

t h i s was d e b u ss y ’ s first masterpiece and in many ways can be seen as the first masterpiece of 20th-century music — even though it predates the new century by six years. It is at times difficult to comprehend how a mere ten minutes of music for small orchestra can serve as a foundation stone for so much that came after. But whenever we hear this music, its magic is immediately apparent, as it was indeed to its first audience in 1894. It is even harder to realize that these few pages, with their mysteriously improvisatory air, took Debussy two years of patient toil to put together. He was still relatively unknown in Paris and had not written anything close to the visionary step into the unknown that the Prelude represents. In a sense, Debussy was simply writing a symphonic poem on a literary text, as Strauss, for example, had treated Lenau’s Don Juan a few years before. But Mallarmé’s L’Après-midi d’un faune was no conventional narrative poem, and it left no scope for the direct matching of music and words. Debussy’s intention was not to parallel the poem’s text, but to decorate it. In the note given out at the first performance, he explained: “The music of the Prelude is a very free illustration of Stéphane Mallarmé’s fine poem. It is not meant to be a synthesis About the Music

of it but rather a series of settings across which pass the desires and dreams of the faun in the heat of the afternoon.” Many symphonic poems had merely evoked a tableau or a mood, but Debussy not only avoided any precision of character and action, he allowed his music to develop in an altogether free way. From the very first bar, the music starts and evolves without clear-cut notions of thematic balance or tonal precision. The famous flute solo with which the music begins sounds like an improvisation, not a theme, and its musical key is far from clear. Each time this melody comes back, its shape and its harmonic background are different, like a continuous variation. Once the flute solo has run its course, the clarinet, over a sharp horn chord, moves into a different atmosphere, laden with the whole-tone scales that Debussy had already marked as his own. When the oboe takes melodic charge, the warmth of the music grows from within. The middle section, over throbbing string chords, betrays the faun’s unmistakable passion, and the flute returns transfigured for the faun’s languid intoxication in the forest heat, interrupted by impulsive little movements and sudden charges of feeling. The closing pages have an epic dimension, as if a curtain is being closed on a whole world of poetic mystery. The orchestration throughout is of extraordinary delicacy, with the multiple division of the strings (Debussy’s preferred string sound) with solo violin and solo cello for added sweetness, and two harps. No heavy brass is needed, no timpani. The only percussion is the pair of miniature cymbals whose spare notes are like sparkles of light in the forest.

Although not written as a ballet, Debussy’s Prelude to the Afternoon of a Faun was famously staged in 1912 by the Ballets Russes in Paris. Shown are two views of dancer and choreographer Vaslav Nijinsky as the faun. Scenery and costumes by Léon Bakst.

About the Music

The Cleveland Orchestra

But music, don’t you know,

is a dream from which the veils have been lifted. It’s not even the expression of a feeling, it is the feeling itself.

—Claude Debussy

presents

GERSHWIN’S

PORGY AND BESS

The Cleveland Opera brings to life the original opera version of Porgy and Bess, composed by George Gershwin to the libretto by the author DuBose Heyward and lyricist Ira Gershwin. Come hear America’s famous songs, including “Summertime,” “My Man’s Gone Now,” “I Got Plenty o’ Nuttin’,” “I Loves You, Porgy,” and many other heartfelt musical moments. Complete with soloists, chorus, dance, costumes, sets and full orchestra. Don’t miss this spectacular classic of American art at its best.

Jonathan Stuckey as Porgy

Karen Clark Green as Bess

For additional information, visit theclevelandopera.org or call 216-816-1411.

Saturday, June 1, 2019 | 7:30 pm Ohio Theatre, Playhouse Square | 1511 Euclid Avenue, Cleveland OH 44115 Tickets $25 - $65 can be purchased through Playhouse Square box office at playhousesquare.org or by calling 216-241-6000 or 866-546-1353.

The Poem of Ecstasy, Opus 54 composed 1905-08

At a Glance

Alexander Nikolayevich

Scriabin

born January 6, 1871 Moscow died April 27, 1915 Moscow

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Scriabin wrote Le Poème de l’extase (“The Poem of Ecstasy”) in 1905-08, while living outside his native Russia and travelling across much of Europe and visiting the United States. (The work was later designated as his Symphony No. 4 by his publisher.) The world premiere took place on December 10, 1908, in New York City, with the Russian Symphony Society of New York conducted by Modest Altschuler. This symphonic poem runs about 20 minutes in performance. Scriabin scored it for 3 flutes, piccolo, 3 oboes,

english horn, 3 clarinets, bass clarinet, 3 bassoons, contrabassoon, 8 horns, 5 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, tam-tam, cymbals, triangle, glockenspiel, bell), celesta, 2 harps, organ, and strings. The Cleveland Orchestra first performed Scriabin’s Poem of Ecstasy in November 1922, conducted by founding music director Nikolai Sokoloff. It has been performed a few times since then, most recently in November 2012, conducted by Franz Welser-Möst.

About the Music l e p o È m e d e l’ e x t as e (“The Poem of Ecstasy”) is a superb example of the huge, self-obsessed orchestral repertoire from the period before World War I, which we generally associate with Gustav Mahler and Richard Strauss. Scriabin was a strongly progressive and individualistic composer who saw himself as the prophet of a new cosmos, and his works as the voice of a divine being. Like many Russians (artists and others) who, once they are attached to an idea, pursue it relentlessly to its ultimate point, blind to other influences — Mussorgsky and Tolstoy come to mind — Scriabin was driven by a powerful inner force to capture his mystical vision in music. He is easily dismissed as a crazy megalomaniac, but his music is superbly crafted and excitingly modern, even today. Most of Scriabin’s music is for the piano, with some important orchestral works composed at regular intervals throughout his short career. His previous orchestral piece, the Divine Poem, was a three-movement symphonic work completed in 1904, when he was thirty-two. It ventured into the territory of philosophical abstraction, which had begun to consume his mind shortly before. His next orchestral work was to be titled Orgiastic Poem, but it eventually emerged as a one-movement work, the Poem of Ecstasy, giving an even greater prominence to the composer’s obsession with the spirit’s search for ecstasy About the Music

and his monomaniac belief in his own creativity. Alongside this orchestral piece, Scriabin wrote a long verse-poem of the same name, full of mystical fantasizing, which also embraced his Fifth Piano Sonata in its grandiose vision. But while the poem text is safely ignored as the rambling of a deluded egomaniac, the orchestral work is a masterpiece that stands fittingly beside the other great orchestral creations of those years. The Poem of Ecstasy was completed early in 1908 and first performed later that year in New York, under the composer’s friend Modest Altschuler. Two months later, it was played in Moscow under Vasily Safonov, and it was soon adopted by orchestras all over the world keen to present the latest in “advanced” music. The orchestra is large, and contrasts of mood are extreme, yet the piece has a concentration that was to become even more pronounced in Scriabin’s final orchestral work, Prometheus: Poem of Fire, of 1910. While Mahler’s symphonies were reaching further out into all realms of human thought, Scriabin’s were concentrating into a densely packed kernel of feeling and belief. The themes have particular functions. For example, the

History. Music. Community. Silver Hall Concert Series. Case Western Reserve University presents 19 community concerts at one of the city’s most historic landmarks—The Milton and Tamar Maltz Performing Arts Center at the Temple-Tifereth Israel. Now through May 2019 Reserve your free tickets at case.edu/maltzcenter/silverhallseries or email mpacinfo@case.edu

About the Music

The Cleveland Orchestra

Drawing of Scriabin playing his last recital, on April 2, 1915, just weeks before his death.

opening theme on the flute is the theme of longing; the clarinet’s melody over hazy strings is a dream theme, and the trumpet’s succession of rising phrases with a chromatic descent is “victory.” Galloping horns offer “dark presentiments.” Such labels are easily understood in the context of 19th-century program music, although a sustained interpretation of their relationship is hardly possible or desirable. We have simply an alternation of moods in the composer’s mind, with a clear recapitulation of the opening material leading to an ecstatic climax. The emotional intensity is extreme, whether languid and erotic, playful and volatile, or triumphant. The textures are intricate and complex, yet the harmonic progress is generally simple and broad. The key of C major, in which it closes, had come to represent Scriabin’s central focus after years of living in remote tonal regions. The next step, which he took shortly after, was to cut loose from tonality altogether. Scriabin was thus, with Schoenberg and Debussy, one of the most progressive and visionary spirits of his time. —Hugh Macdonald © 2019 Hugh Macdonald is a noted authority on French music and the Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis. He has written books on Beethoven, Berlioz, Bizet, Scriabin, and Saint-Saëns. VNAO_CLE_ORCH5.375x.875.v2.pdf

