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THE
CLEVEL AND ORC HE STR A FRANZ WELSER-MÖST
SEVERANCE HALL Perspectives Q&A
. . . . . . . . . . . . . . . . page 9
WEEK 6 — November
7, 8, 9, 10 Beethoven Symphony No. 3 . . . page 37
WEEK 7 — November
14, 16, 17 Mahler and Adams . . . . . . . . . . . . . page 55
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THE CLEVELAND ORCHESTRA
TA B L E O F C O N T E N T S
Perspectives
PAGE
Weeks 6 and 7
PROGRAM BOOK
Q&A with the President & CEO . . . . . . . . . . . . . . . . . . 9
About the Orchestra Board of Trustees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . By the Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Music Director: Franz Welser-Möst . . . . . . . . . . . . About The Cleveland Orchestra . . . . . . . . . . . . . . . Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . Severance Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Guest Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
NEWS
13 15 17 19 22 90 91
Cleveland Orchestra News . . . . . . . . 24
6 BEETHOVEN’S HEROIC SYMPHONY
WEEK
ON THE COVER Photograph by Roger Mastroianni
Copyright © 2019 by The Cleveland Orchestra and Musical Arts Association Eric Sellen, Program Book Editor E-MAIL: esellen@clevelandorchestra.com Program books for Cleveland Orchestra concerts are produced by The Cleveland Orchestra and are distributed free to attending audience members. Program book advertising is sold through Live Publishing Company at 216-721-1800
Concert: November 7, 8, 9, 10 . . . . . . . . . . . . . . . . 37 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 39 SHOSTAKOVICH
Violin Concerto No. 1 . . . . . . . . . . . . . . . . . . . . . . . 41 BEETHOVEN
Symphony No. 3 (“Eroica”) . . . . . . . . . . . . . . . . . . 45 Conductor: Jakub Hrůša . . . . . . . . . . . . . . . . . . . . . . . 36 Soloist: Sergey Khachatryan . . . . . . . . . . . . . . . . . . . 36
7 MAHLER AND ADAMS
WEEK
Concert: November 14, 16, 17 . . . . . . . . . . . . . . . . 55 Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . 57 ADAMS
On the Transmigration of Souls . . . . . . . . . . . . . . 59 MAHLER
Symphony No. 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
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.
Conductor: Jakub Hrůša . . . . . . . . . . . . . . . . . . . . . . . 36 Cleveland Orchestra Choruses . . . . . . . . . . . . . . . . . 64 Soloist: Joélle Harvey . . . . . . . . . . . . . . . . . . . . . . . . . . 74
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Support Severance Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 Annual Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78 Heritage Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
This program is printed on paper that includes 50% recycled content. 50%
End Note Adella Prentiss Hughes at 150 . . . . . . . . . . . . . . . . . 94
4
Table of Contents
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What’s inside this ABOUT THE ORCHESTRA
Presid ent & CEO
Q&A
Perspectives André Gremillet discusses extending Fran z Welser-Möst’s contract with the Orchestra — and how this continuing part nership is impacting Nort heast Ohio
Q: In September, The
Cleveland Orche stra announced a new five-year contra ct extension with Franz Welser-Mös t. Why does this excite you?
André: I couldn’t be happi
Perspectives — Each month, President & CEO André Gremillet writes about current news and ideas. Turn to page 9 to learn more regarding important Cleveland Orchestra initiatives and achievements.
the podium. Funda mentally, Franz does things differently and in a better way. He’s about cooperation and collaboratio n, and true chamber music , where every music is listening to one ian another and playin g and breathing togeth er. Of equal impor tance, for Franz, it’s not just about the performances, it’s also very much about what a great orchestra can do in this comm unity, to promote music education and inspire new generations .
er about this news. Franz has made a real differe nce here, helping to shape and refine this orchestra’s famou s sound into some thing even better. The Cleveland Orche stra has never played better , and there’s more do. Our discus to sions about his contract were never about whether to contin ue, but when and for how long. Franz’s partn Q: Please talk about ship with this orche ersome of the chang stra is an incred es taking place with ible thing. I’ve only the Orchestra’s been here four educayears, but tion and comm I’ve admired The unity programs? Cleveland Orche stra from afar all my life. André: From the It’s been a great very start, Franz orchestra for many decad has been involved es. But Franz Wel in The Cleveland ser-Möst has helped it grow Orchestra’s education even more than programs and I had imagined. Peopl community engagement activit e in the orchestra ies. He’s a determ business are surprised every advocate for the ined time we go on power of music tour at just how good to enable and chang this orchestra is, e the lives of every how much warmer and flexib child. Music helps in le the playing is. learning and under People around the world standing, in schools are looking at and neighborho us with renewed intere ods. And helping everyone st. Perhaps they — the underserved pigeonholed us twent engaged alike and y years ago as — participate. very good, yet now there This power of music is what is even more here. Franz has alway This orchestra has gaine s been about. Wheth d agility and under er he’s collaboratin standing, and are even g and conducting a specia more collaborativ l school concert e in their music-maki centered around the ng. Yes, Georg ideas of herois e Szell put this orchestra on m in the way he rethou the world map, ght Beethoven’s and gave it that first sheen symphonies with the Prome of chamber music theus Project two qualityy — but it was o years ago. Or the new always with direct “Crescendo” progr ion from am we’ve launched to teach instru mental Sever ance Hall 2019-20
From the Presid
What’s Happening? — Additional sections of the book give you information about events and happenings, including: News — Most books also include a selection of pages relating recent Orchestra news, including upcoming performances by ensemble members, memoriam announcements, information about new initiatives, tour review excerpts, introduction of new musicians, or other matters of interest.
