THE CLEVELAND ORCHESTRA FRANZ WELSER-MÖST
Welcome . . . . . . . . . . . . . . . . . . . . . . . . page 7
2O18 SEASON 2O19 SPRING
WEEK 23 — May
23, 24, 25 Sibelius & Strauss . . . . . . . . . . . . . page 21 WEEK 24 — May
30, 31, June 1 An American in Paris . . . . . . . . . page 65
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THE CLEVELAND ORCHESTRA
PROGRAM BOOK
TA B L E
OF
CONTENTS
About the Orchestra
PAGE
Weeks 23 and 24
2O18 SEASON 2O19
Persp rspectives pectives from the President & CEO . . . . . . . . . 7 Musical Arts Association . . . . . . . . . . . . . . . . . . . . . . . . 9 M Music Director: Franz Welser-Möst . . . . . . . . . . . . . 13 About The Cleveland Orchestra . . . . . . . . . . . . . . . 15 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Severance Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 Patron Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Administrative Staff . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 Concert Calendar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
23 SIBELIUS & STRAUSS
WEEK
ON THE COVER Photograph by Roger Mastroianni
Copyrightt © 2019 by The Cleveland Orchestra and the Musical Arts Association Eric Sellen, Program Book Editor E-MAIL: esellen@clevelandorchestra.com Program books for Cleveland Orchestra concerts are produced by The Cleveland Orchestra and are distributed free to attending audience members. Program book advertising is sold through Live Publishing Company at 216-721-1800
Concert: May 23, 24, 25. . . . . . . . . . . . . . . . . . . . . . . 21 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 23 GRIEG
Music from Peer Gynt . . . . . . . . . . . . . . . . . . . . . . . . 25 SIBELIUS
Selected Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Song Texts and Translations . . . . . . . . . . . . . . . . . 33 STRAUSS
Aus Italien, Symphonic Fantasy . . . . . . . . . . . . . 41 Conductor: Franz Welser-Möst . . . . . . . . . . . . . . . . . 13 Guest Artist: Simon Keenlyside . . . . . . . . . . . . . . . . . 39
NEWS
Cleveland Orchestra News . . . . . . . . 49
24 AN AMERICAN IN PARIS
WEEK
Concert: May 30, 31, June 1 . . . . . . . . . . . . . . . . . . 65 Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . 67
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.
GEORGE GERSHWIN AND IRA GERSHWIN
Movie: An American in Paris. . . . . . . . . . . . . . . . . . 69 George Gershwin . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 Ira Gershwin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
50%
Guest Conductor: Brett Mitchell . . . . . . . . . . . . . . . . 77
Support
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.
Severance Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 Heritage Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Annual Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
4
This program is printed on paper that includes 50% recycled content.
Table of Contents
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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
7
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-MÜst and the Orchestra’s talented musicians: It always feels good to be home.
AndrÊ Gremillet President & CEO The Cleveland Orchestra P. S. Each spring is an important moment as we approach the final weeks of the Orchestra’s fiscal year and the closing of each year’s Annual Fund campaign. The generosity of this community in sustaining The Cleveland Orchestra is an extraordinary vote of confidence and support. Whether you are a faithful donor of many years or have been inspired to give for the first time through our Spring Community Challenge, let me extend a big thank you for making possible everything that we do to share the power of music throughout this community. (For details about the Spring Challenge, see center of this book.)
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8
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 Richard J. Bogomolny Alexander M. Cutler Hiroyuki Fujita David J. Hooker Michael J. Horvitz 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
Norma Lerner, Honorary Chair Hewitt B. Shaw, Secretary Beth E. Mooney, Treasurer
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.
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 E RN AT I O N AL T RUS T E E S Virginia Nord Barbato (New York) Wolfgang C. Berndt (Austria) Mary Jo Eaton (Florida)
Richard C. Gridley (South Carolina) Herbert Kloiber (Germany) Paul Rose (Mexico)
TRUSTEES EX- OFFICIO Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee Barbara R. Snyder, President, Case Western Reserve University
Patricia Sommer, President, Friends of The Cleveland Orchestra Beverly J. Warren, President, Kent State University
TRUSTEES EMERITI George N. Aronoff Dr. Ronald H. Bell David P. Hunt S. Lee Kohrman Raymond T. Sawyer
HONORARY TRUSTEE S FOR LIFE Alex Machaskee Gay Cull Addicott Robert P. Madison Charles P. Bolton The Honorable John D. Ong Jeanette Grasselli Brown James S. Reid, Jr. Allen H. Ford Robert W. Gillespie
PA S T BOA R D PR E S ID E N 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 C L E V E L A N D O R C H E S T R A FRANZ WELSER-MÖST, Music Director
Severance Hall 2018-19
ANDRÉ GREMILLET, President & CEO
Musical Arts Association
9
THE CLEVELAND ORCHESTRA ADVISORY COUNCIL Larry Oscar, Chair Greg Chemnitz, Vice Chair Richard Agnes Mark J. Andreini Lissa Barry Dean Barry William P. Blair III Frank Buck Becky Bynum Phil Calabrese Paul Clark Richard Clark Kathy Coleman Judy Diehl Barbara Hawley Matt Healy Brit Hyde Rob Kochis Janet Kramer David Lamb Susan Locke
Todd Locke Amanda Martinsek Michael Mitchell Randy Myeroff George Parras Beverly Schneider Astri Seidenfeld Reg Shiverick Tom Stanton Fred Stueber Terry Szmagala Brian Tucker Peter van Dijk Diane Wynshaw-Boris Tony Wynshaw-Boris as of February 2 O19
EUROPEAN ADVISORY BOARD Herbert Kloiber, Chair Wolfgang Berndt, Vice Chair Gabriele Eder Robert Ehrlich Peter Mitterbauer Elisabeth Umdasch
The Cleveland Orchestra’s Board of Trustees is grateful to the community leaders listed on this page, who provide valuable knowledge, expertise, and support in helping propel the Orchestra forward into the future.
Mc Gregor
Supporting Seniors in Need and Those Who Serve Them Since 1877 14900 Private Drive • Cleveland 44112 • 216-851-8200 www.mcgregoramasa.org 10
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
THE CLEVEL AND ORCHESTRA
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 Singverein, appointment as an Academician of the European Academy of Yuste, a Decoration of Honor from the Republic of Austria for his artistic achievements, and the Kilenyi Medal from the Bruckner Society of America.
13
THE
CLEVELAND ORCHESTRA
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 CE LE BRATION S THROUGHOUT
Severance Hall 2018-19
The Cleveland Orchestra
15
16
PHOTO BY ROGER MASTROIANNI
Recent seasons have seen the launch of a unique series of neighborhood initiatives and performances, designed to bring the Orchestra and the citizens of Northeast Ohio together in new ways. Active performance ensembles and teaching programs provide proof of the benefits of direct participation in making music for people of all ages. Future Audiences. Standing on the shoulders of more than a century of quality music education programs, the Orchestra made national and international headlines through the creation of its Center for Future Audiences in 2010. Established with a significant endowment gift from the Maltz Family Foundation, the Center is designed to provide ongoing funding for the Orchestra’s continuing work to develop interest in classical music among young people. The flagship “Under 18s Free” program has seen unparalleled success in increasing attendance — with 20% of attendees now comprised of concertgoers age 25 and under und d — as the Orchestra now boasts one of th the youngest audiences for symphonic concerts anywhere. con Innovative Programming. The Cleveland Orchestra was among the first Clev Cl American orchestras heard on a regular A Am series seri of radio broadcasts, and its Severance Hall home was one of the first concert halls hall in the world built with recording and broadcasting capabilities. Today, Cleveland b broa Orchestra concerts are presented in a variO Orc etyy of formats for a variety of audiences — including casual Friday night concerts, film incl scores scor performed live by the Orchestra, collaborations with pop and jazz singers, colla ll ballet b ll and opera presentations, and stanball dard repertoire juxtaposed in meaningful contexts with new and older works. Franz con
Each year since 1989, The Cleveland Orchestra has presented a free concert in downtown Cleveland, with this past summer’s on July 6 as the ensemble’s official 100th Birthday bash. Nearly 3 million people have experienced the Orchestra through these free performances.
Welser-Möst’s creative vision has given the Orchestra an unequaled opportunity to explore music as a universal language of communication and understanding. An Enduring Tradition of Community Support. The Cleveland Orchestra was born in Cleveland, created by a group of visionary citizens who believed in the power of music and aspired to having the best performances of great orchestral music possible anywhere. Generations of Clevelanders have supported this vision and enjoyed the Orchestra’s performances as some of the best such concert experiences available in the world. Hundreds of thousands have learned to love music through its education programs and have celebrated important events with its music. While strong ticket sales cover just under half of each season’s costs, it is the generosity of thousands each year that drives the Orchestra forward and sustains its extraordinary tradition of excellence onstage, in the classroom, and for the community.
The Cleveland Orchestra
The Cleveland Orchestra
Evolving Greatness. The Cleveland Orchestra was founded in 1918. Over the ensuing decades, the ensemble quickly grew from a fine regional organization to being one of the most admired symphony orchestras in the world. Seven music directors have guided and shaped the ensemble’s growth and sound: Nikolai Sokoloff, 1918-33; Artur Rodzinski, 193343; Erich Leinsdorf, 1943-46; George Szell, 1946-70; Lorin Maazel, 1972-82; Christoph von Dohnányi, 1984-2002; and Franz Welser-Möst, 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. 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.
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Severance Hall 2018-19
The Cleveland Orchestra
17
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
Alicia Koelz Oswald and Phyllis Lerner Gilroy Chair
Yu Yuan Patty and John Collinson Chair
Isabel Trautwein Trevor and Jennie Jones Chair
Mark Dumm Gladys B. Goetz Chair
Katherine Bormann Analisé Denise Kukelhan Zhan Shu
18
Alfred M. and Clara T. Rankin Chair
The GAR Foundation Chair
Charles Bernard2 Helen Weil Ross Chair
Emilio Llinás2 James and Donna Reid Chair
Bryan Dumm Muriel and Noah Butkin Chair
Eli Matthews1 Patricia M. Kozerefski and Richard J. Bogomolny Chair
Sonja Braaten Molloy Carolyn Gadiel Warner Elayna Duitman Ioana Missits Jeffrey Zehngut Vladimir Deninzon Sae Shiragami Scott Weber Kathleen Collins Beth Woodside Emma Shook Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Chair
Yun-Ting Lee Jiah Chung Chapdelaine VIOLAS Wesley Collins* Chaillé H. and Richard B. Tullis Chair
Lynne Ramsey
Louis D. Beaumont Chair
Richard Weiss1
1
Charles M. and Janet G. Kimball Chair
Stanley Konopka2 Mark Jackobs Jean Wall Bennett Chair
Arthur Klima Richard Waugh Lisa Boyko Richard and Nancy Sneed Chair
Lembi Veskimets The Morgan Sisters Chair
Eliesha Nelson Joanna Patterson Zakany Patrick Connolly
The Musicians
Tanya Ell Thomas J. and Judith Fay Gruber Chair
Ralph Curry Brian Thornton William P. Blair III Chair
David Alan Harrell Martha Baldwin Dane Johansen Paul Kushious BASSES Maximilian Dimoff * Clarence T. Reinberger Chair
Kevin Switalski2 Scott Haigh1 Mary E. and F. Joseph Callahan Chair
Mark Atherton Thomas Sperl Henry Peyrebrune Charles Barr Memorial Chair
Charles Carleton Scott Dixon Derek Zadinsky HARP Trina Struble* Alice Chalifoux Chair This roster lists the fulltime members of The Cleveland Orchestra. The number and seating of musicians onstage varies depending on the piece being performed.
The Cleveland Orchestra
2O18 SEASON 2O19 O R C H E S T 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
PERCUSSION Marc Damoulakis* Margaret Allen Ireland Chair
Donald Miller Tom Freer Thomas Sherwood KEYBOARD INSTRUMENTS Joela Jones* Rudolf Serkin Chair
Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair
LIBRARIANS Robert O’Brien Joe and Marlene Toot Chair
Donald Miller ENDOWED CHAIRS CURRENTLY UNOCCUPIED Sidney and Doris Dworkin Chair Blossom-Lee Chair Sunshine Chair Myrna and James Spira Chair Gilbert W. and Louise I. Humphrey Chair George Szell Memorial Chair
* Principal § 1
TUBA Yasuhito Sugiyama* Nathalie C. Spence and Nathalie S. Boswell Chair
TIMPANI Paul Yancich* Otto G. and Corinne T. Voss Chair
Tom Freer
2
Mr. and Mrs. Richard K. Smucker Chair
2
Associate Principal First Assistant Principal Assistant Principal
CONDUCTORS Christoph von Dohnányi MUSIC DIRECTOR LAUREATE
Vinay Parameswaran ASSISTANT CONDUCTOR
Elizabeth Ring and William Gwinn Mather Chair
Lisa Wong DIRECTOR OF CHORUSES
Frances P. and Chester C. Bolton Chair
The Musicians
19
If I could express the same thing with words as with music, I would, of course, use a verbal expression. Music is something autonomous and much richer. Music begins where the possibilities of language end. That is why I write music. â&#x20AC;&#x201D;Jean Sibelius
THE
CLEVELAND ORCHESTRA FR ANZ WELSER- MÖST
M U S I C D I R E C TO R
Severance Hall
Thursday evening, May 23, 2019, at 7:30 p.m. Friday morning, May 24, 2019, at 11:00 a.m.* Saturday evening, May 25, 2019, at 8:00 p.m.
Franz Welser-Möst, conductor EDVARD GRIEG (1843-1907)
JEAN SIBELIUS (1865-1957)
2O18 SEASON 2O19
Selections from Peer Gynt, Opus 23 1. Morning Mood (Prelude to Act Four) 2. The Death of Åse 3. At the Wedding (Prelude to Act One)
Songs * 1. 2. 3. 4. 5. 6. 7. 8.
Kaiutar [The Echo Nymph] To Evening [Illalle] From an Anxious Heart [Aus banger Brust] Black Roses [Svarta rosor] Come Away, Death! [Kom nu hit, död!] In the Field a Maiden Sings [Im Feld ein Mädchen singt] The Silent City [Der Stille Stadt] Was It a Dream? [Var det en dröm?]
SIMON KEENLYSIDE, baritone
INTER MISSION * RICHARD STRAUSS (1864-1949)
Aus Italien, Symphonic Fantasy, Opus 16 1. In the Countryside: Andante 2. Amid the Ruins: Fantastic Pictures of Vanished Splendor — Feelings of Sadness and Sorrow in the Midst of Sunniest Surroundings: Allegro molto con brio 3. On the Shores of Sorrento: Andantino 4. Neapolitan Folk Life: Allegro molto
Thursday’s concert is co-sponsored by Hahn Loeser & Parks LLP. Simon Keenlyside’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from Eleanore T. and Joseph E. Adams. The Thursday evening performance is dedicated to Mr. and Mrs. Dennis W. LaBarre in recognition of their extraordinary generosity in support of The Cleveland Orchestra. * The Friday Morning Concert is performed without intermission and features the works by Grieg and Strauss.
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Concert Program — Week 23
21
May 23, 24, 25
2O18 SEASON 2O19
THIS WEEK’S CONCE RT Restaurant opens: THUR 4:30 SAT 5:00
Concert Preview: BEGINS ONE HOUR BEFORE CONCERT
Severance Restaurant Reservations (suggested) for dining:
216-231-7373 or via www.UseRESO.com
CO N CE R T PR E V I E W Reinberger Chamber Hall (evening) — Concert Hall (morning)
“Journeys Near and Far” with Rose Breckenridge, Cleveland Orchestra Music Study Groups
GRIEG Peer Gynt . . . . . . . . . . . . . . . . . . page 25
GRIEG
Concert begins: THUR 7:30 SAT 8:00
FRIDAY MORNING 11:00
(15 minutes)
STRAUSSS
SIBELIUS Songs . . . . . . . . . . . . . . . . . . . . . . page 29 (25 minutes)
Durations shown for musical pieces (and intermission) are approximate.
INTERMISSION (20 minutes)
STRAUSS Aus Italien . . . . . . . . . . . . . . . . . . page 41
12:10
(45 minutes)
Severance Restaurant Post-Concert Luncheon follows the Friday Morning concert.
Concert ends: (approx.)
THUR 9:20 SAT 9:50
Opus Lounge Stop by our newly-redecorated speakeasy lounge (with full bar service) for post-concert drinks, desserts, and convivial comradery.
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This Week’s Concertss
The Cleveland Orchestra
INTRODUCING THE CONCERT
Scenery, Mood & Drama
T H I S W E E K ’ S C O N C E R T S offer some unusual musical selections from
(or about) northern and southern Europe, by three well-known composers: Edvard Grieg, Jean Sibelius, and Richard Strauss. Along the way, there is plenty of artful depiction — of beautiful landscapes, tranquil moods, and agitated inner drama. Franz Welser-Möst begins with three movements from the Incidental Music that Grieg created for Henrik Ibsen’s dramatic play Peer Gynt in 1875. In these, Norway’s first international composer masterfully sets the stage for three different scenes in music — from the grandeur of dawn’s awakening, to an unexpectedly peaceful and quiet death, to the happy sounds of a wedding celebration. The evening concerts continue with the rare opportunity to hear a selection of Sibelius’s many songs sung live with orchestra. Acclaimed baritone Simon Keenlyside is the soloist — performing eight songs, each creating its own dramatic story of situation, conflict, or observation. The texts are variously in Swedish, Finnish, or German. The composer’s ear and mind for detail and tone painting are exemplary throughout, as the storylines of each song take in adventure, heartache, and wonder. The concerts close with Strauss’s first orchestral tone poem, or “symphonic fantasy,” written at age 22. Inspired by a youthful trip to Italy, the four movements of Aus Italien are evocative portraits of sun-filled Italian vistas and scenery. In its energetic vigor and deft orchestration, this music clearly signals that Strauss’s full genius is nearly ready to burst forth — with the soundworlds of his first true masterpieces, including Don Juan and Till Eulenspiegel, just around the corner. —Eric Sellen
Above: Grieg, Sibelius, and Strauss
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LIVE RADIO BROADCAST
Saturday evening’s concert is being broadcast live on WCLV (104.9 FM). The concert will be rebroadcast as part of regular weekly programming on WCLV on Sunday afternoon, September 1, at 4:00 p.m.