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About the Music

Stéphane Denève French conductor Stéphane Denève is music director of the Brussels Philharmonic, principal guest conductor of the Philadelphia Orchestra, director of the Centre for Future Orchestral Repertoire, and music director designate of the St. Louis Symphony Orchestra. He first led The Cleveland Orchestra in March 2007, and most recently appeared here in March 2018. A graduate of the Paris Conservatory, Mr. Denève served as Georg Solti’s assistant at the Orchestre de Paris and with the Paris National Opera, where he later assisted Georges Prêtre. He also worked with Seiji Ozawa at the Saito Kinen Festival. After his 1997 debut at the Deutsche Oper am Rhein, Mr. Denève was a member of the conducting staff there for two seasons. He made his United States conducting debut in 1999 with the Santa Fe Opera, and has subsequently led opera productions for companies including Cincinnati Opera, Barcelona’s Gran Teatre del Liceu, Deutsche Oper Berlin, Glyndebourne Festival, London’s Royal Opera, La Monnaie, Netherlands Opera, Opéra National de Paris, and La Scala in Milan. Mr. Denève regularly appears as a guest conductor of major orchestras around the world. His 2018-19 season features a United States tour with the Brussels Philharmonic. Other recent engagements include appearances with Amsterdam’s Royal Concertgebouw Orchestra, Munich Philharmonic, Vienna Symphony, Orchestre National de France, Czech Philhar-

monic, and Rotterdam Philharmonic. He served as music director of the Royal Scottish National Orchestra (2005-12) and as chief conductor of the Stuttgart Radio Symphony Orchestra (201116). He begins his tenure as music director in St. Louis with the 2019-20 season. Committed to inspiring the next generation of musicians and listeners, Mr. Denève works regularly with young students at the Colburn School, Music Academy of the West, New World Symphony, and Tanglewood Music Center. Stéphane Denève has a special affinity for the music of his native France, and is a passionate advocate for music of the 21st century. As a recording artist, he’s a triple winner of the Diapason d’Or of the Year and received the top prize for symphonic music at the 2013 International Classical Music Awards. His latest releases feature music by Prokofiev and Guillaume Connesson with the Brussels Philharmonic, and an album with Lucas and Arthur Jussen and the Royal Concertgebouw Orchestra. For more information, please visit www.stephanedeneve.com.

Guest Artist

The Cleveland Orchestra

Jean-Yves Thibaudet French pianist Jean-Yves Thibaudet is known for his poetic artistry and technical prowess. His international career now spans more than three decades, encompassing hundreds of performances worldwide and dozens of acclaimed recordings. He made his Cleveland Orchestra debut during the 1991 Blossom Music Festival, and most recently appeared here on two different weekends, in February and April, during the 2017-18 season. From the start of his career, Mr. Thibaudet has delighted in music beyond the standard catalog, from jazz to opera. His many professional friendships crisscross the globe and have led to a variety of fruitful collaborations in film, fashion, and visual art. His recent and upcoming schedule features the premiere of Richard Dubugnon’s Eros Athanatos with cellist Gautier Capuçon in Australia, Messiaen’s Turangalîla-Symphonie with the Baltimore Symphony Orchestra and Los Angeles Philharmonic, concerts as artist-in-residence with the Boston Sympony Orchestra, and a European tour with the Montreal Symphony Orchestra. Mr. Thibaudet records exclusively for Decca Records. His recorded artistry has earned two Grammy nominations, the Choc de la Musique, Diapason d’Or, Edison Prize, Gramophone Award, Schallplattenpreis, and a pair of Echo awards. He was soloist on the Oscar and Golden Globe-award winning soundtrack of Atonement (2008) and the soundtracks of Pride & Prejudice (2005) and Extremely Loud

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Guest Artist

& Incredibly Close (2011). Recent releases include Bernstein’s Age of Anxiety with the Baltimore Symphony Orchestra and Erik Satie’s solo piano music. He is also featured on a pair of jazz albums, performing the music of Duke Ellington and Bill Evans. Born in Lyon, France, Mr. Thibaudet began piano studies at age five and made his first public appearance at age seven. At 12, he entered the Paris Conservatory to study with Aldo Ciccolini and Lucette Descaves. At 15, he won the Premier Prix de Conservatoire and, three years later, the Young Concert Artists Auditions in New York City. Mr. Thibaudet’s many honors include being awarded the Chevalier de l’Ordre des Arts et des Lettres by the Republic of France in 2001, Premio Pegasus from Italy’s Spoleto Festival in 2002, Victoire de la Musique in 2007, induction into the Hollywood Bowl’s Hall of Fame in 2010, and promotion to the title of Officier by the French Minister of Culture in 2012. For more information, please visit www.jeanyvesthibaudet.com.  Mr. Thibaudet’s worldwide agency management is HarrisonParrott, London.

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

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.

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*

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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.

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orchestra news

THE CLEVELAND ORCHESTRA

Double your impact with our Spring Community Challenge!

spring, you have a unique opportunity to help us turn up the volume on music education in our city! The Cleveland Orch ry Council has joined forces with our young professionals group, The Circle, to offer a generous challenge grant of up to When you donate to The Cleveland Orchestra Annual Fund, you unlock the equivalent amount from the grant – and effectively double your impact!

Orchestra donors join together to challenge Northeast Ohio community to increase spring giving $50,000

community support

$50,000

match grant

$100,000 raised!

For more information on how your gift will make an impact, visit Ohio but for or symphonic music and music educ This spring, two groups of Cleveland Orchestra clevelandorchestra.com/challenge or contact us at: 216-456-8400 annualgiving@clevelandorchestra.com tion, as they support the Orchestra both as con donors are coming together across generational certgoers and donors. divides to encourage members of the Northeast Gifts to this spring’s Community Challenge Ohio community to support their hometown directly support The Cleveland Orchestra’s An orchestra with new and increased giving. nual Fund to fuel musical programs across the The Orchestra’s Advisory Council has institution. It supports education and communi joined forces with its young professionals group, ty initiatives, enhances the audience experience The Circle, to generously present a spring fund through maintenance and modernization of raising challenge. Each new and increased gift to facilities — at both Blossom and Severance Hall the Orchestra’s Annual Fund unlocks the equiva — and gives the institution’s artistic team cre lent amount from a $50,000 match grant, thus ative freedom to enable the Orchestra to reach doubling each new gift. new heights of artistic excellence. “We’re urging Orchestra fans to step up like “I’m extraordinarily humbled and pleased to never before,” says Larry Oscar, chair of the Ad see these two groups coming together to help make visory Council. “And we’ll help by doubling your a real difference,” comments André Gremillet, the gift! As advocates for The Cleveland Orchestra, the Orchestra’s president & CEO. “Everyone involved Advisory Council whole-heartedly understands that with The Cleveland Orchestra is grateful to these it’s our responsbility to ensure that The Cleveland two generous groups for their passion, dedication, Orchestra is empowered and able to grow the proand support — and for providing this special chalgrams and offerings that have nurtured and served lenge match to increase giving.” this community for a hundred years.” “The Annual Fund is the lifeblood of The CleveBryan Scafidi, The Circle president, adds: “As land Orchestra’s giving support,” continues Gremil Cleveland’s next generation of leaders, we are exlet. “Year in, year out, new donors and new gentremely proud to partner with the Advisory Council erations have joined the Annual Fund to build the to help encourage increased community giving.” Orchestra into the world-renowned institution it is Created in 2016, The Cleveland Orchestra’s today. By giving year after year, donors breathe life Advisory Council is a group of passionate and en into each season — and help ensure that the congaged civic and business leaders who are help certs and education programs that have inspired so ing to propel the institution into a vibrant future, many can continue into the future. Every day, any by serving as a resource to the Orchestra’s Board day is a good time to make your first gift, of Trustees and staff. The Council works to ad or to increase your already generous support.” vocate for The Cleveland Orchestra throughout the region, in their business and personal lives, to For more information on how gifts of any size will help ensure that the Orchestra can engage with help make an impact, visit us online at: and impact all communities where it performs. The Circle was founded in 2014 and is com clevelandorchestra.com/challenge prised of individuals who share a love of music Questions? You can contact us . . . and a mission to support one of Cleveland’s — and the world’s — cultural gems. The group phone: 216-456-8400 email: annualgiving@clevelandorchestra.com represents future leaders not only for Northeast

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Cleveland Orchestra News

Caring for those in need never goes out of style. Whether we are feeding the hungry, comforting the sick, or caring for the elderly, our Jewish values have always inspired us to act. Those same values teach us to care for the next generation. By making a legacy gift, you leave your children and grandchildren a precious inheritance and a lasting testimony to your values. Find out how you can become a member of the Jewish Federation of Cleveland’s Legacy Society by contacting Carol F. Wolf for a confidential conversation at 216-593-2805 or cwolf@jcfcleve.org.