ent
9
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31
n n vio nner he wo Armenia ungest wi when e yo etition r honwas th elius Comp ny othe n Sib . His ma 2005 Quee it tional r mp in 2000 the Cred in ize nducto erg Sy pr 14 th ize co mb 20 h rst pr fi rst the Czec the Ba nductor of bo the , Mr. lude fi etition and d tor of ce then ors inc conduc ipal guest co Orchestra an veard. Sin ny th Comp ia inc Cle Elisabe ung Artist Aw ed with ma armon and pr de his rm d Yo ’s Philh He ma appears perfo Suisse 2012 an London ilharmonic. hestras, rth er tryan ha August Ph Khacha rld’s major orc and across No but in Novemb s de in Czech re tra e wo e ord he ches rop ůša ha of the peare with th out Eu land Or Mr. Hr rough ently ap ncertos , Boston, uctor, pe and ing th ying co most rec a guest cond hout Euro rk, , Berlin ca, pla As comNew Yo throug sterdam Ameri 2018. ances and up ts with s of Am ne, Moscow, ronto, and rm nt tra ce rfo es Re ur To ch debu led pe America. , Melbo estra , Tokyo, lude his OrchesLondon isco, Sydney veland Orch in North gements inc ny , ga n Franc made his Cle recently r Sympho Symphony Sa st dio ing en mo K Ra He and chambe varian armonic, NH d perforVienna. March 2004 . As a the Ba an ilh in ril 2018 rforms frerlin Ph tre de Paris, debut Boston, re in Ap pe tra, Be of he es an s d ch a, try e Khaestra taw e Or appeare , Mr. Khacha t Lusin e orch and th York, Ot ere, ums pianis ian with th , New sister, tures alb music but th mances Los Angeles with his aphy fea que. These , t of 2008 de quently His discogr Classi Chicago a. Since his regular gues . and yan. Naïve a nn era d atr ter en op Vie an ch l sis va and his ssics has be ne Festi th FinnEMI Cla menia, with to the 100th Hrůša ur on ub bo wi de Jak d s e My Ar Genong ’s Glyn dicate rmance includ um de e Armenian England o led perfo era, Opera Ho rgey an alb Op s als gue nists, Se father, on of th He ha nkfurt ris, Pra emorati family of pia lin at age , l de Pa era, Fra a Comm g vio ish Op éra Nationa Danish Opera ’s rn into playin arneri Op on cide. Bo an started Royal Kong, aÿe’ Gu th Lond , ‘Ys eatre, try Music wi ist Th 40 d ha l on art 17 an e Khac Nipp Nationa te Opera, ording e plays th m the visit th As a rec a Sta ation, five. He kind loan fro Vienn ard on House. inform on n be he praphon, Opera more violin Royal om. istry ca n. For , Su ůša’s art s, Pentatone a wide variundatio hachatryan.c Fo Mr. Hr rd geyk stra els in n, ia Reco d Orche www.ser matio rsal lab an or Octav ive vel inf The Cle and Un r more Tudor, oire. Fo s m. Artist repert hrusa.co Guest ety of w.jakub visit ww
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36
6
Donors and Patrons — Ticket revenue covers D less than half of the cost of presenting each concert by The Cleveland Orchestra. Listed in this book are hundreds of generous individuals, corporations, and foundations who invest in us each year to help ensure the continuing value that a world-class orchestra brings to Northeast Ohio. You can join them in supporting our education initiatives, artistic presentations, and community engagement activities! History — You’ll also find pages where you can see a list of the musicians, or read about The Cleveland Orchestra’s history, and about the ensemble’s home here at Severance Hall. Our Advertisers — The advertisements throughout the book are purchased by local and national companies and non-profits, creating revenue that helps pay for the cost of printing each week’s book.
D Discover more . . . clevelandorchestra.com About this Book
The Cleveland Orchestra
Program Book? ABOUT THE CONCERT
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What’s on Tonight? — A section of most
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books is devoted to each concert, beginning with a “program page� listing the musical works in order, including each piece’s different sections (or movements) along with the names of the conductor and solo artists.
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Additional sections include:
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Concert Timeline — For most concerts, a page is included showing expected running times of each piece and intermission, as well as an estimated end time. You’ll also find infomation about how to enhance your concert experience by learning more or relaxing with friends.
Thursday evening’s concert is dedicate d in recognit to The Ralph and ion of their Luci Sche in support y extraordi of The Clev nary gene Foundation rosit y eland Orch estra. LIVE RAD IO
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About the Artists — Biographies are featured about soloists and conductors performing here at Severance Hall each week.
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Food, Drink, and More — in addition to
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At a Glance — Following the introduction for each concert, there is specific information about each piece of music, including a concise “At a Glance� section featuring barebones info.
Severance Restaurant (open before evening concerts) and Opus Lounge (open before and after), r a variety of drinks and snacks are available in lobbies throughout the building. Order yourself a beverage to enjoy, or ask about our special donor/subscriber lounges.
BRO ADC
Saturday ’s The conc concert is being broa ert on WCLV will be rebroadca dcast live on ideas on Saturday tream m/W day even st as part of regu /WCL CLV V Class Cl iing, Janu llar ary 11, 2020 weekly programm ical 104.9 FM. , at 8:00 p.m. ing
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Introducing the Concert — A special introductory page gives you a quick overview of the music to be performed, tying together the composers, performers, and musical styles you will be hearing.
Severance Hall 2019-20
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69
7
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President & CEO
Q&A
Perspectives André Gremillet discusses extending Franz Welser-Möst’s contract with the Orchestra — and how this continuing partnership is impacting Northeast Ohio
Q: In September, The Cleveland Orchestra announced a new five-year contract extension with Franz Welser-Möst. Why does this excite you?
André: I couldn’t be happier about this news. Franz has made a real difference here, helping to shape and refine this orchestra’s famous sound into something even better. The Cleveland Orchestra has never played better, and there’s more to do. Our discussions about his contract were never about whether to continue, but when and for how long. Franz’s partnership with this orchestra is an incredible thing. I’ve been here less than four years, but I’ve admired The Cleveland Orchestra from afar all my life. It’s been a great orchestra for many decades. But Franz Welser-Möst has helped it grow even more than I had imagined. People in the orchestra business are surprised every time we go on tour at just how good this orchestra is, how much warmer and flexible the playing is. People around the world are looking at us with renewed interest. Perhaps they pigeonholed us twenty years ago as very good, yet now there is even more here. This orchestra has gained agility and understanding, and are even more collaborative in their music-making. Yes, George Szell put this orchestra on the world map, and gave it that first sheen of chamber music quality — but it was always with Severance Hall 2019-20
From the President
direction from the podium. Fundamentally, Franz does things differently, in a very modern way. He’s about cooperation and collaboration, and true chamber music, where every musician is listening to one another and playing and breathing together. Of equal importance, for Franz, it’s not just about the performances, it’s also very much about what a great orchestra can do in this community, to promote music education and inspire new generations.
