The Cleveland Orchestra September 19, 20, 26, 28 Concerts by Live Publishing

THE

CLEVEL AND ORC HE STR A FRANZ WELSER-MÖST

SEVERANCE HALL Welcome . . . . . . . . . . . . . . . . . . . . . . . . page 7 WEEK 1 — September

19, 20 Schubert & Prokofiev . . . . . . . . . page 21 WEEK 2 — September

26, 28 Mahler’s Fifth Symphony . . . . . page 53

AUTU M N 2O19

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THE CLEVELAND ORCHESTRA

PROGRAM BOOK

TA B L E O F C O N T E N T S

About the Orchestra

PAGE

Weeks 1 and 2 Perspectives from the President & CEO . . . . . . . . . 7 Musical Arts Association . . . . . . . . . . . . . . . . . . . . . . . . 9 Music Director: Franz Welser-Möst . . . . . . . . . . . . . 13 About The Cleveland Orchestra . . . . . . . . . . . . . . . 15 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 By the Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78 Severance Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 Guest Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

ON THE COVER Photograph by Roger Mastroianni

Copyright © 2019 by The Cleveland Orchestra and the Musical Arts Association Eric Sellen, Program Book Editor E-MAIL: esellen@clevelandorchestra.com Program books for Cleveland Orchestra concerts are produced by The Cleveland Orchestra and are distributed free to attending audience members.

1 SCHUBERT & PROKOFIEV

WEEK

Concert: September 19, 20 . . . . . . . . . . . . . . . . . . . 21 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 23 Q&A: Franz Welser-Möst discusses Schubert & Prokofiev . . . . . . . . . . . . . . . . . . . . 25

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SCHUBERT

Symphony No. 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 PROKOFIEV

Romeo and Juliet, Act One . . . . . . . . . . . . . . . . . . . 35 Conductor: Franz Welser-Möst . . . . . . . . . . . . . . . . . 13

NEWS

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

2 MAHLER’S FIFTH SYMPHONY

WEEK

Concert: September 26, 28 . . . . . . . . . . . . . . . . . . . 53 Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . 55 NEUWIRTH

Masaot /Clocks Without Hands . . . . . . . . . . . . . . 57

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.

MAHLER

Symphony No. 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Preferred Airline of The Cleveland Orchestra

Mahler in Cleveland: 1910 . . . . . . . . . . . . . . . . . . . . . 71 More About Mahler . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 Conductor: Franz Welser-Möst . . . . . . . . . . . . . . . . . 13

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

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

79 50%

80 86 87 89

Table of Contents

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

The Cleveland Orchestra

S O U N D

O F

T H E

C I T Y

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Perspectives September 2019 Welcome to The Cleveland Orchestra’s 102nd season, and the 18th year of our acclaimed partnership with Music Director Franz Welser-Möst. With the new season, many exciting plans come to fruition, bringing unique musical offerings and opportunities. André Gremillet

The 2019 Blossom summer season ended with a bang on two big weekends — featuring a memorable performance of Rodgers & Hammerstein’s musical South Pacific created in collaboration with Baldwin Wallace University’s Music Theatre Program, followed by nearly 30,000 enthusiastic fans attending Labor Day Weekend presentations of Star Wars: The Empire Strikes Back. Both scores were played with great flare and panache by The Cleveland Orchestra. The new season at Severance Hall starts off with two weekends showcasing the incredible and wide-ranging artistry of the Welser-Möst/Cleveland partnership. As reviews attest anew, the collaboration has never been stronger, and the music has never sounded better. Franz’s visionary leadership is pointing us constantly forward. This past June, his talent, creativity, and long-lasting contributions to the world’s artistic community were recognized with the presentation of a Gold Medal from the Kennedy Center International Committee on the Arts. I know you join me in feeling great hometown pride for the increasing worldwide attention that Franz’s work here in Cleveland receives — and look forward to the next stage of this extraordinary partnership between Franz Welser-Möst and The Cleveland Orchestra. Our opening week features the start of a special exploration pairing works by Sergei Prokofiev and Franz Schubert, which continues across the season — and which Franz discusses in detail on pages 25-27 of this book. This is followed by a program featuring Gustav Mahler’s Fifth Symphony alongside a new work that took some of its inspiration directly from Mahler’s music. In between, on September 21, comes the Orchestra’s soldout annual season-opening gala, which each year raises important funding for the Orchestra’s expanding education and community programs across Northeast Ohio. At the start of October, the Orchestra travels to New York City for the privilege of opening Carnegie Hall’s new season, playing two concerts, on October 3 and 4. This is the third time that The Cleveland Orchestra has been invited to kick-off the classical season at that famed concert hall — once more recognizing Cleveland’s orchestra among the very best in the world. Thus, a new season begins, with so much more to look forward to!

André Gremillet President & CEO The Cleveland Orchestra Severance Hall 2019-20

From the President

Business owners, marketing managers, executive directors:

C L E V HE OR C HE L A N D ESTRA FR A N Z W EL SE R- M Ö ST

The new 2019-2020 Severance Season has begun. • 76 concerts • 150,000+ in attendance • Youngest concert audience in the U.S. — 45 years old • N.E. Ohio’s most affluent, inﬂuential and active audiences

SEVER

ANCE

Welcom e....... WEEK 1

HALL

.......

. . . page 7 embe rt & Prok r 19, 20 ofiev . . ....... WEEK 2 page 21 — Sept ember Mahler’s Fifth Sy 26, 28 mphony . . . . . pa ge 53 — Sept

Schube

AUTU

MN 2O 19

MUSICAL ARTS ASSOCIATION

as of September 2 019

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 Alexander M. Cutler Hiroyuki Fujita David J. Hooker Michael J. Horvitz Douglas A. Kern 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 Stephen H. Hoffman David J. Hooker Michael J. Horvitz Marguerite B. Humphrey Betsy Juliano Jean C. Kalberer

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

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.

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 Dr. Tomislav Mihaljevic Beth E. Mooney John C. Morley 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

Dr. Patricia M. Smith, President, Friends of The Cleveland Orchestra Todd Diacon, 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 2019-20

ANDRÉ GREMILLET, President & CEO

Musical Arts Association

THE CLEVELAND ORCHESTRA The Cleveland Orchestraâ&#x20AC;&#x2122;s Board of Trustees is grateful to the community leaders listed on this page, who provide valuable knowledge, expertise, and support in helping propel the Orchestra forward into the future.

ADVISORY COUNCIL

EUROPEAN ADVISORY BOARD

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 * deceased

Herbert Kloiber, Chair Wolfgang Berndt, Vice Chair Gabriele Eder Robert Ehrlich Peter Mitterbauer Elisabeth Umdasch

MIAMI ADVISORY COUNCIL Michael Samuels, Co-Chair Mary Jo Eaton, Co-Chair Bruce Clinton Martha Clinton Betty Fleming Joseph Fleming

Alfredo Gutierrez Luz Maria Gutierrez Maribel Piza Judy Samuels

Lists as of September 2 O19

FUZE SERIES

October 10, 2019 7:30PM l Tickets $45 l tuesdaymusical.org

featuring Verb Ballets Bill Naiman

withh C Chamber Music Society of Ohio

Advisory Councils and Boards

The Cleveland Orchestra

Did you know? Many of the children who participate in our education programs learn directly from Cleveland Orchestra musicians! Your support helps us reach over 60,000 students of all ages every year with the power of music. Thank you.

PHOTO BY HILARY BOVAY

To join our donor family, visit clevelandorchestra.com/donate For more information, contact: Joshua Landis, Manager of Individual Giving phone: 216-456-8400 email: annualgiving@clevelandorchestra.com

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

Franz Welser-Möst is among today’s most distinguished conductors. The 2019-20 season marks his eighteenth 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 Welser-Möst’s direction to be the “best American orchestra“ for its virtuosity, elegance of sound, variety of color, and chamber-like musical cohesion. Under his direction, The Cleveland Orchestra has been praised for its inventive programming, its ongoing support for new musical works, and for its innovative approach to semi-staged and staged opera presentations. An imaginative approach to juxtaposing newer and older works has opened new dialogue and fresh insights for musicians and audiences alike. The Orchestra has also been hugely successful in building up a new and, notably, a young audience. As a guest conductor, Mr. WelserMöst enjoys a particularly close and Severance Hall 2019-20

Music Director

productive relationship with the Vienna Philharmonic. He has twice appeared on the podium for their celebrated New Year’s Concert, and regularly conducts the orchestra in subscription concerts in Vienna, as well as on tours in Japan, China, Australia, and the United States. Highlights of his guest conducting appearances in the 2019-20 season include performances of Strauss’s Die Aegyptische Helena at Teatro alla Scala, and concerts with the New York Philharmonic, Leipzig Gewandhaus Orchestra, and Amsterdam’s Royal Concertgebouw Orchestra. Mr. Welser-Möst is also a regular guest at the Salzburg Festival, where his work leading a series of opera performances has been widely acclaimed. Franz Welser-Möst’s recordings and videos have won major international awards and honors. With The Cleveland Orchestra, his recordings include a number of DVDs on the Clasart Classic label, featuring live performances of five of Bruckner’s symphonies and a multi-DVD set of major works by Brahms. A number of his Salzburg opera productions, including Rosenkavalier, have been released internationally on DVD by Unitel. In June 2019, Mr. Welser-Möst was awarded the Gold Medal in the Arts by the Kennedy Center International Committee on the Arts in recognition of his long-lasting impact on the international arts community. Other honors include recognition from the Western Law Center for Disability Rights, honorary membership in the Vienna Singverein, a Decoration of Honor from the Republic of Austria for his artistic achievements, and the Kilenyi Medal from the Bruckner Society of America.

THE

CLEVELAND ORCHESTRA

is today 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 2019-20 season marks the ensemble’s eighteenth 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, and volunteers 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 recurring residencies at Vienna’s Musikverein, and regular appearances in European music capitals, in New York, at Indiana University, and in Miami, Florida. Musical Excellence. The Cleveland Orchestra has long been committed to the pursuit of excellence in everything that it does. Its ongoing collaboration with Welser-Möst is widely-acknowledged among the best orchestra-conductor 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 championing of new composers and the commissioning of new works helps audiences experience music as a living language that grows with each new generation. Fruitful juxtapositions and re-examinations of classics, new recording projects and tours of varying repertoire and in different locations, and acclaimed collaborations in 20th- and 21st-century masterworks together enable The Cleveland Orchestra the ability to give musical performances second to none in the world. Serving the Community. Programs for students and engaging musical explorations for the community are core to the Orchestra’s mission, fueled by a 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. Recent seasons have seen the launch of a unique series of neighborhood initiatives and performances, designed to bring the Orchestra and the citizens of NorthPHOTO BY ROGER MASTROIANNI

THE CLEVELAND ORCHESTRA

Severance Hall 2019-20

The Cleveland Orchestra

Each year since 1989, The Cleveland Orchestra has presented a free concert in downtown Cleveland, with last summer’s for the ensemble’s official 100th Birthday bash. Nearly 3 million people have experienced the Orchestra through these free performances. This summer’s concert took place on August 7.

PHOTO BY ROGER MASTROIANNI

east Ohio together in new ways. Active performance ensembles and teaching programs provide proof of the benefits of direct participation in making music for people of all ages. Future Audiences. Standing on the shoulders of more than a century of quality music education programs, the Orchestra made national and international headlines through the creation of its Center for Future Audiences in 2010. Established with a significant endowment gift from the Maltz Family Foundation, the Center is designed to provide ongoing funding for the Orchestra’s continuing work to develop interest in classical music among young people. The flagship “Under 18s Free” program has seen unparalleled success in increasing attendance — with 20% of attendees now comprised of concertgoers age 25 and under — as the Orchestra now boasts one of the youngest audiences for symphonic concerts anywhere. con Innovative Programming. The Cleveland Orchestra was among the first Cl Clev American orchestras heard on a regular Ame series seri of radio broadcasts, and its Severance anc Hall home was one of the first concert halls hallll in the world built with recording and h broadcasting capabilities. Today, Cleveland b bro Orchestra concerts are presented in a variOrc 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 ball and opera presentations, and standard repertoire juxtaposed in meaningful contexts with new and older works. Franz con W lser-Möst’s creative vision has given the Wel Orchestra an unequaled opportunity to Orc explore music as a universal language of exp p communication and understanding. com

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 less than half of each season’s costs, the generosity of thousands each year drives the Orchestra forward and sustains its extraordinary tradition of excellence onstage, in the classroom, and for the community. Evolving Greatness. The Cleveland Orchestra was founded in 1918. Over the ensuing decades, the ensemble quickly

The Cleveland Orchestra

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 sound environment in which to perfect the ensemble’s artistry. Tour-

ing 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 at home throughout Northeast Ohio and 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 2019-20

The Cleveland Orchestra

T H E

C L E V E L A N D

Franz Welser-Möst MUSIC DIREC TOR

CELLOS Mark Kosower *

Kelvin Smith Family Chair

SECOND VIOLINS Stephen Rose* FIRST VIOLINS Peter Otto FIRST ASSOCIATE CONCERTMASTER

Virginia M. Lindseth, PhD, Chair

Jung-Min Amy Lee ASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith Chair

Jessica Lee ASSISTANT CONCERTMASTER

Clara G. and George P. Bickford Chair

Stephen Tavani ASSISTANT CONCERTMASTER

Takako Masame Paul and Lucille Jones Chair

Wei-Fang Gu Drs. Paul M. and Renate H. Duchesneau Chair

Kim Gomez Elizabeth and Leslie Kondorossy Chair

Chul-In Park Harriet T. and David L. Simon Chair

Miho Hashizume Theodore Rautenberg Chair

Jeanne Preucil Rose Dr. Larry J.B. and Barbara S. Robinson Chair

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

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

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.

Severance Hall 2019-20

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

The Cleveland Orchestra

HORNS Nathaniel Silberschlag* George Szell Memorial Chair

Michael Mayhew

Knight Foundation Chair

Jesse McCormick Robert B. Benyo Chair

Hans Clebsch Richard King Alan DeMattia

PERCUSSION Marc Damoulakis* Margaret Allen Ireland Chair

Donald Miller Tom Freer Thomas Sherwood KEYBOARD INSTRUMENTS Joela Jones* Rudolf Serkin Chair

TRUMPETS Michael Sachs* Robert and Eunice Podis Weiskopf Chair

Jack Sutte Lyle Steelman2 James P. and Dolores D. Storer Chair

Michael Miller CORNETS Michael Sachs* Mary Elizabeth and G. Robert Klein Chair

Michael Miller TROMBONES Shachar Israel2 Richard Stout Alexander and Marianna C. McAfee Chair

EUPHONIUM AND BASS TRUMPET Richard Stout TUBA Yasuhito Sugiyama* Nathalie C. Spence and Nathalie S. Boswell Chair

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

* Principal § 1 2

Associate Principal First Assistant Principal Assistant Principal

CONDUCTORS Christoph von Dohnányi MUSIC DIRECTOR LAUREATE

Vinay Parameswaran ASSISTANT CONDUCTOR

TIMPANI Paul Yancich* Otto G. and Corinne T. Voss Chair

Tom Freer 2 Mr. and Mrs. Richard K. Smucker Chair

The Musicians

Elizabeth Ring and William Gwinn Mather Chair

Lisa Wong DIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

In my view, the composer, just like the poet, the sculptor, or painter, is duty bound to serve humanity. He must beautify life and defend it. He must be a citizen first and foremost, so that his art can consciously extol human life. â&#x20AC;&#x201D;Sergei Prokofiev

THE

CLEVELAND ORCHESTRA FR ANZ WELSER- MÖST

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

Severance Hall

Thursday evening, September 19, 2019, at 7:30 p.m. Friday evening, September 20, 2019, at 8:00 p.m.

Franz Welser-Möst, conductor FRANZ SCHUBERT (1797-1828)

Symphony No. 3 in D major, D.200 1. 2. 3. 4.

Adagio maestoso — Allegro con brio Allegretto Menuetto Presto vivace

INTER MISSION SERGEI PROKOFIEV (1891-1953)

Act 1, from Romeo and Juliet, Opus 64 Introduction: No. 1: Andante assai — Scene One: No. 2: Romeo — No. 3: The Street Awakens — No. 4: Morning Dance — No. 5: Quarrel — No. 6: The Fight — No. 7: The Prince’s Command — Interlude: No. 8: L’istesso tempo — Scene Two: No. 9: Preparations for the Ball (Juliet and Her Nurse) — No. 10: Juliet as a Young Girl — No. 11: Arrival of the Guests (Minuet) — No. 12: Masks (Romeo, Mercutio, and Benvolio in Masks) — No. 13: Dance of the Knights — No. 14: Juliet’s Variation — No. 15: Mercutio — No. 16: Madrigal — No. 17: Tybalt Recognizes Romeo — No. 18: Gavotte (Departure of the Guests) — No. 19: Balcony Scene (Romeo and Juliet) — No. 20: Romeo’s Variation — No. 21: Love Dance

CLEVELAND ORCHESTRA RADIO BROADCASTS

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

Severance Hall 2019-20

Program: Week 1

September 19, 20 THI S WE E KE ND’S CONCE RT Restaurant opens: THUR 4:30 FRI 5:00

Concert Preview: BEGINS ONE HOUR BEFORE CONCERT

Concert begins: THUR 7:30 FRI 8:00

Severance Restaurant Reservations (suggested) for dining:

216-231-7373 or via www.UseRESO.com

CO N CE R T

P R E V I E W — Reinberger Chamber Hall

“Season Overview: 2019-20” Franz Welser-Möst, music director in conversation with Mark Williams, chief artistic officer

Durations shown for musical pieces (and intermission) are approximate.