L’dor V’dor. From Generation to Generation. Create Your Jewish Legacy www.jewishcleveland.org

orchestra news The 2019 season of Summers@Severance concerts have been announced. The Cleveland Orchestra’s annual series of summer performances at Severance Hall continues this year with four Friday nights in July and August, along with a bonus movie option. The series is sponsored by Thompson Hine LLP, who have helped underwrite the series since its inauguration in 2014. Complete details of the concerts are availTHE CLEVELAND ORCHESTRA able online at the Orchestra’s website. The concerts include a night of Mahler and Beethoven I D AY E V E N I N G with Franz Welser-Möst on July 12,FC Rguitarist Pepe ONCERT SERIES Romero on July 19, Mozart’s Great Mass in C minor on August 2, and Mendelssohn’s Italian Symphony on August 16. Two performances of the movie Batman from 1989, with the Orchestra performing the score live, are offered as special add-on concerts, August 23 and 25. Summers@Severance was created to expand The Cleveland Orchestra’s summertime offerings and showcase the ensemble as an integral part of its home neighborhood all2year JUL 12 | JUL 19 | AUG | AUG 16 round. The series presents concerts of popular SAVE WITH A 4-CONCERT PACKAGE! classical works, with an early start time surC L E V EL A N D O RC H E S TR A .CO M rounded by convenient pre- and post-concert opportunities to socialize with friends or family in the outdoor beauty of University Circle. The Front Terrace of Severance Hall is open before and after each concert, with beverage service and seating areas. Attendees are encouraged to arrive early and enjoy the outdoors. Series tickets (all four concerts as a package) for Summers@Severance are now on sale through the Severance Hall Ticket Office or online at clevelandorchestra.com. Individual concert tickets are available and on sale now for all of the Orchestra’s summer concerts (at Severance Hall and Blossom). SAVE WITH A 4-CONCERT PACKAGE! 2 1 6 -2 3 1 -1 1 1 1 C L E V E L A N D O R C H E S T R A .CO M

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The Cleveland Orchestra notes the deaths of two former members, and extends condolences to their families and friends. Oboist Robert Zupnik died on March 19, 2019, at the age of 101. At the time he was the oldest living retired member of The Cleveland Orchestra. Born in November 1917, he was a graduate of Shaker Heights High School and had originally pursued schooling in chiropractic medicine before being F R I D AY E V E N I N G C O N C E R T S E R I E S called into the military during World War II. He switched focus to music, and became assistant principal oboe of The Cleveland Orchestra in 1946. Hired by George Szell, he served to his retirement in 1977. He also taught at Oberlin College Conservatory of Music. THE CLEVELAND ORCHESTRA

Trombonist Edwin Anderson died on OctoNow presenting four delightful ber evenings 2, 2018, in Bloomington, Indiana, at the age of concerts, by popular of 85. HeArrive wasearly born in July demand. for special-priced 1933 in Massachusetts “happy hour” drinks. Experience and enchanting your studied at performances the NewbyEngland Cleveland Orchestra. And then Conservatory of Music and linger for some leisurely conversation Eastman School of Music. He beneath the stars on Severance Hall’s wasscenic hired into The Cleveland outdoor terrace. Orchestra’s trombone section in 1964 by George Szell, and, in 1979, was appointed to the position of bass trombone, retiring in 1985. He later joined the faculty at Indiana University’s Jacobs School of Music, while also performing with a number of other orchestras.

Committed to Accessibility

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

Cleveland Orchestra News

orchestra news 2019-20 audition dates set for chorus ensembles

Audition dates have been announced this spring and summer for positions in The Cleveland Orchestra’s various chorus ensembles and groups — for adults, high school students, and children’s choir — for the 2019-20 season. For the Cleveland Orchestra Chorus (and Blossom Festival Chorus), adult singers can audition May 4, 5, and 9, by signing up for an audition time. Previous choral experience is required. Youth Chorus auditions will take place on June 2, June 13, and September 7 — by appointment only — open to students entering grades 9-12 in the fall of 2019, as well as 8th grade boys with changed voices. Children’s Chorus or Preparatory Chorus auditions will take place May 20, June 5, and July 20, by appointment, for students in grades 6-9 or 5-8. Complete details can be found in a news release posted on the Orchestra’s website.

THE CLEVELAND ORCHESTRA

New album features Cleveland Orchestra cellist Brian Thornton

A new album has been released fearuing Cleveland Orchestra cellist Brian Thornton playing works by Debussy and Brahms. He is joined in Brahms’s Clarinet Trio from 1891 by Orchestra colleague Afendi Yusuf (clarinet) and on both pieces on the album by pianist Spencer Myer; the first piece is Debussy’s Cello Sonata from 1915. Writing of the Debussy, one reviewer said, “Thornton and Myer find the perfect balance of risk and reserve.” The album was recorded in Oberlin’s Clonick Hall, and released on the Steinway & Sons label. The album/CD is available through a number of online retailers.

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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 . . . 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. . . . 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. . . . . The Orchestra was flawless and detailed in their ensemble.” —bachtrack, January 14, 2019 Husband and wife duo

Luis Magalhães and Nina Schumann AD 2 p.m. on May 5

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Severance Hall 2018-19

Cleveland Orchestra Reviews

4/4/19 11:01 AM

Musicians Emeritus of

T h e

C leveland

O r c h e s t ra

musicians

Listed here are the living members of The Cleveland Orchestra who served more than twenty years, all of whom now carry the honorary title of Emeritus. Appointed by and playing under four music directors, these 41 musicians collectively completed a total of 1443 years of playing in The Cleveland Orchestra — representing the ensemble’s ongoing service to music and to the greater Northeast Ohio community. Listed by instrument section and within each by retirement year, followed by years of service. FIRST VIOLIN Keiko Furiyoshi 2005 — 34 years Alvaro de Granda 2 2006 — 40 years Erich Eichhorn 2008 — 41 years Boris Chusid 2008 — 34 years Gary Tishkoff 2009 — 43 years Lev Polyakin 2 2012 — 31 years Yoko Moore 2 2016 — 34 years SECOND VIOLIN Richard Voldrich 2001 — 34 years Stephen Majeske * 2001 — 22 years Judy Berman 2008 — 27 years Vaclav Benkovic 2009 — 34 years Stephen Warner 2016 — 37 years VIOLA Lucien Joel 2000 — 31 years Yarden Faden 2006 — 40 years Robert Vernon * 2016 — 40 years

FLUTE/piccolo John Rautenberg § 2005 — 44 years Martha Aarons 2 2006 — 25 years OBOE Elizabeth Camus 2011 — 32 years CLARINET Theodore Johnson 1995 — 36 years Franklin Cohen * 2015 — 39 years Linnea Nereim 2016 — 31 years BASSOON Ronald Phillips 2 2001 — 38 years Phillip Austin 2011 — 30 years HORN Myron Bloom * 1977 — 23 years Richard Solis * 2012 — 41 years TRUMPET/cornet Charles Couch 2 2002 — 30 years James Darling 2 2005 — 32 years

cello Martin Simon 1995 — 48 years Diane Mather 2 2001 — 38 years Stephen Geber * 2003 — 30 years Harvey Wolfe 2004 — 37 years Catharina Meints 2006 — 35 years Thomas Mansbacher 2014 — 37 years

TROMBONE James De Sano * 2003 — 33 years Thomas Klaber 2018 — 33 years

BASS Harry Barnoff 1997 — 45 years Thomas Sepulveda 2001 — 30 years Martin Flowerman 2011 — 44 years

LIBRARIAN Ronald Whitaker * 2008 — 33 years

PERCUSSION Joseph Adato 2006 — 44 years

HARP Lisa Wellbaum * 2007 — 33 years

* Principal Emeritus § Associate Principal Emeritus 1 2

First Assistant Principal Emeritus Assistant Principal Emeritus

listing as of April 2019

Appreciation

The Cleveland Orchestra

orchestra news

the cleveland orchestra

M . U. S . I .C . i . a . N s . a . l . u .T. E The Musical Arts Association gratefully acknow ledges the artistry and dedication of all the musicians of The Cleveland Orchestra. In addition to rehearsals and concerts throughout the year, many musicians offer performance and coaching time in support of Orchestra’s education, community engagement, fundraising, and audience development activities. We are pleased to recognize these musicians, listed below, who offered their talents and artistry for such presentations during the 2017-18 season. Mark Atherton Charles Bernard Katherine Bormann Lisa Boyko Charles Carleton Jiah Chung Chapdelaine Hans Clebsch John Clouser Kathleen Collins Wesley Collins Marc Damoulakis Vladimir Deninzon Maximillian Dimoff Elayna Duitman Bryan Dumm Mark Dumm Tanya Ell Kim Gomez Wei-Fang Gu Scott Haigh David Alan Harrell Miho Hashizume Shachar Israel Dane Johansen Joela Jones Arthur Klima Alicia Koelz Stanley Konopka Mark Kosower Analisé Kukelhan Paul Kushious Massimo La Rosa Jung-Min Amy Lee Jessica Lee Yun-Ting Lee Emilio Llinás Takako Masame Eli Matthews Jesse McCormick Daniel McKelway Michael Miller

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

Severance Hall 2018-19

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

Cleveland Orchestra News

THE

CLEVEL AND ORCHESTRA fr anz welser- mÖst

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

Severance Hall

Sunday afternoon, April 28, 2019, at 3:00 p.m. at

the

mov i es

2O18 SEAS O N 2O19

A COLUMBIA / EMI PRESENTATION

A PHILLIPS PRODUCTION A STEVEN SPIELBERG FILM STARRING RICHARD DREYFUSS ALSO STARRING TERI GARR MELINDA DILLON WITH FRANçOIS TRUFFAUT AS LACOMBE MUSIC BY JOHN WILLIAMS VISUAL EFFECTS BY DOUGLAS TRUMBULL DIRECTOR OF PHOTOGRAPHY VILMOS ZSIGMOND, A.S.C. PRODUCED BY JULIA PHILLIPS AND MICHAEL PHILLIPS WRITTEN AND DIRECTED BY STEVEN SPIELBERG

with THE CLEVELAND ORCHESTRA conducted by VINAY PARAMESWARAN and featuring the Cleveland Orchestra Chorus

At the Movies: April 28

The Cleveland Orchestra

C o ncer t Len g t H The film is presented with one intermission and will end at approximately 5:45 p.m. PLEASE NOTE that this concert features the complete film Close Encounters of the Third Kind with a live performance of the filmâ&#x20AC;&#x2122;s entire score, including music played during and after the end credits. Out of respect for the musicians and your fellow audience members, please remain seated until the conclusion of the music.