Q: Please talk about some of the changes taking place with the Orchestra’s education and community programs?
André: From the very start, Franz has been involved in The Cleveland Orchestra’s education programs and community engagement activities. He’s a determined advocate for the power of music to enable and change the lives of every child. Music helps in learning and understanding, in schools and neighborhoods. And helping everyone — the underserved and engaged alike — participate. This power of music is what Franz has always been about. Whether he’s collaborating and conducting a special school concert centered around the ideas of heroism in the way he rethought Beethoven’s symphonies with the Prometheus Project two years ago. Or the new “Crescendo” program we’ve launched to teach instrumental music les9
continued from previous page
sons in Cleveland schools. For Franz and all of us at The Cleveland Orchestra, hands-on music-making is one of the greatest tools not only for learning new skills, but for developing self-discipline and self-confidence, for collaborating with the musicians around you and learning to be an ensemble and perform together as a team.
Q: Many Cleveland-area adults remember attending a Cleveland Orchestra Education Concert at Severance Hall as a student. Please talk about the exciting news about these ongoing concerts that was also announced in September.
André: Across more than a century now, The Cleveland Orchestra has introduced over 4 million students to classical music. And each year we devote several weeks of the Orchestra’s performances to Education Concerts, with busloads of children coming to Severance Hall and witnessing a live symphony orchestra for the first time in their lives. Franz’s leadership and vision has only strengthened our commitment to these efforts and, now, thanks to a tremendously generous gift to the Orchestra from Mrs. Jane Nord, tickets to these concerts will be free to all schools and students in the area. Thank you, Jane, for making our dream of universal access for young people, especially the most disadvantaged, a reality. This will be transformational, as we continue to work toward breaking down barriers that stand in the way of people from experiencing The Cleveland Orchestra. We are continuing to evolve and grow our education programs and community engagement activities. We want to do more, and we intend to make an even larger difference and to literally touch the lives of every child in Northeast Ohio. 10
Q: Please talk more about some of the new ideas and plans being worked on for the years ahead.
André: This truly is an exciting time to be at The Cleveland Orchestra and to live in Northeast Ohio. Of course, there are challenges. But without effort and vision nothing great ever happens. And so many things will be happening. This next year we are launching the Orchestra’s own recording label — to showcase the partnership between Franz Welser-Möst and The Cleveland Orchestra, to add new and amazing performances to this ensemble’s storied recording history. Some of these, I believe, will be eye-opening — and very much ear-opening — for music-lovers around the world. We continue to pursue collaborations with other arts organizations here in Greater Cleveland — for tourism, and to enhance the opera festival we do each season, so that we can bring even more breadth and depth to the public discussions around important works of art. We have new touring plans that will be announced in the coming months, which relate directly to tourism in Northeast Ohio and to the Economic Impact Study we just released (see page 33) — about how important The Cleveland Orchestra is to this community, not just for what we do artistically, but, like our sports teams and museums and colleges and universities, all of these are important to the quality of life and work throughout greater Cleveland. To read more about the Orchestra’s plans, please turn to pages 24-25 of this book.
From the President
The Cleveland Orchestra
GINA BEREDO, ESQ. NORDS ON CORPORATION
WE’RE WORKING TO G E T H E R TO EXTEND JUSTICE
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MUSICAL ARTS ASSOCIATION
as of November 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 Dunn Blossom Richard J. Bogomolny Yuval Brisker Helen Rankin Butler Irad Carmi Paul G. Clark Robert D. Conrad Margot Copeland Matthew V. Crawford Alexander M. Cutler Hiroyuki Fujita Robert A. Glick 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 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 John Warner Geraldine B. Warner Jeffery J. Weaver Meredith Smith Weil Paul E. Westlake Jr. David A. Wolfort Dr. Anthony Wynshaw-Boris
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) Richard C. Gridley Wolfgang C. Berndt (Austria) (South Carolina) Mary Jo Eaton (Florida) Herbert Kloiber (Germany) TRUSTEES EX- OFFICIO Lisa Fedorovich, Co-Chair, Cleveland Orchestra Chorus Operating Committee Barbara R. Snyder, President, Case Western Reserve University TRUSTEES EMERITI George N. Aronoff Dr. Ronald H. Bell David P. Hunt S. Lee Kohrman Raymond T. Sawyer
Ben Pyne (New York) Paul Rose (Mexico)
Dr. Patricia M. Smith, President, Friends of The Cleveland Orchestra Todd Diacon, President, Kent State University
HONORARY TRUSTEE S FOR LIFE Alex Machaskee Gay Cull Addicott Robert P. Madison Charles P. Bolton John C. Morley Jeanette Grasselli Brown The Honorable John D. Ong Allen H. Ford James S. Reid, Jr. 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
13
THE CLEVELAND ORCHESTRA The Cleveland Orchestra’s Board of Trustees is grateful to the community leaders listed on this page, who provide valuable knowledge, expertise, and support in helping propel the Orchestra forward into the future.
ADVISORY COUNCIL Larry Oscar, Chair Greg Chemnitz, Vice Chair Richard Agnes Mark J. Andreini Lissa Barry Dean Barry William P. Blair III Frank Buck Becky Bynum Phil Calabrese Paul Clark Richard Clark Kathy Coleman Judy Diehl Barbara Hawley Matt Healy Brit Hyde Rob Kochis Janet Kramer David Lamb Susan Locke
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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
EUROPEAN ADVISORY BOARD 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
Advisory Councils and Boards
The Cleveland Orchestra
1918
Seven music directors have led the Orchestra, including George Szell, Christoph von Dohnányi, and Franz Welser-Möst.
16 18th
1l1l 11l1 l1l1 1 1l
The The2017-18 2019-20season seasonwill marks mark Franz FranzWelser-Möst’s Welser-Möst’s18th 16th year yearas asmusic musicdirector. director.
SEVERANCE HALL, “America’s most beautiful concert hall,” opened in 1931 as the Orchestra’s permanent home.
40,000
each year
Over 40,000 young people attend Cleveland Orchestra concerts each year via programs funded by the Center for Future Audiences, through student programs and Under 18s Free ticketing — making up 20% of audiences.
52 53%
Over half of The Cleveland Orchestra’s funding each year comes from thousands of generous donors and sponsors, who together make possible our concert presentations, community programs, and education initiatives.