Introducing the Concert
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Seated Tenjin, 1261. Kamakura period (1185â&#x20AC;&#x201C;1333). Wood with pigments; h. 83.5 cm. Egara Tenjinsha, Kamakura, Kanagawa Prefecture. Important Cultural Property. Photo: Nara National Museum
Selections from Peer Gynt, Opus 23 chosen from the Incidental Music composed 1874-75 for Ibsen’s play
At a Glance
by
Edvard
GRIEG born June 15, 1843 Bergen, Norway died September 4, 1907 Bergen
Grieg composed his music for Henrik Ibsen’s play Peer Gynt between early 1874 and July 1875, for a production at the Christiania (now Oslo) Theater that opened on February 24, 1876. (For revivals of the play in Copenhagen in 1886 and Oslo in 1892, Grieg revised the score extensively, and introduced some numbers from other works he’d written. The only musical selections from these scores published during Grieg’s lifetime were two orchestral suites, created in 1888 and 1893, along with a couple of songs. The complete score for Peer Gynt amounts to about 90 minutes of music, some of which was to be played during specified action or speaking, while other movements served as preludes or interludes.)
This weekend’s three movements from Grieg’s Incidental Music run about 15 minutes in performance. For these selections, Grieg’s orchestral requirements include 2 flutes and piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, harp, and strings. The Cleveland Orchestra has performed selections from Grieg’s music for Peer Gynt since the ensemble’s first season in 1918-19. Some movements have been presented often, especially for Education Concerts. Nearly the complete score was performed at a weekend of concerts in September 2007, led by Vladimir Ashkenazy and featuring dialogue and narration spoken by John de Lancie; actor Joshua Hopkins portrayed Peer.
About the Music N O R W AY ’ S G R E A T E S T P L AY W R I G H T , Henrik Ibsen, wrote
and published his most famous work, Peer Gynt, in 1867. As originally envisioned, it was a dramatic poem intended to be read aloud. Some years later, Ibsen decided to adapt his poem so that it could also be staged. He asked his compatriot Edvard Grieg to compose incidental music for its stage premiere. This Grieg did in 1874-75, and as a play Peer Gynt was performed for the first time in 1876. Grieg’s music took the form of twenty-two short pieces distributed throughout the five acts. The music and play were together such a success that Grieg extracted eight musical pieces to create two suites of four movements each, to be performed in concert. These popular suites have remained some of the most familiar of all Grieg’s music, with several of the movements known far and wide around the world. The play tells a rambling, surrealistic story of the boastful, narcissistic liar and seducer, Peer Gynt, whose adventures range from the Norwegian mountains to the sands of North Africa. Some of the scenes involve trolls, who interact with humans, Severance Hall 2018-19
About the Music
25
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while other scenes take place only in Peer’s mind. A huge cast is called for, along with constant changes of scene, and despite all of Peer’s faults of vanity and infidelity, he reaches out in a desperate attempt to comprehend the real world — which betrays him as often as he betrays his family, his friends, and almost everyone he meets. Only two of the selections chosen for this weekend’s concerts do not come from the suites that Grieg prepared — Morning Mood and The Death of Åse are the first two pieces in the first suite. For the third piece, however, Franz Welser-Möst has gone back to the Incidental Music’s full score and chosen At the Wedding, which is the prelude to the play’s opening act. Because it is in neither concert suite, it will be less familiar to many audience members. Morning Mood precedes the scene in Act IV where Peer is involved with a group of business men in Morocco. The music, however, more clearly suggests a Norwegian dawn. The gentle music grows gradually louder until, as Grieg imagined it, the first forte (about a minute into the piece) marks the moment when the sun breaks over the horizon. The music then spreads calmly
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About the Music
The Cleveland Orchestra
Artists like Bach and Beethoven erected churches and temples on the heights. I only wanted . . . to build dwellings for people, in which they might feel happy and at home. â&#x20AC;&#x201D;Edvard Grieg
Playwright
HENRIK IBSEN 1828-1906
into a lingering morning mood. The Death of Åse. Åse is Peer’s mother. Unaware that she is dying, Peer sits on her bed telling one outrageous story after another. But the music tells the truth — its deep poignancy is achieved by means of rich romantic harmony scored for strings alone. The opening melody does not come back; it turns instead into a series of descending phrases, each lower and softer than the last, ending with nothing. The listener suffers all the emotions that Peer seems incapable of feeling. At The Wedding serves as the overture to the whole play. The wedding is that of Ingrid, daughter of a rich farmer, which Peer attends. He imagines (and he is not wrong) that he still has a chance for love with the bride himself. At the wedding, he meets for the first time the lovely Solveig, with whom he is intermittently in love, and her song provides the contrasting episode, shared by plaintive clarinet and oboe. A second episode is provided by a solo viola playing snatches of the “Halling and Leaping Dance” that will close the first act.
—Hugh Macdonald © 2019
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About the Music
The Cleveland Orchestra
E V E N I N G C O N C E R T S O N LY
Selected Songs composed 1898-1915, chosen from six sets of published songs
At a Glance
by
Jean
SIBELIUS
Sibelius wrote more than 100 songs across his lifetime, which were published in more than a dozen sets. He only called one set a song cycle — although several other sets exhibit some unity by using texts by a single poet. He chose texts in his native Swedish, in Finnish, and in German (which he’d studied as a young man visiting Berlin and Vienna). Most of his songs were for piano and voice, but he also orchestrated a few. A number have been arranged for orchestra by other composers, including Jussi Jalas,
(1908-85), Leif Segerstam (b.1944), and Simon Pergamet-Parmet (1897-1969). The eight songs chosen for this week’s concerts together run just over 25 minutes in performance. The orchestral forces vary with each song, some largely for strings, others adding woodwinds, and a few also utilizing brass. Timpani, glockenspiel, bass drum, and harp are also included in some of the songs. The Cleveland Orchestra is presenting each of these songs for the first time with this weekend’s concerts.
born December 8, 1865 Hämeenlinna, Finland
About the Music
died September 20, 1957 Järvenpää, Finland
in Finnish musical history, his family was Swedish in origin and his mother tongue was Swedish. Finland had, in fact, been a pawn in the geographical politics between Russia and Sweden for a number of centuries. In the 19th century, Russia came to dominate Finland politically, but Finnish government business was conducted in Swedish. Sibelius’s situation was not unlike that of Smetana, who was born and brought up in Bohemia, yet his first language was German, not Czech, a language he learned at school. By the time he reached high school, Sibelius was speaking both Finnish and Swedish, and he quickly became enthusiastic about Finnish culture, especially the national epic, the Kalevala, which provided him with texts and rhythms and inspiration for a great number of works. Sibelius wrote songs throughout his long life. For these, he had access to both Swedish and Finnish poetry, though more of his songs were written to Swedish texts. He also set a number of poems in German, which he came to admire and understand during an extended study visit to Berlin and Vienna in his midtwenties. Because there was a vastly greater market for songs in German — nearly all the leading music publishers of the 19th century were German — setting German poems was an obvi-
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A L T H O U G H S I B E L I U S is considered the outstanding figure
About the Music
29
ous and advantageous strategy. In most cases, it was also quite usual to publish songs in several languages at once, including Swedish and Finnish with two or three translations for singing, including German and sometimes English or French. In Sibelius’s lifetime there was no taboo about singing songs in translation; in fact, it was normal to sing songs in the language of the audience, not that of the composer. Today, we have gone to the opposite extreme, with most singers mastering foreign languages in order to sing songs in the original — and audiences left to find a balance between following the printed text/translations while also watching the singers’ expressions and delivery. In recent years, some recitalists have experimented with singable translations again, which can be a wonderful experience, since audiences often respond more sharply to the emotional slant of a song when the words are, so to speak, their own. Neither approach is necessarily right or wrong, but provide different kinds of experiences for audiences and performers alike. For this week’s Cleveland Orchestra concerts, we hear a selection of Sibelius’s songs sung in Finnish, Swedish, and German. His choice of verses was always within the sphere of romantic lyrics, and the fact that the majority of his songs overall were settings of Swedish suggests that he relied on poetry he had known since childhood. All Sibelius’s songs were written with piano accompaniment, but many have been orchestrated by different arrangers. Seven of these arrangements make up this week’s selections. One other, “Kom nu hit, död!” [“Come Away, Death!] Sibelius originally set for guitar or piano, and then, in the very last year of his life, arranged it himself for harp and strings. SELECTED SONGS
Kaiutar [The Echo Nymph] and Illalle [To Evening] are both settings of Finnish, the first from 1915, the second from 1898. Kaiutar was written for the Finnish soprano Aino Aikté, for whom Sibelius also wrote the symphonic poem with solo voice, Luonnatar. This is a dramatic lyric, with an opportunity for the nymph’s echoes to be built into the setting. Illalle is a setting of a Finnish sonnet, in which the shimmering accompaniment comes down from the heights only for the last few lines of the poem. Aus banger Brust [From an Anxious Heart] is by the German
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About the Music
The Cleveland Orchestra
poet Richard Dehmel, whose texts were also set by Richard Strauss and Arnold Schoenberg. The accompaniment retains an unbroken figuration throughout, even after the singer has finished a pained declaration of love. Sibelius allows himself a picturesque image of glowworms crawling in the grass. Moving to a Swedish text, Svarta rosor [Black Roses], Sibelius composes a song that thrives on a lively singable tune, with the last line of each verse dropping suddenly to solemn darkness. Yet nothing quite prepares us for the force of the closing line, making this one of Sibelius’s best-known songs. In 1909, he set two of the songs from Shakespeare’s Twelfth Night for the Swedish Theater in Helsinki, using a Swedish translation by Carl August Hagberg. Kom nu hit, död! [Come Away, Death!] is another powerful song, using very simple means. The chord on the word “död” [”death”], for example, colors the whole piece, while somehow remaining aloof from it. Sibelius took the text of Im Feld ein Mädchen singt [In the Field a Maiden Sings] from the first collection of poetry published by Margarete Susman in 1901. His setting from 1906 shows a brooding style familiar from his symphonies, with echoes especially of the Second Symphony of 1902. A second setting of Richard Dehmel, Die stille Stadt [The Silent City], gains much from an orchestral accompaniment, because the strings can perfectly convey the shifting effect of the clouds, fog, and smoke that blanket the city. The poem sees a glimmer of light in the last two lines, but the music remains studiously unresponsive, as if the child’s song mentioned was also smothered in silence. And to end, back to Swedish for Var det en dröm? [Was It a Dream?], where the great sweep of its melody nearly cries out for orchestral treatment. While there is a delicate contrast in the middle of the song, the final verse carries a sense of glorious triumph that the poet may never have dreamed of. —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.
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About the Music
31
Under T he Inffluence FESTIVAL SEASON 8
JUNE 13 - JUNE 29, 2019
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Selected Songs by JEAN SIBELIUS Kaiutar [The Echo Nymph] Opus 72 No. 4 (1915) — Finnish text by Larin-Kyösti rin-Ky (1873-1948) Kaiutar, korea neito astui illalla ahoa, kaihoissansa kankahalla, huusi yksin huoliansa. Tullut ei suloinen sulho, vaikka vannoi valallansa kihlaavansa kaunokaisen.
Echo, the pretty nymph tramped one evening across the meadow, crying in grief and longing, calling across the heath. Her sweet lover did not come, although he had solemnly sworn to marry her.
Ennen astuivat ahoa kankahalla kuherrellen kilvan kyykyjen kisoissa, kesäpäivän paistaessa, illan kuun kumottaessa. Meni sulho sanoinensa impi jäi sydäminensä. Etsii impi ihanainen kullaistansa kankahalta, huhuilevi kuuntelevi, kirkuvi kimahutellen äänen pienoisen pilalle, jähmettyvi, jäykästyvi, kaatuissansa kauhistuvi mustan metsän pimeyttä.
They used to wander over the heath, cooing with love, like turtledoves, ecstatic in the sunshine, and glowing in the moonlight. The lover left with his big promises, the nymph was left with her broken heart. The beautiful nymph sought her beloved desperately, crossing the heath; she called out loudly and listened, she screamed and shouted until her brittle voice snapped, became silent and still — she kept falling, terrified of the dark forest.
Aamulla herättyänsä kulkee kuje mielessänsä, eksyttävi erämiehen matkien ja mairitellen, niinkuin ennen eksytteli, sulho suurilla sanoilla, tuulen turhilla taruilla.
When she awoke from fainting, she thought about tricks to play — she leads the hunter astray with the echo of her cries, just as her lover once lured her, with faithless words, and empty stories in the wind.
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Sung Text and Translation
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Illale [To Evening] Opus 17 No. 6 (1898) — Finnish text by A.V. Forsman-Koskimies (1856-1929) Oi, terve! tumma, vieno tähti-ilta, Sun haaveellista hartauttas lemmin Ja suortuvaisi yötä sorjaa hemmin, Mi hulmuaapi kulmais kuulamilta. Kun oisit, ilta, oi, se tenhosilta, Mi sielun multa siirtäis lentoisammin Pois aatteen maille itse kun ma emmin, Ja siip’ ei kanna aineen kahlehilta! Ja itse oisin miekkoinen se päivä, Mi uupuneena saisin luokses liitää, Kun tauonnut on työ ja puuha räivä, Kun mustasiipi yö jo silmään siitää Ja laaksot, vuoret verhoo harmaa häivä — Oi, ilta armas, silloin luokses kiitää!
Hail, dark, mild, starry evening, I love your dreamy rapturous stillness — Let me love your beautiful dark hair that falls in waves over your brow. O evening, if only like a magic bridge you would steal my soul away to a distant land of dreams, no longer burdened by the cares of earth. I would become a man that day, and sink exhausted in your arms — when work and toil have ceased, when black-winged night veils our sight, and mountain and valley wear a misty veil — then, dear evening, let me come to you!
Aus banger Brust [From an Anxious Heart] Opus 50 No. 4 (1906) — German text by Richard Dehmel (1863-1920) Die Rosen leuchten immer noch, die dunklen Blätter zittern sacht; ich bin im Grase aufgewacht, o kämst du doch, es ist so tiefe Mitternacht.
The roses are still bright, dark leaves tremble softly — Awake, I am on the grass, O, if only you would come! It is so late at night.
Den Mond verdeckt das Gartentor, sein Licht fliesst über in den See, die Weiden stehn so still empor, mein Nacken wühlt im feuchten Klee. So liebt’ ich dich noch nie zuvor!
Moonbeams lighten the garden gate, then shine over the sea. The fields stand in silence, my neck rubs against damp clover. Never before have I loved you so much!
So hab’ ich es noch nie gewusst, so oft ich deinen Hals umschloss und blind dein Innerstes genoss, warum du so aus banger Brust aufstöhntest, wenn ich überfloss.
This I have not known before — when, unthinking, I embraced you and enjoyed your very soul, why with such an anxious breast, did you weep, at my excess.
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Sung Text and Translation
The Cleveland Orchestra
O jetzt, o hättest du gesehn, wie dort das Glühwurmpärchen kroch! Ich will nie wieder von dir gehn! o kämst du doch! Die Rosen leuchten immer noch.
O now, if only you had seen the pair of glowworms crawling there. I will never leave you again! If only you would come! The roses are still bright.
Svarta rosor [Black Roses] Opus 36 No. 1 (1899) — Swedish text by Ernst Josephson (1851-1906) Säg hvarför är du sa ledsen i dag, du, som alltid är sa lustig och glad? Och inte är jag mera ledsen i dag, än när jag tyckes dig lustig och glad; ty sorgen har nattsvarta rosor.
Tell me, why are you so sad today? You who are always so merry and glad? I am no more sad today than when I seem happy and cheerful to you — for sorrow has roses black as night.
I mitt hjerta der vaxer ett rosendeträd som aldrig nandin vill lemna mig fred, och på stjelkarne sitter det tagg vid tagg, och det vallar mig ständigt sveda och agg; ty sorgen har nattsvarta rosor.
In my heart there grows a rosebush which will never leave me in peace. And on its branches, the thorns grow thick and torment me constantly — for sorrow has roses black as night.
Men af rosor blir det en hel klenod, än hvita som döden, än röda som blod. Det växer och växer. Jag tror jag förgår, i hjertträdets rötter det rycker och slar; ty sorgen har nattsvarta rosor.
But from the roses there is a pure treasure, as white as death, as red as blood. It grows and grows. Surely I must leave, for the roots in the heart of the rosebush are wrenching and heaving — for sorrow has roses black as night.
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Sung Text and Translation
35
Kom nu hit, död! [Come Away, Death!] Opus 60 No. 1 (1909) — Swedish text by Carl August Hagberg (1810-1864) from the English by William Shakespeare (1564-1616) Kom nu hit, kom nu hit, död! I krusflor förvara mig väl; hasta bort, hasta bort, nöd! Skön jugfrun har tagit min själ. Med svepning och buxbom på mistans lock, håll dig färdig; mång’ trogen har dött men ingen dock så värdig.
Come away, come away, death, And in sad cypress let me be laid; Fly away, fly away, breath [need]: I am slain by a fair cruel maid. My shroud of white, stuck all with yew, O! prepare it. My part of death no one so true Did share it.
Ingen ros, ingen ros då månde strös på mitt svarta hus; Ingen vän, ingen vän må störa hvilan i jordens grus. Mig lägg för tusen suckars skull, åt en sida, der ej älskande se min mull och qvida. Kom nu hit, kom nu hit, död!
Not a flower, not a flower sweet, On my black coffin let there be strown; Not a friend, not a friend greet My poor corpse, where my bones shall be thrown. A thousand thousand sighs to save, Lay me, O! where Sad true lover never find my grave, To weep there. Come away, come away, death!