P r od u ct i o n C r e d i t s Close Encounters of the Third Kind in Concert is produced by Film Concerts Live!, a joint venture of IMG Artists, LLC and the Gorfaine/Schwartz Agency, Inc. Producers: Steven A. Linder and Jamie Richardson Production Manager: Rob Stogsdill Production Coordinator: Sophie Greaves Worldwide Representation: IMG Artists, LLC Supervising Technical Director: Mike Runice Technical Director: Chris Szuberla Music Composed by John Williams Music Preparation: Jo Ann Kane Music Service Film Preparation for Concert Performance: Ramiro Belgardt Technical Consultants: Laura Gibson, Mike Matessino Sound Remixing for Concert Performance: Chace Audio by Deluxe The score for Close Encounters of the Third Kind has been adapted for live concert performance. With special thanks to: Sony Pictures, Sony/ATV Music Publishing, Steven Spielberg, John Williams, Richard Ashton, David Jennings, Bob Simmons, Martin Levy, Kristin Stark, Mark Graham, Alex Levy, and to the musicians and staff of The Cleveland Orchestra.

www.filmconcerts.com

The Cleveland Orchestraâ&#x20AC;&#x2122;s At the Movies Series is sponsored by PNC.

Severance Hall 2018-19

At the Movies: April 28

Vinay Parameswaran t h e 2 0 1 8 - 1 9 s e aso n marks

Vinay Parameswaran’s second year as a member of The Cleveland Orchestra’s conducting staff. In this role, he leads the Orchestra in several dozen concerts each season at Severance Hall, Blossom Music Festival, and on tour. He also serves as music director of the Cleveland Orchestra Youth Orchestra, and his contract in both positions was recently extended through the 2020-21 season. Mr. Parameswaran came to Cleveland following three seasons as associate conductor of the Nashville Symphony (2014-2017), where he led over 150 performances. In the summer of 2017, he was a Conducting Fellow at the Tanglewood Music Center. Recent seasons have included Mr. Parameswaran making his guest conducting debuts with the Rochester Philharmonic and the Tucson Symphony, and also his subscription debut with the Nashville Symphony conducting works by Gabriella Smith, Grieg, and Piev. Other recent engagements have included debuts with the National Symphony Orchestra, Milwaukee Symphony, Jacksonville Symphony, Eugene Symphony, and the Vermont Symphony Orchestra. In addition to his concert work, Mr. Parameswaran has led performances of Mozart’s The Magic Flute and Doni-

P H OTO BY R O G E R MA S T R O I A N N I

Assistant Conductor Elizabeth Ring and William Gwinn Mather Endowed Chair The Cleveland Orchestra

zetti’s The Elixir of Love with Curtis Opera Theater. He also assisted with Opera Philadelphia’s presentation of Verdi’s Nabucco. Mr. Parameswaran has participated in conducting masterclasses with David Zinman at the National Arts Centre Orchestra in Ottawa, as well as with Marin Alsop and Gustav Meier at the Cabrillo Festival of Contemporary Music. He is the conductor on the album Two x Four featuring the Curtis 20/21 ensemble alongside violinists Jaime Laredo and Jennifer Koh, featuring works by Bach, David Ludwig, Philip Glass, and Anna Clyne. A native of the San Francisco Bay Area, Mr. Parameswaran played percussion for six years in the San Francisco Symphony Youth Orchestra. He holds a bachelor of arts degree in music and political science from Brown University, where he began his conducting studies with Paul Phillips. He received a diploma from the Curtis Institute of Music, where he studied with OttoWerner Mueller as the Albert M. Greenfield Fellow.

At the Movies: Conductor

The Cleveland Orchestra

m ov ie Syn o p s i s s e v e r a l n a r r a t i v e s involving paranormal activity slowly begin to inter-

sect. Government officials stationed in the Sonoran Desert, led by French scientist Claude Lacombe (François Truffaut) and cartographer David Laughlin (Bob Balaban), discover a squadron of planes that disappeared 30 years earlier. Meanwhile, a young boy in Muncie, Indiana, is awakened during the night when his electronic toys suddenly start operating on their own. Nearby, electrical lineman Roy Neary (Richard Dreyfuss) is investigating a power outage when a UFO strafes his truck. In the aftermath of these events, the people involved try pursuing answers. Roy becomes so obsessed with a subliminal, mountain-shaped image that he attempts to recreate it by sculpting various models. Similarly, the young boy’s mother, Jillian Guiler (Melinda Dillon), sketches the same butte. When her house alights during another visit from a UFO, she discovers her son, Barry (Cary Guffey), has been abducted. As Claude and David continue researching this series of strange occurrences, they’re joined by a team of United Nation experts. They incorporate the “Kodály method” of music education as a means of communicating with the visitors from outer space. Soon, the scientists are directed to Devils Tower, Wyoming — the outline of which matches the flat-top peak that has been infatuating Roy and Jillian. When the image appears on television — in an attempt to clear the area, the government has fabricated a news story about a toxic spill — both Roy and Jillian decide to travel toward Devils Tower. The film’s primary characters all converge near a makeshift landing zone in Wyoming. Government specialists use a synthesizer and an illuminated billboard to communicate with their mysterious guests. After an enormous spaceship touches ground, it releases dozens of people who’ve been abducted over the years — including Jillian’s son, Barry. A reedy-limbed alien emerges from a doorway in the large craft. Eventually, a hastily assembled group is selected to leave with the aliens and Roy joins them. In a final exchange, Claude and the alien communicate through a friendly series of hand signals that correspond to the fivenote tonal phrase the scientists have been employing to reach the UFOs.

Severance Hall 2018-19

Close Encounters of the Third Kind

Lisa Wong

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

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

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Cleveland Orchestra Chorus

4/11/19 12:58 PM The Cleveland Orchestra

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

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

Close Encounters of the Third Kind soprano

Amy Foster Babinski Laurel Babcock Claudia Barriga Yu-Ching Ruby Chen Susan Cucuzza Emily Engle Molly Falasco Lisa Rubin Falkenberg Lisa Fedorovich Rebecca S. Hall Karen Hazlett Ashlyn Herd Lisa Hrusovsky Shannon R. Jakubczak Nina Kapusta Hope Kay Kate Macy Madelaine Matej R Jessica M. May Clare Mitchell S. Mikhaila Noble-Pace Jennifer Heinert O’Leary Lenore M. Pershing Jylian Purtee Molly Schacher Meghan Schatt Monica Schie Cicely Schonberg Megan Tettau Lauren Vanden Broeck Sharilee Walker Mary Wilson

alto

Emily Austin Laura Avdey Debbie Bates Andrea Bliscik R Barbara J. Clugh Carolyn Dessin Marilyn Eppich Diana Weber Gardner Betty Huber Karen Hunt Sarah N. Hutchins Melissa Jolly Kate Klonowski Cathy Lesser Mansfield Danielle S. McDonald Karla McMullen Holly N. Miller Peggy A. Norman Dawn Ostrowski Marta Perez-Stable Amy Shen Ina Stanek-Michaelis Rachel Thibo Jane Timmons-Mitchell Martha Cochran Truby Gina L. Ventre Laure Wasserbauer Leah Wilson Debra Yasinow Lynne Leutenberg Yulish

tenor

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

Christopher Aldrich Tyler Allen Jack Blazey Sean Cahill Kevin Calavan Peter B. Clausen Nick Connavino Kyle Crowley

Christopher Dewald Jeffrey Duber Matthew Englehart Richard Falkenberg Brian Fancher Kurtis B. Hoffman Dennis Hollo Jason Howie James Johnston Joshua Jones Matthew Kucmanic Jason Levy Scott Markov Tyler Mason Roger Mennell Robert Mitchell Stephen Mitchell Tom Moormann Keith Norman Tremaine Oatman Francisco Prado Brandon Randall John Riehl Robert Seaman John Semenik Jarod Shamp James B. Snell Charles Tobias Nicolas Turnberrez

R= Shari Bierman Singer Fellow

Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee Jill Harbaugh, Manager of Choruses

Severance Hall 2018-19

Cleveland Orchestra Chorus

your passion inspires us all. your your passion yourpassion passion your passion your passion inspires inspires us all. inspiresus usall. all. inspiresususall. all. inspires

your passion your passion inspires us all.