4million
Followers Follows onon Facebook social media (as of(June June 2019) 2016)
The Cleveland Orchestra has introduced over 4.1 million children in Northeast Ohio to symphonic music through concerts for children since 1918.
129,452 200,000
1931
150
concerts each year.
The Orchestra was founded in 1918 and performed its first concert on December 11.
The Cleveland Orchestra performs over
THE CLEVEL AND ORCHESTRA
BY THE NUMBERS
it starts with a dream
18 East Orange Street Chagrin Falls, Ohio (440) 247-2828
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.
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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
19
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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
The Cleveland Orchestra
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.
PHOTO BY ROGER MASTROIANNI
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-
Severance Hall 2019-20
The Cleveland Orchestra
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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
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Alfred M. and Clara T. Rankin Chair
The GAR Foundation Chair
Charles Bernard2 Helen Weil Ross Chair
Emilio Llinás2 James and Donna Reid Chair
Bryan Dumm Muriel and Noah Butkin Chair
Eli Matthews1 Patricia M. Kozerefski and Richard J. Bogomolny Chair
Sonja Braaten Molloy Carolyn Gadiel Warner Elayna Duitman Ioana Missits Jeffrey Zehngut Vladimir Deninzon Sae Shiragami Scott Weber Kathleen Collins Beth Woodside Emma Shook Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Chair
Yun-Ting Lee Jiah Chung Chapdelaine VIOLAS Wesley Collins* Chaillé H. and Richard B. Tullis Chair
Lynne Ramsey
Louis D. Beaumont Chair
Richard Weiss1
1
Charles M. and Janet G. Kimball Chair
Stanley Konopka2 Mark Jackobs Jean Wall Bennett Chair
Arthur Klima Richard Waugh Lisa Boyko Richard and Nancy Sneed Chair
Lembi Veskimets The Morgan Sisters Chair
Eliesha Nelson Joanna Patterson Zakany Patrick Connolly
The Musicians
Tanya Ell Thomas J. and Judith Fay Gruber Chair
Ralph Curry Brian Thornton William P. Blair III Chair
David Alan Harrell Martha Baldwin Dane Johansen Paul Kushious BASSES Maximilian Dimoff * Clarence T. Reinberger Chair
Kevin Switalski2 Scott Haigh1 Mary E. and F. Joseph Callahan Chair
Mark Atherton Thomas Sperl Henry Peyrebrune Charles Barr Memorial Chair
Charles Carleton Scott Dixon Derek Zadinsky HARP Trina Struble* Alice Chalifoux Chair This roster lists the fulltime members of The Cleveland Orchestra. The number and seating of musicians onstage varies depending on the piece being performed.
Severance Hall 2019-20
2O19 -2O2O
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 Sharon and Yoash Wiener Chair
Jeffrey Rathbun2 Everett D. and Eugenia S. McCurdy Chair
HORNS Nathaniel Silberschlag* George Szell Memorial Chair
Michael Mayhew
Knight Foundation Chair
Jesse McCormick Robert B. Benyo Chair
Hans Clebsch Richard King Alan DeMattia
Robert and Eunice Podis Weiskopf Chair
Jack Sutte Lyle Steelman2 James P. and Dolores D. Storer Chair
Michael Miller
ENGLISH HORN Robert Walters
CORNETS Michael Sachs* Mary Elizabeth and G. Robert Klein Chair
Michael Miller 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 *
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
Louise Harkness Ingalls Chair
Gareth Thomas Barrick Stees2 Sandra L. Haslinger Chair
Jonathan Sherwin CONTRABASSOON Jonathan Sherwin
The Cleveland Orchestra
PERCUSSION Marc Damoulakis* Margaret Allen Ireland Chair
Donald Miller Tom Freer Thomas Sherwood KEYBOARD INSTRUMENTS Joela Jones* Rudolf Serkin Chair
TRUMPETS Michael Sachs*
Robert Walters
Samuel C. and Bernette K. Jaffe 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
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orchestra news
THE CLEVELAND ORCHESTRA
The Cleveland Orchestra and Franz Welser-Möst extend acclaimed partnership to 2027 Musical collaboration continues to flourish, with ambitious plans for future Worldwide performances to expand, playing more music for more people at home and around the globe On September 21, The Cleveland Orchestra announced a new five-year extension of Franz Welser-Möst’s contract as Music Director, continuing a partnership that began in 2002 to 2027. The announcement was made at Severance Hall in Cleveland at the Gala Concert opening the Orchestra’s 2019-20 season. “I am delighted to announce this extended contract, ensuring The Cleveland Orchestra’s acclaimed partnership with Franz Welser-Möst for an additional five years to 2027,” said Richard K. Smucker, Chair of the Orchestra’s Board of Trustees. “From Franz’s work here over the past quarter century, from everything we’ve witnessed and experienced across our Centennial Celebrations in 2018 to today, and through ongoing discussions and plans for the future, I know there is so much more to look forward to. This pairing, of Franz Welser-Möst and The Cleveland Orchestra, is already among the most successful artistic partnerships in the world today. Newspapers regularly proclaim Cleveland’s Orchestra under Franz’s baton as ‘America’s finest,’ as ‘America’s best,’ as ‘one of the top three in the world.’ This recognition inspires in us great pride and deep humility — as well as extraordinary awe and thanks to these exemplary, hard-working musicians.” “But, and let me say this loud and clear,” continued Smucker. “Together we know that Franz Welser-Möst and The Cleveland Orchestra can do even more. Franz’s vision and leadership reach across all areas of our institution, building and fostering our commitment to music education, dedicated to excellence, and determined to play more music for more people, to inspire young and old alike through the incredible power of music.” Franz Welser-Möst first appeared with The Cleveland Orchestra as a guest conductor in February 1993. He was invited to return every season beginning in 1994, and was chosen and announced in 1999 as the Orchestra’s seventh Music Director, succeeding Christoph von Dohnányi, who served as music director from 1984