SCHUBERT Symphony No. 3 . . . . . . . . . . . . . . . . . . . . . . page 29 (25 minutes)

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INTERMISSION (20 minutes)

PROKOFIEV Romeo and Juliet, Act One . . . . . . . . . . . . . page 35 (60 minutes)

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Concert ends:

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THUR 9:20 FRI 9:50

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This Week’s Concerts

The Cleveland Orchestra

INTRODUCING THE CONCERT

Schubert& Prokofiev

T H I S W E E K ’ S S E A S O N - O P E N I N G C O N C E R T S present music by two contrasting composers, Franz Schubert and Sergei Prokofiev, purposely paired for effect and understanding. Born a century apart, their musical languages are tellingly of their times — classically Romantic and warmly Modern. One was Austrian, the other Russian-Soviet. They each were prolific and masters of many forms, writing vast quantities of music and in many different genres — symphony, opera, chamber music, songs and choral works, and more. As Franz Welser-Möst discusses on the following pages, the idea to juxtapose the music of these two composers came to him across a number of years, through studying scores and leading performances. Pairing their music together brings out both their differences and commonalities, with their music featured in a number of concerts across the 2019-20 season. Both composers had a natural gift for melody, especially for the voice in Schubert and for the orchestra in Prokofiev. And both use a keenly honed sense and understanding of rhythm for telling effect. This is particularly evident in Prokofiev’s ballet music, including Romeo and Juliet, whose vitality is unmistakable and irresistible. Similarly, Schubert’s music seems driven by a pendulum-like pulse that resists interruption. In this week’s offering, the “The Kiss” — fi nale of Schubert’s Third Symphony is a good illustration of this a Romantic painting animated characteristic. by Francesco Hayez, from 1859. While Schubert is famous for his constant slipping from key to key, and particularly from major to minor and back, Prokofiev had a similar gift for playing with tonality in a teasing fashion. Keys can collide in dissonance or change the mood from bright to dark or from flippancy to sorrow in the passing of a moment. The first act of Romeo and Juliet, one of his finest scores, illustrates this mastery on almost every page. —Eric Sellen

Severance Hall 2019-20

Introducing the Concert

Franz Schubert

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

Born at the very end of the 18th century, Schubert was among the first composers of the Romantic era (moving beyond the Classical era of Mozart and Haydn, and with Beethoven bridging from Classical to Romantic). Schubert lived only 31 years, but was wildly prolific — writing a lot of music and many genres, including operas, symphonies, songs, and chamber music. He composed nearly 500 artsongs, or Lieder [lee-der] in German, creating small-scale masterpieces and bringing this artform to a pinnacle of Romantic storytelling, including defining examples of the song cycle as a genre. His music is filled with inventive and rich harmonies, an imaginative use of classical forms and formats, and a nearly endless gift for melody. Many of his pieces were unperformed and unpublished at his death, allowing for many rediscoveries — including such standard audience favorites as his “Unfinished” Symphony (No. 8) and the “Great” C-major Symphony (No. 9).

Sergei Prokofiev

born April 23, 1891 Sontsivka, Ukraine died March 5, 1953 Moscow

Born just before the start of the 20th century, Prokofiev’s talents as a pianist and composer propelled him to worldwide acclaim. His music bridged the divide between pre-Revolutionary Russia and the Stalinist Soviet era. He spent considerable time in exile in the 1920s and ’30s, before returning to his homeland, probably without fully understanding how different everyday living had become due to the communist form of government. He breathed new life into older musical forms, including the symphony, sonata, and concerto — and wrote prolifically in many other genres as well. He suffered criticism from the Soviet censors for some of his experimentation but, like his compatriot Shostakovich, wrote veiled resistance to official decrees into his music. His film, opera, and ballet scores brought him acclaim, as did his gift for melody, strong rhythmic statements, inventive scoring, and an ability to create or change an atmospheric soundscape almost instantly through choices of orchestration and coloring. His symphonies are often underrated, and can surprise today’s audiences with their power and beauty.

Two Composers

The Cleveland Orchestra

Franz Welser-Möst talks about pairing two composers . . .

S E R G E I

Q&A

PROKOFIEV Q: Please tell us about programming a season. How do you choose what pieces are played together on the same concert?

Fr a n z

Schubert

Franz: Some people think that planning a season

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must be a fun game — to find all the right pieces to fit together like a puzzle. Yes, there is certainly some enjoyment in it, but, in fact, it is a long and complicated process that takes much thought. We work on scheduling years in advance, and it is a constantly evolving process. It is hard and serious work, and involves the efforts of many people. Included in this is my own changing perspective — looking at pieces I’ve done before but with new understanding. And also new pieces. I am always searching for pieces, perhaps forgotten or neglected masterpieces, which I am examining closely to conduct for the first time. Every concert is unique, and I believe that each concert is as much about creating an emotional journey for the audience as it is a musical one.

Q: One of your focuses this season is pairing works written by Franz Schubert and Sergei Prokofiev. What’s the idea behind this?

Franz: Schubert has been an important composer all my life. When I was in my teens, I was in a car accident, and it took place on the 150th anniversary of Schubert’s death, almost to the hour of the day. I was travelling from playing in one performance of Schubert to another. I was studying to be a violinist then. And I thought about many things during my recovery period, understanding

Franz Welser-Möst Q&A

each of these composers was looking both to the past, to history, and also forward beyond their own time. From our understanding today, now that we are further along the road of music history, we can begin to see how these different channels of thought progressed in the larger river of music’s evolution.

Q: Please talk some more about what that my musical journey would no longer be as a violinist. Schubert’s music was very much present in my mind, and I have always been drawn to his scores. And he wrote a lot of music! — all kinds, chamber and orchestral, choral and songs. Prokofiev was a very different kind of man, writing very different music. But Prokofiev, like Schubert, wrote quite a lot of music, all kinds of music. And I believe their music works well together because of contrasts between them. And, just as importantly, I also believe there are certain similarities of how they wrote and how their music works in performance, which can make them well-suited to hear together and in the context of one another. Perhaps these two are not as obvious a pairing as Beethoven and Shostakovich, which I examined with the Orchestra a number of years ago, where politics and music were clearly intertwined — and where Shostakovich’s own words told us directly of his debt to Beethoven. Schubert and Prokofiev are, perhaps, more similar to when I paired works by Anton Bruckner with John Adams, each sharing kernels of musical patterns and contrasts, one older and one newer. With all of these pairings, in fact,

connects Schubert and Prokofiev’s music together.

Franz: For both composers, one thing that many people will notice and remember is how melodic their music is. Both men were masters of melody. Prokofiev’s tunes, perhaps, are more modern than Schubert’s, but melody was very important for both of them. That said, and this a crucial connection and very much the same for both of them, there is almost always something else going on underneath that melody that is just as important. And, in performance, it is essential to balance these layers, to let the different layers be heard in commenting on one another. In one sense, this pairing is a lesson, perhaps, in understanding melancholy, of revelling in sadness as a joy. This is certainly true with Schubert’s music. For Prokofiev, similarly, this meaning underneath the surface is often filled with sarcasm. Prokofiev’s sarcasm is more subtle than Shostakovich’s, but, again, it is this sharing of subtlety that brings Schubert and Prokofiev together. Perhaps sarcasm was for the 20th century what melancholy was for the Romantics, helping to illuminate the layering of meaning within their music. With Prokofiev, certainly, if you sim-

Q&A Schubert & Prokofiev

The Cleveland Orchestra

ply go for the effect of the melody, and play the music without tying the parts together, you are missing the point. There is also meaning underneath that must be captured and made part of the performance. And in many ways this is the emotional depth, which both of them could bring to music. With Schubert, I think it is remarkable that even when a specific piece is large in scale, for performers and listeners it is often the small details that are important in making clear the larger meaning of his music. There is this sense of intimacy that draws us in and captures us. For example, if you look at Prokofiev’s Romeo and Juliet, this big ballet score for large orchestra, and yet the feeling of intimate love that this composer could write is incredibly strong. Similarly, in Schubert, there is a clear sense of time moving on, so that we might say “the clock is always ticking.” There is a pulse that drives the music forward. Referring to the second movement of the Great C-major Symphony, in my student days we disrepectfully called this one of Schubert’s “graveyard polkas,” a dance that keeps dancing. There is a sense of living and mortality here, that life is a limited engagement. There is joy and uncertainty. Prokofiev does this too, but with his added sarcasm. It is sometimes almost like a ticking time-bomb or straight-jacket — there is a pulse that both propels the music forward and fights with it. I have attended performances of Schubert where everything is too fast, where the conductor is pushing too hard, almost like whipping a horse across the finish line. But this misses a crucial part, again, of forcing the melody, of blurring the harmonic progressions, so that the Severance Hall 2019-20

music no longer makes sense. For both Schubert and Prokofiev, balance is important, to be able to hear how the different layers and the changing harmonies comment on and affect one another. And ultimately, for both composers, it is essential to let this music sing. The music must breathe, just as a singer does. There is a reason that Schubert wrote so many songs — because he could capture the essence of emotion into phrasing and accompaniment, tying together meaning and music. And his symphonies do this, too. So many of his dance movements especially are like ballads for a singer, only written for the orchestra. As I said at the start, this pairing, of Schubert and Prokofiev took me some years to recognize. The connections are subtle, in their similarities and contrasts, but also related to how their music comes to life in performance. I am very much looking forward to exploring these two together, with the musicians of the Orchestra and with the audience.

Q: Any closing thoughts about choosing concert programs and pieces?

Franz: I believe that part of every season should be about discovery. Not just playing things we know and love, but pieces that are new to us. For me, too, it is important to study and learn new works, and to encourage a curiosity about the many shapes and styles of music — for the audience, within the Orchestra, and for myself. This kind of exploration keeps us alive and helps us to understand and share music as a language in new ways. And there is no better place to explore music than at Severance Hall here in Cleveland.

Franz Welser-Möst Q&A

Get drawn in.

Immerse yourself in the genius of Michelangelo’s creative process.

September 22–January 5 | Tickets on sale now! Organized by the Teylers Museum in collaboration with the Cleveland Museum of Art and the J. Paul Getty Museum. This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. Major Sponsors Josie and Chace Anderson Sam J. Frankino Foundation Bill and Joyce Litzler

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Seated male nude, separate study of his right arm (recto) (detail), 1511. Michelangelo Buonarroti (Italian, 1475–1564). Red chalk, heightened with white; 27.9 x 21.4 cm. Teylers Museum, Haarlem, purchased in 1790. © Teylers Museum, Haarlem

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Symphony No. 3 in D major, D.200 composed 1815

At a Glance

Franz

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

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Schubert wrote his Symphony in D major, later designated as his Third Symphony, between May and July 1815. Performances during the composer’s lifetime are unknown. The first documented performance of the entire symphony took place in London in February 1881. This symphony runs about 25 minutes in performance. Schubert scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets,

timpani, and strings. The Cleveland Orchestra first performed this symphony in March 1963 under the direction of Robert Shaw. It was most recently presented in 1997. Historical note: Schubert’s Third Symphony was the opening piece on Franz Welser-Möst’s very first concert program with The Cleveland Orchestra, over a quarter century ago, in February 1993.

About the Music S C H U B E R T L E F T S C H O O L at the age of sixteen and went

to teach at the school where his father had been teaching for many years. This had the benefit of exempting him from military service, for which, with Napoleon still prowling around Europe, he must have been grateful. But Schubert felt no vocational call toward teaching and its duties irked him, since he knew he would much rather be composing music and playing it with his friends. Regardless of his attitude toward his teaching duties, Schubert wrote a bewildering quantity of music of every kind during these years, as if he had no real job occupying his time. Four symphonies (what we know as nos. 2-5), three string quartets, several Masses, piano pieces, an opera, and innumerable songs flowed from his pen before he was eighteen. Symphony No. 3 was begun on May 24, 1815, but then set aside. Two days later, he composed seven songs; why they had priority of his time and attention over the symphony is anyone’s guess. By the time Schubert came back to work on the symphony, Napoleon had been defeated at the Battle of Waterloo on June 18th. He finished the first movement on July 11th-12th, then wrote three more songs on the 15th, and completed the symphony on the 19th. Within a week after that, he had started a new opera. A performance of any of these early symphonies at the time they were written is very unlikely. Although Schubert maintained contact with his old school, the “Stadtkonvikt,” whose orchestra might have given them an airing, there is no documentation to About the Music

tell us that such semi-private performances took place. Like so much of Schubert’s music, many of his greatest pieces had to wait for many years after his death before they were unearthed and performed — to an amazed, admiring audience. The last movement of No. 3 was heard in Vienna in 1860, but the whole series of five early symphonies weren’t first played until the 1880s, in London. Those performances took place through the agency of George Grove, founder of Grove’s Dictionary of Music, who had spent time in Vienna with the young Arthur Sullivan particularly to find out everything about Schubert they could. THE MUSIC

Schubert’s early symphonies invariably convey a sense of divine fluency, as if the music simply flowed unbidden from the composer’s pen, as indeed it must have done. There is never hesitation, and the melodies are graceful and beautifully shaped, with harmony that never jars. No wonder his music teacher at the Stadtkonvikt remarked, “He has learnt everything from God, that lad.” In Schubert’s music, it is fascinating to observe both how closely he followed in Beethoven’s footsteps and how freely he departed from them. By the time Schubert came to maturity, Beethoven was unchallenged as the focal figure in Vienna’s music arena, already world-famous — and notably eccentric and unpredictable both in his social life and his music. Surprisingly, Schubert had almost no personal contact with Beethoven, but he could not help learning a great deal from the master’s many scores, especially when composing sonatas, quartets, or symphonies. Since Beethoven had demonstrated in all manner of ways how to break the rules of classical form inherited from Haydn and Mozart, Schubert was free to do so too, but he did it in his own way, not in Beethoven’s. The custom of beginning a symphony’s opening movement with a slow introduction was established by Haydn as a strong way to start a symphony, and for this symphony Schubert was happy to fall in line. Here, his introduction to the first movement features an upward-rushing scale that will play a prominent part in the movement’s main Allegro section, especially at the end. This Allegro is a feast for the woodwinds, who present all the tunes. The oboe gets the playful second subject — but when it returns later in the movement, it is passed, seemingly as a courtesy, to the clarinet.

About the Music

The Cleveland Orchestra

Schubert, painted in 1825 by Wilhelm August Rieder

My music is the product of two interacting forces, of my creative talent and my misery. â&#x20AC;&#x201D;Franz Schubert

There is a divine simplicity about the slow second movement, with its easy Allegretto pace and Haydnesque tune. The middle part of the movement is rather different in character (and, depending on the performance, in tempo), as if Schubert had material for two slow movements and couldn’t decide which to keep. The clarinet is again favored, and then the opening section is reprised unaltered. Horns, trumpets, and drums are prominent in the Menuetto third movement, whose Trio is a delicate duet for oboe and bassoon in the style of a waltz. Like the first movement, the finale fourth movement plays games with the conventional sequence of keys, but the unstoppable rhythm carries the listener on from tune to tune, and we get the sense that Schubert is almost enjoying himself too much to bring this music to an end.

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About the Music

The Cleveland Orchestra

CELEBRATING

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THE RIEMENSCHNEIDER BACH INSTITUTE

Join our year-long celebration— exhibits, lectures and concerts, each connecting Bach to another strand of music history. bw.edu/BachInstitute50 BACH & BEYOND BW Symphonic Wind Ensemble Friday, October 4, 7 p.m. “Toccata and Fugue in D Minor” transcribed by Hunsberger, “Beyond”with Josh Ryan as soloist in Higdon’s “Concerto for Percussion and Wind Ensemble” and “Beyond” by Hokoyama conducted by Dr. Brendan Caldwell.

BACH & THE KEYBOARD Faculty Lecture & Recital Wednesday, October 16, 7 p.m.

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Dr. Christina Fuhrmann, BACH Journal editor, and Dylan Sanzenbacher ’20 present a Lecture Recital exploring the RBI’s world-renowned collection of manuscripts and editions of Bach’s “The Well-Tempered Clavier.”

BACH & BEETHOVEN Friday, November 1, 7 p.m. Dr. Soo Han leads the BW Symphony Orchestra in a program featuring Beethoven. The RBI’s rare Beethoven first editions will be highlighted.

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Saturday, November 23, 7 p.m. Dr. Julian Ross, violin, and Dr. Robert Mayerovitch, piano, present a program inspired by the holdings of the RBI. Bach/Schumann’s “Gavotte en Rondeau from the E Major Partita,” Freund’s “Sonapartita” (Noch Nach Bach), Bach’s Sonata in C Minor, BWV 1017 and Franck’s Sonata in A Major.