The arts serve as a source of inspiration for us all. That’s why PNC

is proud to sponsor The Cleveland Orchestra.

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t’s whyinspiration PNC That’s That’s why PNC PNC inspiration for for usus all. all. inspiration for us all.why That’s why PNC and is proud is proud to to sponsor sponsor The The Cleveland Cleveland The arts serve as a source The arts as a source of of is proud to serve sponsor The Cleveland Orchestra. Orchestra. inspiration all. That’s why PNC Orchestra. inspiration for usfor all.usThat’s why PNC is to proud to sponsor The Cleveland is proud sponsor The Cleveland Orchestra. Orchestra.

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©2018 PNC Financial Group, Inc. All rights reserved. PNC Bank, National Association. FDIC ©2018 The PNC The Financial Services Services Group, Inc. All rights reserved. PNC Bank, National Association. Member Member FDIC

THE

CLEVEL AND ORCHESTRA fr anz welser- mÖst

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

Severance Hall

Thursday evening, May 2, 2019, at 7:30 p.m. Friday evening, May 3, 2019, at 8:00 p.m. Saturday evening, May 4, 2019, at 8:00 p.m. Sunday afternoon, May 5, 2019, at 3:00 p.m.

Michail Jurowski, conductor pyotr

2O18 SEAS O N 2O19

Violin Concerto in D major, Opus 35

ilyich tchaikovsky

(1840-1893)

1. Allegro moderato 2. Canzonetta: Andante 3. Finale: Allegro vivacissimo

Vadim Gluzman, violin

int er mission

dmitri shostakovich

Symphony No. 11: The Year 1905 in G minor, Opus 103

(1906-1975)

1. The Palace Square: Adagio — 2. The Ninth of January: Allegro — 3. Eternal Memory: Adagio — 4. Alarm: Allegro non troppo — Allegro (played without pauses)

This weekend’s concerts are sponsored by PNC. Vadim Gluzman’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from Dr. and Mrs. Sam I. Sato. The Thursday evening performance is dedicated to Mrs. Nancy W. McCann in recognition of her extraordinary generosity in support of The Cleveland Orchestra. cleveland orchestra radio broadcasts

Current and past Cleveland Orchestra concerts are broadcast as part of regular weekly programming on WCLV Classical 104.9 FM, on Saturday evenings at 8:00 p.m. and Sunday afternoons at 4:00 p.m.

Severance Hall 2018-19

Concert Program — Week 20

2O18 SEAS O N 2O19

May 2, 3, 4, 5

THIS WEEKEND’S CONCERT Restaurant opens: THUR 4:30 FRI 5:00 SAT 5:00 SUN noon Concert Preview: begins one hour before concert

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

Severance Restaurant Reservations (suggested) for dining:

216-231-7373

or via www.UseRESO.com

CONCERT PREVIEW

“From Russia, with Love and Revolution”

with guest artists Michail Jurowski (conductor) and Vadim Gluzman (violin) in conversation with Cicilia Yudha, Youngstown State University

Tchaikovsky Violin Concerto . . . . . . . . . . . . . . . . . . . . . . . page 67 (35 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) Duration times shown for musical pieces (and intermission) are approximate.

SHOSTAKOVICH Symphony No. 11: The Year 1905 . . . . . . page 71 (55 minutes)

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

Concert ends:

(approx.)

THUR FRI SAT SUN

9:20 9:50 9:50 4:50

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

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

This Week’s Concerts

The Cleveland Orchestra

INTRODUCING THE CONCERT

Pleasure& Meaning

T H I S W E E K E N D ’ S C O N C E R T S pair two great works by two well-known

Russian composers — a beloved concerto that didn’t have an easy premiere and a patriotic symphony that may (or may not) have been intended to relay a message far beyond the obvious. The concerts begin with one of the most often-played violin concertos ever written. Created by Pyotr Ilyich Tchaikovsky in 1878, this youthful work was penned as the composer was recovering from his ill-advised marriage. His brother, Modest, and a young violinist spent that summer with him in seclusion — and Tchaikovsky’s musical magic laid out a masterpiece. At least, we all see it as one today. The legendary violinist (not the same violinist spending the summer with the composer) to whom the work was dedicated rejected it at first, and the composer spent considerable efforts getting it premiered. Like a number of Tchaikovsky’s other works, its structure was built organically from within the music, breaking rules and expectations (one reason some musicians at first thumbed their noses at it), yet its melodies flow effortlessly, and the internal logic of its related themes and their development make perfect sense. This week’s soloist, Vadim Gluzman, plays on a violin owned by the original dedicatee — and brings an authentic Russian understanding to the music’s beguiling charms. After intermission, guest conductor Michail Jurowski leads The Cleveland Orchestra in Shostakovich’s Symphony No. 11, subtitled The Year 1905. Written and named to please the Soviet government’s desire to commemorate revolutionary events that led (eventually) to the Communist takeover of Russia in 1918, this symphony is filled with Soviet workers’ songs and chorus tunes. Nonetheless, the composer may well have intended a more layered meaning — celebrations are not always about the here and now, but about hopes and dreams for the (non-Communist?) future. This is a big work, filled with uplifting music that penetrates and encapsulates emotional and political strife, loss, and victory. (A word to anyone thinking about leaving at intermisison, deciding that the concerto is enough: I urge you to stay. This Shostakovich symphony is filled with exciting and creative music-making. These concerts are a rare opportunity to hear it led by a conductor who knew the composer as a family friend. Experience and partake.) —Eric Sellen above :

Soviet and Czarist flags of Russia.

Severance Hall 2018-19

Introducing the Concert

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Violin Concerto in D major, Opus 35 composed 1878

At a Glance

Pyotr Ilyich

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

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Tchaikovsky wrote his Violin Concerto in the spring of 1878 at Clarens, Switzerland. After a private hearing (with violin and piano) in April of that year, he wrote a new middle movement. (He later used the discarded movement as the opening section of his Souvenir d’un lieu cher [“Memory of a Beloved Place”] for violin and piano.) The Violin Concerto was first performed on December 4, 1881, by the Vienna Philharmonic Orchestra conducted by Hans Richter, with Adolf Brodsky as the soloist. This concerto runs about 35 minutes in performance. Tchaikovsky

scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, and strings, plus the solo violin. Tchaikovsky’s Violin Concerto has been a staple of The Cleveland Orchestra’s repertoire almost since the ensemble’s founding in 1918. Many of the greatest violinists from the past century have played it here — including Efrem Zimbalist, Zino Francescatti, Nathan Milstein, Fritz Kreisler, Jascha Heifetz, Isaac Stern, David Oistrakh, Pinchas Zukerman, Itzhak Perlman, Viktoria Mullova, Midori, Joshua Bell, Christian Tetzlaff, and Gil Shaham.

About the Music t h e r e i s c e r ta i n ly no shortage of great masterpieces that met with negative criticism at their premiere, but few have fared worse than Tchaikovsky’s Violin Concerto. This may sound surprising, since this work — now one of the most popular of all concertos — has none of the revolutionary spirit of Stravinsky’s The Rite of Spring, Wagner’s Ring of the Nibelung operas, or Beet hoven’s heroic Third Symphony, to name just three works that generated heated controversies around the time of their premieres. Yet, at the time of its premiere, there were some distinct ways in which the Tchaikovsky concerto clashed with the expectations of people who had very strong opinions about what a violin concerto ought to be like. The great violinist and teacher Leopold Auer, for whom Tchaikovsky had written the concerto, rejected it. And the Viennese critic Eduard Hanslick, a friend of Brahms and a fierce opponent of Wagner, uttered the immortal phrase after the 1881 premiere that the concerto “stank to the ear.” The harshness and vulgarity of these opinions could not help but exacerbate Tchaikovsky’s depressive tendencies, which were rarely far from the surface. The composer never forgot Hanslick’s caustic remarks. Why this unusually strong resistance to a work that did not attempt to challenge the existing world order but wanted “simply” to be what it was: a brilliant and beautiful violin concerto? About the Music

Leopold Auer (1845-1930) at the age of 15. Auer grew up to be one of the foremost violin players and teachers of his generation. Tchaikovsky admired Auer’s playing and dedicated his Violin Concerto to him — Auer initially rejected the piece, but eventually became a great advocate for it.