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until 2002. Welser-Möst’s tenure began with the 2002-03 season. “I am humbled by the faith that the musicians of the Orchestra and everyone in Cleveland has placed in my hands,” commented Franz WelserMöst. “From the beginning, I have been inspired by Cleveland’s musicians and by the support and keen interest that the entire Cleveland community provides to The Cleveland Orchestra. I continue to be energized by these incredible artists and by all that we are able to do together. There is no better place in the world to work and to create music together than what The Cleveland Orchestra and community have offered to me.” “I first conducted The Cleveland Orchestra in 1993 and I then spent a decade leading performances as a guest conductor here,” continued Welser-Möst. “So that even before I accepted the artistic leadership role here, I believed that Cleveland offered an opportunity to take a level of accomplished artistry and deeply-held traditions of excellence, and to grow even further, into something truly extraordinary together. I am humbled and excited by what we have already achieved together, and am looking forward to how much more we will do in years ahead. To remain connected with our audiences, to make a difference in our changing world, requires that we constantly evolve and thrive in new ways. The Cleveland Orchestra, and the entire community here, continually demonstrate a curiosity and willingness to learn that inspires me. I am eager to continue this wonderful relationship with this dynamic community.” “The relationship between Franz Welser-Möst and the musicians of The Cleveland Orchestra continues to flourish and evolve,” said André Gremillet, the Orchestra’s President & CEO. “This Orchestra has long been recognized as one of the best in the world. Whether we’re playing at home in Ohio, in Miami, New York, or across Europe or Asia, The Cleveland Orchestra is consistently acclaimed for its artistry, musicality, and unrivaled excellence. Under Franz’s leadership, it has grown even further,
Cleveland Orchestra News
The Cleveland Orchestra
orchestra news P H OTO BY R O G E R MA S T R O I A N N I
both artistically and in deepening its close and storied relationship with the larger Cleveland community. Musically, it has become a more agile ensemble, refining its chamber-music like approach to music-making in order to consistently offer performances of incredible finesse, unmatched subtlety, and deep meaning. Under Franz’s leadership and with his innovative programming, The Cleveland Orchestra’s audiences have grown bigger and, most notably, they have grown younger as we attract students and young people from across the region.” In announcing the news, Richard Waugh, chair of the Musicians’ Committee of The Cleveland Orchestra, commented: “There is a strong sense of understanding and mutual respect between Franz Welser-Möst and the musicians of The Cleveland Orchestra. There is a sense of excitement, willingness and ability to collaborate within this Orchestra that makes each rehearsal, each performance into a unique opportunity for sharing and teamwork. Franz WelserMöst has enhanced and increased our understanding and potential as an ensemble, which makes for a wonderful collegial environment onstage for everyone. We are looking forward to our ongoing music-making with him.” The announcement and accompanying news release detailed a variety of plans that are in development or already in place for future seasons, including new and ongoing programs to further eliminate barriers to attending the Orchestra’s education and community engagement initiatives. Also detailed were the launch of a new series of recordings showcasing WelserMöst and the Orchestra, as well as opera offerings for the next five seasons. “Franz Welser-Möst’s reputation for insightful leadership and programming draws musicians from around the world, both as guests and to audition for the Orchestra itself,” said Mark Williams, Chief Artistic Officer of The Cleveland Orchestra. “Part of his success in making Cleveland a destination for opera is his ability to discover and nurture
THE CLEVELAND ORCHESTRA
Severance Hall 2019-20
the best singers worldwide. He has recognized the potential of many singers from the beginning of their careers and helped mentor them into the wellknown artists they are today. But without seeking credit or publicity — simply by inviting them to work in Cleveland in unique opera presentations and other repertoire. He has done much the same over the past two decades working with a series of emerging composers, encouraging and supporting their work through performances and commissions, building on The Cleveland Orchestra’s long history of commissioning and presenting new works.” “I believe that part of each season should always be about discovery, for the Orchestra’s musicians, for guest artists, for the audiences,” said Franz Welser-Möst. “Our role as musicians is not simply to play music that we all know and love, but also to explore, whether they are new works or ‘undiscovered gems’ from the past that are new for the audience and the Orchestra, but deserve to be heard. 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. Learning keeps us alive and helps us to understand and share music as a language in new ways.” To read the complete news release detailing future plans related to Franz Welser-Möst’s ongoing tenure as music director, please visit clevelandorchestra.com.
Cleveland Orchestra News
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orchestra news
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.
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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
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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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Cleveland Orchestra News
The Cleveland Orchestra
orchestra news THE CLEVELAND ORCHESTRA
I.N M.E .M.O.R.I. A .M The Cleveland Orchestra notes the death of retired musician Myron Bloom, and extends condolences to his family and friends. Bloom served as principal horn with the Orchestra for 22 years, the longest-serving principal horn in the ensemble’s history, having first joined during the 1954-55 season. He was appointed section principal by George Szell in 1955 and retired in 1977. He was an acclaimed teacher, with his playing admired in performances and on recordings around the world. He died on September 26, 2019, at the age of 93. Born in Cleveland on April 18, 1926, he originally trained to be a cellist. World War II, however, changed the course of his life, when he chose a brass instrument to play in the U.S. Navy Band. After the war, he attended the Eastman School of Music in Rochester, but joined the Louisiana Philharmonic as principal horn prior to graduating. He was later also a regular participant for many summers at the Marlboro Festival in Vermont. He left Cleveland in 1977 and played with the Orchestre de Paris, dividing his time between Europe and teaching at Indiana University in Bloomington. He also taught at the Curtis Institute of Music in Philadelphia.
A.R.O.U.N.D T.O.W.N Recitals and presentations featuring Orchestra musicians Upcoming local performances by members of The Cleveland Orchestra include: Orchestra members Elayna Duitman (violin) and Carolyn Gadiel Warner (piano) are presenting a recital of sonatas by Mozart, Dvořák, Brahms, and Grieg on Sunday evening, November 10. The program begins at 7:00 p.m. and takes place at Lyndhurst Community Presbyterian Church (5312 Mayfield Road) as part of the Chamber Music Guild series presented there.
Severance Hall 2019-20
THE CLEVELAND ORCHESTRA
New principal horn joins Orchestra with new season The newest member of The Cleveland Orchestra began playing with the ensemble in early August 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.
Cleveland Orchestra News
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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.