The Riemenschneider Bach Institute, RBI, is a renowned research center at Baldwin Wallace University that houses rare items related to J. S. Bach and a vast musical collection—from Bach to American hymnody, Beethoven symphonies, Musical Theatre and much more.

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Act One from Romeo and Juliet, Opus 64 composed 1934-35

At a Glance

Sergei

PROKOFIEV born April 23, 1891 Sontsivka, Ukraine died March 5, 1953 Moscow

Severance Hall 2019-20

Prokofiev wrote his ballet score Romeo and Juliet in 1934-35. Although started at the suggestion of Leningrad’s Kirov Theater and completed as a commission for Moscow’s Bolshoi Theater, both companies declined to present the ballet and the score was left unperformed. Some of the music was instead premiered at a symphony concert in Moscow in October 1935. Prokofiev subsequently prepared two suites of numbers, and a third suite several years later, for use in the concert hall. They were premiered in November 1936 (Suite No. 1), April 1937 (No. 2), and March 1946 (No. 3). The ballet was staged for the first time in 1938 in Brno, Czechoslovakia.

The music for Act One runs about 55-60 minutes in performance. Prokofiev’s score calls for piccolo, 2 flutes, 2 oboes, english horn, 2 clarinets, bass clarinet, tenor saxophone, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, cornet, 3 trombones, tuba, timpani, percussion (snare drum, triangle, cymbals, bass drum, tambourine, xylophone, bells), harp, piano, and strings. The Cleveland Orchestra first presented music from Prokofiev’s Romeo and Juliet in 1946. The music has been presented with increasing frequency since that time, most recently when Stéphane Denève led a suite of excerpts in October 2016.

About the Music A F T E R F I F T E E N Y E A R S away from his homeland, spent mostly in France and the United States, Prokofiev felt a complicated urge to return to Russia. Just how much he really understood the Soviet system and lifestyle then in place is a vexed question, for even if he knew that the liberal attitude to the arts that characterized the early years of the Revolution was no longer apparent, he can hardly be blamed for failing to foresee the full extent of Stalin’s repressive rule. By 1936, when Prokofiev’s family finally settled in Moscow, the signs of harsh times ahead were clear, but in 1933, as he felt the pull homeward, he was accepting commissions from inside Russia and paying more frequent visits there with good prospects of productive years ahead. The Kirov Theater in Leningrad wanted a new ballet from Prokofiev, recognizing his gifts as a ballet composer already evident in The Steel Step (1926), The Prodigal Son (1929), and On the Dnieper (1931) — all successfully premiered in Paris. As a subject, Prokofiev suggested Romeo and Juliet. The Kirov was unhappy with the idea, so he signed a contract with Moscow’s Bolshoi Theater instead. Here too there were difficulties, however, because it was thought improbable that the dying About the Music

The Last Kiss of Romeo and Juliet, painting by Francesco Hayez, 1823.

lovers should dance. A happy ending was the first solution, and with this unlikely dénouement, the score was completed in the summer of 1935. But the happy ending was rejected by Soviet censors and the ballet as a whole viewed as unsuitable for dancing. With no immediate prospect of a staged performance, Prokofiev revised the whole work and made two orchestral suites from the 52 numbered sections which make up the ballet. Each of his suites featured seven of these movements. He also arranged ten pieces for piano. The public first heard this music in concert, in the form of the composer’s suites. The ballet was eventually staged for the first time in the city of Brno, then part of Czechoslovakia, in December 1938. It was staged at the Kirov Theater in January 1940. (Prokofiev made a third suite, with six movements, in 1946.) Despite the challenges surrounding its birth, Prokofiev’s Romeo and Juliet ultimately became a triumph around the world, challenging dancers and choreographers in its storytelling, but with great passion and melody carrying its music forward, and justly capturing the dramatic tragedy as it unfolds. In the concert hall, or danced onstage, it has become one of Prokofiev’s signature scores. THE MUSIC

Prokofiev had a natural gift for ballet music, with an easy command of brittle rhythms and memorable melodies, some of which cover several octaves. He was not afraid to compose in clear-cut phrases, while his essentially tonal language is speckled with piercing dissonances, like unique and attractive “blemishes” in a Persian rug. The ballet’s orchestration is a marvel, with every color brilliantly blended and every instrument shown at its best. The accompanying music is often in a staccato style (notes detached and clearly articulated). The breezy, nonchalant style of much of the music can quickly be touched with more tragic feelings — a gift that Shakespeare himself displayed in Romeo and Juliet and other plays. Prokofiev’s scenario follows the play selectively, omitting certain scenes, most notably the scene of reconciliation at the end. Act One of the ballet covers the first two acts of Shakespeare’s play, with the ball at the Capulets used as a central focus, where Romeo espies Juliet for the first time and falls hopelessly in love. The act concludes with the famous balcony scene. The twenty-one short movements of Act I are as follows: No. 1 — Introduction: Three important themes are quietly presented — a cadential phrase that will be important in Act III, Severance Hall 2019-20

About the Music

then a rising theme on the violins that represents the young Juliet, and then a broader theme for Romeo on the clarinet. The sequence could be reduced to: theirs — hers — his. Scene One. No. 2 — Romeo: His innocence is presented as a simple entry on the bassoon and a violin tune, neither of which stay with him in the later drama. But the beautiful closing cadence will be heard again. No. 3 — The Street Awakes: People out early on the streets of Verona. A bassoon has the cute tune. No. 4 — Morning Dance: This music is a little speedier now, even jaunty, with thumping horns and a creamy tenor sax. No. 5 — Quarrel: Montagues and Capulets cannot conceal their hatred of each other. The tempo is steadily faster, with timpani, cymbals, and high strings voicing their rage. A colossal discord at the end promises real violence to come. No. 6 — The Fight: Faster still, with the violins at top speed representing the flash of blades, while the brass wield heavy clubs. No. 7 — The Prince’s Command: Prokofiev builds two huge discords, while the strings softly call for peace on the streets. No. 8 — Interlude: This is a noisy movement, mostly for brass and percussion with the option of a “banda,” offstage extra brass often used in Italian opera. Scene Two. No. 9 — Preparations for the Ball (Juliet and Her Nurse): The bassoon’s earlier tune returns. No. 10 — Juliet as a Young Girl: Her tender years and uncertain character are shown in the scampering strings. She is also a bit michievous, teasing and obstructing her nurse. Her theme from the Introduction is heard, now on the clarinet, but nearer the end, the music hints of tragedy. No. 11 — Arrival of the Guests: The music for the Capulets’ ball is a pompous minuet, with a cornet solo and other episodes between refrains. No. 12 — Masks. Uninvited and stealthy, Romeo, Mercutio, and Benvolio steal in with masks on. A steady tread from the percussion, along with some piquant harmony, introduce a graceful melody on the violins. As the three Montagues go into the ballroom, the strings spread out in rich harmony. No. 13 — Dance of the Knights: The heavy striding theme superbly illustrates the haughty Capulets. A middle section is in slow waltz time — because there are ladies present, too. A dreamy flute solo with viola glissandos and a recall of Juliet’s theme from the Introduction (now on the oboe), tells us that she is also here. She is

About the Music

The Cleveland Orchestra

dancing with her cousin. No. 14 — Juliet’s Variation: The dreamy flute solo continues, with her broader theme from the Introduction. Romeo is looking on, entranced. No. 15 — Mercutio: He is playful but hot-headed. No. 16 — Madrigal: This movement is rich in tunes, for the lovers’ first exchanges. No. 17 — Tybalt Recognizes Romeo: Juliet’s brutish kinsman is enraged at seeing Romeo at the ball. “Fetch me my rapier!” No. 18 — Gavotte (Departure of the Guests): Prokofiev seizes the opportunity to recycle and extend the third movement of his Classical Symphony. No. 19 — Balcony Scene: After two versions of a delicate three-chord cadence, an organ solo is heard while Juliet says her prayers. Romeo appears with a few deft leaps. His declaration of love (cellos and english horn) has a certain stateliness, not the torrid rapture that one might expect, but always expressed as movement and gesture. No. 20 — Romeo’s Variation: More passionate still. No. 21 — Love Dance: With a surge of sound and a great melody in the background, the love scene grows to a big climax. The act closes with Romeo’s theme from the Introduction supported by filigree figurations, and the magical three-chord cadence. We are left recalling Juliet’s lines: How silver-sweet sound lovers’ tongues by night, Like softest music to attending ears! —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.

Severance Hall 2019-20

About the Music

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The Cleveland Orchestra

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THE CLEVELAND ORCHESTRA

Spring festival to foster discussion about the role of art in society, government censorship, and prejudice The Cleveland Orchestra has announced the name of its groundbreaking citywide festival, Censored: Art & Power, scheduled for spring 2020. The festival is centered around the Orchestra’s performances of Alban Berg’s opera Lulu in May 2020, and seeks to spur discussion about the role of art in society, government censorship, and prejudice, taking as a starting point the Degenerate Art & Music movement in Nazi Germany. As a major focal point of the Orchestra’s 2019-20 season, the festival will feature a variety of collaborative presentations surrounding and leading up to the opera performances (May 16, 19, and 22). Newly-announced details include: Education programming in collaboration with Facing History and Ourselves, which will provide Cleveland area teachers and students with resources to help them engage in meaningful conversations about racism, prejudice, and anti-Semitism; An exhibit at the Cleveland Museum of Art honoring artists from its collection whose work was removed by Nazis and featured in Germany’s 1937 Degenerate Art presentations; A Cleveland Institute of Art Cinematheque screening of G.W. Pabst’s 1929 German film Pandora’s Box, which was inspired by the same plays in Frank Wedekind’s “Lulu” cycle that Berg adapted for the libretto of his opera; And a series of lectures hosted by Beachwood’s Maltz Museum of Jewish Heritage. Additional details of these and other partner events will be announced in the months ahead. During the festival in May 2020, The Cleveland Orchestra and music director Franz WelserMöst will focus on the opera Lulu, which German composer Alban Berg wrote during the Nazi rise to power in the early 1930s. Looking at both the abusive and oppressive subject matter of the opera itself and how government censorship halted the work’s premiere, the Censored: Art & Power festival is designed to explore the ways in which music and composers at the time were damaged by the prejudice, propaganda, political control, and hate that surrounded what became

Severance Hall 2019-20

FE STIVAL 2O2O

ART & POWER known as the Degenerate Art & Music movement instigated across Germany in the decade before the Second World War. In addition to banning artworks, musical performances, and literature that didn’t conform to the Third Reich’s idea of classical beauty, the Nazi Party held a series of widely-attended public exhibitions providing examples of art and music it believed was harmful or decadent — due to Jewish, Communist, African American, Modernist, and other minority influences. “One of the highlights of this coming season is the opera Lulu,” says Franz Welser-Möst. “It is an intense and challenging work both musically and in its subject matter. Yet this kind of programming is successful in Cleveland because we have such an extraordinary, adventurous, and open audience.” “With the festival we are creating around Lulu,” he continues, “we will look at the relationship of art and politics in Berg’s lifetime — of how certain music in the 1920s and ‘30s was politically abandoned and prohibited. We are featuring works by Erwin Schulhoff, Ernst Krenek, and others — works that the Nazis labeled ‘Entartete Musik’ or Degenerate Music.” “It was a period of autocratic, authoritarian regimes who condemned any artistic expression outside of their narrow view with a heavy hand. Artists and their work were prohibited through censorship. Just as the character of Lulu is abused and abusive in her own way, we will look into how music and art can be abused by a system — and how a system can turn people on one another. These are important topics, not only from the past but also in today’s world,” says Welser-Möst.

Cleveland Orchestra News

orchestra news New subscriber-donor lounge launched with 2019-20 season at Severance Hall The Cleveland Orchestra inaugurates a new subscriber benefit with the start of the 2019-20 season. Named the Lotus Club, this stylish and contemporary lounge was designed by Arhaus Furniture and encourages members to celebrate the rich history and elegant decor of Severance Hall — in an intimate space featuring cozy seating areas and an impressive selection of light bites, local beers, spirits, and other refreshments. The Club is located in the Taplin Room just off the main level of the concert hall; access is also available from the building’s groundfloor and via a special members entrance to Severance Hall along Euclid Avenue. The Lotus Club is open two hours before the Orchestra’s classical subscription series concerts and during intermission throughout the entire season. Two levels of membership

THE LOTUS CL AT SE VE R AN CE

THE CLEVELAND ORCHESTRA

HA LL

are available. Patrons with a subscription of four or more concerts who donate $600-$2,499 to the Annual Fund receive Platinum Membership cards and have unlimited access to the Lotus Club. Patrons with a subscription of four or more concerts donating $150-$599 receive Gold Membership cards, providing access to the Club once per season. In addition to light food and beverage service provided by Marigold Catering, the lounge features private restrooms, televisions, and a variety of entrance options. For information about becoming a Lotus Club member, please contact the Orchestra’s Ticket Office at 216-231-1111 or 800-686-1141.

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THE CLEVELAND ORCHESTRA

Franz Welser-Möst receives Kennedy Center Gold Medal

New principal horn joins Orchestra starting in August

Cleveland Orchestra music director Franz Welser-Möst was awarded a gold medal in the Arts by the Kennedy Center International Committee on the Arts at a ceremony held in Vienna’s Albertina Museum in June. The award was given in recognition of Welser-Möst’s longlasting impact on the international arts community. “I am deeply humbled and honored to receive this award,” said Franz Welser-Möst at the time of the award. “I have long had an abiding respect and appreciation for the Kennedy Center’s dedication and commitment to the international arts community. Because I was born and raised in Austria, I am especially proud to participate in this presentation in Vienna, where many of my formative and enduring music moments occurred — and where I value the significant collaborations I’ve had over many years at the Musikverein with the Vienna Philharmonic and The Cleveland Orchestra.” “Over the course of his career,” said Cleveland Orchestra president & CEO André Gremillet, “Franz Welser-Möst has served as a transformative music director, inspirational leader, progressive educator, and visionary creative spirit. His innovative perspective and tireless dedication to the arts community, both in Cleveland and abroad, have shown us what’s possible through the extraordinary power and passion of music. The Cleveland Orchestra is proud to witness this remarkable and deserving achievement.” Recipients of this year’s awards were honored at two Kennedy Center Arts Gold Medal ceremonies. The first took place on June 18 in Budapest, and the second on June 21 in Vienna. In addition to Welser-Möst, the 2019 award recipients include conductors Ádám Fischer and Iván Fischer, composer-pianist György Kurtág, and Hungarian soprano Éva Marton, as well as composer Iván Eröd, Salzburg Festival president Helga Rabl-Stadler, and actor Christoph Waltz.

The newest member of The Cleveland Orchestra began playing with the ensemble the week of August 5 at Blossom. Nathaniel Silberschlag was appointed principal horn of The Cleveland Orchestra in May 2019. He holds the George Szell Memorial Endowed Chair. Silberschlag previously served as assistant principal horn of the Washington National Opera/Kennedy Center Opera House orchestra, where he was the youngest member ever to win a position with the ensemble, at the age of 19. He completed his bachelor of music degree from New York’s Juilliard School in May 2019, where he was a student of Julie Landsman and recipient of the Kovner Fellowship. Born in Leonardtown, Maryland, in the Chesapeake region, Nathaniel Silberschlag comes from of a family of sixteen professional musicians across several generations. He is the third generation of his family to attend the Juilliard School. As soloist, Silberschlag has performed with the Juilliard Orchestra, Bulgarian Philharmonic, Romania State Symphony, New York’s Little Orchestra Society, and the Chesapeake Orchestra. He has also played concerts with a variety of ensembles, including the New York Philharmonic and Orpheus Chamber Orchestra. At the John F. Kennedy Center for the Performing Arts, Silberschlag became a graduate of the National Symphony Orchestra Youth Fellowship program under the tutelage of Sylvia Alimena. He also spent two summers in the Kennedy Center’s Summer Music Institute. He was a fellow at the Music Academy of the West in the summers of 2017 and 2018, and in 2018 was named one of ten Zarin Mehta Fellows to perform with the New York Philharmonic as part of their 2018 Global Academy. Since 2007, he has been a participant fellow at Italy’s Alba Music Festival, and also attended the Eastern Music Festival in 2016. He is a member of the New York Festival Brass Quintet.

Severance Hall 2019-20

Cleveland Orchestra News

My Cleveland Orchestra Journey From high-school student to professional musician by Eliesha Nelson, viola

My name is Eliesha Nelson, and while I’ve been a violist in The Cleveland Orchestra for nineteen years, my journey with this incredible ensemble and organization truly began thirty years ago when I auditioned for one of America’s premier training ensembles for high-school students, the Cleveland Orchestra Youth Orchestra, known affectionately inside Severance Hall as “COYO” (pronounced “coy-oh”). I'm truly honored and proud to be the first-ever COYO alum to become a Cleveland Orchestra musician. I joined the Youth Orchestra in 1989 after moving from Alaska to study in the Cleveland Institute of Music’s Young Artist Program. Attending a new high school and living in a new city without my family was difficult, but COYO quickly became my home away from home.

Every time I pick up my instrument, I am reminded that the many hours of practice are ultimately for the audience, to help concertgoers of all ages make an emotional connection to the music.