In Hanslick’s case, the answer may lie in the critic’s inability to accept symphonic music that was not Germanic in spirit. The first great violin concerto to come from Russia, Tchaikovsky’s work certainly struck a chord that was disconcertingly foreign in Vienna. (It is ironic that Hanslick thought of Tchaikovsky as a Russian barbarian, while in Russia, the composer was considered a “Westernizer” whose music was not as truly Russian as that exemplified by the work of the group of composers known as the “Mighty Five.”) As for Auer, the novel technical demands of the piece may have seemed out of place to him. Certainly, he was quoted later as feeling that certain passages were “not in keeping with the demeanor of the violin” as he knew the instrument. To his credit, he soon enough took a second look and changed his mind. Once it was introduced by others, he became a great advocate of the concerto — although, in fact, he modified certain passages to conform to his view of how they should have been written. Auer, one of the great violin teachers of his era, taught the work to many of his own star students, including Mischa Elman, Jascha Heifetz, and Efrem Zimbalist. Tchaikovsky wrote his Violin Concerto in the spring of 1878. In order to recover from the recent trauma of his ill-fated and short-lived marriage to Antonina Milyukova, Tchaikovsky retreated to the Swiss village of Clarens, on the shores of Lake Geneva, accompanied by his brother Modest and a 22-year-old violinist named Yosif Kotek, who assisted him in matters of violin technique. The composition progressed so effortlessly that the whole concerto was written in only three weeks, with an extra week taken up by the orchestration. During this time, Tchaikovsky wrote not only the three concerto movements that we know, but a fourth one as well. The initial second movement, “Méditation,” was rejected at an early runthrough and replaced with the present “Canzonetta,” written in a single day. Due to Auer’s initial unfavorable reaction, no violinist accepted the work for performance for three years, until the young Adolf Brodsky, a Russian-born virtuoso living in Vienna, chose it for his debut with the Vienna Philharmonic. One of the things that makes this concerto so great is surely the ease with which Tchaikovsky moves from one mood to the next. Lyrical and dramatic, robustly folk-like and tenderly About the Music

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sentimental moments follow one another without the slightest incongruity, just as a variety of elements had in the First Piano Concerto, written three years earlier. Another remarkable feature is the combination of virtuosity with emotional depth. Although the technical difficulties of the solo part are tremendous, every note also expresses something that goes far beyond virtuosic fireworks. All in all, it is one of the greatest violin concertos ever written, and no critic after Hanslick has ever challenged its status again or smelled anything unpleasant in the work! —Peter Laki

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

MEASURES ABOVE THE REST

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About the Music

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Symphony No. 11: The Year 1905 in G minor, Opus 103 composed 1956-57

At a Glance

Dmitri

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

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Shostakovich began to write his Symphony No. 11 in 1956 and completed it on August 4, 1957. He gave it the additional title “The Year 1905” to describe its connection with Russian revolutionary events. The first performance took place in Moscow on October 30, 1957; the USSR State Symphony Orchestra was led by Nathan Rakhlin. In the United States, Shostakovich’s Symphony No. 11 was first performed on April 7, 1958, by the Houston Symphony under Leopold Stokowski’s direction. The four movements of this symphony, played without a pause, run about an hour in performance.

Shostakovich scored it for 3 flutes (third doubling piccolo), 3 oboes (third doubling english horn), 3 clarinets (third doubling bass clarinet), 3 bassoons (third doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (triangle, side drum, cymbals, bass drum, tamtam, xylophone, bells), 2 (or 4) harps, celesta, and strings. The Cleveland Orchestra has performed Shostakovich’s Eleventh Symphony on two previous occasions, for concert weekends in March 1997 under Vladimir Ashkenazy’s direction and in January 2005 with Franz Welser-Möst.

About the Music

d i s c u ss i o n s o f s h os t ako v i c h and his music have always revolved around politics. The Soviets used to maintain that the composer was loyal to the regime, while more recent literature suggests that he was deeply disillusioned with Communism. Yet if we ask whether Shostakovich was for or against the Soviet government, we must also voice the opposite question: was the regime for or against Shostakovich? Surely, the Party’s treatment of the country’s greatest composer — with a seesaw of denunciations and rehabilitations, severe criticism and highest honors — is no less ambiguous than Shostakovich’s own highly contradictory attitudes and comments toward Communism. Eleven years old at the time of the Communist October Revolution in 1917, Shostakovich spent his entire adult life under the Soviet regime, which was the only political reality he experienced first-hand. In the early years of the regime, it was easy to be swept up in the euphoria of building a new society the likes of which the world had never seen before. And many were prepared to bear economic hardship as a necessary step in paying for a brighter future. About the Music

Later, by the late 1930s, as Stalin’s political terror reached unbelievable levels of atrocity, it became more and more difficult to maintain that optimistic, original belief in the building of a better world. Yet right up to the collapse of communism in the late 1980s, it remained a much-debated question throughout Eastern Europe and Russia whether communism was essentially a good idea gone awry, or a concept fundamentally flawed from the get-go. The central question to ask about Shostakovich’s Symphony No. 11 — a work that bears its political program in its title “The Year 1905” — is not whether it is an homage to officialdom or a work with a hidden dissident message. It has been called both, allowing the symphony to be exploited by exponents of both pro- and anti-Soviet political agendas. The real questions are how Shostakovich treated his ostensible theme, the failed Russian Revolution of 1905, and which elements within the music seem to cry out, again and again, for an interpretation along political lines. Before examining these questions, however, let us summarize the political events in Russia during the year 1905 (the year before Shostakovich was born). BL O O DY S UND AY

Soviet poster for Sergei Eisenstein’s film “Battleship Potemkin,” which dramatized the mutiny of a ship’s crew during the 1905 Revolution.

On January 9, 1905, (according to the old style calendar then in use in Russia; this corresponds to January 22 by the current Gregorian calendar) a peaceful demonstration of workers and peasants, led by Father Gapon, appeared in front of the Winter Palace, the Czar’s residence in St. Petersburg. They wished to hand Nicholas II a petition, asking the monarch for help in alleviating their economic conditions, which had become unbearable. For some reason, the Czar’s guards began to shoot at the crowd, killing hundreds of people. The event, which became known as “Bloody Sunday,” set off widespread strikes and protests all over the country (including the mutiny aboard the battleship Potemkin, which was immortalized in Sergei Eisenstein’s silent 1925 film Battleship Potemkin). The massive unrests led to some liberalization within Czarist rule, bringing the empire several steps toward a constitutional monarchy during the last decade of its existence. The events of 1905 were widely regarded as a prelude to the two revolutions of 1917. The first of those, in February, ended the Czarist regime and created an unstable democracy. The About the Music

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second, in October, brought the Bolsheviks to power. For this reason, Shostkovich deciding to write a symphony about the 1905 revolution can seem to have been a politically expedient thing to do. But the brutality of the Bloody Sunday shootings also arouses deep revulsion in any sensitive human being, so that the program of the symphony expresses not merely Communist self-righteousness and revolutionary sentiment, but also would seem to suggest a general belief in human dignity. Some writers have alleged that, while Shostakovich was ostensibly concerned with the events of 1905, what he was really thinking about was the Hungarian Revolution of 1956, crushed by Soviet tanks shortly before the symphony was written. The composer himself was heard to comment on the fact that he wrote the Eleventh in the aftermath of the Budapest uprising. But why limit the music’s message by narrowly and exclusively linking it to one political event or another? Perhaps this music is a denunciation of all tyrants, and a requiem for victims of injustice everywhere — and simply packaged in a specific way to clear the hurdles of Soviet censorship.

Soviet woodblock depicting the start of the confrontation between peasants and the Czar’s guard at the Winter Palace in St. Petersburg on January 9, 1905. The shooting of many civilians started a series of uprisings and protests across the country.

W O R K ER S ’ S O NG S A S THEM A TIC M A TERI A L

In this symphony, Shostakovich took special pains to make sure his message was clear to every Soviet listener. He adapted many of the symphony’s principal themes from songs of the workers’ movement — songs that every resident of the Soviet Union learned to sing in school — as well as from one of his own works for mixed chorus, Ten Songs of Nineteenth-Century Revolutionary Poets, from 1951. (See box on page 74.) He then weaves these themes together in a complex tapestry, sometimes undergoing substantial transformations before returning almost unexpectedly in their original form, or, at other times returning with what seemed to be significant changes. The appearances of all these themes are punctuated by an ominous motto, first presented as a timpani solo and recurring Severance Hall 2018-19

About the Music

throughout the symphony. Commentators across the years have drawn special attention to the ambiguity created by the alternation of major and minor thirds in this motif, but it can also be heard as a transposed variant of the DSCH theme, which Shostakovich used in several of his major works as a personal fingerprint. (The D-S-C-H theme is a musical cryptogram spelling out the composer’s initials by using the SYMPHONY OF SONGS German transliteration of the notes/letters on the classical music scale.) The song themes Shostakovich used in this symphony, in the order of first appearance, include: 1. Listen, a prisoner’s song (“Like an act of betrayal, like a tyrant’s conscience, the night is dark”).