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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. Additional new 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
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
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orchestra news
THE CLEVELAND ORCHESTRA
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Longtime ticket office manager retires The Cleveland Orchestra family extends gratitude and extraordinary best wishes to Tim Gaines, who retired as box office manager on November 1, following a 40-year career with the institution. He first joined the organization in a part-time role at Blossom, before moving up to assistant box office manager in 1981 and then as director of administration at Blossom in 1987. He became director of subscriptions in 1988 and then box office manager beginning in 1997. While deftly managing the needs, desires, and concerns of thousands of ticketbuyers and subscribers — nearly ten million tickets were sold during his years in the box office — Mr. Gaines helped lead the Orchestra into the computer age, learning the ins and outs of several generations of ticketing software to help ensure data accuracy and security. He personally knew and handled many subscriber’s seating preferences, and was willingly on call even
when on vacation or weekends off to help manage challenging situations. He was a strong advocate for implementing new seating options for patrons with disabilities. A Cleveland native, Tim has long been interested and knowledgeable about the Orchestra’s concerts, with Shostakovich as one of his personal favorite composers. “The loyalty and good judgement that Tim Gaines provided our audiences was remarkable,” commented Julie Stapf, senior director of marketing. “Tim led the way in customer service, long before that became an institutional imperative. His dedication and ability to bridge between our ticketing software and the real lives and faces of our customers was tremendous. Thank you, Tim.”
Mc Gregor
Supporting Seniors in Need and Those Who Serve Them Since 1877 14900 Private Drive • Cleveland 44112 • 216-851-8200 www.mcgregoramasa.org 32
Cleveland Orchestra News
The Cleveland Orchestra
orchestra news
THE CLEVELAND ORCHESTRA
Economic study shows The Cleveland Orchestra’s influence and impact across Northeast Ohio The Cleveland Orchestra has released information from a study it commissioned from research firm Kleinhenz & Associates and Case Western Reserve University. The study examines the Orchestra’s economic and social impact on the local and regional areas the ensemble calls home. Driven by a commitment to enrich lives by creating extraordinary musical experiences at the highest level, The Cleveland Orchestra continues to foster a culture of excellence, integrity, and artistic innovation. The economic study, conducted during the Orchestra’s 2017-18 season, analyzes the financial influence this renowned institution has on Northeast Ohio. The study concludes that The Cleveland Orchestra generates $135.4 million of annual sales across Northeast Ohio’s seven-county region, calculated by looking at a variety of factors, including performances held at Severance Hall and summer concerts at Blossom Music Center (both classical programming by the Orchestra and the rock, country, and other music presented by Live Nation). In addition, activities at Severance Hall and Blossom Music Center supported by The Cleveland Orchestra created nearly 1,300 jobs, which are directly accountable for $60.8 million of annual payroll income. The study determined that the Orchestra remains an integral thread woven through the fabric of the Northeast Ohio community, and the economic areas most affected by its influence are performing arts, dining and restaurants, hotel, and travel. “The Cleveland Orchestra provides terrific value to the people of Northeast Ohio and is an invaluable asset in helping our company recruit the best talent from around the nation,” said Richard K. Smucker, Chair of The Cleveland Orchestra and Executive Chairman of The J.M. Smucker Company. “The Cleveland Orchestra is also the only art form from this region that travels the globe every year, and as such it performs an important role as ambassador for the city. By carrying the name of Cleveland in this way, the Orchestra provides many of our region’s companies with exciting connections to new international business possibilities.” “For more than a century, The Cleveland
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Orchestra has been committed to presenting inspirational and unrivaled music performances for audiences across Northeast Ohio, and around the world,” said André Gremillet, President and CEO of The Cleveland Orchestra. “This remarkable ensemble has demonstrated a lifelong dedication to engaging the members of its community by participating in a wealth of educational programs for people of all ages. Although many Clevelanders possess a deep and enduring appreciation for the Orchestra’s musical and cultural significance, we hope this study also helps people understand the organization’s economic value to Cleveland and Northeast Ohio.” “The Cleveland Orchestra has been a vibrant part of Cleveland’s economic and cultural fabric, benefitting those who live here and those who visit from all over the world,” said Dr. Tomislav Mihaljevic, CEO & President of the Cleveland Clinic and a Cleveland Orchestra Trustee. “It is internationally recognized for the highly talented musicians, leaders, and programs that have made it a tremendous asset to this community for many years. We are very proud and honored to have such a treasure that helps the city recruit great talent to Cleveland.” After concluding that the Orchestra is responsible for $135.4 million in spending across the region, the report also determined that $116 million of that total comes from operations and $19.4 million from visitors to the region. At Severance Hall, the Orchestra generates approximately $99.5 million in economic activity within Cuyahoga County. Further findings reveal that the Orchestra generates $84.2 million in spending from its operating expenditures, and its visitors generate $15.3 million in sales. There were 159,000 attendees of Orchestra events at Severance Hall, spending $11.2 million excluding ticket sales; 45 percent of those visitors were from outside Cuyahoga County. More than half of The Cleveland Orchestra’s musicians are connected to the Cleveland Institute of Music as members of the faculty, alumni, or both. Together, The Cleveland Orchestra and CIM are responsible for annually adding $172.1 million to Northeast Ohio’s economy.
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Musicians Emeritus of
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Listed here are the living members of The Cleveland Orchestra who served more than twenty years, all of whom now carry the honorary title of Emeritus. Appointed by and playing under four music directors, these 39 musicians collectively completed a total of 1382 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 HARP Lisa Wellbaum * 2007 — 33 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 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
* Principal Emeritus § 1 2
Associate Principal Emeritus First Assistant Principal Emeritus Assistant Principal Emeritus
listing as of October 5, 2019
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Appreciation
The Cleveland Orchestra
orchestra news
THE CLEVELAND ORCHESTRA
M . U . S . I .C . I . A . N S . A . L . U .T. E The Musical Arts Association gratefully 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
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Special thanks to musicians for supporting the Orchestra’s long-term financial strength The Board of Trustees extends a special acknowledgement to the members of The Cleveland Orchestra for supporting the institution’s programs by jointly volunteering their musical services for several concerts each season. These donated services have long played an important role in supporting the institution’s financial strength, and were expanded 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
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Jakub Hrůša
Sergey Khachatryan
Czech conductor Jakub Hrůša is chief conductor of the Bamberg Symphony and principal guest conductor of both London’s Philharmonia Orchestra and the Czech Philharmonic. He made his Cleveland Orchestra debut in August 2012 and most recently appeared here in November 2018. As a guest conductor, Mr. Hrůša has led performances throughout Europe and in North America. Recent and upcoming engagements include his debuts with the Bavarian Radio Symphony Orchestra, Berlin Philharmonic, NHK Symphony, and the Orchestre de Paris, and performances with the orchestras of Boston, Chicago, Los Angeles, New York, Ottawa, and Vienna. Since his 2008 debut there, Jakub Hrůša has been a regular guest of England’s Glyndebourne Festival opera. He has also led performances with Finnish Opera, Frankfurt Opera, Opera Hong Kong, Opéra National de Paris, Prague National Theatre, Royal Danish Opera, Vienna State Opera, and with London’s Royal Opera House. As a recording artist, Mr. Hrůša’s artistry can be heard on the Octavia Records, Pentatone, Supraphon, Tudor, and Universal labels in a wide variety of repertoire. For more information, visit www.jakubhrusa.com.