Im Feld ein Mädchen singt [In the Field a Maiden Sings] Opus 50 No. 3 (1906) — German text by Margarete Susman (1872-1966) Im Feld ein Mädchen singt. Vielleicht ist ihr Liebster gestorben, Vielleicht ist ihr Glück verdorben, dass ihr Lied so traurig klingt.
In the field a maiden sings. Perhaps her lover is dead. Perhaps her happiness has been stolen, so her song has such a sad sound.
Das Abendrot verglüht, die Weiden stehn und schweigen, und immer noch so eigen tönt fern das traurige Lied.
The evening light glows, the fields are clothed in silence, and so intimate and personal is the sound of that sad song.
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Sung Text and Translation
The Cleveland Orchestra
Der letzte Ton verklingt. Ich möchte zu ihr gehen. Wir müssten uns wohl verstehen, da sie so traurig singt.
The last sounds echo. I long to go to her. We should have understood each other — because her song is so sad.
Das Abendrot verglüht, die Weiden stehn und schweigen.
The evening light glows, the fields are clothed in silence.
Die stille Stadt [The Silent City] Opus 50 No. 5 (1906) — German text by Richard Dehmel (1863-1920) Liegt eine Stadt im Tale, ein blasser Tag vergeht; es wird nicht lange dauern mehr, bis weder Mond noch Sterne, nur Nacht am Himmel steht.
A city lies in the valley, a pale day coming to an end; it will not be long, before neither moon nor stars but only night fills the sky.
Von allen Bergen drücken Nebel auf die Stadt; es dringt kein Dach, nicht Hof noch Haus, kein Laut aus ihrem Rauch heraus, kaum Türme noch und Brücken.
Down from the mountains fog covers the city; no roof, whether of house or palace, pierces the shroud, nor any sound, barely a tower or a bridge.
Doch als den Wandrer graute, da ging ein Lichtlein auf im Grund; und durch den Rauch und Nebel begann ein leiser Lobgesang aus Kindermund.
Yet as the traveller shuddered, there appeared a glimmer at his feet; and through the smoke and cloud was heard a soft song of praise from a child’s mouth.
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Sung Text and Translation
37
Var det en dröm? [Was It a Dream?] Opus 37 No. 4 (1902) — Swedish text by J.J. Wecksell (1838-1907) Var det en dröm att ljuft engäng jag var ditt hjärtas vän? Jag mins det som en tystnad sång, då strängen darrar än.
Was it a dream that once I was the friend of your heart? I remember it like a silent song, while the music shudders on.
Jag mins en törnros af dig skänkt, en blick så blyg och öm; jag mins en afskedstår, som blänkt. Var alt, var alt endröm?
I remember a rose you gave me, a look so shy and sweet; I remember a parting tear that glistened — all that, was it all a dream?
En dröm lik sippans lif så kort uti en vårgrön ängd, hvars fägring hastigt vissnar bort för nya blommors mängd.
A dream as short as a wildflower’s life, out there in the green meadow, whose beauty fades rapidly away for a crowd of new flowers.
Men mången natt jag hör en röst vid bittra tårars ström: göm djupt dess minne i ditt bröst, det var din bästa dröm!
But on many a night I hear a voice through a bitter stream of tears; hide these memories deep in your breast, for it was your best dream!
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Sung Text and Translation
The Cleveland Orchestra
Simon Keenlyside British baritone Simon Keenlyside is among today’s most sought-after and praised singers. He made his Cleveland Orchestra debut at Severance Hall in 2000, and has performed with the Orchestra in Europe and Cleveland on a number of occasions since that time. During his week in Cleveland this season, he is singing as soloist with the Orchestra as well as performing Schubert’s Winterreise song cycle in recital (May 19). Mr. Keenlyside performs regularly on the world’s great opera stages, from Barcelona to New York, London, and Zurich. His repertoire ranges from newer works to standards of the 18th and 19th centuries — by composers including Adès, Berg, Debussy, Mozart, Tchaikovsky, and Verdi. His 2018-19 season features engagements with the Vienna State Opera, Bavarian State Opera, London’s Royal Opera House, and Berlin’s Deutsche Oper. In concert, his collaborations include appearances in London and Vienna, as well as this week’s performances in Cleveland. As a renowned recitalist, Mr. Keenlyside sings regularly in major venues around the world. His schedule this season includes recitals in North America in Vancouver, Quebec, Philadelphia, Cleveland, and Washington D.C., and in Europe in Amsterdam, Vienna, and London — collaborating with Malcolm Martineau, Emanuel Ax, Natalia Katyukova, and Julius Drake. Mr. Keenlyside’s discography includes recordings on the Chandos, Decca, Deutsche Grammophon, EMI, Harmonia Mundi, Hyperion, and Sony BMG labels. He can be heard on the Grammy Award-winning recording of Mozart’s The
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Guest Artist
Marriage of Figaro with conductor René Jacobs, and also received Gramophone’s 2007 best recital award and 2012 solo vocal award. For Britten’s Billy Budd at English National Opera and Maazel’s 1984 at the Royal Opera House, he was given the 2006 Olivier Award for outstanding achievement in opera. Born in London to a musical family, Simon Keenlyside pursued violin lessons as a child before entering the choir school of St. John’s College Cambridge at age eight. He studied anthropology and zoology before deciding to become a professional musician. At the Royal Northern College of Music, he studied voice with John Cameron and was later a student of Rudolf Knoll at Salzburg’s Mozarteum. Mr. Keenlyside made his professional debut in 1988 with the Hamburg State Opera, and soon thereafter joined Scottish Opera before embarking on his international career. Mr. Keenlyside was named a Commander of the Order of the British Empire in 2003 and received a knighthood in the 2018 Birthday Honours. In 2017, he was made a Kammersänger of the Vienna State Opera. Other honors include an Echo Klassik award as male singer of the year in 2007 and being named Musical America’s Vocalist of the Year in 2011.
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Aus Italien [From Italy], Opus 16 Symphonic Fantasy composed 1886
At a Glance
by
Richard
STRAUSS born June 11, 1864 Munich died September 8, 1949 Garmisch-Partenkirchen, Bavaria
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Strauss completed the “symphonic fantasy” Aus Italien in Munich in 1886, having compiled sketches throughout a tour of Italy during the late spring and early summer. He conducted the work’s premiere in Munich on March 2, 1887. Dedicated to the pianist-conductor Hans von Bülow, the work was published in 1886. This four-movement fantasy runs about 45 minutes. Strauss orchestrated it for 2 flutes and a piccolo, 2 oboes and an english horn, 2 clarinets, 2 bas-
soons and a contrabassoon, 4 horns, 2 trumpets, 3 trombones, timpani, percussion (snare drum, triangle, cymbals, tambourine), harp, and strings. The Cleveland Orchestra has performed Aus Italien on only three prior occasions, at a weekend of concerts in March 1950, conducted by music director George Szell, at a 1989 Blossom Festival concert, conducted by Vladimir Ashkenazy, and at Severance Hall again for a weekend under Fabio Luisi’s direction in November 2011.
About the Music “ T H E P E R F O R M A N C E of my Italian Fantasy,” Richard Strauss wrote to his uncle soon after conducting the work’s premiere in Munich on March 2, 1887, “has evoked a great uproar here — general bewilderment and rage; because I am beginning to go my own way, creating my own forms, and giving lazy people mental perplexity.” Strauss would later tell conductor Hans von Bülow that the performance had been “the first step towards independence.” In hindsight, however, Aus Italien is perhaps better described not as the first, but as the last step toward Strauss’s independence as a composer. In it, he had finally managed to blend — if not quite perfectly — all of the musical elements that he would so deftly combine in the great tone poems of the next decade. The “Italian Fantasy” was, as Strauss subsequently recalled, “the connecting link between the old and the new methods” — the first product of a newly liberated master and the last efforts of a struggling apprentice. If Richard Strauss was destined to become a great composer, one can hardly imagine better preparation for that destiny than the experiences afforded him as a child and young adult. Music was, from the first, central to family life. Richard’s father, a virtuoso horn player in the Munich Court Orchestra, was a leading figure in the city’s music circles and conductor of its amateur orchestra. Richard’s mother, born of a prosperous About the Music
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brewing family, brought sufficient wealth to free her husband and children from financial concerns. Into these comfortable circumstances arrived a charming and precocious child, who, as early as age six, tried to write music — which his father indulgingly copied down. As Richard undertook formal lessons in music theory and harmony, his attempts at composition ripened. We may rightly see his earliest works as student exercises in copying the styles of earlier masters, but what better way to fully understand the underpinnings of 19th-century composition? The only real gap in his education resulted from father Franz’s conservative musical tastes — “Mozart (above all the others), Beethoven, and Haydn” as well as the early works of Liszt and Schumann. The operas of Wagner, for whom Franz played in the first performances of both Tristan and Isolde and Die Meistersinger, were not tolerated at home. Soon enough, however, Strauss was vividly intoxicated by the score to Tristan after studying it “against my father’s orders” at age 17. Perhaps most remarkable of all is the fact that by 1885, the 21-year-old Strauss had composed nearly 150 pieces, in all of the standard genres — instrumental and vocal works, solo and chamber music, concertos, choral pieces, works for orchestra and band — and in some surprising combinations as well. What’s more, several of the pieces had already been published and many of them performed — by friends, by his father’s orchestra, and even by the Dresden State Orchestra and Bülow’s Meiningen Court Orchestra. All of this enabled the budding composer to sharpen his mind’s ear to such an extent that the score of Tristan, which had so intoxicated him in his head, sadly disappointed him on live hearing, “until I realized at last that it was the discrepancy between a mediocre performance and the intentions of the great master.” In the fall of 1885, Strauss took up his first full-time position, as second conductor to Bülow at Meiningen. It would prove an eventful year. Following a quarrel with Brahms over the first performances of that composer’s Fourth Symphony, Bülow resigned, and the young Strauss suddenly became first conductor of one of Central Europe’s finest orchestras. Even more important, Alexander Ritter (one of the orchestra’s violinists) introduced the young composer to a whole world of new ideas — from philosophy and Romantic literature to the previously forbidden music of Wagner and Berlioz (as well as the later works of Liszt and Schumann). In subsequent years, Strauss recalled that Ritter’s influence, “in the nature of a whirlwind,” shifted all creativity “toward the poetic and the expressive in music.”
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About the Music
The Cleveland Orchestra
At the end of March 1886, Strauss left his post at Meiningen, rushed home to Munich, and, using some kindly advice given by Brahms “as reason enough,” convinced his father to bankroll a long-hoped-for trip to Italy. Although he couldn’t really read or speak Italian — so that he twice lost his laundry and had his luggage stolen altogether — Strauss seems to have had a wonderful holiday. He filled notebook after notebook with musical sketches, and in Rome his thinking came clearly into focus. “I have never had much faith in inspiration through the beauties of nature,” he wrote to Bülow. “In the ruins at Rome I learned better.” A four-movement symphonic poem soon took shape, which Strauss worked on over the summer and then finished orchestrating during the fall in Munich. THE MUSIC
It is clear — even upon first hearing — that the completed Aus Italien isn’t yet a mature Strauss work. But it comes so very close. Indeed, we can almost smell the aromas of an authentic Strauss tone poem, if only it had been mixed together a little differently, or “cooked” a little longer! All the musical ingredients are here, especially in the first movement: the almost endless melodic line, the unmistakable horn phrases, the carefully crafted contrapuntal writing that so effortlessly passes melody and counter-melody from instrument to instrument. The second and third movements, SORRENTO however, disturb our reverie in what may have seemed an unjustly neglected masterpiece. Here the writing, while still anticipating the mature Strauss, too closely resembles that of the young Wagner (such as the Faust Overture) and some of the more static symphonic works of Liszt. And yet, all of this helps us better appreciate Strauss’s later works. Aus Italien is, in effect, a collection of four studies for the later tone poems. Like the sketchbooks of da Vinci in relation to that master’s completed paintings and frescoes, this four-movement Italian Fantasy gives us a new and not entirely incomplete perspective on what the young Strauss thought his mature musical style was going to be. It is well worth a hearing. Aus Italien is, at its best, four beautifully hand-colored picture postcards sent by a young man intoxicated by his stay in Italy. Each Severance Hall 2018-19
About the Music
A vintage postcard showing the cliffs, ocean, and mountains at Sorrento, Italy — portrayed in the third movement of Strauss’s Aus Italien.
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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.
depicts a particularly enchanting scene, nicely drawn out in two dimensions. Not until his later works (Macbeth, Don Juan, Death and Transfiguration, Don Quixote, and the rest) does Strauss add the third dimension, of depth and changing perspective, and — far more important — the fourth, of events happening over time (as in a story, such as Till Eulenspiegel). Only then can we clearly discern the earmarks and ultimate structure of the mature Strauss tone poem. (Not that the tone poems are merely stories set to music; Aus Italien, which, unlike the later works, does not include any “real” people in its pictures — only the generalized “merry throng” in the final movement — also lacks the psychological depth inherent in Strauss’s later tone poems.) Of the fourth movement, much has been written about Strauss’s mistaking Luigi Denza’s “Funiculì, Funiculà!” for a real Italian folksong rather than a momentarily popular hit song of 1886. That the inclusion of this potentially banal tune within the movement (or rather its role as the substance of the entire movement) may ruin the whole of Aus Italien for some listeners is unfortunate. Strauss’s youthful craft at variation is, to be sure, less than perfect, and we may yearn for more moments like those near the end when the tune disappears long enough to give an unobscured view of future genius. But as the American composer Philip Greeley Clapp (1888-1954) said, “Strauss can hardly be charged with any grave error — the tune is now familiar the world over, though its origin is forgotten; thus it may be said to have become a folksong, and Strauss to have been a true prophet in calling it one.” —Eric Sellen © 2019 2018-19 is Eric Sellen’s twenty-sixth season as The Cleveland Orchestra’s program book editor.
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JOHN L. SEVERANCE SOCIETY Cumulative Giving The John L. Severance Society is named to honor the philanthropist and business leader who dedicated his life and fortune to creating The Cleveland Orchestra’s home concert hall, which today symbolizes unrivalled quality and enduring community pride. The individuals, corporations, foundations, and government agencies listed here represent today’s visionary leaders, who have each surpassed $1 million in cumulative gifts to The Cleveland Orchestra. Their generosity and support joins a long tradition of community-wide support, helping to ensure The Cleveland Orchestra’s ongoing mission to provide extraordinary musical experiences — today and for future generations.
Current donors with lifetime giving surpassing $1 million, as of September 2018
Gay Cull Addicott American Greetings Corporation Art of Beauty Company, Inc. BakerHostetler Bank of America The William Bingham Foundation Mr. William P. Blair III Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Irma and Norman Braman Jeanette Grasselli Brown and Glenn R. Brown The Cleveland Foundation The George W. Codrington Charitable Foundation Robert and Jean* Conrad Mr. and Mrs. Alexander M. Cutler Cuyahoga County residents through Cuyahoga Arts and Culture Eaton FirstEnergy Foundation Forest City GAR Foundation Mr. and Mrs. Richard T. Garrett The Gerhard Foundation, Inc. Ann and Gordon Getty Foundation The Goodyear Tire & Rubber Company The George Gund Foundation Francie and David Horvitz Mr. and Mrs. Michael J. Horvitz Hyster-Yale Materials Handling, Inc. NACCO Industries, Inc. The Louise H. and David S. Ingalls Foundation Martha Holden Jennings Foundation Jones Day Myra Tuteur Kahn Memorial Fund of the Cleveland Foundation The Walter and Jean Kalberer Foundation
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Mr. and Mrs. Joseph P. Keithley Mr. and Mrs. Douglas A. Kern KeyBank Knight Foundation Milton A. & Charlotte R. Kramer Charitable Foundation Kulas Foundation Mr. and Mrs. Dennis W. LaBarre Nancy Lerner and Randy Lerner Mrs. Norma Lerner and The Lerner Foundation Daniel R. Lewis Jan R. Lewis Peter B. Lewis* and Janet Rosel Lewis Virginia M. and Jon A. Lindseth The Lubrizol Corporation Maltz Family Foundation Elizabeth Ring Mather and William Gwinn Mather Fund Elizabeth F. McBride Ms. Nancy W. McCann William C. McCoy The Sisler McFawn Foundation Medical Mutual The Andrew W. Mellon Foundation Mr. and Mrs. Robert F. Meyerson* Ms. Beth E. Mooney The Morgan Sisters: Susan Morgan Martin, Patricia Morgan Kulp, Ann Jones Morgan John C. Morley John P. Murphy Foundation David and Inez Myers Foundation National Endowment for the Arts The Eric & Jane Nord Family Fund The Family of D. Z. Norton State of Ohio Ohio Arts Council The Honorable and Mrs. John Doyle Ong
Parker Hannifin Foundation The Payne Fund PNC Julia and Larry Pollock PolyOne Corporation Raiffeisenlandesbank Oberösterreich Mr. and Mrs. Alfred M. Rankin, Jr. Mrs. Alfred M. Rankin, Sr. Mr. and Mrs. Albert B. Ratner James and Donna Reid The Reinberger Foundation Barbara S. Robinson The Sage Cleveland Foundation The Ralph and Luci Schey Foundation Seven Five Fund Carol and Mike Sherwin Mrs. Gretchen D. Smith The Kelvin and Eleanor Smith Foundation The J. M. Smucker Company Mr. and Mrs. Richard K. Smucker Jenny and Tim Smucker Richard and Nancy Sneed Jim and Myrna Spira Lois and Tom Stauffer Mrs. Jean H. Taber* Joe and Marlene Toot Ms. Ginger Warner Robert C. Weppler Janet* and Richard Yulman Anonymous (7)
Severance Society / Lifetime Giving
* deceased
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The Cleveland Orchestra is grateful to the following for generously contributing to our challenge grant:
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$150,000 total raised!
Join Our Spring Community Challenge! Last month, community members like you stepped up to raise $100,000 with help from our Advisory Council and young professionals group, The Circle. We’re excited to keep the momentum going with a new matching grant of $25,000 from the Paul M. Angell Family Foundation! What does that mean? When you donate to The Cleveland Orchestra Annual Fund, you unlock the equivalent amount from the grant. All new and increased donations will be matched, dollar-for-dollar.