O p e r a w i t h o u t wo r d s

With these characteristic building blocks, Shostakovich created what of2. The Prisoner is another prisoner’s song (“. . . ten resembles a veritable opera without but the walls of the prison are strong, fastened at words. It portrays not just emotions and the gate by two iron locks”). musical characters but definite places 3. Worker’s Funeral March (“You fell a victim and actions. (It is no coincidence that in the fateful battle, with selfless love for the the symphony was later choreographed people . . .). with great success as a ballet or pageant 4. Hail the Free World of Liberty in the Soviet Union.) 5. Rage, Tyrants (“Rage, tyrants, mock at us, The eerie opening, where a slow. . . although our bodies are trampled, we are moving melody is played in five simulstronger in spirit — shame, shame, shame to you, taneous octaves by the muted strings, tyrants!”). is a striking depiction of the motionless 6. Varshavianka (“Hostile whirlwinds swirl Palace Square on an ice-cold January around us. . . We have entered into fateful battle day. This frozen image will return sevwith our enemies, our destinies are still unknown”). eral times as a powerful contrast to the intense drama unfolding in the second 7. Bright Lights: A quote from the then-popular Soviet operetta by Georgy Sviridov, combined movement. The contrast between mowith the famous revolutionary march, Boldly, tion and immobility is one of ShostaComrades, Keep Step. kovich’s main dramatic strategies in this Two additional themes in the symphony are taken work, with the delirious activity in the from Shostakovich’s own revolutionary choruses: second and fourth movements offset by 8. Oh, Czar, our little father the calm, yet extremely tense, music in 9. Bare Your Heads on this sorrowful day the first and third. The slow first movement (“The Palace Square”) sets the stage for the drama, with the glacial string theme, a trumpet call that turns into a wail, a hint at the Orthodox response “Lord have mercy on us,” and two prison songs (nos. 1 and 2). This clearly represents “silence before a storm,” and the storm indeed breaks out in the second movement (“The Ninth of January”). Against an agitated accompa-

About the Music

The Cleveland Orchestra

Dmitri Shostakovich, circa 1952.

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

niment in the lower strings, we hear the first of the two self-quotes (no. 8), first softly and then gradually rising in volume until a full orchestral fortissimo is reached. During a momentary respite, no. 9 is heard briefly, played by the first trumpet; then no. 8 returns, building to an even more powerful climax. All of this is, however, only a prelude to what follows. After a brief recall of the “frozen” opening of “The Palace Square,” the most violent section of the symphony begins — a ferocious fugue, started by cellos and basses, and rapidly escalating into what must be seen as a graphic depiction of sheer horror — the entire orchestra pounding on a single rhythm of equal triplet notes, at top volume and (for most instruments) in a high register. This, surely, is the moment where the Czarist guards open fire. The first-movement image of the empty Palace Square then returns (complete with string theme, trumpet fanfare, the song Listen and the timpani motto). The Russian title of the third movement, Vechnaia pamiat (“Eternal Memory”), alludes to a funeral chant of the Orthodox church. But its actual melodic basis is the Worker’s Funeral March (no. 3), played by the violas to the sparsest of accompaniments. A second, less subdued section develops song no. 4 and leads to an impassioned passage where the entire orchestra shrieks out the Bare your heads theme (no. 9) in what seems a flashback of past atrocities, and the violins take over the timpani motto (no. 10) in great anguish and agitation. Song no. 3 returns and the mood calms, but soon we hear the “tocsin” (the alarm bells) with a new call to battle for the fourth movement. The relentless march rhythms of song nos. 5 and 6 grow more and more furious until, finally, they are swept aside by another memory of the horrors and a recall of song no. 8, the plea to the Czar, played with great fervor by the full orchestra. The glacial string music of the first movement returns, complemented by a long english horn solo based on song no. 9, before the final upsurge that, with its musical material taken from the second movement, seems to suggest that the struggle is not over. The ending is hardly the optimistic conclusion that one would associate with a piece celebrating Soviet political ideas. Then again, according to Soviet history books, the 1905 revolution was unsuccessful because it failed to overthrow the Czar. That historic moment was not to arrive until 1917, and it was perhaps inevitable that Shostakovich should devote his next big work, Symphony No. 12, to the Great Socialist October Revolution, as it used to be called. The finale of that work, “The Dawn of Humanity,” delivered the triumphant ending everyone was yearning for.

About the Music

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PA PA , w h at i f t h e y h a n g yo u f o r t h i s ?

In the Eleventh, Shostakovich rendered unto Caesar the things which were Caesar’s — a large-scale symphony on an official theme, using plenty of songs officially sanctioned by the regime. (It was enough to make some people comment at the premiere that Shostakovich had “sold himself down the river.”) But there were enough disturbing overtones in the work for others to perceive a hidden underground meaning. According to one report, Shostakovich’s son Maxim, aged 19 at the time of the premiere, whispered into his father’s ear during the dress rehearsal: “Papa, what if they hang you for this?” And the great Russian poet, Anna Akhmatova, said, when asked what she thought of all those revolutionary quotations: “They were like white birds flying against a terrible black sky.” However we might interpret the work, it is clear that Shostakovich created neither a mere Communist propaganda piece nor a coded anti-Communist tract but a complex, dark score of exceptional dramatic power. —Peter Laki

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About the Music

Michail Jurowski Russian conductor Michail Jurowski has led concerts and operas throughout Europe and in Asia and South America, and serves as principal guest conductor of Poland’s Sinfonia Iuventus. He is making his United States and Cleveland Orchestra debut with this weekend’s concerts. Mr. Jurowski is the son of the composer Wladimir Jurowski and grandson of the conductor David Block. His own sons, Vladimir and Dmitri, are also internationally-renowned conductors. He was surrounded by influential musicians throughout his youth — and often played four-hand piano pieces with Dmitri Shostakovich, who was a close family friend. Today, Mr. Jurowski is one of the world’s leading interpreters of Shostakovich’s music. In 2012, he was awarded the International Shostakovich Prize from the Shostakovich Gohrisch Foundation. Michail Jurowski was educated at the Moscow Conservatory, where he studied conducting under Leo Ginsburg and music science under Alexei Kandinsky. He also assisted Gennady Rozhdestvensky at the National Radio and Television Symphony Orchestra of Moscow. While still a resident of Russia, he conducted the Music Theatre of Stanislavski and Nemirovich-Danchenko in Moscow and, during his last years in the Soviet Union, frequently conducted performances at the Bolshoi Theater. Across his career, Mr. Jurowski has held leadership positions with a number of orchestras and opera companies in central Europe, including Komische Oper Berlin, Dresden Semperoper, Northwest German Philharmonic, Leipzig Opera, and

Janáček Philharmonic Ostrava, in addition to his current work with Sinfonia Iuventus in Warsaw, Poland. Mr. Jurowski’s schedule for the 2018-19 season includes the release on the Warner Classica label of Anton Rubinstein’s opera Moses, which Maestro Jurowski recorded and performed the world premiere of with Sinfonia Iuventus, a project which was awarded prestigious UNESCO patronage. Concert appearances include his United States debut here in Cleveland, along with programs with the Belgrade Philharmonic, Orchestre National de Bordeaux, Orquestra Sinfónica do Porto, and Orchestra Sinfonica Siciliana, along with his return to Korea. He leads a revival of Prokofiev’s Romeo and Juliet in Zurich, and performances of Tchaikovsky’s The Nutcracker at La Scala. In addition to televised concerts and radio recordings, Michail Jurowski’s discography features recordings of Shostakovich’s opera The Gamblers, all of Shostakovich’s vocal-symphonic works, and Rimsky-Korsakov’s opera Christmas Eve. His 3-CD album of Rimsky-Korsakov’s orchestral music received a Grammy nomination in 2001. Additiional albums feature music by Tchaikovsky, Meyerbeer, Lehár, Kálmán, Grieg, and others.

Guest Artist

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Vadim Gluzman Israeli violinist Vadim Gluzman performs a wide repertoire embracing both contemporary music and works from the past, with his artistry reflecting the violinistic traditions of the 19th and 20th centuries. He made his Cleveland Orchestra debut in January 2015. Mr. Gluzman performs regularly in concert with major orchestras around the world, including Amsterdam’s Royal Concertgebouw Orchestra, Berlin Philharmonic, Boston Symphony Orchestra, Chicago Symphony Orchestra, Israel Philharmonic, Leipzig Gewandhaus Orchestra, London Symphony Orchestra, Orquesta Sinfónica Nacional de México, Orchestre de Paris, Philadelphia Orchestra, and Tokyo’s NHK Symphony. He has appeared at the Casals, Jerusalem, Lockenhaus, Ravinia, and Verbier festivals, as well as the North Shore Chamber Music Festival in Illinois, which he co-founded with pianist Angela Yoffe, his wife and recital partner. Mr. Gluzman is creative partner and principal guest artist of the ProMusica Chamber Orchestra in Columbus, Ohio. He also serves as Distinguished Artist-inResidence at the Peabody Conservatory in Baltimore and teaches at the Keshet Eilon International Music Center in Israel. Mr. Gluzman records exclusively for the BIS label. He has premiered and recorded a variety of new pieces, including works by Lera Auerbach, Michael Daugherty, Elena Firsova, Sofia Gubaidulina, Giya Kancheli, and Peteris Vasks. His latest album features Brahms’s Violin Concerto with the Lucerne Symphony Orchestra

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Guest Artist

and also includes the composer’s Sonata No. 1 for violin and piano with Angela Yoffe. His extensive discography has been widely praised and received such citations as Diapason d’Or of the Year, Gramophone’s Editor’s Choice, Classica Magazine’s Choc de Classica award, and disc-of-themonth with The Strad, BBC Music Magazine, and ClassicFM. Born in the former Soviet Union in 1973, Vadim Gluzman began violin studies at age seven. Before moving to Israel in 1990, where he was a student of Yair Kless, he studied with Roman Sne in Latvia and Zakhar Bron in Russia. In the United States, Mr. Gluzman’s teachers have included Arkady Fomin and, at the Juilliard School, Dorothy DeLay and Masao Kawasaki. Early in his career, Mr. Gluzman received support and encouragement from Isaac Stern. In 1994, he received the Henryk Szeryng Foundation Career Award. Mr. Gluzman plays the 1690 “ex-Leopold Auer” Stradivari, on extended loan through the generosity of the Stradivari Society of Chicago. For more information, visit vadimgluzman.com.