I am grateful for those formative years and for the incredible opportunities COYO afforded me. I was able to learn from some of the world’s greatest musicians who taught me how to craft a musical phrase that touches the heart of the listener – a skill and understanding that still influences my playing today. The Cleveland Orchestra Youth Orchestra not only gave me world-class training in classical music, it taught me to listen, to observe, and to empathize at an impressionable time in my life. Now every time I pick up my instrument, I am reminded that the many hours of practice are ultimately for the audience, to help concertgoers of all ages make an emotional connection to the music.

I know from talking with other COYO alums (three of whom are my colleagues at The Cleveland Orchestra!) that even those who haven’t pursued music as a profession benefited from their studies, and truly value music and the arts as a vital part of experiencing and understanding life. As an Orchestra musician, I have the honor of coaching today’s bright COYO students who will go on to excel in a variety of fields. It is so special that I can now give back to these hard-working young For more information on COYO, people in the same way others did for me all please contact Lauren Generette: those years ago, and it’s a beautiful reminder of phone: 216-231-7352 email: coyo@clevelandorchestra.com the importance of music education. A portion of operating support for the Cleveland Orchestra Youth Orchestra is generously provided by the Martha Holden Jennings Foundation. Endowment support is provided by The George Gund Foundation and Christine Gitlin Miles. Touring support provided by the Jules and Ruth Vinney Cleveland Orchestra Youth Orchestra Touring Fund.

To support COYO, please visit clevelandorchestra.com/donate or contact Joshua Landis: phone: 216-456-8400 email: donate@clevelandorchestra.com

A Musicians’ Journey

The Cleveland Orchestra

orchestra news New exhibit from the Orchestra’s Archives features drawings, doodlings, and commentary The new season brings new displays of artifacts from The Cleveland Orchestra’s extensive Archive collection. In the Humphrey Green Room, archivists Andria Hoy and Deborah Hefling have created an exhibit titled “On the Stands,” exploring the range of drawings, comments, and doodlings that Cleveland Orchestra musicians have created surrounding (and during) rehearsals across the years. Rehearsals are, of course, a time of intense concentration working out details for upcoming performances. But, keeping a watchful eye (and ear) on the proceedings, a number of creative musicians have added their own thoughts to scores or in taking the opportunity to sketch colleagues and guest artists. The Green Room exhibit can be viewed during intermissions, just off the main seating level of the Severance Hall concert hall. Many of the inventive statements on display were created on the music stands custombuilt — at the cost of $5 each — by local craftsmen for the opening of Severance Hall in February 1931. This is a unique view of the Orchestra’s artistry, conveyed with pencil and pen rather than harp and horn. Other exhibits can be found on the groundfloor in the Lerner Gallery, and in the Magic Box located just outside the concert hall near the Bogomolny-Kozerefski Grand Foyer, as well as a new permanent exhibit dedicated to the Orchestra’s founding manager, Adella Prentiss Hughes, in the Rankin Board Room. Severance Hall 2019-20

THE CLEVELAND ORCHESTRA

I.N M.E .M.O.R.I. A .M

Famed Cleveland architext Peter van Dijk (1929-2019) The Cleveland Orchestra joins in mourning the death of architect Peter van Dijk, who designed the orchestral Pavilion for Blossom Music Center. He died on Setpember 7, 2019, at the age of 90. Van Dijk was nationally recognized for his innovative design for Blossom’s open-air pavilion, completed in 1968 in Cuyahoga Falls as the summer home of The Cleveland Orchestra. Over 21 million music-lovers have attended events at Blossom across 52 seasons, in a wide variety of genres in addition to classical symphonic concerts. Blossom’s success helped van Dijk’s firm, now DLR Group Cleveland, develop a global practice in designing performing arts centers, theaters, and concert halls. He was a strong modernist, eager to express structure and function in bold, clear shapes while utilizing contemporary materials including glass and steel. Van Dijk was also a committed preservationist and played a leading role in the 1970s in drawing up a masterplan to save Cleveland’s Playhouse Square downtown. The entire Cleveland Orchestra sends condolences and best wishes to Peter’s wife Bobbi and family. We are proud that his designs for Blossom Music Center stand as a lasting part of his legacy as an architect and his love of the arts.

Peter van Dijk and George Szell at Blossom, 1968

Cleveland Orchestra News

orchestra news THE CLEVELAND ORCHESTRA

I.N M.E .M.O.R.I. A .M The Cleveland Orchestra notes the death of retired musician Ronald Phillips, and extends condolences to his family and friends. Phillips served as a bassoonist with the Orchestra for 38 years, having first joined with the 1960-61 season. During his tenure, he served a number of seasons as assistant personnel manager and was assistant principal bassoon for 21 seasons. He retired in 2001. Ron Phillips died on June 17, 2019, at the age of 84. Born in Illinois, his family moved to Cleveland when he was eight. In school band, he was fascinated by the bassoon because of its unusual shape. He studied with George Goslee, then principal bassoon of The Cleveland Orchestra before attending Eastman Conservatory and serving in the U.S. Navy Band. He taught both privately and at a number of Northeast Ohio colleges.

THE CLEVELAND ORCHESTRA

Friends autumn fundraiser features bluegrass and jeans on Sunday, October 20 The volunteers of Friends of The Cleveland Orchestra present an evening of music and fun on Sunday, October 20, from 5:30 p.m. to 9:00 p.m. The event features a performance by the Cleveland Bluegrass Orchestra, comprised of five Cleveland Orchestra musicians playOF THE ing favorite downCLEVELAND ORCHESTRA home tunes and original arrangements. The casual-attire event takes place at the Music Settlement’s “The Bop Stop” (2920 Detroit Ave in Ohio City). With honorary chair Robert Conrad, the event is raising funds to support the Orchestra’s “Mindful Music Moments” program. Tickets begin at $150. For more information or to make reservations, please call 216-408-0450.

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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 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, 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 2019-20

Cleveland Orchestra News

Musicians Emeritus of

T H E

O R C H E S T R A

C L E V E L A N D

Listed here are the living members of The Cleveland Orchestra who served more than twenty years, all of whom now carry the honorary title of Emeritus. Appointed by and playing under four music directors, these 40 musicians collectively completed a total of 1405 years of playing in The Cleveland Orchestra — representing the ensemble’s ongoing service to music and to the greater Northeast Ohio community. Listed by instrument section and within each by retirement year, followed by years of service. FIRST VIOLIN Keiko Furiyoshi 2005 — 34 years Alvaro de Granda 2 2006 — 40 years Erich Eichhorn 2008 — 41 years Boris Chusid 2008 — 34 years Gary Tishkoff 2009 — 43 years Lev Polyakin 2 2012 — 31 years Yoko Moore 2 2016 — 34 years SECOND VIOLIN Richard Voldrich 2001 — 34 years Stephen Majeske * 2001 — 22 years Judy Berman 2008 — 27 years Vaclav Benkovic 2009 — 34 years Stephen Warner 2016 — 37 years VIOLA Lucien Joel 2000 — 31 years Yarden Faden 2006 — 40 years Robert Vernon * 2016 — 40 years CELLO Martin Simon 1995 — 48 years Diane Mather 2 2001 — 38 years Stephen Geber * 2003 — 30 years Harvey Wolfe 2004 — 37 years Catharina Meints 2006 — 35 years Thomas Mansbacher 2014 — 37 years BASS Harry Barnoff 1997 — 45 years Thomas Sepulveda 2001 — 30 years Martin Flowerman 2011 — 44 years

FLUTE/PICCOLO John Rautenberg § 2005 — 44 years Martha Aarons 2 2006 — 25 years OBOE Elizabeth Camus 2011 — 32 years CLARINET Theodore Johnson 1995 — 36 years Franklin Cohen * 2015 — 39 years Linnea Nereim 2016 — 31 years BASSOON Phillip Austin 2011 — 30 years HORN Myron Bloom * 1977 — 23 years Richard Solis * 2012 — 41 years TRUMPET/CORNET Charles Couch 2 2002 — 30 years James Darling 2 2005 — 32 years TROMBONE James De Sano * 2003 — 33 years Thomas Klaber 2018 — 33 years PERCUSSION Joseph Adato 2006 — 44 years LIBRARIAN Ronald Whitaker * 2008 — 33 years

HARP Lisa Wellbaum * 2007 — 33 years

* Principal Emeritus § 1 2

Associate Principal Emeritus First Assistant Principal Emeritus Assistant Principal Emeritus

listing as of August 2019

Appreciation

The Cleveland Orchestra

orchestra news

THE CLEVELAND ORCHESTRA

M . U . S . I .C . I . A . N S . A . L . U .T. E

The Musical Arts Association gratefully 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 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 Martha Baldwin Charles Bernard Katherine Bormann Lisa Boyko Charles Carleton Jiah Chung Chapdelaine Hans Clebsch John Clouser Kathleen Collins Wesley Collins Ralph Curry Marc Damoulakis Alan DeMattia Maximillian Dimoff Scott Dixon Bryan Dumm Mark Dumm Tanya Ell Mary Kay Fink Tom Freer Wei-Fang Gu Scott Haigh David Alan Harrell Miho Hashizume Shachar Israel Mark Jackobs Dane Johansen Joela Jones Richard King Arthur Klima Alicia Koelz Stanley Konopka Mark Kosower Paul Kushious Jung-Min Amy Lee Yun-Ting Lee Michael Mayhew 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 Lynne Ramsey Jeffrey Rathbun Jean Preucil Rose Stephen Rose Frank Rosenwein Michael Sachs Jonathan Sherwin Thomas Sherwood Sae Shiragami Emma Shook Zhan Shu Jessica Sindell Thomas Sperl Saeran St. Christopher Corbin Stair Lyle Steelman Barrick Stees Richard Stout Trina Struble Yasuhito Sugiyama Jack Sutte Stephen Tavani Gareth Thomas Brian Thornton Isabel Trautwein Lembi Veskimets Robert Walters Carolyn Gadiel Warner Richard Waugh Scott Weber Richard Weiss Beth Woodside Robert Woolfrey Paul Yancich Yu Yuan Afendi Yusuf Jeffrey Zehngut

Severance Hall 2019-20

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 a decade ago to provide added opportunities for new and ongoing revenue-generating 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

Did you know? Your company can share the stage with The Cleveland Orchestra – one of Ohio’s most visible and exciting cultural institutions. For corporate sponsorship opportunities, contact: Andrew Bednarski, &RUSRUDWH 5HODWLRQV 2ଊFHU phone: 216-231-7518 email: abednarski@clevelandorchestra.com

PHOTO BY ROGER MASTROIANNI

â&#x20AC;&#x201D;Gustav Mahler

Mahler, in a photograph taken in 1907 in Vienna.

If a composer could say what he had to say in words, he would not bother trying to say it in music.

THE

CLEVEL AND ORCHESTRA FR ANZ WELSER- MÖST

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

Severance Hall

Thursday evening, September 26, 2019, at 7:30 p.m. Saturday evening, September 28, 2019, at 8:00 p.m.

Franz Welser-Möst, conductor OLGA NEUWIRTH

(b. 1968)

Masaot /Clocks Without Hands INT ER MISSION

GUSTAV MAHLER (1860-1911)

Symphony No. 5 PART I

1. Trauermarsch: In gemessenem Schritt. Streng. Wie ein Kondukt. [Funeral March: At a measured pace. Strict. Like a procession.] 2. Stürmisch bewegt, mit grösster Vehemenz [Moving stormily, with greatest vehemence] PART II

3. Scherzo: Kräftig, nicht zu schnell [Vigorously, not too fast] PART III

4. Adagietto: Sehr langsam [Very slow] 5. Rondo-Finale: Allegro — Allegro giocoso. Frisch [Fresh]

Thursday evening’s concert is dedicated to Mr. and Mrs. Richard K. Smucker in recognition of their extraordinary generosity in support of The Cleveland Orchestra.

LIVE RADIO BROADCAST

Saturday’s concert is being broadcast live on ideastream/WCLV Classical 104.9 FM. The concert will be rebroadcast as part of regular weekly programming on WCLV on Sunday afternoon, December 29, at 4:00 p.m.

Severance Hall 2019-20

Program: Week 2

September 26, 28 THI S WE E KE ND’S CONCE RT Restaurant opens: THUR 4:30 SAT 5:00

Concert Preview: BEGINS ONE HOUR BEFORE CONCERT

Concert begins: THUR 7:30 SAT 8:00

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C O N C E R T P R E V I E W — Reinberger Chamber Hall

“Journeys, Trials, and Triumphs” with guest speaker Michael Strasser, Baldwin Wallace University

NEUWIRTH Masaot / Clocks Without Hands . . . . . . . . . . . . . page 57 (20 minutes)

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.

MAHLER Symphony No. 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 61 (70 minutes)

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

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Concert ends: (approx.)

THUR 9:20 SAT 9:50

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

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TThis Th his Week’s Concerts

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INTRODUCING THE CONCERT

Mahler: Living Life& Love T H I S W E E K ’ S C O N C E R T S feature two works written a century apart

— a big symphony filled with conflict and joy, together with a very modern work woven against ideas of remembering and the concept of home. The evening begins with a work premiered in 2015, by Austrian composer Olga Neuwirth. Written on a commission originally related to the 100th anniversary of Gustav Mahler’s death, NeuIN A NUTSHELL wirth took inspiration for it from a night she dreamed of a grandfather she never knew PART ONE (25 minute giving her a message. It’s title, 1. Funeral March Masaot/Clocks Without Hands, clearly sigC-sharp minor = funeral march nals the piece’s intended exploration of Filled with anguish a time and travel. (Masa’ott is the plural of a mourning the loss of Hebrew word for journey.) Here, Neuwirth 2. Stormily weaves together many threads in a comA minor = confusion and grief mentary and search for origins, belonging, The anguish continu family, and home. uncertainty, hope, a Mahler’s Fifth Symphony is intanPART TWO (20 minute gible. By the time of its premiere in 1905, 3. Scherzo he believed that his music must be heard D major = acceptance and success on its own, without explanation. Early on, An animated dance, when just beginning the Fifth, he wrote to a life’s pleasures, filled friend that this music has “nothing romantic and humor, conflict or mystical about it; it is simply an expression PART THREE (25 min of incredible energy.” 4. Adagio From Franz Welser-Möst’s viewpoint, F major = a poetic view of life one way to think about this symphony is as A gentle acknowledg an “inverse” of life. In this, the movements everyday joys and co touch on life’s stages in reverse order: 1. fu5. Rondo-Finale neral — 2. pain and regret — 3. a life in full D major = jubliant affirmation swing — 4. falling in love — 5. the playfulCelebrating life’s pot ness and carefree joy of childhood. Many differing views about this symphony have been voiced across the years, yet everyone is moved by its incredible mixture of music that is in turn powerful, tender, chaotic, exuberant, uncertain, and dramatic. In other words, the Fifth is about life and living.

Mahler 5

—Eric Sellen Severance Hall 2019-20

Introducing the Concert

Masaot /Clocks Without Hands composed 2013-14

At a Glance

Olga

NEUWIRTH born August 4, 1968 Graz, Austria lives in Berlin

Neuwirth wrote this orchestral work, Masaot/Clocks Without Hands, at the request of the Vienna Philharmonic, taking up a commission from the orchestra that she had been unable to do for the 100th anniversary in 2011 of Gustav Mahler’s death. She completed the piece in 2013-14. It was fi rst performed on June 5, 2015, in Cologne, Germany, by the Vienna Philharmonic conducted by Daniel Harding. This work runs about 20 minutes in performance. Neuwirth scored it

for 3 flutes (third doubling piccolo), 3 oboes, 3 clarinets (third doubling bass clarinet), 2 bassoons, contrabassoon, 3 horns, 3 trumpets, 3 trombones, tuba, celesta, percussion (3 metronomes, almglocken, woodblock, rachet, snare drum, guiro, tom-tom, cymbals, zimbel von kolberg, triangle, chimes, 2 gongs, sleigh bells, temple bells, tam-tam, glockenspiel, vibraphone), and strings. The Cleveland Orchestra is presenting this work for the first time with this week’s concerts.