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To learn more, visit clevelandorchestra.com/challenge or contact: phone: 216-456-8400 email: annualgiving@clevelandorchestra.com $100,000 already raised
WHAT DOES THE ANNUAL FUND SUPPORT? Annual support is the lifeblood of The Cleveland Orchestra. By giving year after year, you breathe life into each season, empowering your hometown orchestra to enrich lives across our community through extraordinary musical experiences, classroom inspiration, and celebratory community concerts and activities. The Annual Fund fuels programs across the institution; it supports our education and community initiatives, enhances the audience experience through maintenance and modernization of our facilities — both at Blossom and Severance Hall — and gives our artistic team creative freedom, enabling the Orchestra to reach new heights of artistic excellence.
orchestra news 2019-20 audition dates set for chorus ensembles Audition dates have been announced this spring and summer for positions in The Cleveland Orchestraâ&#x20AC;&#x2122;s various chorus ensembles and groups â&#x20AC;&#x201D; for adults, high school students, and childrenâ&#x20AC;&#x2122;s choir â&#x20AC;&#x201D; 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 â&#x20AC;&#x201D; by appointment only â&#x20AC;&#x201D; open to students entering grades 9-12 in the fall of 2019, as well as 8th grade boys with changed voices. Childrenâ&#x20AC;&#x2122;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 Orchestraâ&#x20AC;&#x2122;s website.
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New album features Cleveland Orchestra cellist Brian Thornton A new album has been released featuring Cleveland Orchestra cellist Brian Thornton playing works by Debussy and Brahms. He is joined in Brahmsâ&#x20AC;&#x2122;s Clarinet Trio from 1891 by Orchestra colleague Afendi Yusuf (clarinet) t and on both pieces on the album by pianist Spencer Myer; the first piece is Debussyâ&#x20AC;&#x2122;s Cello Sonata from 1915. Writing of the Debussy, one reviewer said, â&#x20AC;&#x153;Thornton and Myer find the perr fect balance of risk and reserve.â&#x20AC;?â&#x20AC;? The album was recorded in Oberlinâ&#x20AC;&#x2122;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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2O19 CHINA TOUR A sampling of reviews from the Orchestra’s spring tour: “Led by music director Franz Welser-Möst, the overall performance ce was elegant and balanced, utterly in the European manner. . . . It has been thirty-two years since the orchestra visited Taipei, and this fine orchestra’s concert was without doubt worth the wait. . . . The entire audience was captivated and the applause continued for a long time. . . . The Cleveland sound was perfectly balanced, embedded with deep cultural intellect. The experience was like standing in the middle of an ancient forest, inhaling the fragrance of the trees. The lower sonorities were firm, but under Welser-Möst the woodwinds come across very clearly, bearing testament to the conductor’s strength in fine-tuning orchestral timbre.” —China Times (Taipei), March 29, 2019 “The nuanced, balanced, and refined musical performance captivated the audience. The evening’s applause — before the interval, following the concerto, and for Daniil Trifonov’s encore — added up to nearly 15 minutes.” —Liberty Times (Taipei), March 29, 2019 “From Beethoven’s Fifth Piano Concerto to Tchaikovsky’s Fifth Symphony, from the mountains of Germany and Austria to the vast wilderness of Russia, The Cleveland Orchestra under the baton of Franz Welser-Möst was clean, refreshing, and nuanced. The audiences were totally enraptured. At the end of the second piece, cheers and applause from the audience continued at extended length.” —Wuhan Evening Post, t April 11, 2019 “With Franz Welser-Möst’s conducting choices, The Cleveland Orchestra abandoned pursuing a rich sound, and focused instead on making the music flow. Within this framework, while performing Tchaikovsky’s Fifth Symphony, they replaced emotional expression with a stable, smooth, and highly-integrated combination of brass, percussion, and strings. This was distinctive and unique, when compared with other American orchestras. . . . The most exciting part of the two nights was without a doubt Richard Strauss’s Ein Heldenleben. This work was full of musical details, providing the orchestra with an opportunity to showcase its strength to the fullest extent. Welser-Möst’s logical and calm style emphasized structure, both in depth and breadth, reflecting what the work authentically requires. . . . The orchestra’s high artistic standard showed that Welser-Möst is an indispensable force in the ensemble’s history.” —Music Weekly (Beijing), April 17, 2019 Severance Hall 2018-19
Cleveland Orchestra News
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orchestra news Summers@Severance dates set for July and August 2019 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 available online at the Orchestra’s website. The concerts include a night of Mahler and Beethoven with Franz Welser-Möst on July 12, guitarist Pepe 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 all year round. The series presents concerts of popular classical works, with an early start time surrounded 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. 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). Sponsored by:
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THE CLEVELAND ORCHESTRA
THE CLEVELAND ORCHESTRA
I.N M.E .M.O.R.I. A .M 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 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. Trombonist Edwin Anderson died on October 2, 2018, in Bloomington, Indiana, at the age of 85. He was born in July 1933 in Massachusetts and studied at the New England Conservatory of Music and Eastman School of Music. He was hired into The Cleveland 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.
Comings and goings As a courtesy to the performers onstage and the entire audience, late-arriving patrons cannot be seated until the first break in the musical program.
Silence is golden As a courtesy to the performers onstage and the audience around you, patrons are reminded to turn off cell phones and to disengage electronic alarms prior to the concert.
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orchestra news A . R . O . U . N . D T. O .W. N Recitals and presentations featuring Orchestra musicians Upcoming local performances by members of The Cleveland Orchestra include: The Womenâ&#x20AC;&#x2122;s Committee of The Cleveland Orchestra presents the final Meet the Artist luncheon of the season on Friday, May 31, with a program featuring Cleveland Orchestra violist Eliesha Nelson. The program includes a short performance, followed by live conversation/interview with Nelson by The Cleveland Orchestraâ&#x20AC;&#x2122;s artistic administrator, Ilya Gidalevich. The event begins at 11:30 with a patron reception, continues with lunch at noon, and then the program itself at 1 p.m. The cost is $50 per person; $100 premium ticket includes the pre-lunch reception. Reservations required; the event occurs at Westwood Country Club in Rocky River. For information or reservations, visit clevelandorchestra.com. A special musical gathering will take place on Friday evening, June 7, 7 featuring Cleveland
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O Orchestra cellist Brian Thornton with guests Melissa Kraut and Anita Pontremeli. The M event celebrates the Aronson Cello Festival, e which Thornton created in 2012, and will feaw tu ure hor dâ&#x20AC;&#x2122;oeuvres, music, and the screening o of a short film by Emmy Award-winning storyteller Ty Kim. Held at the Maltz Performing Arts Center (1855 Ansel Road) on the CWRU campus. Admission is free and open to the public; please RVSP to 216-632-8521. The annual series of Blossom Gourmet Matinee series of luncheon and musical presentations have been announced for the 2019 season. Presented by Blossom Friends of The Cleveland Orchestra, the series includes three programs, two featuring members of The Cleveland Orchestra â&#x20AC;&#x201D; Richard King (horn) on July 17 and Mark Jacobs (viola) on August 28, plus an opening program with two former members of the Cleveland Orchestra, Matthew Fields and Maya Fields on June 17. For more information, call 330-995-4975.
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WEEK 1 â&#x20AC;&#x201D; September 20, 22 Tchaikovskyâ&#x20AC;&#x2122;s Swan Lake
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orchestra news
THE CLEVELAND ORCHESTRA
Special free Tour Send-off Concert on June 7 showcases Youth Orchestra prior to departure for third international tour to Europe The Cleveland Orchestra Youth Orchestra is set to undertake its third international tour this summer. The 2019 tour to Europe June 10-20 features concerts in Austria, Slovakia, and Hungary. The Youth Orchestra will be conducted by its music director, Vinay Parameswaran. The tour repertoire features works by Johannes Brahms, Béla Bartók, and John Adams. Franz WelserMöst, music director of The Cleveland Orchestra, will join the group on tour in Austria, coaching the ensemble in Linz and conducting Brahms’s Tragic Overture on June 12 at the Abbey of St. Florian. A special exchange partnership with Anton Bruckner Private University of Linz will also take place, involving students from COYO and the University in chamber music coaching and performance, funded by voestalpine AG. The Cleveland Orchestra Youth Orchestra tour is made possible in part through the generosity of the Vinney family. In 2011, the Jules and Ruth Vinney Cleveland Orchestra Youth Orchestra Touring Fund was established to help cover costs of Youth Orchestra touring and to provide scholarships to eligible Youth Orchestra members. An endowment gift from the Jules and Ruth Vinney Philanthropic Fund, advised by their children Les Vinney, Margo Vinney, and Karen Jacobs, established this Touring Fund, to provide ongoing support toward future Youth Orchestra’s tours.
Saint Florian Abbey, Austria
Musikverein, Vienna
EUROPE TOUR SEND-OFF CONCERT Friday, June 7, 8:00 p.m., Severance Hall Tickets: Free admission, but tickets are required. www.clevelandorchestra.com 216-231-1111
CLEVELAND ORCHESTRA
Youth Orchestra .
V I N AY PA R A M E S WA R A N
Severance Hall 2018-19
M U S I C D I R E C TO R
Reduta Concert Hall, Bratislava
You can help . . . For more information about the Youth Orchestra tour or how to make a contribution to the Student Tour Scholarship Fund, please contact Lauren Generette by calling 216-231-7352 or via email at lgenerette@clevelandorchestra.com.
Youth Orchestra News
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Caring for those in need never goes out of style. Whether we are feeding the hungry, comforting the sick, or caring for the elderly, our Jewish values have always inspired us to act. Those same values teach us to care for the next generation. By making a legacy gift, you leave your children and grandchildren a precious inheritance and a lasting testimony to your values. Find out how you can become a member of the Jewish Federation of Cleveland’s Legacy Society by contacting Carol F. Wolf for a confidential conversation at 216-593-2805 or cwolf@jcfcleve.org.
L’dor V’dor. From Generation to Generation. Create Your Jewish Legacy www.jewishcleveland.org
orchestra news
THE CLEVELAND ORCHESTRA
M . U . S . I .C . I . A . N S . A . L . U .T. E The Musical Arts Association gratefully acknowledges the artistry and dedication of all the musicians of The Cleveland Orchestra. In addition to rehearsals and concerts throughout the year, many musicians offer performance and coaching time in support of Orchestra’s education, community engagement, fundraising, and audience development activities. We are pleased to recognize these musicians, listed below, who offered their talents and artistry for such presentations during the 2017-18 season. Mark Atherton Charles Bernard Katherine Bormann Lisa Boyko Charles Carleton Jiah Chung Chapdelaine Hans Clebsch John Clouser Kathleen Collins Wesley Collins Marc Damoulakis Vladimir Deninzon Maximillian Dimoff Elayna Duitman Bryan Dumm Mark Dumm Tanya Ell Kim Gomez Wei-Fang Gu Scott Haigh David Alan Harrell Miho Hashizume Shachar Israel Dane Johansen Joela Jones Arthur Klima Alicia Koelz Stanley Konopka Mark Kosower Analisé Kukelhan Paul Kushious Massimo La Rosa Jung-Min Amy Lee Jessica Lee Yun-Ting Lee Emilio Llinás Takako Masame Eli Matthews Jesse McCormick Daniel McKelway Michael Miller
Ioana Missits Sonja Braaten Molloy Eliesha Nelson Robert O’Brien Peter Otto Chul-In Park Joanna Patterson Zakany Henry Peyrebrune William Preucil Lynne Ramsey Jeffrey Rathbun Stephen Rose Frank Rosenwein Michael Sachs Marisela Sager Jonathan Sherwin Thomas Sherwood Sae Shirajami Emma Shook Joshua Smith Saeran St. Christopher Corbin Stair Lyle Steelman Barrick Stees Richard Stout Trina Struble Yasuhito Sugiyama Jack Sutte Brian Thornton Isabel Trautwein Lembi Veskimets Robert Walters Carolyn Gadiel Warner Richard Waugh Richard Weiss Beth Woodside Robert Woolfrey Paul Yancich Afendi Yusuf Derek Zadinsky Jeffrey Zehngut
Severance Hall 2018-19
Special thanks to musicians for supporting the Orchestra’s long-term financial strength The Board of Trustees extends a special acknowledgement to the members of The Cleveland Orchestra for supporting the institution’s programs by jointly volunteering their musical services for several concerts each season. These donated services have long played an important role in supporting the institution’s financial strength, and were expanded with the 2009-10 season to provide added opportunities for new and ongoing revenuegenerating performances by The Cleveland Orchestra. “We are especially grateful to the members of The Cleveland Orchestra for this ongoing and meaningful investment in the future of the institution,” says André Gremillet, president & CEO. “These donated services each year make a measureable difference to the Orchestra’s overall financial strength, by ensuring our ability to take advantage of opportunities to maximize performance revenue. They allow us to offer more musical inspiration to audiences around the world than would otherwise be possible, supporting the Orchestra’s vital role in enhancing the lives of everyone across Northeast Ohio.”
Cleveland Orchestra News
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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.
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: Dave Stokley Legacy Giving Officer The Cleveland Orchestra 216-231-8006 dstokley@clevelandorchestra.com
Steve Norris and Emily Gonzales
Everyone Can Leave a
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
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Legacy Giving THE CLEVELAND ORCHESTR A HERITAGE SOCIETY L I S T I N G C O N T I N U ED
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.