Armenian violinist Sergey Khachatryan was the youngest winner of the International Sibelius Competition when he won first prize in 2000. His many other honors include first prize in the 2005 Queen Elisabeth Competition and the 2014 Credit Suisse Young Artist Award. Since then, Mr. Khachatryan has performed with many of the world’s major orchestras, appearing throughout Europe and across North America, playing concertos with the orchestras of Amsterdam, Berlin, Boston, London, Melbourne, Moscow, New York, San Francisco, Sydney, Tokyo, Toronto, and Vienna. He made his Cleveland Orchestra debut in March 2004 and most recently appeared here in April 2018. As a chamber musician, Mr. Khachatryan performs frequently with his sister, pianist Lusine Khachatryan. His discography features albums on EMI Classics and Naïve Classique. These include My Armenia, with his sister and father, an album dedicated to the 100th Commemoration of the Armenian Genocide. Born into a family of pianists, Sergey Khachatryan started playing violin at age five. He plays the 1740 ‘Ysaÿe’ Guarneri violin on kind loan from the Nippon Music Foundation. For more information, visit www.sergeykhachatryan.com.
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Guest Artists
The Cleveland Orchestra
THE
CLEVELAND ORCHESTRA M U S I C D I R E C TO R
Severance Hall
Thursday evening, November 7, 2019, at 7:30 p.m. Friday evening, November 8, 2019, at 8:00 p.m. Saturday evening, November 9, 2019, at 8:00 p.m. Sunday afternoon, November 10, 2019, at 3:00 p.m.
2O19 -2O2O
FR ANZ WELSER- MÖST
Jakub Hrůša, conductor DMITRI SHOSTAKOVICH (1906-1975)
Violin Concerto No. 1 in A minor, Opus 77 1. 2. 3. 4.
Nocturne Scherzo Passacaglia — Burlesca
SERGEY KHACHATRYAN, violin
INTER MISSION LUDWG VAN BEETHOVEN (1770-1827)
Symphony No. 3 (“Eroica”) in E-flat major, Opus 55 1. 2. 3. 4.
Allegro con brio Marcia funebre: Adagio assai Scherzo: Allegro vivace — Trio — Coda Finale: Allegro molto — Poco andante — Presto
Thursday evening’s concert is dedicated to William J. and Katherine T. O’Neill in recognition of their extraordinary generosity in support of The Cleveland Orchestra.
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 6
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November 7, 8, 9, 10 THI S WE E KE ND’S CONCE RT Restaurant opens: THUR 4:30 FRI 5:00 SAT 5:00 SUN 12:00
Concert Preview: BEGINS ONE HOUR BEFORE CONCERT
Concert begins: THUR 7:30 FRI 8:00 SAT 8:00 SUN 3:00
Severance Restaurant Reservations (suggested) for dining:
216-231-7373 or via www.UseRESO.com
CO N CE R T
P R E V I E W — Reinberger Chamber Hall
“Autocrats, the Arts, and Music-Minus-One” with Timothy Cutler, r Cleveland Institute of Music
SHOSTAKOVICH Violin Concerto No. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . page 41 (35 minutes)
Cleveland Orchestra Store Located in Smith Lobby on the groundfloor, the Cleveland Orchestra Store is open before and after concerts, and during intermission.
INTERMISSION (20 minutes)
BEETHOVEN Symphony No. 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 45 (50 minutes)
Share your memories of the performance and join the conversation online . . .
Concert ends:
facebook.com/clevelandorchestra twitter: @CleveOrchestra instagram: @CleveOrch
(approx.)
THUR FRI SAT SUN
9:20 9:50 9:50 4:50
(Please note that photography during the performance is prohibited.)
Opus Lounge Stop by our friendly spe speakeasy lounge (with full bar service) ffor post-concert drinks, desserts, and convivial comradery.
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This Week’s Concerts
The Cleveland Orchestra
INTRODUCING THE CONCERT
(R)evolutionary Music T H I S W E E K ’ S C O N C E R T S present two musical works, by two of
classical music’s biggest names: Ludwig van Beethoven and Dmitri Shostakovich. Given its public premiere in 1805, the Third Symphony signalled the arrival of Beethoven as a major composer, determined and destined to make a statement not just with music but about the world. Shostakovich’s First Violin Concerto, written nearly a centuryand-a-half later, is a differently animated work — because it had to be. Shostakovich had already made a name for himself, but was carefully learning just how open or guarded he could be within the confines of Soviet communism. Armenian violinist Sergey Khachatryan plays the solo role for Shostakovich’s concerto, filled with beauty and troubling outbursts. Written in the aftermath of World War II, but kept unpublished until the next decade (following Soviet dictator Josef Stalin’s death) with a renewed thawing of the government’s controlling views on artistic values, it is a bravura work for soloist and orchestra, and a dynamic view of Shostakovich’s thrilling brand of music-making. After intermssion, guest conductor Jakub Hrůša leads one of Beethoven’s biggest battleworks, the Third Symphony, nicknamed “Eroica,” meaning “Heroic.” This mighty piece, born from alternating thoughts of admiration and disgust for Napoleon Bonaparte — and conceived simultaneously as the composer first wrestled with fate’s choice to gradually steal his hearing away toward deafness — did much to launch Beethoven’s greatness for posterity. It also solidified his own resolve to “fight for good” through his music. Here politics and philosophy, heroics and will, might and right, are blended together into one of the greatest symphonies ever written. This is music filled with joy and heartache, fun and confrontation — and pure genius. —Eric Sellen ABOVE: “Napoleon Crossing the Alps” — a painting from 1805 by Jacques-Louis David, portraying Napoleon as a fearless and heroic leader.