About the Music The composer has written the following comments about how this piece came into being, and the meanings and ideas that she worked with while composing it . . . “Where between the Moldau, Danube, And my childhood river, Everything sees me whole.” —Ingeborg Bachmann, Prague, January 1964 T H E V I E N N A P H I L H A R M O N I C asked me to write an orchestral work for the 100th anniversary of Gustav Mahler’s death, which was to take place in 2011. Because I had to finish two operas by the end of that year, I was forced to decline. When the commission was postponed to 2015, I decided I didn’t want to drop the idea of reflecting on Mahler. In the interim, I had also had a dream that triggered the “musical turbulences” for this orchestral work. My grandfather, who I never met and who I only knew through photographs and from my grandmother’s stories, appeared to me in the dream: In the sunlit meadow of the Danube, with its rippling water, the wind moved myriads of green blades of grass in a strip of tangled reeds. My grandfather was standing in the midst of the grass, and playing for me one song after another on an old crackling tape recorder. He said to me: “From the start, I was strikingly different. I was

Severance Hall 2019-20

About the Music

an outsider and never entirely fit into my Austrian surroundings. All my life, I had the feeling of being excluded. Listen to these songs: this is my story.” He had fallen out of time and was sharing this with me. The dream moved me so much that I wanted to process it by writing a composition, because for me writing has always been connected with memory. My idea was to create music that could seem as if you were listening to something being dreamt, as if you yourself were dreaming while listening. In Hebrew, masa’ot is the plural form for the word journey. It also means history and story brought together. My musical composition, Masaot /Clocks Without Hands, can be seen as a poetic reflection on how soundworlds can come together and how memories fade. The piece combines recurrent fragments of melodies, taken from very different places and experiences from my grandfather’s life. It is a “shaped stream of memories.” The composition develops a “grid” in which song fragments resound and are recombined. Concurrently, there is a “musical object,” based on metronome beats, that makes time audible and perceptible. Just like on a spinning carousel, these metronome beats appear and disappear. Yet unlike on a carousel, they do not remain the same; they change each time they occur through a slight shift in context and the superposition of various tempos. Through this “ticking of the metronome,” through this time’s externally regulated pulsation, time itself becomes a subjectively timeless realm of the subconscious. Ultimately, time appears to dissolve, creating clocks without hands. My grandfather was born by the sea in a city with a turbulent history. At times the city was under Venetian rule, while at others it was under Croatian-Hungarian rule. He later grew up in the Danube River Basin, on the border between Croatia and Hungary. So perhaps my grandfather felt the same way as novelist Elias Canetti, who wrote about his childhood on the Danube: “As a child I had no real grasp of the variety, but I never stopped feeling its effects. . . . I consist of many people whom I am not at all aware of.” Thus, this new music piece was, for me, about the many different (musical) stories heard and carried to sea by a river. In my case, about the Danube. Back to Mahler. After its world premiere, his First Symphony was called Katzenmusik, meaning “caterwauling” or cacophony, and criticized for eclecticism. That, however, was precisely what interested me! I wanted to explore this musical phenomenon, along with the “ancient fragrance from fabled times” — specifically, the childhood and adolescence of my grandfather on the Danube. I wanted

About the Music

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to look back at the world of Kakanian heritage (a term referring, in part fancifully, to the Austro-Hungarian Empire’s mixed heritages and dual monarchy) from the perspective of my present life — in the search for identity and origin. Perhaps this piece is the ironic and melancholic “swan song” of an Austrian composer who feels “in a negative sense” free to compose whatever she wants and so feels close to someone “without qualities,” a concept put forth by the German philosopher-writer Robert Musil (1880-1942) in his unfinished novel The Man Without Qualities. Masaot /Clocks without Hands evolved out of the multi-voiced sound of my fragmented origins and my desire for an uninterrupted flow, determined throughout the piece by constantly interchanging cells. To me, Heimat (the German word meaning “homeland” or “native country”) is something nebulous. In Masaot/Clocks Without Hands, I try to respond to the idea of someone having “several homelands” — specifically, by composing music that is both native and foreign. By creating familiar and unfamiliar sounds, beyond any form of Kakanian nostalgia, in an impossible attempt to stop time by composing. —Olga Neuwirth, 2015

About the Composer Austrian composer Olga Neuwirth has been fascinated by the arts since childhood. And not just music, but painting, film, literature, and architecture — and how they interplay with one another in evoking emotions. She has written widely in varying genres and mediums, and collaborated with a number of artists and writers in creating her operas, orchestral works, and other pieces. She studied at the Vienna Academy of Music and the San Francisco Conservatory of Music. While in the United States, she also attended an art college, where she studied painting and film. Her private teachers in composition included Adriana Hölszky, Tristan Murail, and Luigi Nono. She was first noticed on the international music scene in 1991 when, at the age of 22, two of her mini-operas were performed during the spring Vienna Festival. In 1998, she was featured in two portrait concerts at the SalzSeverance Hall 2019-20

About the Composer

The Cleveland Orchestra previously performed Neuwirth’s work for piano and orchestra, locus . . . doublure . . . solus, at Severance Hall concerts in January 2004, under the direction of Franz Welser-Möst, with guest pianist Marino Formenti.

burg Festival within the festival’s Next Generation series. The following year, her musical theater work Bahlamms Fest, created with a libretto by Elfriede Jelinek, was premiered and won the Ernst Krenek prize. A year later, she wrote Clinamen/Nodus for Pierre Boulez and the London Symphony Orchestra to perform on tour. In 2002, Ms. Neuwirth was appointed composer-in–residence at the Lucerne Festival. In 2008, she was awarded the Heidelberg Artist Prize, and, in 2010, as the first woman ever in the category of music, received the Grand Austrian State Prize. Her works have been performed by major ensembles and festivals throughout Europe and the United States. In March 2017, she created a three-dimensional sound-installation in collaboration with IRCAM, which was inaugurated at Paris’s Pompidou Centre for the building’s 40th anniversary. Across the past decade, Ms. Neuwirth has turned much of her attention to writing operas, including The Outcast, about Herman Melville, Lost Highway, based on the film by David Lynch, and American Lulu, a version of Alban Berg’s earlier work. Her newest opera, Orlando, based on Virginia Woolf’s novel, is being premiered at the Vienna State Opera, in December 2019.

About the Composer

The Cleveland Orchestra

Symphony No. 5 composed 1901-02, revised 1904, 1907-10

At a Glance

Gustav

MAHLER born July 7, 1860 Kalischt, Bohemia (now Kalište in the Czech Republic) died May 18, 1911 Vienna

Severance Hall 2019-20

Mahler composed this symphony during the summers of 1901 and 1902, although he continued to make revisions throughout the remainder of his life. The first performance took place in Cologne on October 18, 1904, under Mahler’s direction. The first performance in the United States took place on March 25, 1905, with Frank van der Stucken conducting the Cincinnati Symphony Orchestra. This work runs about 70 minutes in performance. Mahler scored this symphony for 4 flutes (third and fourth doubling piccolo), 3 oboes

(third doubling english horn), 3 clarinets (third doubling bass clarinet), 3 bassoons (third doubling contrabassoon), 6 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion (snare drum, bass drum, triangle, cymbals, slapstick, tam-tam, glockenspiel), harp, and strings. The Cleveland Orchestra first performed Mahler’s Fifth Symphony at concerts in December 1952 under the direction of William Steinberg. The most recent performances by the Orchestra were led by David Robertson in February 2012.

About the Music W H A T O R H O W M U C H does one need to know in order to understand a piece of music? — simply to enjoy the music? To appreciate the meaning behind or within the music? Does it help to know what the composer was thinking? Or what was happening in the composer’s life at the time? Gustav Mahler offered “programs” (or storylines) for his early symphonies, up through No. 4, trying to tell audiences what each was “about.” This was common at the time, at the end of the Romantic 19th century, when, it was thought, that feelings and meanings and stories were all wrapped up together. At a time when Richard Wagner’s operas had been fully accepted not just as music but as allegories about life. Most people hearing Mahler’s early symphonies in their first performances were confused, perplexed, titillated, unamused, even offended. For his part, Mahler was frustrated and disappointed that his explanations didn’t seem to help people appreciate his music. What of us listening tonight, this weekend? Some few in the audience — 10%? 20%? — are hearing Mahler’s Fifth Symphony for the very first time. The rest of us can and should envy you, because, as with any number of other first-times in life, the music, the experience can be moving and life-changing and exhilarating in that newness. Just as it was for Mahler in the writing. About the Music

We know incredible amounts of information and detail about Mahler’s life. There are tens of thousands of documents . . . letters, recounted conversations, diaries by others about him, business papers, newspaper reviews and discussions. Included in these are Mahler’s own comments about the Fifth Symphony, which largely are about the music itself and NOT about its meaning. His public insistence, from the Fifth Symphony onward that programmatic or storyline explanations of his music were inadequate, if not misleading. All that said, if you’d rather experience the music as it comes to you, close this program book now and think about something else. Or visit quietly with your seatmate (assuming that the concert hasn’t already begun). On the other hand, if background and context help give you perspective, continue reading — keeping in mind that, ultimately, all music, all art, is a personal experience, interpreted solely by each individual. Make of it what you will; it is yours for the taking. WRITING THE FIF TH SYMPHONY

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.

Mahler wrote his Fifth Symphony over the course of two summers, in 1901 and 1902. He drafted the first two movements in 1901 along with much of the central Scherzo. He finished the symphony the following summer, writing both the Adagio and the finale, as well as tidying up and working on details across all five movements. Many big things happened in Mahler’s life in the years just prior to 1901, and, importantly, between the two summers during which he wrote the Fifth Symphony. In 1897, he reached his life’s goal of being appointed director of the Vienna Court Opera (today’s Vienna State Opera). There he was making wholesale changes to how operas were presented — with his efforts and achievement increasingly acclaimed. He’d also been chosen to lead the concerts of the Vienna Philharmonic, starting in 1898. This was less successful overall. His conducting was applauded, but the politics of the job — the Philharmonic chooses its own conductor — were ultimately too

Seventeen-year-old Mexican pianist

Daniela Liebman

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About the Music

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difficult and time-consuming. Thus, in the autumn of 1901, he allowed himself not to be reelected for the next season of Philharmonic concerts. Mahler was also devoting an increasing amount of time to guest-conducting engagements, including the world premiere performances of his Fourth and Third symphonies, in November 1901 and June 1902, respectively. The lack of understanding and bewilderment by audiences (and critics and musicians) for his Fourth upset him. But the Third was given a warm embrace, buoying Mahler’s spirts. In February 1901, before beginning the Fifth Symphony, he suffered a severe digestive hemorrhage. Emergency surgery saved his life, but this close call with death caused an emotional upheaval — so that he understood, perhaps for the first time, for real, that life was a finite number of years, days, hours, minutes. Wasted time was lost time, never to be regained. Most important, between the two summers of writing the Fifth Symphony, Mahler fell in love. Her name was Alma Schindler, a young woman half his age. Within weeks, they agreed to marry, and were expecting their first child when they married in March 1902, four months after they first met. THE MUSIC

Life was complicated, for Mahler just like the rest of us. And the many moods of Mahler’s music do not always match the joy or sorrow in his life at the time. Like most composers, he could create sad music in times of joy, and vice versa. While at other times, all was aligned — with music and life in sync. Nonetheless, lessons learned or observed during life’s journey often creep into an artist’s outlook and output. Music was Mahler’s real language — for commenting on and understanding reality, his reaction to being alive. He had a keen intellect and probing mind, and had a great command of written and spoken language. But music was his thing. Thus, the emotions in the Fifth Symphony are connected, in some ways, directly or indirectly, with Mahler’s overall shifting perspective on life in general and significant changes in his own circumstances at the time he was writing it in particular. Mahler conceived his Fifth Symphony in three parts, built around the central Scherzo dance (movement 3). On either side are pairs of related movements (1-2 and 4-5). Like Beethoven’s famous Fifth, the symphony’s music takes a journey from darkSeverance Hall 2019-20

About the Music

Alma Schindler Mahler photographed in 1909 — she was two decades younger than Mahler and outlived him (and two additional, famously and artistic, husbands).

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ness to light. It starts with a funeral march, and ends with the most ebullient and joyfilled, almost carefree, music that Mahler ever wrote. Part One, Funeral March and Stormy Aftermath: The opening movement evokes many great funeral marches of the past, including Beethoven’s in the Third and Seventh symphonies. It also relates to the opening movement of Mahler’s own Second Symphony, originally titled Todtenfeier or “Funeral Rites.” Here in the Fifth, Mahler’s music is even more anguished. Rather than the steady mourning of Beethoven or Chopin, the ennobling tread of remembrance, we feel a very personal view of life changed, of departure and especially of despair. This is life’s risk — to lose, to mourn what can never be. In addition to the emotional weight, the opening movements introduce a number of common musical threads that give the overall symphony a clear sense of unity. Several recurring motifs are used between the first two movements. And shared motifs cross into other movements as well, including a chorale in the second movement that returns in a new guise in the last. Many have remarked on the similarity of Mahler’s opening motif to that of Beethoven’s Fifth — three short notes followed by a longer one. It is not the same, for in its base form Mahler’s interval leaps up while Beethoven’s down, and the rhythmical imprint is different. But, Mahler knew what he was doing. He was writing his Fifth Symphony! And, like Beethoven’s, he was creating a journey from darkness to light, from death to life. At the very least, Mahler’s motto is a variation on Beethoven’s kernel. And there is something important and relevant here, Severance Hall 2019-20

About the Music

MAHLER the Conductor During his lifetime, Mahler was most acclaimed as a superstar conductor — and only incidentally as a composer, with many finding his symphonies to be bewildering and confusing “new music.” Above, caricatures of Mahler on the podium, from a set of postcards drawn by Otto Böhler (1873-1913).

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especially when Mahler later inverts his motto to show off a downward interval more akin to Beethoven’s. At times, as the music moves forward, the motif is repeated relentlessly, just as Beethoven did in his famous opening movement. In Mahler’s two-movement opening, the only real bright moment comes toward the end of the second movement, in the form of a gigantic chord-in-the-making, bristling with hope and seemingly about to burst out with joy — representing for many listeners all the potential, the forgotten and disappointed dreams being mourned. But after withering once more, the music seems to accept all that has happened — signaled with finality by a quiet tap from the timpani. At the end of Part One, Mahler expected a pause, and took one himself when conducting this symphony. Not the kind of lengthy 5-minute break that he requested after the first movement of the his Second Symphony, but a few moments of silence, for reflection before forging ahead. Part Two, Scherzo: This large-scale Scherzo movement, created in 1901, features some of the most polyphonic music Mahler ever wrote, thick and dense with multiple strands of ideas. As with most of his scherzo movements, this one is a dance in triple meter and deceptively beguiling, at least at first. After the interruption of the opening funeral march, life returns to liltingly familiar rhythms — from the tread of death to the the dance of life. Yet the movement is filled with contradictory moves and counterpunches, and builds to an almost chaotic frenzy, a bursting forth of impulses. Mahler tellingly wrote to Alma about this symphonic centerpiece in 1904, during rehearsals for the world premiere in Cologne: “The scherzo is the very devil of a movement. . . . And the public? — oh, heavens, what are they to make of this chaos in which new worlds are constantly being created only to be destroyed moments later, at these sounds of a primeval world, this howling, booming, roaring sea, this host of dancing stars, these breathtaking, iridescent, glittering waves.” Again, in performance Mahler took a brief pause after this large movement, before heading to the finish line with the final two movements. Part Three, Adagietto and Rondo-Finale: The final part of the symphony opens with some of Mahler’s most well-known music. Although often excerpted and played in memoriam, this music is not a farewell. Rather, it is an introduction. Just as the Severance Hall 2019-20

About the Music

FESTIVAL 2O2O

ART A RT & RT POWER POWER BANNING MAHLER As we prepare for our festival in May 2020 surrounding Alban Berg’s opera Lulu, the program book will note for certain concerts how music by various composers was treated in Nazi Germany or other locations. During Hitler’s regime, all of Mahler’s music was banned from performances by Germany’s civic orchestras because he was born a Jew. Conversely, the Jewish KulturBund (or Cultural Federation), which was formed by the Nazis to strictly limit and ghettoize Jewish arts activities, could present Mahler’s music but was prohibited from playing any “true German music,” including works by Beethoven, Schumann, Brahms, and Wagner.

first and second movements work together as a pair, the Adagietto was written as a prelude to what follows. Several of Mahler’s associates, including the Dutch conductor Willem Mendelberg, suggested that this movement, for strings and harp, was written as an unsigned letter of Mahler’s love for Alma. If that is so, it is the love of everyday contentment — love that is unexpected but abundant, and, simply, part of daily life. (Mahler revisits a similar but contrasting musical feeling and outline in the opening movement of the Tenth Symphony, but that large Adagio is much more agonized and anguished. And there, in the manuscript score, he literally wrote out his despair and heartbreak over Alma’s love and betrayal.) Mahler’s tempo marking for the fourth-movement Adagietto is Sehr langsam, or “very slow.” But how fast is slow enough? — or how slow is too slow? Contemporary accounts suggest that early performances under Mahler’s direction clocked in at as little as 8 minutes. Bruno Walter, Mahler’s then-assistant and longtime advocate, recorded it at just 7 minutes and 45 seconds. Modern timings vary all the way up to nearly twice as long. The actual duration, however, may be less important than setting a

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About the Music

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tempo that fits the overall context of a particular performance of the entire symphony. Yet, the Adagietto should not drag. Any desire to hold onto it too hard, to treasure it as something that will or can be lost, misses the point. Here, love (or musical beauty) is reality, simple and sure. The Rondo-Finale bursts forth unexpectedly, introduced by a solo horn. This movement is, quite arguably, the happiest of Mahler’s output. Its Rondo structure returns again and again to a fittingly spirited theme, interspersed with new episodes, giving the movement fullness and variety. Continuity and unity are ensured through motifs and ideas returning from earlier movements. This is the sheer ecstastic thrill of the downhill ride on a rollercoaster, arms in the air. By this point in his career, Mahler was against programmatic explanations of his music. He’d tried that and only confused audiences. Behind the scenes, however, he continued to talk to friends, family, and colleagues about his music, in metaphor if not in storyline — the key to which was not the facts of any tale he might suggest, but the emotional truth, the feelings that the music evoked in him and evokes in each listener. Personally, I believe that the closing movement of the Fifth Symphony is a reflection of Mahler’s changed outlook. As he approached writing this movement, he fully believed that he had reached the upper ramparts of life’s mountaintop, with the struggles of beginning a career behind him. He had survived a close call with death, giving him inspiration for the opening funeral march a year earlier, as well as a revised view of life’s opportunity. He was battling forces at the Court Opera, but believed he was winning. His dismissal from the Opera is in an unknown future. So too is the diagnosis of his heart murmur and his daughter’s death. His love for Alma is new and still bursting with happiness. Her betrayal is behind a door to the future he cannot see or imagine. Tomorrow is not today. Regardless of his life’s details, this closing movement is Mahler — this is any or all of us — in the throes of sheer happiness, drinking in life’s pleasure fully. This is Mahler unworried, unplugged, unwound, unleashed. Unprepared, with his defenses down, fully open to the future, come what may. —Eric Sellen © 2019

GUSTAV MAHLER Drawing by Enrico Caruso

The 2019-20 season is Eric Sellen’s 27th year as program book editor for The Cleveland Orchestra.