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David and Gloria Kahan Julian and Etole Kahan David George Kanzeg Bernie and Nancy Karr Drs. Julian and Aileen Kassen* Milton and Donna* Katz Nancy F. Keithley and Joseph P. Keithley Patricia and Walter Kelley* Bruce and Eleanor Kendrick Malcolm E. Kenney Mr. and Mrs. Douglas A. Kern Charles M. and Janet G. Kimball* James and Gay* Kitson Mr. Clarence E. Klaus, Jr. Mary Elizabeth and G. Robert Klein* Fred* and Judith Klotzman Paul and Cynthia Klug Martha D. Knight Mr. and Mrs. Robert Koch Dr. Vilma L. Kohn* Mr. Clayton Koppes Susan Korosa Mr.* and Mrs. James G. Kotapish, Sr. Margery A. Kowalski Janet L. Kramer Mr. James Krohngold Mr. and Mrs. Gregory G. Kruszka Thomas* and Barbara Kuby Eleanor* and Stephen Kushnick Mr. and Mrs. Dennis W. LaBarre James I. Lader Mr. and Mrs. David A. Lambros Mrs. Carolyn Lampl Marjorie M. Lamport* Louis Lane* Kenneth M. Lapine and Rose E. Mills Lee and Susan Larson Charles K. László and Maureen O’Neill-László Anthony T. and Patricia Lauria Charles and Josephine Robson Leamy Fund* Jordan R. and Jane G. Lefko Teela C. Lelyveld Mr. and Mrs. Roger J. Lerch Judy D. Levendula Dr. and Mrs. Howard Levine Bracy E. Lewis Mr. and Mrs.* Thomas A. Liederbach Rollin* and Leda Linderman Virginia M. and Jon A. Lindseth Ruth S. Link* Dr. and Mrs. William K. Littman Dr. Jack and Mrs. Jeannine Love Jeff and Maggie Love Dr. Alan and Mrs. Min Cha Lubin Linda and Saul Ludwig Kate Lunsford Patricia MacDonald
Legacy Giving
Alex and Carol Machaskee Jerry Maddox Mrs. H. Stephen Madsen Alice D. Malone* Mr. and Mrs. Donald Malpass, Jr. Lucille Harris Mann* Mr. and Mrs. Richard A. Manuel* Clement P. Marion Dr. and Mrs. Sanford E. Marovitz David C. and Elizabeth F. Marsh* Duane and Joan Marsh* Mr. and Mrs. Anthony M. Martincic Kathryn A. Mates Dr. Lee Maxwell and Michael M. Prunty Alexander and Marianna* McAfee Nancy B. McCormack Mr. William C. McCoy Dorothy R. McLean Jim and Alice Mecredy* James and Virginia Meil Mr. and Mrs. Robert F. Meyerson* Brenda Clark Mikota Christine Gitlin Miles Antoinette S. Miller Chuck and Chris Miller Edith and Ted* Miller Leo Minter, Jr. Mr. and Mrs.* William A. Mitchell Robert L. Moncrief Ms. Beth E. Mooney Beryl and Irv Moore Ann Jones Morgan George and Carole Morris Mr. and Mrs. Thomas W. Morris Mr. and Mrs.* Donald W. Morrison Joan R. Mortimer, PhD* Susan B. Murphy Dr. and Mrs. Clyde L. Nash, Jr Deborah L. Neale Mrs. Ruth Neides* David and Judith Newell Steve Norris and Emily Gonzales Paul and Connie Omelsky Katherine T. O’Neill The Honorable and Mrs. John Doyle Ong Henry Ott-Hansen Mr. J. William and Dr. Suzanne Palmer R. Neil Fisher and Ronald J. Parks Nancy* and W. Stuver Parry Dr.* and Mrs. Donald Pensiero Mary Charlotte Peters Mr. and Mrs. Peter Pfouts* Janet K. Phillips* Elisabeth C. Plax Florence KZ Pollack Julia and Larry Pollock John L. Power and Edith Dus-Garden Richard J. Price
The Cleveland Orchestra
Legacy Giving THE CLEVELAND ORCHESTR A HERITAGE SOCIETY Lois S. and Stanley M. Proctor* Mr. David C. Prugh* Leonard and Heddy Rabe M. Neal Rains Mrs. Alfred M. Rankin, Sr. James and Donna Reid Mrs. Charles Ritchie Dr. Larry J.B.* and Barbara S. Robinson Margaret B. Robinson Dwight W. Robinson Janice and Roger Robinson Amy and Ken Rogat Carol Rolf and Steven Adler Margaret B. Babyak* and Phillip J. Roscoe Audra* and George Rose Dr. Eugene and Mrs. Jacqueline* Ross Robert and Margo Roth Marjorie A. Rott* Howard and Laurel Rowen Professor Alan Miles Ruben and Judge Betty Willis Ruben Marc Ruckel Florence Brewster Rutter Dr. Joseph V. Ryckman Mr. James L. Ryhal, Jr.* Renee Sabreen* Marjorie Bell Sachs Dr. Vernon E. Sackman and Ms. Marguerite Patton Sue Sahli Mr. and Mrs. James A. Saks John A Salkowski Larry J. Santon Stanford and Jean B. Sarlson James Dalton Saunders Patricia J. Sawvel Ray and Kit Sawyer Alice R. Sayre In Memory of Hyman and Becky Schandler Robert Scherrer Sandra J. Schlub Ms. Marian Schluembach Robert and Betty Schmiermund Mr.* and Mrs. Richard M. Schneider Jeanette L. Schroeder Frank Schultz Carol* and Albert Schupp Roslyn S. and Ralph M. Seed Nancy F. Seeley Edward Seely Oliver E.* and Meredith M. Seikel Reverend Sandra Selby Eric Sellen Holly Selvaggi Thomas and Ann Sepúlveda B. Kathleen Shamp Jill Semko Shane David Shank Dr. and Mrs. Daniel J. Shapiro*
Severance Hall 2018-19
Helen and Fred D. Shapiro Norine W. Sharp* Norma Gudin Shaw Elizabeth Carroll Shearer* Dr. and Mrs. William C. Sheldon John F. Shelley and Patricia Burgess* Frank* and Mary Ann Sheranko Kim Sherwin Mr. and Mrs. Michael Sherwin Reverend and Mrs. Malcolm K. Shields Rosalyn and George* Sievila Mr.* and Mrs. David L. Simon Dr.* and Mrs. John A. Sims Naomi G. and Edwin Z. Singer Lauretta Sinkosky H. Scott Sippel and Clark T. Kurtz Ellen J. Skinner Ralph* and Phyllis Skufca Janet Hickok Slade Drs. Charles Kent Smith and Patricia Moore Smith Mr.* and Mrs. Ward Smith Sandra and Richey Smith Roy Smith Myrna and James Spira Barbara J. Stanford and Vincent T. Lombardo George R. and Mary B. Stark Sue Starrett and Jerry Smith Lois and Tom Stauffer Elliott K. Stava and Susan L. Kozak Fund Saundra K. Stemen Merle and Albert Stern* Dr. Myron Bud and Helene* Stern Mr. and Mrs. John M. Stickney Dr. and Mrs. William H. Stigelman, Jr. Mr.* and Mrs. James P. Storer Ralph E. and Barbara N. String* In Memory of Marjory Swartzbaugh Dr. Elizabeth Swenson Lorraine S. Szabo Mrs. Jean H. Taber* Norman V. Tagliaferri Nancy and Lee Tenenbaum Dr. and Mrs. Friedrich Thiel Mr. and Mrs. William M. Toneff Joe and Marlene Toot Alleyne C. Toppin Janice and Leonard Tower Dr. and Mrs. James E. Triner William & Judith Ann Tucholsky Dorothy Ann Turick* Mr. Jack G. Ulman Robert and Marti* Vagi Robert A. Valente J. Paxton Van Sweringen Mary Louise and Don VanDyke Steven Vivarronda Hon. and Mrs. William F.B. Vodrey Pat and Walt* Wahlen Mrs. Clare R. Walker
Legacy Giving
John and Deborah Warner Mr. and Mrs. Russell Warren Joseph F. and Dorothy L.* Wasserbauer Reverend Thomas L. Weber Etta Ruth Weigl* Lucile Weingartner Max W. Wendel William Wendling and Lynne Woodman Robert C. Weppler Paul and Suzanne Westlake Marilyn J. White Yoash and Sharon Wiener Alan H.* and Marilyn M. Wilde Helen Sue* and Meredith Williams Carter and Genevieve* Wilmot Mr. Milton Wolfson* and Mrs. Miriam Shuler-Wolfson Nancy L. Wolpe Mrs. Alfred C. Woodcock Katie and Donald Woodcock Dr.* and Mrs. Henry F. Woodruff Marilyn L. Wozniak Nancy R. Wurzel Michael and Diane Wyatt Tony and Diane Wynshaw-Boris Mary Yee Carol Yellig Libby M. Yunger William Zempolich and Beth Meany Roy J. Zook* Anonymous (72)
The lotus blossom is the symbol of the Heritage Society. It represents eternal life and recognizes the permanent benefits of legacy gifts to The Cleveland Orchestra’s endowment. Said to be Elisabeth Severance’s favorite flower, the lotus is found as a decorative motif in nearly every public area of Severance Hall. For more information, please call 216-231-8006.
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THE
CLEVEL AND ORCHESTRA FR ANZ WELSER- MÖST
M U S I C D I R E C TO R
Severance Hall
Thursday evening, May 30, 2019, at 7:30 p.m. Friday evening, May 31, 2019, at 8:00 p.m. Saturday evening, June 1, 2019, at 8:00 p.m.
Brett Mitchell, conductor
2O18 SEASON 2O19
directed by Vincente Minnelli story t and d screenplay l b by Alan Jay Lerner produced by Arthur Freed music by George Gershwin lyrics by Ira Gershwin choreography by Gene Kelly cinematography by Alfred Gilks with the music performed live by
THE CLEVELAND ORCHESTRA
THE CAST Jerry Mulligan, an ex-American G.I. . . . . . . . . . . . . . . . Gene Kelly Lise Bouvier, a young Parisian woman . . . . . . . . . . . . Leslie Caron Adam Cook, an aspiring concert pianist . . . . . . . . . . Oscar Levant Henri Baurel, a French singer . . . . . . . . . . . . . . . . Georges Guétary Milo Roberts, an American heiress . . . . . . . . . . . . . . . . Nina Foch Worldwide copyrights in the music of George Gershwin and Ira Gershwin for this presentation are licensed by the Gershwin® Family.
The film is presented with one intermission, and will run about 2 hours and 15 minutes total.
A Symphonic Night at the Movies Producer: John Goberman Live Orchestral Adaptation: John Wilson Technical Supervisor: Pat McGillen Music Preparation: Larry Spivack, Constantine Kitsopoulos
Film courtesy of Warner Bros. Entertainment Inc. Original release date: October 4, 1951 The producer wishes to acknowledge the contributions and extraordinary support of John Waxman (Themes & Variations). This presentation is a production of PGM Productions, Inc. of New York, and appears by arrangement with IMG Artists.
This weekend’s concerts are sponsored by Medical Mutual.
Severance Hall 2018-19
Concert Program — Week 24
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May 30, 31, June 1
2O18 SEASON 2O19
THI S WE E KE ND’S CONCE RT Restaurant opens: THUR 4:30 FRI 5:00 SAT 5:00
Concert Preview: BEGINS ONE HOUR BEFORE CONCERT
Concert begins: THUR 7:30 FRI 8:00 SAT 8:00
Severance Restaurant Reservations (suggested) for dining:
216-231-7373 or via www.UseRESO.com
CONCERT PREVIEW
“At the Movies: Exploring an MGM Masterpiece” with guest speaker Bill Rudman, Musical Theater Project
AN AMERICAN IN PARIS Movie, Part 1 (63 minutes)
Duration times shown for musical pieces (and intermission) are approximate.
INTERMISSION (20 minutes)
Cleveland Orchestra Store Located in Smith Lobby on the groundfloor, the Cleveland Orchestra Store is open before and after concerts, and during intermission.
Movie, Part 2 (51 minutes)
Share your memories of the performance and join the conversation online . . . facebook.com/clevelandorchestra twitter: @CleveOrchestra instagram: @CleveOrch
Concert ends: (approx.)
THUR 9:45 FRI 10:15 SAT 10:15
(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.
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TThis Th his Week’s Concerts
The Cleveland Orchestra
INTRODUCING THE CONCERT
On-Screen Romancing T H E C I N E M A has long embraced extravagantly-staged productions and
passionate love stories. Music also dates to the very first presentations of “motion pictures” — provided live for silent films or, later, with the creation and inclusion of specific soundtracks and specially-written songs. The Hollywood movie-musical came directly from the styles and traditions of live stage shows and Broadway, augmented with the new perspectives of varying camera angles and the exploding extravagance of big budgets. Across the years, wide-screen pictures, Technicolor, and ever-better sound technologies added more pizzazz. MGM’s An American in Paris from 1951 represents a special post-World War II high — filled with music, dance, and, along with exuberance and ennui, plus plenty of French fantasy and American optimism. The film was an all-star creation, borrowing existing hits penned by the Gershwin brothers, and stitching them into an (almost believable) story of love and romance in postwar Paris. All of it created as a vehicle to shine a spotlight, front and center, on choreography by Gene Kelly, including his own infectiously fun solo dancing and earnest acting. To be sure, this is an old-fashioned love story, set within attitudes and ideas stuck in the middle of the 20th century. Though part of the fun, surely, in watching old movies today is viewing how society has changed and progressed in the years since. Happily, in this movie, the right guy gets the right girl — and no one holds a grudge at the end. (Yes, the paintings by ex-G.I. Jerry are, perhaps, the hardest thing to embrace in today’s world, but his “style” is firmly grounded in the postwar period’s visual ideals and ideas.) Movie musicals have continued to change in the decades since, with the genre’s ongoing evolution clearly discernible — from the original Mary Poppins in 1964 (dancing into and out of sidewalk paintings), up through the mainstreaming of music videos on MTV (and then everywhere) in the 1980s, to today’s live small-screen presentations of Broadway shows or such recent bigscreen hits as La La Land in 2016 and last year’s Bohemian Rhapsody. Between fantasy and reality, mixed together with expanding technology and inspired creativity, there’s plenty of space for imagination, entertainment, and music! Above: Poster for the film’s French release.
Severance Hall 2018-19
Introducing the Concert
—Eric Sellen
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MOV IE SYN O P S I S This song-and-dance movie was built around a selection of famous musical works by George Gershwin, including featured song lyrics by his brother, Ira Gershwin, and with many of them utilized for choreography and dancing by Gene Kelly. P A R I S , shortly after the Second World War. Jerry Mulligan (Gene Kelly) is an
American G.I. struggling to make an artist’s life for himself as a painter along the city’s famous Left Bank. Soon, we meet French music hall star singer Henri Baurel (Georges Guétary), who is describing his girlfriend, Lise Bouvier (Leslie Caron), to pianist Adam Cook (Oscar Levant) while breakfasting at a local café [Embraceable You]. Jerry arrives and the three entertain the neighborhood in song and dance [By Strauss]. In need of cash, Jerry sets up on a sidewalk in Montmartre to sell some of his artwork. There, he’s approached by an American heiress, Milo Roberts (Nina Foch), who buys two of his paintings and then invites him to a party at her swanky apartment that night. Returning to his flat, Jerry is buoyed by his many friends among the neighborhood children and teaches them an American song [I Got Rhythm]. That evening, Jerry arrives at Milo’s only to discover that the heiress has planned the “party” as a date for two. Jerry rejects her advances (both romantic and monetary), but Milo claims interest only in his artistry and convinces Jerry to go to a jazz café instead. There, they run into some of Milo’s friends, while Jerry is smitten with a woman sitting at a nearby table. Her name is Lise, and Jerry quickly whisks her onto the dance floor and asks for her telephone number. Milo is not pleased. Still filled with romance the following day, Jerry calls Lise, but she asks him to leave her alone. Milo spends the morning promoting Jerry’s artwork. He stops in at the Perfumerie where Lise works and helps her complete a sale, then charms Lise into agreeing to go out on a date with him. He returns to his apartment building and, with friend Adam at the piano, sings joyfully about his growing interest in Lise [Tra-La-La, or This Time it’s Really Love]. That night, they meet at a café. Despite Lise’s ongoing relationship with Henri, she is falling for Jerry. They share a song and dance (and kisses) along the banks of the Seine River [Our Love is Here to Stay]. Later that same evening, Henri performs a new number at one of the city’s famed music halls [I’ll Severance Hall 2018-19
About the Movie: Synopsis
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Build a Stairway to Paradise], and afterward excitedly greets Lise with news of an American tour and the promise of marriage. Adam daydreams of performing in concert [Concerto in F], but his imagined success is a one-man effort. Milo offers Jerry a large studio space and a solo exhibition of his work in three months time. Jerry accepts, with the provision that he will pay Milo back after his success. Jerry sets to work, painting scenes all over Paris; he and Lise are more and more enamored of one another — but they’ve kept certain details of their lives untold. One day, Lise nearly tells Jerry about Henri, but she is clearly conflicted and enjoying the growing passions she and Jerry feel. Over coffee and drinks, Adam suddenly understands that both Jerry and Henri have the same love interest. Almost immediately, Henri joins them — and Jerry and Henri talk about the joy of loving a woman [’S Wonderful], not realizing they are talking about the same girl. That evening, at their usual rendezvous on the banks of the Seine, with Notre Dame Cathedral across the way, Jerry and Lise at last confess all their truths to one another — their love for one another, and Lise’s relationship with Henri, who had protected Lise and her family during the war, and to whom she feels she owes her life in marriage. Jerry is heartbroken and upset; he turns his attentions to Milo. Later that night, everyone is attending the Arts Students costume ball, and the couples finally meet. Henri and Lise plan to marry the next day. Jerry and Lise find one another on a balcony, where they discuss their true feelings for one another. Henri, smoking a cigarette nearby, overhears what is said. Lise and Henri depart. Jerry daydreams about searching Paris for his truelove Lise [An American in Paris]; he imagines hope, heartbreak, and joy in the search — dancing across scenes echoing several legendary French painters, including Dufy, Renoir, Utrillo, Rousseau, and Toulouse-Lautrec. Jerry’s dreams fade, but then he suddenly hears the reality of a blaring car horn — Henri has brought Lise back to Jerry. The couple embrace toward happily-ever-after.
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About the Movie: Synopsis
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The Cleveland Orchestra
T H E
G E R S H W I N S George Gershwin September 26, 1898 to July 11, 1937
G E O R G E G E R S H W I N was born in Brooklyn, New York, on September 26, 1898. He began his musical training at the age of thirteen. At fifteen, he left high school to work as a Tin Pan Alley song plugger and, within three years, had his first song published. Although that song, “When You Want ’Em You Can’t Get ’Em, When You’ve Got ’Em You Don’t Want ’Em,” created little interest, his “Swanee,” popularized by Al Jolson in 1919, brought Gershwin his first real fame. In 1924, when George teamed up with his brother Ira, “the Gershwins” became the dominant Broadway songwriters, creating brisk, infectious rhythm numbers and affectingly poignant ballads, invariably fashioning the words to fit the melodies with a “glove-like” fidelity. This extraordinary collaboration resulted in a succession of musical comedies, among them Lady, Be Good! (1924), Oh, Kay! (1926), Funny Face (1927), Strike Up the Band (1927/1930), Girl Crazy (1930), and Of Thee I Sing (1931). The last show in this list was the first musical comedy to win a Pulitzer Prize. Over the years, Gershwin songs have also been used in many films, including Shall We Dance (1937), A Damsel in Distress (1937), and An American in Paris (1951). Later, two award-winning stage musicals utilized their hit tunes, with stories created around the songs for My One and Only (1983) and Crazy for You (1992), which ran four years on Broadway. The movie musical An American in Paris was also adapted for the stage (2015). Starting with his early days as a composer of songs, Gershwin had ambitions to compose serious music. When Paul Whiteman suggested that he write an original work for a special concert of modern music to be presented at Aeolian Hall in New York on February 12, 1924, Gershwin, who was hard at work on a musical comedy, Sweet Little Devil, barely completed his composition in time. Nevertheless, commencing with the first low trill of the solo clarinet and its spine-tingling slide up the scale, Rhapsody in Blue caught the public’s fancy and opened a new era in American music. (By the way, there are at least three versions of Rhapsody in Blue, as created by Gershwin and orchestrated by Ferde Grofé. Grofé was the arranger for Paul Whiteman, who had commissioned and premiered the work with Gershwin at the piano. For many years, many people thought that Grofé had
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orchestrated the piece originally because “George didn’t know how.” This is almost completely false. Gershwin, who at the time was known as a songwriter, may not have had much experience as an orchestrator, but he knew what he wanted — as his original score clearly shows in the markings and suggestions for what instruments might play when. Grofé orchestrated and arranged everything for Whiteman, no matter whose music it was, or how skilled an arranger that person might be. After Rhapsody in Blue, Gershwin did the orchestrations of all his major concert pieces.) Following up on the Rhapsody, the eminent conductor Walter Damrosch in 1925 commissioned Gershwin to compose a piano concerto for the New York Symphony Society. Many feel that the resulting “Concerto in F” is Gershwin’s finest orchestral work. Others opt for the symphonic tone poem An American in Paris from 1928 or his “Second Rhapsody” for orchestra with piano, which he introduced in 1932 with himself as soloist alongside the Boston Symphony Orchestra under Serge Koussevitzsky’s direction. In 1926, Gershwin came across DuBose Heyward’s novel Porgy, and immediately recognized it as a perfect vehicle for a “folk opera” using blues and jazz idioms. Porgy and Bess (co-written with DuBose, Dorothy Heyward, and Ira Gershwin) was the Gershwin brothers’ most ambitious undertaking, tightly integrating unforgettable songs with dramatic incident. Porgy and Bess previewed in Boston beginning September 30, 1935, and opened its Broadway run on October 10. The opera has had major revivals almost every decade since its premiere, most recently opening on Broadway again in 2014. It has toured the world and was made into a major motion picture by Samuel Goldwyn in 1959. Trevor Nunn’s landmark Glyndebourne Opera production, conducted by Simon Rattle, was recorded for television broadcast in 1993. The Cleveland Orchestra’s own recording, with Lorin Maazel in 1976, grabbed headlines as the first recording of the complete original score. A new production premiered in London opens the Metropolitan Opera’s season in New York this coming autumn. In 1937, George Gershwin was at the height of his career. His symphonic works and three “Preludes for Piano” were becoming part of the standard repertoire for concerts and recitals, and his show songs had brought him ever-increasing fame and fortune. It was in Hollywood, while working on the score of The Goldwyn Follies, that Gershwin collapsed and died of a brain tumor — he was not quite 39 years old. Countless people throughout the world, who knew Gershwin only through his work, were stunned by the news, as if they had suffered a personal loss. John O’Hara summed up the
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George Gershwin working on his opera Porgy and Bess in 1935.