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Located one block north of Shaker Square and on the National Register of Historic Places, Larchmere Boulevard is Cleveland’s premier arts, antiques and design district. www.Larchmere.com 82

The Cleveland Orchestra

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

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

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

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

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

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

The Severance Cleveland HallOrchestra 2018-19

Individual Annual Support

listings continue

95 83

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 84

Individual Annual Support

The The Cleveland Cleveland Orchestra Orchestra

Your Role . . . in The Cleveland Orchestra’s Future Generations of Clevelanders have supported the Orchestra and enjoyed its concerts. Tens of thousands have learned to love music through its education programs, celebrated important events with the power of its music, and shared in its musicmaking — at school, at Severance Hall, at Blossom, in downtown Cleveland, on the radio, and with family and friends. As Ohio’s most visible international ambassador, The Cleveland Orchestra proudly carries the name of our great city everywhere we go. Here at home, we are committed to serving all of Northeast Ohio with vital education and community programs, presented alongside wide-ranging musical performances. Ticket sales cover less than half the cost of presenting the Orchestra’s season each year. By making a donation, you can make a crucial difference in helping to ensure our work going forward. To make a gift to The Cleveland Orchestra, please visit us online, or call 216-456-8400.

clevelandorchestra.com

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

98 86

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

Individual Annual Support

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

Orchestra The Cleveland Orchestra

listings continued

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

+ has signed a multiyear

pledge (see information box earlier in these listings)

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

T HE

CLEVELAND ORC HE STR A FRANZ WELSER-MÖST

* deceased

The Cleveland Severance HallOrchestra 2018-19

Individual Annual Support

99 87

THE CLEVELAND ORCHESTRA

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

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

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

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

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

$50,000 TO $99,999

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

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

Corporate Annual Support

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

The Cleveland Orchestra

THE CLEVELAND ORCHESTRA

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

Annual Support gifts in the past year, as of August 31, 2018 $1 MILLION AND MORE

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

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

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

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

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

The Cleveland Severance HallOrchestra 2018-19

$15,000 TO $49,999

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

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

Foundation/Government Annual Support

11001 Euclid Avenue Cleveland, Ohio 44106

clevelandorchestra . com

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

h a i l e d as o n e o f

Severance Hall 2018-19

Severance Hall

Georgian exterior was constructed to harmonize with the classical architecture of other prominent buildings in the University Circle area. The interior of the building reflects a combination of design styles, including Art Deco, Egyptian Revival, Classicism, and Modernism. An extensive renovation, restoration, and expansion of the facility was completed in January 2000. In addition to serving as the home of The Cleveland Orchestra for concerts and rehearsals, the building is rented by a wide variety of local organizations and private citizens for performances, meetings, and special events each year.

Dreams can come true

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

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

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

11001 Euclid Avenue Cleveland, Ohio 44106 clevelandorchestra . com

WELCOME

learn more

Severance Hall is Cleveland’s “musical home” for symphonic music and many other presentations. We are strongly committed to making everyone feel welcome. The following information and guidelines can help you on your musical journey.

Concert Previews

Doors Open Early

Concert Preview talks and presentations are given prior to most regular Cleveland Orchestra concerts at Severance Hall, beginning one hour prior to curtain. Most Previews take place in Reinberger Chamber Hall. (See clevelandorchestra.com for more details.)

The doors to Severance Hall open three hours prior to most performances. You are welcome to arrive early, enjoy a glass of wine or a tasty bite, learn more about the music by attending a Concert Preview, or stroll through this landmark building’s elegant lobbies. The upper lobbies and Concert Hall usually open 30 minutes before curtain.

SPECIAL DISPLAYS

FOOD AND DRINK

PROGRAM NOTES

SEVERANCE restaurant

Pre-Concert Dining: Severance Restaurant at Severance Hall is open for pre-concert dining for evening and Sunday afternoon performances (and for lunch following Friday Morning Concerts). Operated by Marigold Catering, a certified Green Caterer. To make reservations, call 216-231-7373, or online by visiting www.useRESO.com. Please note that the Restaurant will not be open for post-concert service this season, with the exception of luncheons following Friday Morning Matinees.

OPUS LOUNGE The new Opus Lounge is located on the groundfloor of Severance Hall. Created where “the Store” was formerly located, this newly-renovated drink-and-meet speakeasy offers an intimate atmosphere to chat with friends before and after concerts. With full bar service, signature cocktails, and small plates. Located at the top of the escalator from the parking garage.

refreshments

Intermission & Pre-Concert: Concession service of beverages and light refreshments is available before most concerts and at intermissions at a variety of locations throughout the building’s lobbies.

Severance Hall 2018-19

Special archival displays providing background information about The Cleveland Orchestra or Severance Hall can often be viewed in the lobby spaces or in the Humphrey Green Room (just off the left-hand side of the Concert Hall on the main Orchestra Level). Program notes are available online prior to most Cleveland Orchestra concerts. These can be viewed through the Orchestra’s website or by visiting www. ExpressProgramBook.com. These notes and commentary are also available in our printed program books, distributed free-of-charge to attending audiences members.

RETAIL cleveland orchestra store Proudly wear your love of The Cleveland Orchestra, or find the perfect gift for the music lover in your life. Visit the Cleveland Orchestra Store before and after concerts and during intermission to view CDs, DVDs, books, gifts, and our unique CLE Clothing Company attire. Located near the Ticket Office on the groundfloor in the Smith Lobby.

interested in renting SEVERANCE HALL? Severance Hall is available for you! Home of the world-renowned Cleveland Orchestra, this Cleveland landmark is the perfect location for business meetings and conferences, pre- or post-concert dinners and receptions, weddings, and or other family gatherings — with catering provided by Marigold Catering. For more information, call Bob Bellamy in our Facility Sales Office: 216-231-7420, or email: hallrental@clevelandorchestra.com.

Guest Information

sharing the space

access and services

The concert halls and lobbies are shared by all audience members. Please be mindful and courteous to others. To ensure the listening pleasure of all patrons, please note that anyone creating a disturbance may be asked to leave the performance.

We welcome all guests to our concerts and strive to make our performances accessible to all patrons.

Late Seating Performances at Severance Hall start at the time designated on the ticket. In deference to the performers onstage, and for the comfort and listening pleasure of audience members, late-arriving patrons will not be seated while music is being performed. Latecomers are asked to wait quietly until the first break in the program, when ushers will assist them to their seats. Please note that performances without intermission may not have a seating break. These arrangements are at the discretion of the House Manager in consultation with the conductor and performing artists. Happy artists make better concerts.

Photography and selfies, video and audio recording Photographs of the hall and selfies to share with others through social media can be taken when the performance is not in progress. However, audio recording, photography, and videography are prohibited during performances at Severance Hall.

phones and watches As a courtesy to others, please turn off or silence any phone or device that makes noise or emits light — including disarming electronic watch alarms. Please consider placing your phone in “airplane mode” upon entering the concert hall.

hearing aids Patrons with hearing aids are asked to be attentive to the sound level of their hearing devices and adjust them accordingly so as not to disturb those near you.

Medical assistance Contact an usher or a member of the house staff if you require medical attention. Emergency medical assistance is provided in partnership with University Hospitals Event Medics and the UH Residency Program.

Security and firearms For the security of everyone attending concerts, large bags (including all backpacks) and musical instrument cases are prohibited in the concert halls. These must be checked at coatcheck and may be subject to search. Severance Hall is a firearms-free facility. With the exception of on-duty law enforcement personnel, no one may possess a firearm on the premises.

in the event of an emergency Emergency exits are clearly marked throughout the building. Ushers and house staff will provide instructions in the event of an emergency.

Services for persons with disabilities

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

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

large print programs and Braille editions A large print edition of most Cleveland Orchestra program books are available; please ask an usher. Braille versions of our program books can be made available with advance request; please call 216-231-7425.

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

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

Guest Information

The Cleveland Orchestra

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

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

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

440.720.1102 440.720.1105 440.720.1104

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

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

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

Severance Hall 2018-19

Guest Information

Rainey Institute El Sistema Orchestra

A SYMPHONY OF

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

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