Severance Hall 2019-20

About the Music

FESTIVE SEASON OPENING!

ECHOES

VENICE

Around 1600, the stones of St. Mark’s Basilica in Venice echoed as composers placed groups of brass instruments, strings, lutes, and singers in different parts of the church. Apollo’s Fire brass players take the spotlight in the stunning music of Gabrieli, Monteverdi, Praetorius, and Schütz. “Charged with all the Apollo’s Fire’s signature energy… a spark that grows into a blaze.” – THE IRISH TIMES (review of AF’s Praetorius Vespers CD)

OCTOBER 18-20 10/18 Trinity Cathedral, CLEVELAND 10/19 First Baptist Church, SHAKER HEIGHTS 10/20 AVON LAKE United Church of Christ

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W H E N G U S TAV CA M E T O T OW N . . .

G U S T A V M A H L E R made one trip to Cleve-

land, in December 1910 to conduct a concert of the New York Philharmonic Orchestra. Cleveland was the first stop on the Philharmonic’s first tour west from New York City; they’d gone east into New England previously, but agreed to come west for the first time at the invitation of Cleveland’s Adella Prentiss Hughes. (On the return trip home, they stopped to play at Pittsburgh, Buffalo, and Rochester.) Mahler was then in his second season as the Philharmonic’s music director (the customary title at the time was merely “conductor”). Mahler and the concert he would conduct in Cleveland were ballyhooed and championed to an unprecedented extent in the local papers. He played none of his own music, but rather presented his own “doctored” scorings of music by Bach and Beethoven. And then closed with Wagner. Afterward, the area’s critics were nearly unanimous in their praise. Mahler sailed for Europe four months later (a week later than he had originally planned). A month after that, he was dead. M A H L E R F I R S T C A M E to America in the fall of 1907, arriving just before

Christmas. He had resigned his post as artistic director of the Vienna State Opera the previous March, forced out by politics and intrigue. He was lured across the Atlantic by an enormous salary offer from the Metropolitan Opera. In addition to the proffered wages, the work in New York was to be limited to a few months each year, and Mahler looked forward to having more time for composing. He hoped that his heart would last. His condition had been diagnosed, almost by accident, in July 1907. What time he had was limited — Severance Hall 2019-20

Gustav Mahler in Cleveland: 1910

but so was his wealth (and what little his family would have if he died sooner rather than later). He hoped that after a few seasons of substantial wages at the Met, he could safely retire from the rigors of conducting and devote his time exclusively to composition. Mahler’s Met debut came on New Year’s Day, 1908, with Wagner’s Tristan and Isolde. But his hope for a few easy seasons of unencumbered opera conducting did not materialize. During 1908, the management of the Met changed hands from Heinrich Conried, who had hired Mahler, to Guilio Gatti-Casazza, who brought the young Arturo Toscanini with him. Nonetheless, in some fashion, and with many favorable reviews, Mahler conducted during three seasons at the Met. But GattiCasazza and the “Italians” (with Toscanini) were wielding more and more control. Early on in these struggles, Mahler began shifting his work in New York to orchestral conducting — first with New York’s Symphony Society and then with the New York Philharmonic Society. The Philharmonic, teetering on the brink of bankruptcy and disillusion, gambled on Mahler’s great box office appeal to save their orchestra. It was at this time that Adella Prentiss Hughes began coaxing the New York Philharmonic for a visit westward. Her Cleveland Symphony Concerts had premiered in the “Forest City” in 1901, and she had so far managed to bring four of the country’s great “Symphonic Six” orchestras to Cleveland: the Boston Symphony Orchestra, Cincinnati Symphony Orchestra, Theodore Thomas Orchestra (soon to be renamed the Chicago Symphony Orchestra), and New York’s Sym-

phony Society. The Philharmonic in 1910 would give her one more, so that Cleveland — already known as an orchestral center (even though it did not yet have its own orchestra) — would be the only city to hear these five in one season. (Philadelphia, the other of America’s turn-ofthe-century elite orchestras, would join the touring schedule the following season and make Mrs. Hughes the first presenter to have all six in one year.) In early September, Mrs. Hughes announced that the country’s oldest symphonic ensemble — the “Dean of American Orchestras” — would be included on the 1910-11 concert schedule, conducted by Gustav Mahler. The December concert of the New York Philharmonic would include Mahler’s modernized orchestration of Beethoven’s Eighth Symphony — “Beethoven as Mr. Mahler thinks it would be if Beethoven were alive today and acquainted with the larger scope of the instrumentation of the present day.” Throughout the fall of 1910, Cleveland newspapers kept local citizens apprised of Mahler’s every move. His sailing from Cherbourg on October 18 was duly noted, including the fact that his contract with the Philharmonic covered his travelling expenses (over $2,000 for his family’s five-day trans-Atlantic passage on the German liner Kaiser Wilhelm II). In November, one paper printed a firsthand report of a Philharmonic rehearsal in New York, which read in part: “In the midst of it all, an odd-looking nervous little man walked briskly onto the stage and picked his way to the center. He stood a moment chatting with the concertmaster, Theodore Spiering, then glanced at his watch, picked up his small baton and

Gustav Mahler in Cleveland: 1910

The Cleveland Orchestra

Caricature drawings of Mahler in action as the “hyper-Modern” conductor, by Hans Schliessmann.

mounted the conductor’s platform. A single light tap and the confusion ceased. The indiscriminate throng of men at practice felt instantly the influence of the master musician, and was transformed into an alert, expectant symphony orchestra.” On the eve of the concert, Cleveland’s Plain Dealer included a profile of Gustav Mahler: “The most nervous, tireless, imaginative of directors, whose spirit never seems to rest, has lived a half century in spite of his habit and distractions. He today commands as much musical youth as a 20-year-old. A whole school of directors and opera reformers are his followers, all of whom have umbrageous black hair, piercing eyes behind big eyeglasses, jerking shoulders and stamping feet . . .” For the concert, Beethoven’s Sixth Symphony, the “Pastoral,” was substituted for the originally announced Eighth, preceded by Mahler’s own arrangement of a Bach suite and followed by three Wagnerian orchestral opera excerpts. Reviews of the December 6 concert were almost universally positive: Severance Hall 2019-20

Town Topics: “An extraordinary concert had to be the issue after the unusual way in which both Mahler and his organization were advertised. It is no easy task to prove so much better than a busy press agent story proclaims one to be. Mahler exceeded all expectations. . . . Hereafter we shall consider a Mahler concert a standard.” Plain Dealer: “Little Mahler with the big brain. Little Mahler with the mighty force. Little Mahler with the great musical imagination. Little Mahler, whose gigantic power makes the other conductors seem like pygmies. . . . His strength, his mastery over his instrument, were obvious from the first. . . . The hearer is apt to be skeptical about arrangements by modern conductors of compositions by masters like Bach and Beethoven. But doubt vanishes in conviction under the hands of Mahler. . . . The fact that the orchestra came without a soloist to break the continuity of a program that was in itself a work of art is further cause for congratulation.” Leader: “. . . Mr. Mahler’s extraordinary genius shows itself in many ways. He certainly takes great liberties in the presentation of classic works to modern audiences, and if it may (as it surely does) make some of the sternly judicious grieve, it undoubtedly makes the average listener rejoice to hear the spirit though not the letter of the old texts given with the inspiration of modern genius . . .” While Mahler survived Cleveland almost unscathed, elsewhere the press often attacked him mercilessly for his “tampering” and “modernizing” of Beethoven and others. On this subject, however, it is worth noting that Mahler at times advocated others doing the same to his own compositions after he died

Gustav Mahler in Cleveland: 1910

— so as to keep the musical language as “up-to-date” as possible. Beyond the several attempts to complete Mahler’s unfinished Tenth Symphony, of course, few have taken him at his word. Today’s artistic focus is most often at presenting a composer’s musical vision for a particular work — updating and popularizing has shifted out of the classical concert hall and into pops concerts and other musical genres, where new “covers” in jazz, rock, r&b, lounge, country, etc. give new interest, but in a different way. I N J A N U A R Y 1 9 1 1 , the Plain Dealer

reported rumors from New York that Mahler’s contract with the Philharmonic would be extended for three more years. Mahler’s health, however, did not coop-

erate. A potentially fatal blood infection had taken hold (in an era prior to most antibiotics); he conducted his final concert on February 21. Shortly thereafter, he quarrelled with the Philharmonic’s operating committee, probably with intentional provocation on their part. In March, concertmaster Spiering succeeded Mahler “temporarily” as the group’s conductor. Expecting not to see New York again, Mahler sailed for Europe on April 8, 1911. Five weeks later, on May 18, he died in Vienna. Mahler’s own music first came to Cleveland three years later, when the Chicago Symphony Orchestra and its conductor, Frederick Stock, presented the First Symphony on December 15, 1914.

Gustav Mahler’s grave in Vienna’s Grinzing Cemetery.

Gustav Mahler in Cleveland: 1910

The Cleveland Orchestra

GUSTAV MAHLER 1860-1911

Gustav Mahler, at age five (below left) in the earliest known photograph; with beard at age twenty-one in 1881; (right top) his wife Alma and their two daughters, Maria and Anna, in 1906; at the coast (bottom right) of the North Sea; and in a cartoon making fun of the unusual instruments (including cowbell and forging hammer) he orchestrated into his Sixth Symphony.

Gustav Mahler

The Cleveland Orchestra

More About

MAHLER

M A N Y N E W B O O K S about Mahler and his music have appeared in recent decades, quite reminiscent of the avalanche of books about Wagner that came out in the first two-thirds of the 20th century. If Mahler hasn’t yet overtaken Wagner as the subject of the most books about any composer, he’s certainly been gaining — and taking up more and more shelf space. Here are a few choice titles for further reading:

The Real Mahler, by Jonathan Carr. 254 pages. (Constable Press, London, 1997). This very readable and reasonably-lengthed biography by journalist Jonathan Carr is a good place for many people to start. Carr keeps his musical discussions to an understandable minimum and does a good job of trying to explain away certain legends that still too often crop up as fact in discussions of Mahler’s life. Why Mahler? How One Man and Ten Symphonies Changed Our World, by Norman Lebrecht. 336 pages / also available as an ebook. (Pantheon, 2010). This book is one man’s very personal view of how Mahler’s music has helped shape his life and mind. It has gotten decidedly mixed reviews, but if you like — or love — Mahler’s music, this book can help you sort through why and how. As with much of Lebrecht’s writings in print or online, he is intent on challenging and startling you. Be open to connections. Let yourself be surprised. The Mahler Album, by Gilbert Kaplan. 340 pages. (Abrams, s, 2011). Published to coincide with the 100th anniversary of Mahler’s death, this expanded edition is the definitive collection of all the known Mahler photographs. Mahler, by Henry-Louis de La Grange. 4 volumes; somewhere over 3500 pages. (Oxford University Press, I:1973, II:1995, III:1999, IV: 2008). A major milestone for English readers occurred in 2008 with the publication of the fourth and final volume of de La Grange’s nearly dayby-day discussion (originally in French) of Mahler’s life and art. rt An updated Volume One was in the works when de La Grange died in January 2017 (and may yet appear). While others have delved deeper on specific symphonies or aspects, or come to differing conclusions here and there, this is a choice source for detail. The Dent Master Musicians Series: Mahler, by Michael Kennedy. 220 pages. (J.M. Dent, London, rev. ed. 2001). Although a few more recently uncovered facts cloud a number of pages, this clearly written book provides a solid entry-level view of Mahler and his music. Some readers will be particularly pleased at the book’s division into halves — the first half about his life and, quite separate, a second half about the major musical works. —Eric Sellen Severance Hall 2019-20

More About Mahler

1918

Seven music directors have led the Orchestra, including George Szell, Christoph von Dohnányi, and Franz Welser-Möst.

16 18th

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The Theupcoming 2017-18 season 2019-20 willseason mark marks Franz Franz Welser-Möst’s Welser-Möst’s 16th 18th year yearas asmusic musicdirector. director.

SEVERANCE HALL, “America’s most beautiful concert hall,” opened in 1931 as the Orchestra’s permanent home.

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52 53%

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The Cleveland Orchestra has introduced over 4.1 million children in Northeast Ohio to symphonic music through concerts for children since 1918.

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1931

150

concerts each year.

The Orchestra was founded in 1918 and performed its first concert on December 11.

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THE CLEVEL AND ORCHESTRA

BY THE NUMBERS

THE CLEVELAND ORCHESTRA

JOHN L. SEVERANCE SOCIETY Cumulative Giving The John L. Severance Society is named to honor the philanthropist and business leader who dedicated his life and fortune to creating The Cleveland Orchestra’s home concert hall, which today symbolizes unrivalled quality and enduring community pride. The individuals, corporations, foundations, and government agencies listed here represent today’s visionary leaders, who have each surpassed $1 million in cumulative gifts to The Cleveland Orchestra. Their generosity and support joins a long tradition of community-wide support, helping to ensure The Cleveland Orchestra’s ongoing mission to provide extraordinary musical experiences — today and for future generations.

Current donors with lifetime giving surpassing $1 million, as of January 2019

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 & 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

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 $2,500 and more) shows an extraordinary depth of support for the Orchestra’s music-making, education programs, and community initiatives.

Giving Societies gifts in the past year, as of September 5, 2019 Adella Prentiss Hughes Society gifts of $100,000 and more

gifts of $50,000 to $99,999

INDIVIDUAL GIFTS OF $500,000 AND MORE

Mrs. Jane B. Nord Mr. and Mrs. Alfred M. Rankin, Jr. Mr. and Mrs. Albert B. Ratner Mr. and Mrs. Richard K. Smucker+ Mrs. Jean H. Taber* INDIVIDUAL GIFTS OF $200,000 TO $499,999

Musicians of The Cleveland Orchestra+ (in-kind support for community programs and opportunities to secure new funding) Haslam 3 Foundation+ Mrs. Norma Lerner and The Lerner Foundation+ Mrs. Emma S. Lincoln* Jenny and Tim Smucker+ INDIVIDUAL GIFTS OF $100,000 TO $199,999

Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski+ Mr. and Mrs. Alexander M. Cutler+ Dr. and Mrs. Hiroyuki Fujita+ 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+ Elizabeth F. McBride Rosanne and Gary Oatey (Cleveland, Miami)+ Mr. and Mrs. Albert B. Ratner James and Donna Reid Bruce and Virginia Taylor+ Ms. Ginger Warner Mr. and Mrs. Franz Welser-Möst+

82 80

George Szell Society

Mr. William P. Blair III+ Mr. Yuval Brisker The Brown and Kunze Foundation Mr. and Mrs. Marshall Brown Rebecca Dunn JoAnn and Robert Glick 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 Milton and Tamar Maltz Ms. Nancy W. McCann+ Ms. Beth E. Mooney+ 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+ Marjorie B. Shorrock+ Jim and Myrna Spira+ Dr. Russell A. Trusso Barbara and David Wolfort (Cleveland, Miami)+ Anonymous+

+ 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: +

Individual Annual Support

The Cleveland Orchestra

Elisabeth DeWitt Severance Society

Dudley S. Blossom Society gifts of $15,000 to $24,999

gifts of $25,000 to $49,999 Gay Cull Addicott+ Mr. and Mrs. William W. Baker Randall and Virginia Barbato Dr. and Mrs. Wolfgang Berndt (Europe) Irma and Norman Braman (Miami) Dr. Ben H. and Julia Brouhard Jeanette Grasselli Brown and Glenn R. Brown Irad and Rebecca Carmi Mr. and Mrs. David J. Carpenter Mary Jo Eaton (Miami) Dr. and Mrs. Robert Ehrlich (Europe) The Sam J. Frankino Foundation Mr. and Mrs. Geoffrey Gund Mary and Jon Heider (Cleveland, Miami) Mrs. Marguerite B. Humphrey+ Allan V. Johnson Elizabeth B. Juliano Mr. and Mrs. Joseph P. Keithley Giuliana C. and John D. Koch Milton A. & Charlotte R. Kramer Charitable Foundation Richard and Christine Kramer Jan R. Lewis David and Janice* Logsdon Mr. and Mrs. Alex Machaskee+ Mr. Stephen McHale Julia and Larry Pollock Mr. and Mrs. James A. Ratner Mr. and Mrs. David A. Ruckman Mr. and Mrs. James A. Saks Marc and Rennie Saltzberg Sandor Foundation+ David M. and Betty Schneider Rachel R. Schneider Hewitt and Paula Shaw+ R. Thomas and Meg Harris Stanton+ Mr. and Mrs. Alfred Umdasch (Europe) Meredith and Michael Weil Paul and Suzanne Westlake Tony and Diane Wynshaw-Boris+ Anonymous (2)