True music must repeat the thought and inspirations of the people and the time. My people are Americans and my time is today. â&#x20AC;&#x201D;George Gershwin
feelings of many when he wrote: “George Gershwin died July 11, 1937, but I don’t have to believe it if I don’t want to.” Today, Gershwin’s works are performed with greater frequency than they were during his brief lifetime. The songs and concert pieces have become standards loved by millions everywhere there is music. Certainly the trustees of Columbia University recognized this when they awarded George Gershwin a special posthumous Pulitzer Prize in 1998 for the centennial of his birth.
Ira Gershwin December 6, 1896 to August 17, 1983 I R A G E R S H W I N , the first lyricist to be awarded
a Pulitzer Prize (for Of Thee I Sing in 1932) was born in New York City on December 6, 1896. (His brother George, with whom he was to turn the Gershwin name into a hallmark for distinguished musical comedy songs, was born twenty-one months later in Brooklyn.) While attending City College of New York, Ira began demonstrating his lifelong interest in light verse and contributed droll quatrains and squibs to newspaper columnists. In 1918, while working as the desk attendant in a Turkish bath, he tentatively began a collaboration with his brother, and their “The Real American Folk Song (Is a Rag)” was heard in Nora Bayes’s Ladies First. Not wanting to trade on the success of his already famous brother, Ira soon afterward adopted the nom de plume of Arthur Francis, combining the names of his youngest brother Arthur and sister Frances. Under this pen name in 1921, Ira supplied lyrics for his first Broadway show, Two Little Girls in Blue, with music by another newcomer, Vincent Youmans. After writing songs for three more years with a variety of composers, Ira was ready in 1924 to begin what became a successful and lifelong collaboration with George and dropped the pseudonym. Thus it was as the “Gershwin Brothers” that George and Ira created the hit Lady, Be Good! that year, featuring Fred and Adele Astaire, the first of the Gershwins’ more than twenty scores for stage and screen — eventually including Oh, Kay! for Gertrude Lawrence; two versions of Strike Up the Band (1927/1930); Ethel Merman’s introduction to Broadway, Girl Crazy (1930); Shall We Dance (1937), one of Hollywood’s stylish pairings of Fred Astaire and Ginger Rogers; and the triumphant opera Porgy and Bess, written with DuBose Heyward. Before and after George’s death in 1937, Ira also collaborated with other composers, including Harold Arlen (A Star is Born, 1954), Vernon Duke (The
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Ziegfeld Follies of 1936), Kurt Weill (Lady in the Dark, 1941), Jerome Kern (Cover Girl, 1944), Harry Warren (The Barkleys of Broadway, 1949, the final Astaire-Rogers picture), Arthur Schwartz (Park Avenue, 1946), and Burton Lane (Give a Girl a Break, 1953). For his achievements in film music, Ira Gershwin was nominated three times for an Academy Award, for the songs “They Can’t Take That Away From Me,” “Long Ago (and Far Away)” (his biggest song hit in any one year), and “The Man That Got Away.” In 1966, he received a doctor of fine arts degree from the University of Maryland, confirming the judgement of so many of his literary admirers — writers like Dashiell Hammett, Lillian Hellman, Dorothy Parker, S.N. Behrman, P.G. Wodehouse, W.H. Auden, Ogden Nash, and Lorenz Hart, to name only a few — that his work was not only of the first rank, but that the Gershwin “standards” set new standards for the American musical theater. Small wonder that the Gershwin oeuvre has been taken up enthusiastically by younger generations, who have delighted in the “new” Gershwin musicals My One and Only (1983) and the 1992 Tony Award winner for best musical, Crazy for You, as well as the stage adaptation of the Academy Award-winning Best Picture An American in Paris (1951), which came to Broadway in 2015. These in addition to the many, many recordings and covers performed by so many each year, invoking the wit and wisdom, rhythms and reverie of this famously creative American team of songwriters. —Loras John Schissel © 2019 Loras John Schissel is a senior musicologist for the Library of Congress and has served as conductor of the Blossom Festival Band since 1998. He is also music director and conductor of the Virginia Grand Military Band.
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TECHNOLOGY | PROMOTION | PRINT
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Brett Mitchell American conductor Brett Mitchell began his tenure as music director of the Colorado Symphony in July 2017. He leads the orchestra in ten classical subscription weeks per season as well as a wide variety of special programming. He previously served as music director of the Saginaw Bay Symphony Orchestra (2010-15), and was a member of The Cleveland Orchestra’s conducting staff (2013-17). His most recent appearances here were leading The Cleveland Orchestra’s annual Christmas Concerts in December 2017. Mr. Mitchell appears worldwide as a guest conductor. Highlights of his 2018-19 season include subscription debuts with the Minnesota Orchestra and Vancouver Symphony Orchestra, and return appearances with the orchestras of Cleveland, Dallas, and Indianapolis. He will make his debut with the Los Angeles Philharmonic at the Hollywood Bowl in September 2019. Other recent and upcoming engagements include the orchestras of Detroit, Houston, Milwaukee, Oregon, Rochester, Saint Paul, San Antonio, Washington D.C., as well as performances with the Grant Park Festival Orchestra and the New Zealand Symphony Orchestra. Born in Seattle, Brett Mitchell began playing piano at age six and eventually studied percussion and saxophone. He earned his bachelor of music degree in composition from Western Washington University, and master of music and doctor of musical arts degrees in conducting from the University of Texas at Austin. He also studied at the National Conducting Institute, and was a recipient of the
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Guest Conductor
League of American Orchestras’ American Conducting Fellowship 2007-10. Mr. Mitchell led over one hundred performances during his tenure as assistant conductor of the Houston Symphony (200711). He held similar positions with the Orchestre National de France (200609), where he worked under Kurt Masur, and the Castleton Festival (2009-10), where he worked under Lorin Maazel. As an opera conductor, Mr. Mitchell has served as music director for nearly a dozen productions, including as music director of the Moores Opera Center in Houston (2010-13). In addition to his activities with professional orchestras, Mr. Mitchell is known for his affinity for working with and mentoring young musicians who aspire to become professional orchestral players. His tenure as music director of the Cleveland Orchestra Youth Orchestra (2013-17), included a four-city tour of China in June 2015. He has been regularly invited to work with musicians at the Cleveland Institute of Music and the ensembles at the Interlochen Center for the Arts, National Repertory Orchestra, Sarasota Music Festival, and Texas Music Festival. For more information, visit www. brettmitchellconductor.com.
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THE CLEVELAND ORCHESTRA
Individual Annual Support The Cleveland Orchestra is sustained through the annual support of thousands of generous patrons. The leadership of those listed on these pages (with gifts of $2,000 and more) shows an extraordinary depth of support for the Orchestra’s music-making, education programs, and community initiatives.
Giving Societies gifts in the past year, as of September 10, 2018 Adella Prentiss Hughes Society gifts of $100,000 and more
gifts of $50,000 to $99,999
Musicians of The Cleveland Orchestra+ (in-kind support for community programs and opportunities to secure new funding) Mary Alice Cannon Mr. and Mrs. Alexander M. Cutler+ Rebecca Dunn Mr. Allen H. Ford Dr. and Mrs. Hiroyuki Fujita Mr. and Mrs. James A. Haslam III Mr. and Mrs. Michael J. Horvitz+ James D. Ireland IV The Walter and Jean Kalberer Foundation+ Dr. and Mrs. Herbert Kloiber (Europe) Mr. and Mrs. Dennis W. LaBarre+ Mrs. Norma Lerner and The Lerner Foundation+ Mrs. Emma S. Lincoln* Mr. and Mrs. Alex Machaskee+ Milton and Tamar Maltz Elizabeth F. McBride Ms. Beth E. Mooney+ John C. Morley+ Rosanne and Gary Oatey (Cleveland, Miami)+ Mr. and Mrs. Alfred M. Rankin, Jr. Mr. and Mrs. Albert B. Ratner James and Donna Reid Mr. and Mrs. Richard K. Smucker+ Jenny and Tim Smucker+ Richard and Nancy Sneed+ Jim and Myrna Spira Mrs. Jean H. Taber* Ms. Ginger Warner Mr. and Mrs. Franz Welser-Möst+
+ Multiyear Pledges Multiyear pledges support the Orchestra’s artistry while helping to ensure a sustained level of funding. We salute those extraordinary donors who have signed pledge commitments to continue their annual giving for three years or more. These donors are recognized with this symbol next to their name: +
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George Szell Society
Dr. and Mrs. Wolfgang Berndt (Europe) Mr. William P. Blair III+ Blossom Friends of The Cleveland Orchestra Laurel Blossom Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski+ The Brown and Kunze Foundation Mr. and Mrs. John E. Guinness Mrs. John A Hadden Jr. Mr. and Mrs. Donald M. Jack, Jr. Mr. and Mrs. Douglas A. Kern Toby Devan Lewis Virginia M. and Jon A. Lindseth Ms. Nancy W. McCann+ William J. and Katherine T. O’Neill The Honorable and Mrs. John Doyle Ong+ Mrs. Alfred M. Rankin, Sr. Charles and Ilana Horowitz Ratner+ Barbara S. Robinson (Cleveland, Miami)+ The Ralph and Luci Schey Foundation+ Sally and Larry Sears+ Dr. Russell A. Trusso Barbara and David Wolfort (Cleveland, Miami)+ Anonymous+
With special thanks to the Leadership Patron Committee for their commitment to each year’s annual support initiatives: Barbara Robinson, chair Robert N. Gudbranson, vice chair Ronald H. Bell Iris Harvie James T. Dakin Faye A. Heston Karen E. Dakin Brinton L. Hyde Henry C. Doll David C. Lamb Judy Ernest Larry J. Santon Nicki N. Gudbranson Raymond T. Sawyer Jack Harley
Individual Annual Support
The Cleveland Orchestra
Elisabeth DeWitt Severance Society gifts of $25,000 to $49,999
gifts of $15,000 to $24,999
Gay Cull Addicott+ Mr. and Mrs. William W. Baker Randall and Virginia Barbato Mr. Allen Benjamin Mr. and Mrs. Charles P. Bolton+ Irma and Norman Braman (Miami) Mr. Yuval Brisker Jeanette Grasselli Brown and Glenn R. Brown+ Mr. and Mrs. David J. Carpenter+ Jill and Paul Clark Robert and Jean* Conrad+ Friends of The Cleveland Orchestra JoAnn and Robert Glick+ Mr. and Mrs. Jeffrey Healy+ Mary and Jon Heider (Cleveland, Miami) Mrs. Marguerite B. Humphrey+ Elizabeth B. Juliano Mr. and Mrs. Joseph P. Keithley Giuliana C. and John D. Koch Milton A. & Charlotte R. Kramer Charitable Foundation Daniel R. Lewis (Miami) Jan R. Lewis Mr. Stephen McHale Margaret Fulton-Mueller+ Mrs. Jane B. Nord Julia and Larry Pollock Mr. and Mrs. James A. Ratner Mr. and Mrs. David A. Ruckman+ Marc and Rennie Saltzberg Larry J. Santon and Lorraine S. Szabo+ Rachel R. Schneider+ The SJF Foundation Music Mentors Program Donna E. Shalala (Miami) Hewitt and Paula Shaw+ Marjorie B. Shorrock+ The Star Family Charitable Foundation, Inc. R. Thomas and Meg Harris Stanton+ Paul and Suzanne Westlake Tony and Diane Wynshaw-Boris+ Anonymous
Listings of all donors of $300 and more each year are published annually, and can be viewed online at CLEVELANDORCHESTRA . COM
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Dudley S. Blossom Society
Art of Beauty Company, Inc. Mr. and Mrs. Dean Barry Doris F. Beardsley and James E. Beardsley Dr. Christopher P. Brandt and Dr. Beth Sersig+ Dr. Ben H. and Julia Brouhard Irad and Rebecca Carmi Mr. and Mrs. William E. Conway Judith and George W. Diehl+ Mary Jo Eaton (Miami) Dr. and Mrs. Robert Ehrlich (Europe) Ms. Dawn M. Full Dr. Edward S. Godleski Drs. Erik and Ellen Gregorie Richard and Ann Gridley+ Kathleen E. Hancock Sondra and Steve Hardis Jack Harley and Judy Ernest David and Nancy Hooker+ Joan and Leonard Horvitz Richard and Erica Horvitz (Cleveland, Miami) Allan V. Johnson Junior Committee of The Cleveland Orchestra Jonathan and Tina Kislak (Miami) Mr. Jeff Litwiller+ Mr. and Mrs. Stanley A. Meisel The Miller Family+ Sydell Miller Lauren and Steve Spilman Stacie and Jeff Halpern Edith and Ted* Miller+ Dr. Anne and Mr. Peter Neff Patricia J. Sawvel Mrs. David Seidenfeld+ Meredith and Oliver Seikel+ Seven Five Fund Kim Sherwin+ Mr. and Mrs. Alfred Umdasch (Europe) Tom and Shirley Waltermire+ Dr. Beverly J. Warren Mr. and Mrs. Fred A. Watkins+ Mr. and Mrs. Jeffery J. Weaver Meredith and Michael Weil Sandy and Ted Wiese Denise G. and Norman E. Wells, Jr. Max and Beverly Zupon listings continue Anonymous
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Frank H. Ginn Society gifts of $10,000 to $14,999 Fred G. and Mary W. Behm Mr. and Mrs. Jules Belkin Mr. David Bialosky and Ms. Carolyn Christian+ Mr. D. McGregor Brandt, Jr. Robert and Alyssa Lenhoff-Briggs Dale and Wendy Brott Mr. and Mrs. Marshall Brown J. C. and Helen Rankin Butler+ Mr.* and Mrs. Hugh Calkins Richard J. and Joanne Clark Mrs. Barbara Cook Dr. and Mrs. Delos M. Cosgrove III Mrs. Barbara Ann Davis+ Dr. M. Meredith Dobyns Henry and Mary* Doll+ Nancy and Richard Dotson+ Dr. and Mrs. Lloyd H. Ellis Jr. Mr. Brian L. Ewart and Mr. William McHenry+ Dr. and Mrs. Adi Gazdar Albert I. and Norma C. Geller Mr. and Mrs. Robert W. Gillespie
Patti Gordon (Miami) Harry and Joyce Graham Robert K. Gudbranson and Joon-Li Kim+ Mr. Gregory Hall Amy and Stephen Hoffman Thomas H. and Virginia J.* Horner Fund+ James and Claudia Hower Mr. and Mrs. Brinton L. Hyde Mrs. Elizabeth R. Koch Rob and Laura Kochis Mr. James Krohngold+ Dr. Edith Lerner Dr. David and Janice Leshner Mr. Lawrence B. and Christine H. Levey+ Dr. and Mrs. Tom McLaughlin Mrs. Alice Mecredy* Mr. and Mrs.* William A. Mitchell+ Mr. Donald W. Morrison+ Mr. John Mueller Joy P. and Thomas G. Murdough, Jr. (Miami)+ Brian and Cindy Murphy+ Randy and Christine Myeroff Mr. J. William and Dr. Suzanne Palmer+
Dr. Roland S. Philip and Dr. Linda M. Sandhaus+ Douglas and Noreen Powers Audra* and George Rose+ Paul A. and Anastacia L. Rose Steven and Ellen Ross Dr. Isobel Rutherford Mrs. Florence Brewster Rutter+ Dr. and Mrs.* Martin I. Saltzman+ Carol* and Albert Schupp Mrs. Gretchen D. Smith+ Veit Sorger (Europe) Lois and Tom Stauffer Bruce and Virginia Taylor+ Mr. Joseph F. Tetlak Mr. and Mrs. Leonard K. Tower Dr. Gregory Videtic and Rev. Christopher McCann+ Pysht Fund Robert C. Weppler Sandy Wile and Joanne Avenmarg Dr. and Mr. Ann Williams+ Anonymous (6)
Joy E. Garapic Brenda and David Goldberg Mr. and Mrs. Randall J. Gordon+ Angela and Jeffrey Gotthardt Mr. and Mrs. James C. Gowe AndrĂŠ and Ginette Gremillet Mr. and Mrs. Stephen Griebling Nancy Hancock Griffith+ The Thomas J. and Judith Fay Gruber Charitable Foundation Robert N. and Nicki N. Gudbranson David and Robin Gunning Alfredo and Luz Gutierrez (Miami) Gary Hanson and Barbara Klante+ Clark Harvey and Holly Selvaggi+ Iris and Tom Harvie+ Henry R. Hatch Robin Hitchcock Hatch Dr. Robert T. Heath and Dr. Elizabeth L. Buchanan+ Janet D. Heil* Anita and William Heller+ Mr. and Mrs. Herschman Dr. Fred A. Heupler Mary and Steve Hosier Elisabeth Hugh David and Dianne Hunt Pamela and Scott Isquick+ Donna L. and Robert H. Jackson Robert and Linda Jenkins Richard and Michelle Jeschelnig Joela Jones and Richard Weiss
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
listings continue
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listings continued
L 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 Walb Mr. and Mrs. D Daniel P. Walsh Mr. and Mrs. Mark Allen Weigand+ Dr. Edward L. and Mrs. Suzanne Westbrook Tom and Betsy Wheeler Richard Wiedemer, Jr.+ Bob and Kat Wollyung Anonymous (6)
Mr. and Mrs. Robert G. Busha Ms. Mary R. Bynum and Mr. J. Philip Calabrese Rev. Dr. Joan Brown Campbell and Rev. Dr. Albert Pennybacker Dr. and Mrs. William E. Cappaert Mrs. Millie L. Carlson+ Mr. and Mrs. John J. Carney Mr. and Mrs. Frank H. Carpenter Dr. Victor A. Ceicys Mr. and Mrs. James B. Chaney Dr. Ronald* and Mrs. Sonia Chapnick Mr. Gregory R. Chemnitz Mr. John C. Chipka and Dr. Kathleen S. Grieser Mr. and Mrs. Homer D. W. Chisholm The Circle — Young Professionals of The Cleveland Orchestra Drs. John and Mary Clough Drs. Mark Cohen and Miriam Vishny Douglas S. Cramer / Hubert S. Bush III (Miami) Mr. and Mrs. Manohar Daga+ Karen and Jim Dakin Dr. and Mrs. Thomas M. Daniel Mrs. Frederick F. Dannemiller+ Mr. Kamal-Neil Dass and Mrs. Teresa Larsen+ Bruce and Jackie Davey Mrs. Lois Joan Davis
Ms. Nancy J. Davis (Miami) Carol Dennison and Jacques Girouard Michael and Amy Diamant Dr. and Mrs. Howard Dickey-White+ Dr. and Mrs. Richard C. Distad Carl Dodge Maureen Doerner & Geoffrey White Mr. George and Mrs. Beth Downes+ Jack and Elaine Drage Mr. Barry Dunaway and Mr. Peter McDermott Mr. Patrick Dunster Ms. Mary Lynn Durham Mr. and Mrs. Ronald E. Dziedzicki+ Esther L. and Alfred M. Eich, Jr.+ Erich Eichhorn and Ursel Dougherty Mr. S. Stuart Eilers+ Peter and Kathryn Eloff+ Harry and Ann Farmer Dr. and Mrs. J. Peter Fegen Mr. William and Dr. Elizabeth Fesler Mr. Dean Fisher Carol A. Frankel Richard J. Frey Mr. and Ms. Dale Freygang Peggy A. Fullmer Morris and Miriam Futernick (Miami) Jeanne Gallagher Dr. Marilee Gallagher Mr. William Gaskill and Ms. Kathleen Burke
Composer’s Circle gifts of $2,000 to $4,999 Mr. and Mrs. Charles Abookire, Jr. Ms. Nancy A. Adams Mr. Francis Amato Susan S. Angell Stephen and Amanda Anway Mr. William App Mr. and Mrs. Jeffrey R. Appelbaum+ Mr. and Mrs. James B. Aronoff+ Ms. Patricia Ashton Mr. and Mrs. Eugene J. Beer Mr. and Mrs. Belkin Ms. Pamela D. Belknap Mr. and Mrs. James R. Bell III Dr. Ronald and Diane Bell Mr. Roger G. Berk Barbara and Sheldon Berns Margo and Tom Bertin John and Laura Bertsch Mitch and Liz Blair Bill* and Zeda Blau Doug and Barbara Bletcher Georgette and Dick Bohr Irving and Joan M. Bolotin (Miami) Jeff and Elaine Bomberger Lisa and Ronald Boyko+ Ms. Barbara E. Boyle Mr. and Mrs. David Briggs Mr. and Mrs. Henry G. Brownell Mr. Gregory and Mrs. Susan Bulone J.C. and H.F. Burkhardt
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Individual Annual Support
The The Cleveland Cleveland Orchestra Orchestra
Your 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 Mr. C. Geiss Geiss, Sr. Sr Ms. Suzanne Gilliland Anne and Walter Ginn Holly and Fred Glock Dr.* and Mrs. Victor M. Goldberg Mr. and Mrs. David A. Goldfinger Dr. and Mrs. Ronald L. Gould Donna Lane Greene Dr. and Mrs. Franklin W. Griff Candy and Brent Grover Nancy and James Grunzweig+ Mr. Scott R. Gunselman Mr. Davin and Mrs. Jo Ann Gustafson Scott and Margi Haigh Mark E. and Paula N. Halford Dr. James O. Hall Dr. Phillip M. and Mrs. Mary Hall Mr. and Mrs. David P. Handke, Jr. Elaine Harris Green + Barbara L. Hawley and David S. Goodman Matthew D. Healy and Richard S. Agnes Dr. Toby Helfand In Memory of Hazel Helgesen Jay L. and Cynthia P. Henderson Charitable Fund Ms. Phyllis A. Henry The Morton and Mathile Stone Philanthropic Fund T. K.* and Faye A. Heston Mr. Robert T. Hexter Dr. and Mrs. Robert L. Hinnes Mr. and Mrs. Stephen J. Holler Thomas and Mary Holmes Gail Hoover and Bob Safarz Dr. Keith A. and Mrs. Kathleen M. Hoover+ Ms. Sharon J. Hoppens Xavier-Nichols Foundation / Robert and Karen Hostoffer Dr. Randal N. Huff and Ms. Paulette Beech+ Ms. Laura Hunsicker Ruth F. Ihde Bruce and Nancy Jackson William W. Jacobs Mr. and Mrs. Richard A. Janus Mr. and Mrs. Bruce D. Jarosz Jaime and Joseph Jozic Dr. and Mrs. Donald W. Junglas David and Gloria Kahan Mr. Jack E. Kapalka Honorable Diane Karpinski Mr. Donald J. Katt and Mrs. Maribeth Filipic-Katt The Kendis Family Trust: Hilary & Robert Kendis and Susan & James Kendis Bruce and Eleanor Kendrick Howard and Mara Kinstlinger Dr. and Mrs. William S. Kiser James and Gay* Kitson+ Fred* and Judith Klotzman Drs. Raymond and Katharine Kolcaba+ Marion Konstantynovich Mrs. Ursula Korneitchouk Dr. Ronald H. Krasney and Vicki Kennedy+ Mr. and Mrs. Russell Krinsky Mr. Donald N. Krosin Stephen A. Kushnick, Ph.D. Bob and Ellie Scheuer+
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Alfred and Carol Lambo Mr. and Mrs. John J. Lane, Jr.+ Mrs. Sandra S. Laurenson Mr. and Mrs. Michael Lavelle Dr. and Mrs. Arthur Lavin Charles and Josephine Robson Leamy * Michael Lederman and Sharmon Sollitto Judy and Donnie Lefton (Miami) Ronald and Barbara Leirvik Ivonete Leite (Miami) Mr. and Dr. Ernest C. Lemmerman+ Michael and Lois Lemr Mr. Alan R. Lepene Mr. and Mrs. Roger J. Lerch Robert G. Levy+ Matthew and Stacey Litzler Drs. Todd and Susan Locke Ms. Susan Locke Mary Lohman Mr. and Mrs. Carlos Lopez-Cantera (Miami) Ms. Mary Beth Loud Damond and Lori Mace Mr. and Mrs.* Robert P. Madison Robert M. Maloney and Laura Goyanes David Mann and Bernadette Pudis Herbert L. and Ronda Marcus Martin and Lois Marcus Dr. and Mrs. Sanford E. Marovitz+ Ms. Dorene Marsh Dr. Ernest and Mrs. Marian Marsolais Mr. Fredrick W. Martin+ Ms. Amanda Martinsek Dr. and Mrs. William A. Mast Mr. Julien L. McCall Ms. Charlotte V. McCoy William C. McCoy Ms. Nancy L. Meacham Mr. and Mrs. James E. Menger Ruth and John Mercer Mr. Glenn A. Metzdorf Ms. Betteann Meyerson+ Beth M. Mikes Osborne Mills, Jr. and Loren E. Bendall David and Leslee Miraldi Ioana Missits Mr. and Mrs. Marc H. Morgenstern Mr. Ronald Morrow III Eudice M. Morse Bert and Marjorie Moyar+ Susan B. Murphy Steven and Kimberly Myers+ Joan Katz Napoli and August Napoli Richard B. and Jane E. Nash Robert D. and Janet E. Neary Georgia and Carlos Noble (Miami) Marshall I. Nurenberg and Joanne Klein Robert and Gail Oâ&#x20AC;&#x2122;Brien Richard and Jolene Oâ&#x20AC;&#x2122;Callaghan+ Mr. and Mrs. John Olejko Harvey and Robin Oppmann Mr. Robert Paddock Ms. Ann Page Mr. John D. Papp George Parras Dr. Lewis E. and Janice B. Patterson+ David Pavlich and Cherie Arnold Matt and Shari Peart Nan and Bob Pfeifer
Individual Annual Support
Mr. Charles and Mrs. Mary Pfeiffer Dale and Susan Phillip Ms. Irene Pietrantozzi Maribel A. Piza (Miami)+ Dr. Marc A. and Mrs. Carol Pohl Brad Pohlman and Julie Callsen Peter Politzer In memory of Henry Pollak Mr. Robert and Mrs. Susan Price Sylvia Profenna Mr. Lute and Mrs. Lynn Quintrell Drs. Raymond R. Rackley and Carmen M. Fonseca+ Mr. Cal Ratcliff Brian and Patricia Ratner Dr. Robert W. Reynolds David and Gloria Richards Ms. Carole Ann Rieck Joan and Rick Rivitz Mr. D. Keith and Mrs. Margaret Robinson Mr. Timothy D. Robson+ Ms. Susan Ross Dr. and Mrs. Robert C. Ruhl Mr. Kevin Russell (Miami) Mrs. Elisa J. Russo+ Lawrence H. Rustin and Barbara C. Levin (Miami) Dr. Harry S. and Rita K. Rzepka+ Peter and Aliki Rzepka Dr. Vernon E. Sackman and Ms. Marguerite Patton+ Michael Salkind and Carol Gill Fr. Robert J. Sanson Ms. Patricia E. Say+ Mr. Paul H. Scarbrough+ Robert Scarr and Margaret Widmar Mr. Matthew Schenz Don Schmitt and Jim Harmon Ms. Beverly J. Schneider Ms. Karen Schneider John and Barbara Schubert Mr. James Schutte+ Mrs. Cheryl Schweickart Dr. John Sedor and Ms. Geralyn Presti Ms. Kathryn Seider Lee and Jane Seidman Charles Seitz (Miami) Rafick-Pierre Sekaly Ginger and Larry Shane Harry and Ilene Shapiro Ms. Frances L. Sharp Larry Oscar and Jeanne Shatten+ Dr. and Mrs. William C. Sheldon+ Terrence and Judith Sheridan Mr. Richard Shirey+ Mr. and Mrs. Reginald Shiverick+ Mrs. Dorothy Shrier Mr. Robert Sieck Laura and Alvin A. Siegal Mr. and Mrs. Bob Sill Jim Simler and Doctor Amy Zhang Howard and Beth Simon Ms. Ellen J. Skinner Robert and Barbara Slanina Ms. Anna D. Smith Bruce L. Smith David Kane Smith listings continue
Cleveland Orchestra Orchestra The Cleveland
listings continued
Sandra and Richey Smith+ Mr. Eugene Smolik Mr. and Mrs.* Jeff rey H. Smythe Jeffrey 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. Jeff rey A. Zehngut Jeffrey 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 nds 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 hed 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 The Cleveland estra’s ongoing artistic excellence, for Th e Cleveland 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. hestra.ccom.
T HE
CLEVELAND ORC HE STR A FRANZ WELSER-MÖST
* deceased
The Cleveland Severance HallOrchestra 2018-19
Individual Annual Support
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THE CLEVELAND ORCHESTRA
Corporate Support The Cleveland Orchestra extends heartfelt gratitude and partnership with the corporations listed on this page, whose annual support (through gifts of $2,500 and more) demonstrates their belief in the Orchestra’s music-making, education programs, and community initiatives.
Annual Support gifts in the past year, as of September 1, 2018 The Partners in Excellence program salutes companies with annual contributions of $100,000 and more, exemplifying leadership and commitment to musical excellence at the highest level. PARTNERS IN EXCELLENCE $300,000 AND MORE
Hyster-Yale Materials Handling NACCO Industries, Inc. KeyBank The J. M. Smucker Company Anonymous PARTNERS IN EXCELLENCE $200,000 TO $299,999
BakerHostetler Jones Day PNC Raiffeisenlandesbank Oberösterreich (Europe) PARTNERS IN EXCELLENCE $100,000 TO $199,999
American Greetings Corporation Eaton Medical Mutual Nordson Corporation Foundation Squire Patton Boggs (US) LLP Swagelok Thompson Hine LLP Quality Electrodynamics
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$50,000 TO $99,999
Dollar Bank Foundation Forest City Parker Hannifin Foundation voestalpine AG (Europe) $15,000 TO $49,999
Buyers Products Company Case Western Reserve University DLR Group | Westlake Reed Leskosky Ernst & Young LLP Frantz Ward LLP The Giant Eagle Foundation Great Lakes Brewing Company Hahn Loeser & Parks LLP The Lincoln Electric Foundation The Lubrizol Corporation MTD Products, Inc. Ohio Savings Bank, A Division of New York Community Bank Olympic Steel, Inc. Park-Ohio Holdings RPM International Inc. The Sherwin-Williams Company Westfield Insurance United Airlines
Corporate Annual Support
$2,500 TO $14,999 American Fireworks, Inc. Applied Industrial Technologies BDI Blue Technologies Brothers Printing Co., Inc. Calfee, Halter & Griswold LLP Cleveland Steel Container Corporation The Cleveland Wire Cloth & Mfg. Co. The Cliffs Foundation Cohen & Company, CPAs Consolidated Solutions Deloitte & Touche LLP Dominion Energy Charitable Foundation Evarts Tremaine The Ewart-Ohlson Machine Company Arthur J. Gallagher & Co. Glenmede Trust Company Gross Builders Huntington National Bank Johnson Investment Counsel KPMG LLP Littler Mendelson, P.C. Live Publishing Company Materion Corporation Miba AG (Europe) Oatey Ohio CAT Oswald Companies PolyOne Corporation PwC RSM US, LLP Stern Advertising Struktol Company of America Ulmer & Berne LLP University Hospitals Ver Ploeg & Lumpkin (Miami) Anonymous (2)
The Cleveland Orchestra
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
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11001 Euclid Avenue Cleveland, Ohio 44106
P H OTO BY S T E V E H A L L © H E D R I C H B L E S S I N G
CLEVELANDORCHESTRA.COM
the world’s most beautiful concert halls, Severance Hall has been home to The Cleveland Orchestra since its opening on February 5, 1931. After that first concert, a Cleveland newspaper editorial stated: “We believe that Mr. Severance intended to build a temple to music, and not a temple to wealth; and we believe it is his intention that all music lovers should be welcome there.” John Long Severance (president of the Musical Arts Association, 1921-1936) and his wife, Elisabeth, donated most of the funds necessary to erect this magnificent building. Designed by Walker & Weeks, its elegant HAILED AS ONE OF
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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. Severance Hall
The Cleveland Orchestra
11001 Euclid Avenue Cleveland, Ohio 44106 CLEVELANDORCHESTRA.COM
WELCOME
LEARN MORE
Severance Hall is Cleveland’s “musical home” for symphonic music and many other presentations. We are strongly committed to making everyone feel welcome. The following information and guidelines can help you on your musical journey.
CONCERT PREVIEWS
DOORS OPEN EARLY The doors to Severance Hall open three hours prior to most performances. You are welcome to arrive early, enjoy a glass of wine or a tasty bite, learn more about the music by attending a Concert Preview, or stroll through this landmark building’s elegant lobbies. The upper lobbies and Concert Hall usually open 30 minutes before curtain.
SPECIAL DISPLAYS Special archival displays providing background information about The Cleveland Orchestra or Severance Hall can often be viewed in the lobby spaces or in the Humphrey Green Room (just off the left-hand side of the Concert Hall on the main Orchestra Level).
PROGRAM NOTES
FOOD AND DRINK SEVERANCE RESTAURANT Pre-Concert Dining: Severance Restaurant at Severance Hall is open for pre-concert dining for evening and Sunday afternoon performances (and for lunch following Friday Morning Concerts). Operated by Marigold Catering, a certified Green Caterer. To make reservations, call 216-231-7373, or online by visiting www.useRESO.com. Please note that the Restaurant will not be open for post-concert service this season, with the exception of luncheons following Friday Morning Matinees.
OPUS LOUNGE The new Opus Lounge is located on the groundfloor of Severance Hall. Created where “the Store” was formerly located, this newly-renovated drink-and-meet speakeasy offers an intimate atmosphere to 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
Concert Preview talks and presentations are given prior to most regular Cleveland Orchestra concerts at Severance Hall, beginning one hour prior to curtain. Most Previews take place in Reinberger Chamber Hall. (See clevelandorchestra.com for more details.)
Program notes are available online prior to most Cleveland Orchestra concerts. These can be viewed through the Orchestra’s website or by visiting www. ExpressProgramBook.com. These notes and commentary are also available in our printed program books, distributed free-of-charge to attending audiences members.
RETAIL CLEVELAND ORCHESTRA STORE Proudly wear your love of The Cleveland Orchestra, or find the perfect gift for the music lover in your life. Visit the Cleveland Orchestra Store before and after concerts and during intermission to view CDs, DVDs, books, gifts, and our unique CLE Clothing Company attire. Located near the Ticket Office on the groundfloor in the Smith Lobby.
INTERESTED IN RENTING SEVERANCE HALL? Severance Hall is available for you! Home of the world-renowned Cleveland Orchestra, this Cleveland landmark is the perfect location for business meetings and conferences, pre- or post-concert dinners and receptions, weddings, and or other family gatherings — with catering provided by Marigold Catering. For more information, call Bob Bellamy in our Facility Sales Office: 216-231-7420, or email: hallrental@clevelandorchestra.com.
Guest Information
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SHARING THE SPACE
ACCESS AND SERVICES
The concert halls and lobbies are shared by all audience members. Please be mindful and courteous to others. To ensure the listening pleasure of all patrons, please note that anyone creating a disturbance may be asked to leave the performance.
We welcome all guests to our concerts and strive to make our performances accessible to all patrons.
LATE SEATING Performances at Severance Hall start at the time designated on the ticket. In deference to the performers onstage, and for the comfort and listening pleasure of audience members, late-arriving patrons will not be seated while music is being performed. Latecomers are asked to wait quietly until the first break in the program, when ushers will assist them to their seats. Please note that performances without intermission may not have a seating break. These arrangements are at the discretion of the House Manager in consultation with the conductor and performing artists. Happy artists make better concerts.