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

Art of Beauty Company, Inc. Mr. and Mrs. Dean Barry Blossom Friends of The Cleveland Orchestra Dr. Christopher P. Brandt and Dr. Beth Sersig+ Dr. Gwen Choi Jill and Paul Clark Robert and Jean* Conrad+ Mary and Bill Conway Judith and George W. Diehl+ Nancy and Richard Dotson+ Mr. Brian L. Ewart and Mr. William McHenry+ Joan Alice Ford Friends of The Cleveland Orchestra Mr. and Mrs. Robert W. Gillespie 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) Mr. Jeff Litwiller+ Mr. and Mrs. Thomas B. McGowan Stanley* and Barbara Meisel Edith and Ted* Miller+ The Miller Family+ Sydell Miller Lauren and Steve Spilman Stacie and Jeff Halpern Margaret Fulton-Mueller+ Dr. Anne and Mr. Peter Neff Dr. Isobel Rutherford Astri Seidenfeld Meredith and Oliver* Seikel The Seven Five Fund Kim Sherwin Mr. Heinrich SpĂ¤ngler (Europe) Mr. and Mrs. Richard P. Stovsky Mr. and Mrs. Leonard K. Tower Mr. and Mrs. Daniel P. Walsh Tom and Shirley Waltermire+ Mr. and Mrs. Fred A. Watkins+ Mr. and Mrs. Jeffery J. Weaver Robert C. Weppler Sandy and Ted Wiese Max and Beverly Zupon Anonymous listings continue

The Severance Cleveland HallOrchestra 2019-20

Individual Annual Support

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Frank H. Ginn Society gifts ift off $10,000 $10 000 to t $14,999 $14 999 Mr. and Mrs. Jules Belkin Mr. David Bialosky and Ms. Carolyn Christian+ Mr. D. McGregor Brandt, Jr. Robert and Alyssa Lenhoff-Briggs J. C. and Helen Rankin Butler+ Ms. Bernadette Chin Richard J. and Joanne Clark Martha and Bruce Clinton (Miami) Mrs. Barbara Ann Davis+ Henry and Mary* Doll+ Dr. and Mrs. Lloyd H. Ellis Jr. Carl Falb+ William R. and Karen W. Feth+ Albert I.* and Norma C. Geller Patti Gordon (Miami) Mr. Robert Goss Mr. and Mrs. Stephen Griebling Mr. Michael GrĂśller (Europe) Iris and Tom Harvie+ Mr. Alfred Heinzel (Europe) Mr. and Mrs. Jerry Herschman Dr. Fred A. Heupler+ Amy and Stephen Hoffman

Mr. and Mrs. Brinton L. Hyde Barbara and Michael J. Kaplan Andrew and Katherine Kartalis Mrs. Elizabeth R. Koch Rob and Laura Kochis Mr. James Krohngold+ David C. Lamb+ Dr. Edith Lerner Dr. David and Janice Leshner Mr. David and Dr. Carolyn Lincoln Alan Markowitz M.D. and Cathy Pollard Scott and Julie Mawaka Mr.* and Mrs. Arch J. McCartney Mr. and Mrs.* William A. Mitchell+ Mr. Hisao Miyake Mr. Donald W. Morrison+* Mr. John Mueller Brian and Cindy Murphy+ Randy and Christine Myeroff Mr. J. William and Dr. Suzanne Palmer+ John N.* and Edith K. Lauer Mr. Thomas Piraino and Mrs. Barbara McWilliams Douglas and Noreen Powers

Mr. and Mrs. Ben Pyne Audra* and George Rose+ Paul A. and Anastacia L. Rose Dr. and Mrs. Ronald J. Ross Steven and Ellen Ross Mrs. Florence Brewster Rutter*+ Dr. and Mrs.* Martin I. Saltzman Mr. Lee Schiemann Carol* and Albert Schupp Dr. and Mrs. James L. Sechler Dr. Marvin and Mimi Sobel*+ Veit Sorger (Europe) The Stair Family Charitable Foundation, Inc. Lois and Tom Stauffer Dr. Elizabeth Swenson Michael and Edith Teufelberger (Europe) Dr. Gregory Videtic and Rev. Christopher McCann+ Dr. Horst Weitzman Denise G. and Norman E. Wells, Jr. Sandy Wile and Sue Berlin Anonymous (9)

Elliot and Judith Dworkin Mr. S. Stuart Eilers+ Mary and Oliver* Emerson Joseph Z. and Betty Fleming (Miami) Michael Frank and Patricia A. Snyder Bob and Linnet Fritz Barbara and Peter Galvin Joy E. Garapic Brenda and David Goldberg Mr. and Mrs. Randall J. Gordon+ Harry and Joyce Graham AndrĂŠ and Ginette Gremillet Nancy Hancock Griffith+ The Thomas J. and Judith Fay Gruber Charitable Foundation Robert N. and Nicki N. Gudbranson Robert K. Gudbranson and Joon-Li Kim+ David and Robin Gunning Mr. Davin and Mrs. Jo Ann Gustafson Alfredo and Luz Gutierrez (Miami) Gary Hanson and Barbara Klante+ Clark Harvey and Holly Selvaggi+ Henry R. Hatch Robin Hitchcock Hatch Barbara L. Hawley and David S. Goodman Mr. Jeffrey Healy Dr. Robert T. Heath and Dr. Elizabeth L. Buchanan+ Janet D. Heil* Anita and William Heller+ Dr.* and Mrs. George H. Hoke Dr. Keith A. and Mrs. Kathleen M. Hoover

Elisabeth Hugh+ David and Dianne Hunt Pamela and Scott Isquick+ Richard and Michelle Jeschelnig Joela Jones and Richard Weiss Milton and Donna* Katz Dr. Richard and Roberta Katzman Paul Rod Keen and Denise Horstman Mr. and Mrs. Christopher Kelly Bruce and Eleanor Kendrick Cynthia Knight (Miami) Mr. and Mrs.* S. Lee Kohrman Mr. and Mrs. Peter A. Kuhn+ Mr. and Mrs. Arthur J. Lafave, Jr. Dr. and Mrs. John R. Lane Kenneth M. Lapine and Rose E. Mills+ Anthony T. and Patricia A. Lauria Mr. Lawrence B. and Christine H. Levey+ 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+ Frank and Jocelyne Linsalata Mr. Henry Lipian Drs. Todd and Susan Locke Anne R. and Kenneth E. Love David Mann and Bernadette Pudis Ms. Amanda Martinsek James and Virginia Meil+ Dr. Susan M. Merzweiler+ Loretta J. Mester and George J. Mailath

The 1929 Society gifts of $5,000 to $9,999 Ms. Nancy A. Adams Dr. and Mrs. D. P. Agamanolis Mr. William App Robert and Dalia Baker Mr. Thomas and Mrs. Laura Barnard Fred G. and Mary W. Behm Mr. Allen Benjamin Mel Berger and Jane Haylor Dr. and Mrs. Eugene H. Blackstone Suzanne and Jim Blaser Dr. Robert Brown and Mrs. Janet Gans Brown Dr. Thomas Brugger and Dr. Sandra Russ Frank and Leslie Buck Mr. and Mrs. Timothy J. Callahan Dr. and Mrs. William E. Cappaert Ms. Maria Cashy+ Drs. Wuu-Shung and Amy Chuang+ Ellen E. & Victor J. Cohn+ Mr. and Mrs. Arnold L. Coldiron Kathleen A. Coleman Diane Lynn Collier and Robert J. Gura+ Marjorie Dickard Comella Mr.* and Mrs. Gerald A. Conway Mrs. Barbara Cook Mr. John Couriel and Mrs. Rebecca Toonkel (Miami) Mr. and Mrs. Matthew V. Crawford Mr. and Mrs. Manohar Daga+ Thomas S. and Jane R. Davis Pete and Margaret Dobbins+ Mr. and Mrs. Robert P. Duvin

84 82

Individual Annual Support

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C Claudia Metz and Thomas Woodworth+ Lynn and Mike Miller Drs. Terry E. and Sara S. Miller Curt and Sara Moll Mr. and Mrs. Thomas W. Morris Bert and Marjorie Moyar Susan B. 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 Dr. Roland S. Philip and Dr. Linda M. Sandhaus+ Maribel A. Piza, P.A. (Miami)+ Mr. and Mrs. Richard W. Pogue Brad Pohlman and Julie Callsen Dr. and Mrs. John N. Posch+ Ms. Linda Pritzker Ms. Rosella Puskas Mr. Lute and Mrs. Lynn Quintrell Mr. and Mrs. Roger F. Rankin

Brian and Patricia Ratner Amy and Ken Rogat Robert and Margo Roth+ Fred Rzepka and Anne Rzepka Family Foundation Michael and Deborah Salzberg Drs. Michael and Judith Samuels (Miami) Mitchell and Kyla Schneider John and Barbara Schubert Lee and Jane Seidman Drs. Daniel and Ximena Sessler+ Kenneth Shafer Donna E. Shalala (Miami) Naomi G. and Edwin Z. Singer The Shari Bierman Singer Family Drs. Charles Kent Smith and Patricia Moore Smith+ Mrs. Gretchen D. Smith+ Roy Smith Mr. and Mrs. William E. Spatz George and Mary Stark+ Dr.* and Mrs. Frank J. Staub Mr. and Mrs. Donald W. Strang, Jr. Stroud Family Exempt Trust Mr. and Mrs. Joseph D. Sullivan

Ms. Lorraine S. Szabo Mr. Taras G. Szmagala, Jr. Robert and Carol Taller+ Sidney Taurel & Maria Castello Branco Mr. and Mrs. P Philip L. Taylor Mr.* aand Mrs. Robert N. Trombly Robert and Marti* Vagi Dr. and Mrs. H. Reid Wagstaff Walt and Karen Walburn Mrs. Lynn Weekley Mr. and Mrs. Mark Allen Weigand+ Pysht Fund Dr. Edward L. and Mrs. Suzanne Westbrook+ Tom and Betsy Wheeler Richard Wiedemer, Jr.*+ Dr. Paul R. and Catherine Williams Richard and Mary Lynn Wills Bob and Kat Wollyung+ Tony and Diane Wynshaw-Boris+ Ms. Carol A. Yellig Anonymous (3)

The Circle — Young Professionals of The Cleveland Orchestra Mr. and Mrs. David Clark Drs. John and Mary Clough Drs. Mark Cohen and Miriam Vishny Douglas S. Cramer / Hubert S. Bush III (Miami) Ms. Patricia Cuthbertson Karen and Jim Dakin Mr. Kamal-Neil Dass and Mrs. Teresa Larsen+ Mrs. Lois Joan Davis Carol Dennison and Jacques Girouard Michael and Amy Diamant Dr. and Mrs. Richard C. Distad Carl Dodge Maureen Doerner and Geoffrey White William and Cornelia Dorsky Mr. George and Mrs. Beth Downes+ Jack and Elaine Drage Ms. Mary Lynn Durham Mr. and Mrs. Ronald E. Dziedzicki Mr. Tim Eippert Peter and Kathryn Eloff Harry and Ann Farmer Dr. and Mrs. J. Peter Fegen Mr. William and Dr. Elizabeth Fesler Mr. Scott Foerster Mr. Paul C. Forsgren Richard J. Frey Mr. and Ms. Dale Freygang Judge Stuart Friedman and Arthur Kane The Fung Family Dr. Marilee Gallagher Mr. James S. Gascoigne Mr. William Gaskill and Ms. Kathleen Burke

Mr. Wilbert C. Geiss, Sr. Anne and Walter Ginn Dr.* and Mrs. Victor M. Goldberg Dr. and Mrs. Ronald L. Gould Dr. Robert T. Graf Mr. James Graham and Mr. David Dusek Drs. Erik and Ellen Gregorie Nancy and James Grunzweig+ Mr. Steven and Mrs. Martha Hale Dr. Phillip M. and Mrs. Mary Hall Mr. and Mrs. David P. Handke, Jr. Jane Hargraft and Elly Winer Lilli and Seth Harris Mr. Adam Hart Matthew D. Healy and Richard S. Agnes Dr. Toby Helfand In Memory of Hazel Helgesen The Morton and Mathile Stone Philanthropic Fund Mr. Robert T. Hexter Ms. Elizabeth Hinchliff Mr. and Mrs. Stephen J. Holler 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 Ms. Kimberly R. Irish Donna L. and Robert H. Jackson Mr. and Mrs. Richard A. Janus Mr. and Mrs. Bruce D. Jarosz Robert and Linda Jenkins Mr. Robert and Mrs. Mary V. Kahelin Rudolf D.* and Joan T. Kamper Mr. Jack E. Kapalka

Composer’s Circle gifts of $2,500 to $4,999 Mr. and Mrs. Paul R. Abbey Mr. and Mrs. Charles Abookire, Jr. Sarah May Anderson Susan S. Angell Mr. and Mrs. Jeffrey R. Appelbaum Mr. and Mrs. Eugene J. Beer Jamie Belkin Mr. and Mrs. Belkin Dr. Ronald and Diane* Bell Barbara and Sheldon Berns Margo and Tom Bertin John and Laura Bertsch Howard R. and Barbara Kaye Besser Mitch and Liz Blair Bill* and Zeda Blau Doug and Barbara Bletcher+ Georgette and Dick Bohr Mr. and Mrs. Richard H. Bole Lisa and Ronald Boyko+ Mr. and Mrs. Adam A. Briggs Mr. and Mrs. David Briggs Mr. and Mrs. Dale R. Brogan Mr. and Mrs. Henry G. Brownell Mrs. Frances Buchholzer Mr. Gregory and Mrs. Susan Bulone Mr. and Mrs. Marc S. Byrnes Rev. Dr. Joan Brown Campbell and Rev. Dr. Albert Pennybacker Mr. and Mrs. Frank H. Carpenter Mr. and Mrs. Brian Cassidy Dr. Victor A. Ceicys Mr. and Mrs. James B. Chaney Dr. Ronald Chapnick* and Mrs. Sonia Chapnick Mr. Gregory R. Chemnitz Mr. and Mrs. Homer D. W. Chisholm

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Individual Annual Support

Orchestra The Cleveland Orchestra

Mr. Donald J. Katt and Mrs. Maribeth Filipic-Katt The Kendis Family Trust: Hilary & Robert Kendis and Susan & James Kendis Dr. and Mrs. William S. Kiser James and Gay* Kitson+ Fred* and Judith Klotzman Mr. Clayton R. Koppes Mrs. Ursula Korneitchouk Jacqueline and Irwin* Kott (Miami) Dr. Ronald H. Krasney and Vicki Kennedy+ Dr. and Mrs. John P. Kristofco Alfred and Carol Lambo Mr. and Mrs. Richard L. Larrabee Mrs. Sandra S. Laurenson Charles and Josephine Robson Leamy * Michael Lederman and Sharmon Sollitto Judy and Donnie Lefton (Miami) Ronald and Barbara Leirvik Mr. Ernest and Dr. Cynthia Lemmerman+ Michael and Lois Lemr Irvin and Elin Leonard Robert G. Levy+ Mary Lohman Elsie and Byron Lutman Mr. and Mrs.* Robert P. Madison 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+ Mr. Julien L. McCall Ms. Charlotte V. McCoy William C. McCoy Ms. Nancy L. Meacham Mr. and Mrs. James E. Menger Beth M. Mikes Mr. Ronald Morrow III Eudice M. Morse Mr. Raymond M. Murphy+ Ms. Megan Nakashima Joan Katz Napoli and August Napoli Richard B. and Jane E. Nash Richard and Jolene O’Callaghan+ Mr. and Mrs. John Olejko Harvey* and Robin Oppmann Mr. Robert Paddock Mr. John D. Papp George Parras Dr. Lewis E. and Janice B. Patterson David Pavlich and Cherie Arnold Matt and Shari Peart Robert S. Perry Dale and Susan Phillip Dr. Marc A. and Mrs. Carol Pohl In memory of Henry Pollak Mr. Robert and Mrs. Susan Price+ Sylvia Profenna Dr. Robert W. Reynolds David and Gloria Richards Drs. Jason and Angela Ridgel Mrs. Charles Ritchie Mr. D. Keith and Mrs. Margaret Robinson Mr. Timothy D. Robson+ Mr. and Mrs. Peter J. Ryerson

The Cleveland Severance HallOrchestra 2019-20

Peter and Aliki Rzepka Dr. Vernon E. Sackman and Ms. Marguerite Patton Fr. Robert J. Sanson Ms. Patricia E. Say Mr. Paul H. Scarbrough Don Schmitt and Jim Harmon Ms. Beverly J. Schneider Mr. James Schutte+ Mrs. Cheryl Schweickart Mr. and Mrs. Alexander C. Scovil Ms. Kathryn Seider Rafick-Pierre Sekaly Mr. Eric Sellen and Mr. Ron Seidman Steve and Marybeth Shamrock Ginger and Larry Shane Harry and Ilene Shapiro Ms. Frances L. Sharp Larry Oscar & Jeanne Shatten Charitable Fund of the Jewish Federation Dr. and Mrs. William C. Sheldon+ Terrence and Judith Sheridan Mr. Richard Shirey+ Mr. and Mrs. Reginald Shiverick+ Michael Dylan Short 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 Ms. Janice A. Smith Sandra and Richey Smith+ Mr. Eugene Smolik Ms. Barbara R. Snyder Drs. Nancy Ronald Sobecks Drs. Thomas and Terry Sosnowski Jeff and Linda Stanley Edward R. & Jean Geis Stell Foundation Frederick and Elizabeth Stueber Michael and Wendy Summers Mr. David Szamborski Mr. and Mrs. John Taylor Ken and Martha Taylor Mr. Karl and Mrs. Carol Theil+ Mr. John R. Thorne and Family Bill and Jacky Thornton Dr. and Mrs. Thomas A. Timko Drs. Anna* and Gilbert True Steve and Christa Turnbull+ Bobbi and Peter* van Dijk Teresa Galang-Viñas and Joaquin Vinas (Miami) Mr. and Mrs. Les C. Vinney John and Deborah Warner Margaret and Eric* Wayne+ Mr. Peter and Mrs. Laurie Weinberger Katie and Donald Woodcock Elizabeth B. Wright+ Rad and Patty Yates Dr. William Zelei Mr. Kal Zucker and Dr. Mary Frances Haerr Anonymous (2)+ Anonymous (7)

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

Thank You The Cleveland Orchestra is sustained through the support of thousands of generous patrons, including the Leadership donors listed on these pages. Listings of all annual donors of $300 and more each year are published annually, and can be viewed online at CLEVELANDORCHESTRA .COM For information about how you can play a supporting role for The Cleveland Orchestra’s ongoing artistic excellence, education programs, and community partnerships, please contact our Philanthropy & Advancement Office by phone: 216-456-8400 or by email: donate @clevelandorchestra.com

* deceased

Individual Annual Support

87 85

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 Orchestraâ&#x20AC;&#x2122;s music-making, education programs, and community initiatives.

Annual Support gifts in the past year, as of September 5, 2019 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, Inc. NACCO Industries, Inc. KeyBank The J. M. Smucker Company PARTNERS IN EXCELLENCE $200,000 TO $299,999

BakerHostetler Jones Day PARTNERS IN EXCELLENCE $100,000 TO $199,999

CIBC The Goodyear Tire & Rubber Co. Medical Mutual Parker Hannifin Foundation

78 86

$50,000 TO $99,999

The Lubrizol Corporation PNC Quality Electrodynamics voestalpine AG (Europe) $15,000 TO $49,999

Buyers Products Company Calfee, Halter & Griswold LLP Cleveland Clinic The Cliffs Foundation DLR Group | Westlake Reed Leskosky Dollar Bank Foundation Eaton Ernst & Young LLP Forest City Frantz Ward LLP The Giant Eagle Foundation Great Lakes Brewing Company Hahn Loeser & Parks LLP Huntington National Bank Miba AG (Europe) MTD Products, Inc. Northern Trust (Miami) Olympic Steel, Inc. RPM International Inc. The Sherwin-Williams Company Thompson Hine LLP United Airlines University Hospitals

Corporate Annual Support

$2,500 TO $14,999 Amsdell Companies BDI Blue Technologies Brothers Printing Company Eileen M. Burkhart & Co., LLC Cleveland Steel Container Corporation The Cleveland Wire Cloth & Mfg. Co. Cohen & Company, CPAs Consolidated Solutions Dominion Energy Charitable Foundation Evarts Tremaine The Ewart-Ohlson Machine Company Arthur J. Gallagher & Co. Gross Builders Jobs Ohio The Lincoln Electric Foundation Littler Mendelson, P.C. Live Publishing Company Materion Corporation Northern Haserot Oatey Oswald Companies Park-Ohio Holdings Tony and Lennie Petarca PwC RSM US LLP Stern Advertising Ulmer & Berne LLP Margaret W. Wong & Associates LLC Anonymous (2)

The Cleveland Orchestra

THE CLEVELAND ORCHESTRA

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

Annual Support gifts in the past year, as of September 5, 2019 $1 MILLION AND MORE

The William Bingham Foundation Cuyahoga County residents through Cuyahoga Arts & Culture Elizabeth Ring Mather and William Gwinn Mather Fund Richard & Emily Smucker Family Foundation $500,000 TO $999,999

Ohio Arts Council $250,000 TO $499,999

John P. Murphy Foundation The Eric & Jane Nord Family Fund $100,000 TO $249,999

Paul M. Angell Family Foundation William Randolph Hearst Foundation The Louise H. and David S. Ingalls Foundation Kulas Foundation David and Inez Myers Foundation Dr. M. Lee Pearce Foundation, Inc. (Miami) The Kelvin and Eleanor Smith Foundation Weiss Family Foundation $50,000 TO $99,999

The Burton Charitable Trust The George W. Codrington Charitable Foundation The Jean, Harry and Brenda Fuchs Family Foundation, in memory of Harry Fuchs GAR Foundation ideastream League of American Orchestras: American Orchestras’ Futures Fund supported by the Ann and Gordon Getty Foundation

The Cleveland Severance HallOrchestra 2019-20

Martha Holden Jennings Foundation Myra Tuteur Kahn Memorial Fund of the Cleveland Foundation The Nord Family Foundation The Payne Fund $15,000 TO $49,999

The Abington Foundation Akron Community Foundation The Batchelor Foundation, Inc. (Miami) The Bruening Foundation Mary E. & F. Joseph Callahan Foundation Case Western Reserve University Cleveland State University Foundation The Helen C. Cole Charitable Trust The Mary S. and David C. Corbin Foundation 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) Miami-Dade County Department of Cultural Affairs (Miami) National Endowment for the Arts The Frederick and Julia Nonneman Foundation The Reinberger Foundation Albert G. & Olive H. Schlink Foundation The Sisler McFawn Foundation Dr. Kenneth F. Swanson Fund for the Arts of Akron Community Foundation The Veale Foundation Wesley Family 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 Cowles Charitable Trust (Miami) D’Addario Foundation Everence Foundation Fisher-Renkert 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 The Laub Foundation The Lehner Family Foundation The G. R. Lincoln Family Foundation The Jack, Joseph, and Morton Mandel Foundation The M. G. O’Neil Foundation The O’Neill Brothers Foundation New World Somewhere Fund Paintstone Foudnation Peg’s Foundation Performing Arts Readiness Charles E. & Mabel M. Ritchie Memorial Foundation The Leighton A. Rosenthal Family Foundation SCH Foundation Jean C. Schroeder Foundation The Shifrin Family Foundation Kenneth W. Scott Foundation Lloyd L. and Louise K. Smith Memorial Foundation The South Waite Foundation The George Garretson Wade Charitable Trust The Welty Family Foundation The Thomas H. White Foundation, a KeyBank Trust The Edward and Ruth Wilkof Foundation The Wright Foundation The Wuliger Foundation Anonymous

Foundation/Government Annual Support

79 87

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.

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 June 2019. For more information, please contact the Orchestra’s Legacy Giving Office by contacting Rachel Lappen at rlappen@clevelandorchestra.com or 216-231-8011. 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 Elizabeth A. Brinkman Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Thomas Brugger, MD Mr. and Mrs. Harvey Buchanan* Joan and Gene* Buehler Gretchen L. Burmeister

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

Mrs. John Drollinger Drs. Paul M.* and Renate H. Duchesneau George* and Becky Dunn Mr. and Mrs. Robert Duvin Dr. Robert E. Eckardt Paul and Peggy Edenburn Robert and Anne Eiben* Mr. and Mrs. Alfred M. Eich, Jr. Roger B. Ellsworth Oliver* and Mary Emerson Lois Marsh Epp Patricia Esposito C. Gordon and Kathleen A.* Ewers Patricia J. Factor Carl Falb Regis and Gayle Falinski Mrs. Mildred Fiening Gloria and Irving* Fine Joan Alice Ford Mr. and Mrs. Ralph E. Fountain* Gil* and Elle Frey Arthur* and Deanna Friedman Mr.* and Mrs. Edward H. Frost Dawn Full Henry S. Fusner* Dr. Stephen and Nancy Gage Barbara and Peter Galvin Mr. and Mrs. Steven B. Garfunkel Donald* and Lois Gaynor Albert I. and Norma C. Geller Dr. Saul Genuth Frank and Louise Gerlak Dr. James E. Gibbs S. Bradley Gillaugh Mr.* and Mrs. Robert M. Ginn Fred and Holly Glock Ronald* and Carol Godes William H. Goff Mr. and Mrs. Henry J. Goodman John and Ann Gosky In Memory of Margaret Goss Harry and Joyce Graham Elaine Harris Green Tom and Gretchen Green Anna Zak Greenfield Richard and Ann Gridley Nancy Hancock Griffith David E.* and Jane J. Griffiths LISTING CONTINUES

The Cleveland Orchestra

Legacy Giving

Legacy Giving THE CLEVELAND ORCHESTR A HERITAGE SOCIETY L I S T I N G C O N T I N U ED

Bev and Bob Grimm Candy and Brent Grover Thomas J.* and Judith Fay Gruber Henry and Komal Gulich Mr. and Mrs. David H. Gunning Mr. and Mrs. William E. Gunton Mrs. John A Hadden Jr. Richard* and Mary Louise Hahn James J. Hamilton Raymond G. Hamlin, Jr. Kathleen E. Hancock Holsey Gates Handyside* Norman C. and Donna L. Harbert Mary Jane Hartwell* William L.* and Lucille L. Hassler Mrs. Henry Hatch (Robin Hitchcock) Nancy Hausmann Virginia and George Havens Barbara L. Hawley and David S. Goodman Gary D. Helgesen Clyde J. Henry, Jr. Ms. M. Diane Henry Wayne and Prudence Heritage T. K.* and Faye A. Heston Fred Heupler, M.D. Mr. and Mrs.* Daniel R. High Mr. and Mrs. D. Craig Hitchcock* Bruce F. Hodgson Mary V. Hoffman Feite F. Hofman MD* Mrs. Barthold M. Holdstein* Leonard* and Lee Ann Holstein David and Nancy Hooker Thomas H. and Virginia J.* Horner Fund Patience Cameron Hoskins Elizabeth Hosmer Dorothy Humel Hovorka* Dr. Christine A. Hudak, Mr. Marc F. Cymes Dr. Randal N. Huff Mrs. Marguerite B. Humphrey Adria D. Humphreys* Ann E. Humphreys and Jayne E. Sisson David and Dianne Hunt Karen S. Hunt Mr. and Mrs. G. Richard Hunter Ruth F. Ihde Mr.* and Mrs. Jonathan E. Ingersoll Pamela and Scott Isquick Mr. and Mrs. Clifford J. Isroff* Mr. and Mrs. Donald M. Jack, Jr. Carol S. Jacobs Pamela Jacobson Milton* and Jodith Janes Jerry and Martha Jarrett* Merritt and Ellen Johnquest* Allan V. Johnson E. Anne Johnson Nancy Kurfess Johnson, M.D.

David and Gloria Kahan Julian and Etole Kahan David George Kanzeg Bernie and Nancy Karr Drs. Julian and Aileen Kassen* Milton and Donna* Katz Nancy F. Keithley and Joseph P. Keithley Patricia and Walter Kelley* Bruce and Eleanor Kendrick Malcolm E. Kenney Mr. and Mrs. Douglas A. Kern Charles M. and Janet G. Kimball* James and Gay* Kitson Mr. Clarence E. Klaus, Jr. Mary Elizabeth and G. Robert Klein* Fred* and Judith Klotzman Paul and Cynthia Klug Martha D. Knight Mr. and Mrs. Robert Koch Dr. Vilma L. Kohn* Mr. Clayton Koppes Susan Korosa Mr.* and Mrs. James G. Kotapish, Sr. Margery A. Kowalski Janet L. Kramer Mr. James Krohngold Mr. and Mrs. Gregory G. Kruszka Thomas* and Barbara Kuby Eleanor* and Stephen Kushnick Mr. and Mrs. Dennis W. LaBarre James I. Lader Mr. and Mrs. David A. Lambros Mrs. Carolyn Lampl Marjorie M. Lamport* Louis Lane* Kenneth M. Lapine and Rose E. Mills Lee and Susan Larson Charles K. László and Maureen O’Neill-László Anthony T. and Patricia Lauria Charles and Josephine Robson Leamy Fund* Jordan R. and Jane G. Lefko Teela C. Lelyveld Mr. and Mrs. Roger J. Lerch Judy D. Levendula Dr. and Mrs. Howard Levine Bracy E. Lewis Mr. and Mrs.* Thomas A. Liederbach Rollin* and Leda Linderman Virginia M. and Jon A. Lindseth Ruth S. Link* Dr. and Mrs. William K. Littman Dr. Jack and Mrs. Jeannine Love Jeff and Maggie Love Dr. Alan and Mrs. Min Cha Lubin Linda and Saul Ludwig Kate Lunsford Patricia MacDonald Alex and Carol Machaskee Jerry Maddox

Legacy Giving

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 Lois S. and Stanley M. Proctor* Mr. David C. Prugh* Leonard and Heddy Rabe

The Cleveland Orchestra

Legacy Giving THE CLEVELAND ORCHESTR A HERITAGE SOCIETY 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 Lawrence M. Sears and Sally Z. Sears Roslyn S. and Ralph M. Seed Nancy F. Seeley Edward Seely Oliver E.* and Meredith M. Seikel Reverend Sandra Selby Eric Sellen Holly Selvaggi Thomas and Ann Sepúlveda B. Kathleen Shamp Jill Semko Shane David Shank Dr. and Mrs. Daniel J. Shapiro* Helen and Fred D. Shapiro Norine W. Sharp*

Severance Hall 2019-20

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 Ms. Mary C. 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. Stave & 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 John and Deborah Warner

Legacy Giving

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 Linda R. Wilcox Alan H.* and Marilyn M. Wilde Helen Sue* and Meredith Williams Carter and Genevieve* Wilmot Mr. Milton Wolfson* and Mrs. Miriam Shuler-Wolfson Nancy L. Wolpe Mrs. Alfred C. Woodcock Katie and Donald Woodcock Dr.* and Mrs. Henry F. Woodruff Marilyn L. Wozniak Nancy R. Wurzel Michael and Diane Wyatt Tony and Diane Wynshaw-Boris Mary Yee Carol Yellig Libby M. Yunger William Zempolich and Beth Meany Roy J. Zook* Anonymous (73)

The lotus blossom is the symbol of the Heritage Society. It represents eternal life and recognizes the permanent benefits of legacy gifts to The Cleveland Orchestra’s endowment. Said to be Elisabeth Severance’s favorite flower, the lotus is found as a decorative motif in nearly every public area of Severance Hall. For more information, please call 216-231-8011.

11001 Euclid Avenue Cleveland, Ohio 44106

CLEVELANDORCHESTRA.COM

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

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 is no longer open for post-concert service, with the exception of luncheons following Friday Morning Matinees.

OPUS LOUNGE The Opus Lounge is located on the groundfloor of Severance Hall. This warmand-inviting 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 2019-20

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 Wear your pride and love for 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 Venues Sales Office: 216-231-7420, or email: hallrental@clevelandorchestra.com.

Guest Information

SHARING THE SPACE

ACCESS AND SERVICES

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

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

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

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

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

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

IN THE EVENT OF AN EMERGENCY Emergency exits are clearly marked throughout the building. Ushers and house staff will provide instructions in the event of an emergency.

SERVICES FOR PERSONS WITH DISABILITIES Severance Hall provides special seating options for mobility-impaired persons and their companions and families. There are wheelchair- and scooter-accessible locations where patrons can remain in their wheelchairs or transfer to a concert seat. Aisle seats with removable armrests are also available for persons who wish to transfer. Tickets for wheelchair accessible and companion seating can be purchased by phone, in person, or online. As a courtesy, Severance Hall provides wheelchairs to assist patrons in going to and from their seats upon entering the building. Guests 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: Music 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 for the at-door price of $11 per vehicle when space in the Campus Center Garage permits. Parking is also available in several lots within 1-2 blocks of Severance Hall. Visit the Orchestra’s website for more information and details.

MainStage 2019-20

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 Grace Church in Fairlawn. The round-trip service rate is $15 per person per concert, and is operated with support from Friends of The Cleveland Orchestra.

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 prior to the performance.

Tuesday, September 24 Jason Vieaux, guitar Adam Barnett-Hart, violin

Wednesday, October 30 October Octets Dover & Escher string quartets Thursday, November 21 Fei-Fei, piano

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 2019-20

Guest Information

Tuesday, February 25 Academy of St Martin in the Fields with Joshua Bell, violin Saturday, March 21 Augustin Hadelich, violin Canton Symphony Orchestra special venue: Umstattd Hall, Canton Tuesday, April 14 Junction Trio 7:30 p.m. , Akron’s EJ Thomas Hall $45 / $40 / $25 / free for students

330-761-3460 tuesdaymusical.org 95

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