PHOTOGRAPHY AND SELFIES, VIDEO AND AUDIO RECORDING Photographs of the hall and selfies to share with others through social media can be taken when the performance is not in progress. However, audio recording, photography, and videography are prohibited during performances at Severance Hall.
PHONES AND WATCHES As a courtesy to others, please turn off or silence any phone or device that makes noise or emits light — including disarming electronic watch alarms. Please consider placing your phone in “airplane mode” upon entering the concert hall.
HEARING AIDS Patrons with hearing aids are asked to be attentive to the sound level of their hearing devices and adjust them accordingly so as not to disturb those near you.
MEDICAL ASSISTANCE Contact an usher or a member of the house staff if you require medical attention. Emergency medical assistance is provided in partnership with University Hospitals Event Medics and the UH Residency Program.
SECURITY AND FIREARMS For the security of everyone attending concerts, large bags (including all backpacks) and musical instrument cases are prohibited in the concert halls. These must be checked at coatcheck and may be subject to search. Severance Hall is a firearms-free facility. With the exception of on-duty law enforcement personnel, no one may possess a firearm on the premises.
IN THE EVENT OF AN EMERGENCY Emergency exits are clearly marked throughout the building. Ushers and house staff will provide instructions in the event of an emergency.
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SERVICES FOR PERSONS WITH DISABILITIES Severance Hall provides special seating options for mobility-impaired persons and their companions and families. There are wheelchair- and scooter-accessible locations where patrons can remain in their wheelchairs or transfer to a concert seat. Aisle seats with removable armrests are also available for persons who wish to transfer. Tickets for wheelchair accessible and companion seating can be purchased by phone, in person, or online. As a courtesy, Severance Hall provides wheelchairs to assist patrons in going to and from their seats upon entering the building. Patrons can make arrangements by calling the House Manager in advance at 216-231-7425. Service animals are welcome at Severance Hall. Please notify the Ticket Office as you buy tickets.
ASSISTANCE FOR THE DEAF OR HARD OF HEARING Infrared Assistive Listening Devices (ALDs) are available without charge for most performances at Severance Hall, in Reinberger Chamber Hall and upstairs in the Concert Hall. Please inquire with a Head Usher or the House Manager to check out an ALD. A driver’s license or ID card is required, which will be held until the return of the device.
LARGE PRINT PROGRAMS AND BRAILLE EDITIONS Large print editions 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 W 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.
Collaborative Divorce – a rational solution for complex cases
TICKET EXCHANGES Subscribers unable to attend on a particular concert date can exchange their tickets for a different performance of the same week’s program. Subscribers may exchange their subscription tickets for another subscription program up to five days prior to a performance. There is no service charge for the five-day advance ticket exchanges. If a ticket exchange is requested within 5 days of the performance, a $10 service charge per concert applies. Visit clevelandorchestra.com for details.
UNABLE TO USE YOUR TICKETS? Ticket holders unable to use or exchange their tickets are encouraged to notify the Ticket Office so that those tickets can be resold. Because of the demand for tickets to Cleveland Orchestra performances, “turnbacks” make seats available to other music lovers and can provide additional income to the Orchestra. If you return your tickets at least two hours before the concert, the value of each ticket can be a tax-deductible contribution. Patrons who turn back tickets receive a cumulative donation acknowledgement at the end of each calendar year.
Severance Hall 2018-19
Guest Information
Family Law Practice Group Nicola, Gudbranson & Cooper, LLC 216-621-7227 | www.nicola.com
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THE CLEVELAND ORCHESTRA Administrative Staff EXECUTIVE OFFICE André Gremillet PRESIDENT & CEO
as of May 15, 2019
CONCERT OPERATIONS & FACILITIES MANAGEMENT
MARKETING, COMMUNICATIONS & AUDIENCE ENGAGEMENT
Julie Kim
Ross Binnie
SENIOR DIRECTOR, OPERATIONS & FACILITIES
ARTISTIC ADMINISTRATION Mark Williams CHIEF ARTISTIC OFFICER
Katherine Smith ARTISTIC PLANNING COORDINATOR
Ilya Gidalevich ARTISTIC ADMINISTRATOR
Elle Henig MANAGER OF ARTIST SERVICES
Barb Bodemer DRIVER
Orchestra Personnel Carrie Marcantonio DIRECTOR
David Snyder MANAGER
Elizabeth Carney PERSONNEL ASSISTANT
Choruses Jill Harbaugh MANAGER
Julie Weiner MANAGER, YOUTH CHORUSES
EDUCATION & COMMUNITY PROGRAMS Joan Katz Napoli SENIOR DIRECTOR
Courtney Gazda COORDINATOR
Sandra Jones MANAGER, EDUCATION & FAMILY CONCERTS
Lauren Generette MANAGER, CLEVELAND ORCHESTRA YOUTH ORCHESTRA
Mollibeth Cox MANAGER, COMMUNITY LEARNING PROGRAMS
Sarah Lamb MANAGER, COMMUNITY ENGAGEMENT
Austin Land ARTISTIC & OPERATIONS COORDINATOR, YOUTH ORCHESTRA AND EDUCATION
Rose Breckenridge LECTURER & ADMINISTRATOR, MUSIC STUDY GROUPS
Orchestra Operations Julia Lin DIRECTOR, ORCHESTRA OPERATIONS
Christine Honolke
CHIEF BRAND OFFICER
Rosemary Klena ADMINISTRATIVE ASSISTANT
Eric Sellen, MANAGING EDITOR Michel Jaffe, EDITOR
PRODUCTION MANAGER
Jon Hummel TOUR MANAGER
Marketing & Audience Services Julie Stapf SENIOR DIRECTOR OF MARKETING
Ian Mercer OPERATIONS ASSISTANT
Stage Joe Short
Don McClung , DIGITAL MEDIA CONSULTANT Patron Advancement John O’Dell
STAGE MANAGER
Gil Gerity John Riley Don Verba Dave Vacca STAGEHANDS
PATRON ADVANCEMENT OFFICER
Sales & Marketing Valerie Szepiwdycz MARKETING MANAGER
Jaclyn Nachman SALES MANAGER
Facilities Ron Willner DIRECTOR OF FACILITIES
Laura Clelland FACILITIES COORDINATOR
Jessica Norris MANAGER, CONCERTS & SPECIAL EVENTS
Kim Svenson ASSOCIATE MANAGER, CONCERTS & SPECIAL EVENTS
Pete Wieneke LEAD BUILDING ENGINEER
Bob Nock Christopher Downey Michael Evert Renee Pettway (apprentice) BUILDING ENGINEERS
Shelia Baugh George Felder Michelle Williams DOOR PERSONS
Quinn Chambers Steven Washington Pauletta Hughes HALL STAFF LEADS
Antonio Adamson Kervin Hinton Dwayne Johnson Jerome Kelly Renee Pettway Darrell Simmons Glynis Smith Dwayne Taylor HALL STAFF & CLEANERS
Rolland Allen GROUNDSKEEPER
David Szekeres SENIOR MANAGER, DESIGN & PUBLICATIONS
Brett Della Santina MANAGER, MARKETING & GRAPHIC DESIGN
Digital Experience & Website Ryan Buckley DIRECTOR, DIGITAL EXPERIENCE
Andrew Kuhar DIGITAL MANAGER
Patron Services Robert Phillips DIRECTOR, CUSTOMER EXPERIENCE
Adam Clemens HOUSE MANAGER
Patricia Fernberg ASSOCIATE HOUSE MANAGER
Eric Fehrman MANAGER, RETAIL & CUSTOMER EXPERIENCE
Ellen Cubberley Debbie Kummer Kathleen Sutton RETAIL ASSOCIATES
Ticket Services Tim Gaines TICKET OFFICE MANAGER
Carrie Felder, ASSISTANT MANAGER Cindy Adams Monica Berens Larry Parsons Randy Yost CUSTOMER SERVICE REPRESENTATIVES
Mary Ellen Snyder Sharon Matovich Cedric Lewis TICKETING SERVICE REPRESENTATIVES
Facility Sales Bob Bellamy SALES MANAGER, SEVERANCE HALL
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Administrative Staff
The Cleveland Orchestra
clevelandorchestra.com PHILANTHROPY & ADVANCEMENT Public Relations & Communications Justin Holden SENIOR DIRECTOR, COMMUNICATIONS
Rebecca Calkin MANAGER, MEDIA RELATIONS
Michael Ritzert EDITORIAL & MEDIA RELATIONS COORDINATOR
Jane Hargraft CHIEF DEVELOPMENT OFFICER SENIOR DIRECTOR OF DEVELOPMENT
Emily Kilduff SENIOR DEVELOPMENT COORDINATOR
Allison Denham
Andria Hoy Deborah Heï¬&#x201A;ing ARCHIVES ASSISTANT
11001 Euclid Avenue Cleveland, OH 44106
Rachel Lappen
SENIOR DEVELOPMENT ASSOCIATE ARCHIVIST
Severance Hall
Carey Skinner MANAGER, DEVELOPMENT COMMUNICATIONS
Maredith Sheridan
Administrative Offices
216-231-7300 Ticket Office
216-231-1111 or 800-686-1141
DEVELOPMENT PRODUCTION ASSOCIATE
FINANCE & ADMINISTRATION James E. Menger CHIEF FINANCIAL OFFICER
Julie Gergotz ADMINISTRATIVE ASSISTANT
Finance Janice Brennan CONTROLLER
Barbara S. Snyder ACCOUNTING MANAGER
Carolann Oravec PAYROLL MANAGER
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Joshua Landis INDIVIDUAL GIVING MANAGER
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Severance Hall 2018-19
Administrative Staff
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THE CLEVELAND
C O N C E R T
C A L E N D A R
B LOSSOM HARRY POTTER AND THE SORCERERâ&#x20AC;&#x2122;S STONE Jun 29 â&#x20AC;&#x201D; Saturday at 7:30 p.m. <18s Jun 30 â&#x20AC;&#x201D; Sunday at 7:30 p.m. <18s Blossom Music Festival THE CLEVELAND ORCHESTRA Justin Freer, conductor
TCHAIKOVSKY FOURTH SYMPHONY Jul 13 â&#x20AC;&#x201D; Saturday at 8:00 p.m. Harry Potter characters, names, and related indicia are Š copyright and TM trademark Warner Bros. Entertainment Inc. Harry Potter Publishing Rights Š JKR. (s19)
An evening of music and magic, as The Cleveland Orchestra SOD\V -RKQ :LOOLDPV¡V SUL]H ZLQQLQJ VFRUH IRU WKH Ă&#x20AC;UVW RI WKH acclaimed Harry Potter movies. Blossom Music Festival is supported by The J.M. Smucker Company and The Goodyear Tire & Rubber Company
Jul 3 â&#x20AC;&#x201D; Wednesday at 8:00 p.m. Jul 4 â&#x20AC;&#x201D; Thursday at 8:00 p.m. <18s
<18s
Blossom Music Festival BLOSSOM FESTIVAL BAND Loras John Schissel, conductor *UHDW PXVLF Ă&#x20AC;UHZRUNV DQG IXQ IRU WKH ZKROH IDPLO\ Blossomâ&#x20AC;&#x2122;s traditional patriotic celebration features Sousa marches, Broadway favorites, an Armed Forces Salute, and FRQFOXGHV ZLWK WKH ´ Âľ 2YHUWXUH DQG Ă&#x20AC;UHZRUNV Sponsor (July 1): KeyBank Sponsor (July 2): Medical Mutual
RHAPSODY IN BLUE <18s
Blossom Music Festival THE CLEVELAND ORCHESTRA Roderick Cox, conductor Aaron Diehl, piano
BERNSTEIN Suite from On the Waterfront GERSHWIN Rhapsody in Blue STRAVINSKY Suite from The Firebird TCHAIKOVSKY 1812 Overture Sponsor (July 5): United Airlines Sponsor (July 6): BakerHostetler
PETER YARROW AND NOEL PAUL STOOKEY <18s
Blossom Music Festival THE CLEVELAND ORCHESTRA Lucas Richman, conductor Peter Yarrow, vocalist Noel Paul Stookey, vocalist Peter and Paul combine forces for an intimate even ning of VRQJ DQG UHĂ HFWLRQ Âł LQFOXGLQJ PDQ\ KLWV PDGH IDP PRXV LQ partnership with Mary Travers. Sponsor: Great Lakes Brewing Company
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Sponsors: Jones Day and Blossom Friends of The Cleveland Orchestra
Jul 20 â&#x20AC;&#x201D; Saturday at 8:00 p.m.
<18s
Blossom Music Festival THE CLEVELAND ORCHESTRA Klaus Mäkelä, conductor Daniel Lozakovich, violin
KODĂ LY Dances of GalĂĄnta BRUCH Violin Concerto No. 1 SIBELIUS Symphony No. 5 Sponsor: Westlake Reed Leskosky
ROMERO PLAYS RODRIGO Jul 21 â&#x20AC;&#x201D; Sunday at 7:00 p.m.
<18s
Jul 7 â&#x20AC;&#x201D; Sunday at 7:00 p.m.
MUSSORGSKY Prelude from Khovanshchina PROKOFIEV Piano Concerto No. 3 TCHAIKOVSKY Symphony No. 4
BRUCHâ&#x20AC;&#x2122;S VIOLIN CONCERTO
SALUTE TO AMERICA
Jul 5 â&#x20AC;&#x201D; Friday at 8:00 p.m. Jul 6 â&#x20AC;&#x201D; Saturday at 8:00 p.m.
<18s
Blossom Music Festival THE CLEVELAND ORCHESTRA Jahja Ling, conductor Conrad Tao, piano
<18s
Blossom Music Festival THE CLEVELAND ORCHESTRA Pablo Heras-Casado, conductor Pepe Romero, guitar
RIMSKY-KORSAKOV Capriccio espagnol RODRIGO Concierto de Aranjuez DEBUSSY Images
ELGARâ&#x20AC;&#x2122;S ENIGMA VARIATIONS Jul 27 â&#x20AC;&#x201D; Saturday at 7:00 p.m.
<18s
Blossom Music Festival THE CLEVELAND ORCHESTRA Bramwell Tovey, conductor Gautier Capuçon, cello KENT BLOSSOM CHAMBER ORCHESTRA Vinay Parameswaran, conductor V
MENDELSSOHN Overture: The Hebrides RAVEL Mother Goose Suite BRITTEN Interludes from Peter Grimes SAINT-SAĂ&#x2039;NS Cello Concerto No. 1 ELGAR Enigma Variations See the entire schedule at clevelandorchestra.com
Concert Calendar
The Cleveland Orchestra
ORCHESTRA S E V E R A N C E H A LL FREE EUROPE SEND-OFF CONCERT
S U M M E R 2O19 BLOSSOM SEVERANCE HALL DOWNTOWN CLEVEL AN D
I N
T H E
S P O T L I G H T
Cleveland Orchestra Youth Orchestra Jun 7 — Friday at 8:00 p.m. <18s
Severance Hall CLEVELAND ORCHESTRA YOUTH ORCHESTRA Vinay Parameswaran, conductor
ADAMS The Chairman Dances: Foxtrot BARTÓK Dance Suite BRAHMS Tragic Overture BRAHMS Symphony No. 2
SONGS OF A WAYFARER Jul 12 — Friday at 7:00 p.m.
<18s
Severance Hall THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Ludwig Mittelhammer, baritone
THE CLEVELAND ORCHESTRA
STAR-SPANGLED SPECTACULAR
MAHLER Songs of a Wayfarer BEETHOVEN String Quartet No. 15 Sponsor: Thompson Hine LLP
Brought to You by Cuyahoga Arts & Culture and sponsored by KeyBank
ROMERO PLAYS RODRIGO Jul 19 — Friday at 7:00 p.m.
<18s
Wednesday August 7 at 9:00 p.m. Mall B in Downtown Cleveland
Severance Hall THE CLEVELAND ORCHESTRA Pablo Heras-Casado, conductor Pepe Romero, guitar
conducted by Loras John Schissel
Join thousands of your neighbors, family, and friends for a very special evening celebrating the United States of America. Each summer since 1990, The Cleveland Orchestra has presented a free concert in downtown Cleveland. Once again this year, the Orchestra presents a celebration of American themes and music, concluding with Tchaikovsky’s festive “1812” Overture and fireworks. It’s a special evening — featuring great music performed by an extraordinary group of musicians.
RODRIGO Concierto de Aranjuez DEBUSSY Ibéria, from Images
MOZART’S GREAT MASS Aug 2 — Friday at 7:00 p.m.
<18s
Severance Hall THE CLEVELAND ORCHESTRA Matthew Halls, conductor Blossom Festival Chorus and soloists
MOZART Mass in C minor See the entire schedule at clevelandorchestra.com
Under 18s Free FOR FAMILIES
<18s
All of The Cleveland Orchestra’s summer concerts are offered as part of our "Under 18s Free" ticketing program. This offers free tickets for young people attending with families (two Lawn admissions per full-price adult Lawn Ticket at Blossom, or a onefor-one offer for Fridays at Severance Hall). Funded through a generous Endowment gift from the Maltz Family Foundation.
Severance Hall 2018-19
Pre-Concert activities begin at 6:00 p.m. The concert begins at 9:00 p.m. Admission is free, no tickets are required.
Concert Calendar
CLEVELAND ORCHESTRA TICKETS PHONE
216 - 231-1111 800-686-1141
clevelandorchestra.com
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Rainey Institute El Sistema Orchestra
A SYMPHONY OF
success
We believe that all Cleveland youth should have access to high-quality arts education. Through the generosity of our donors, we have invested nearly more than $4 million since 2016 to scale up neighborhood-based programs that now serve 3,000 youth year-round in music, dance, theater, photography, literary arts and curatorial mastery. Thatâ&#x20AC;&#x2122;s a symphony of success. Find your passion, and partner with the Cleveland Foundation to make your greatest charitable impact.
(877) 554-5054 clevelandfoundation.org/success