Severance Hall 2019-20
Introducing the Concert
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Jewish values teach us to care for future generations. The Jewish Federation of Cleveland can help you leave a precious inheritance and lasting legacy for your children, grandchildren, and our community. Find out how you can become a member of the Jewish Federation of Cleveland’s Legacy Society by contacting Carol F. Wolf for a confidential conversation at 216-593-2805 or cwolf@jcfcleve.org.
L’dor V’dor. From Generation to Generation. Create Your Jewish Legacy
www.jewishclevelandgifts.org
Violin Concerto No. 1 in A minor, Opus 77 composed 1945-48, revised 1955
At a Glance
by
Dmitri
SHOSTAKOVICH born September 25, 1906 St. Petersburg (later Leningrad) died August 9, 1975 Moscow
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Shostakovich wrote his first violin concerto in 1945-48, but kept the score private. He revised it slightly in 1955 (after Stalin’s death in 1953). The work was premiered on October 29, 1955, by the Leningrad Philharmonic with violinist David Oistrakh. It was originally published as Opus 99 to disguise that it had been written earlier during a period when the composer was officially under censure by the Soviet government; the original Opus 77 number was later restored. This work runs about 35 minutes in performance. Shostakovich scored it for 3 flutes (third doubling piccolo), 3 oboes and english horn,
3 clarinets (third doubling bass clarinet), 2 bassoons and contrabassoon, 4 horns, tuba, timpani, percussion (tambourine, tam-tam, xylophone), 2 harps, celesta, and strings. The Cleveland Orchestra first presented this concerto as part of the 1984 Blossom Music Festival, conducted by Vladimir Ashkenazy, with Boris Belkin as the soloist. It has been played a number of times since then, most recently in performances at Severance Hall in November 2015, conducted by Gianandrea Noseda with violinist Leonidas Kovakos.
About the Music I F A N Y S I N G L E T R A I T can be said to run through all of Shostakovich’s works, it is compassion. Empathy for the dispossessed and defenseless, and rage at their oppressors, animates much of his music — perhaps all of it, as many listeners hear a note of parody even in his pompous “Stalinist” film scores and cantatas. During his life, he made it plain that war and the victims of war were the subjects of many of his works, and it was an open secret that his interest in Jewish music was spurred by Russian anti-Semitism. Today, as accounts of his life and words continue to multiply, it is increasingly apparent that this often-criticized, often-rehabilitated Soviet composer considered nearly every Soviet citizen, including himself, a victim of oppression. It’s no accident that George Orwell’s nightmarish satire of totalitarianism 1984 was written in 1948, when what little information that leaked out of the Soviet Union revealed a society slipping deeper into paranoia, as the aging Stalin desperately tightened his grip on power. Since one of the dictator’s ploys was to whip up popular sentiment against Jews, Shostakovich would have been taking his life in his hands if he had so much as said in public that he was working on a song cycle called From Jewish Folk Poetry, or a violin concerto inspired by a great Russian Jewish violinist, David Oistrakh. In fact, these works weren’t About the Music
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Today, nearing fifty years after his death, as accounts of Shostakovich’s life and words continue to multiply, it is increasingly apparent that this oftencriticized, oftenrehabilitated Soviet composer considered nearly every Soviet citizen, including himself, a victim of oppression.
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performed in public until after Stalin’s death in 1953, and even then the First Violin Concerto’s opus number had to be changed from 77 to 99 to disguise its date of composition. In so much Russian music — from Rimsky-Korsakov to Rachmaninoff and Prokofiev — imagery of the night means soft breezes, moonlight, and eroticism. Not so in this concerto’s opening Nocturne. After cellos and basses begin the work with a tortuous solo line (anticipating the repeating bass of the third movement’s passacaglia), depression and anxiety haunt the soloist’s somber monologue. The orchestral background, dark-colored and harmonically slow-moving, is painted with the deep timbres of contrabassoon, bass clarinet, and string bass; the tortuous theme appears there often, struggling with its chains. The cool, impassive sound of a celesta curls icy fingers around the violin melody at mid-movement and echoes the tortuous theme at the very end. The unbearable tension of the Nocturne finds a spasm of release in the sarcastic Scherzo. Ian MacDonald, in his book The New Shostakovich, heard in this movement “the composer, beset by fools and knaves, scorned by his inferiors, and forced to demean himself with fatuous articles and speeches.” Certainly the composer’s personal motif, the notes D, E-flat, C, B (in German notation, the notes D-S-C-H, standing for D. Schostakowitsch) makes the first of many appearances in his works here, barked out, loud and clear, by the soloist in the second section. The “fools and knaves” emit vulgar burps on the same deep instruments that created the oppressive atmosphere of the Nocturne. For the soloist, the fiddling style of Jewish bands in Eastern Europe alternates with phrases of deliberate banality in a witch’s brew of vitality, anguish, and fury. This music dances, but on a chain. The Passacaglia movement opens in an atmosphere of imperial Stalinist pomp, with horns and timpani pounding out menacing fanfares over the stark, angular ground bass. As in any passacaglia, the bass persists, repeating throughout the piece; here it may represent the implacable state, deaf to the eloquent pleas of the solo violin. In this context, it is a chilling moment when, at the movement’s climax, the violin itself takes up the bass theme in bare, harsh-sounding octaves. Has the composer learned to love Big Brother? The rest of the movement is one long, disconsolate diminuendo, at the end of which the violin’s melody breaks into scattered fragments, in the manner of the funeral march in Beethoven’s “Eroica” Symphony. About the Music
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From his teacher Glazunov’s Violin Concerto in A minor, Shostakovich borrowed the idea of linking the last two movements by means of a meditative solo cadenza. Here the violin begins by trying on borrowed clothes — the menacing fanfare that began the Passacaglia — but soon the figuration suggests the D-S-C-H motif, and folkdance rhythms invigorate the music, until the violin is shouting out the composer’s motif in slashing, impudent chords. As the cadenza reaches a peak of excitement, the orchestra bursts into a sassy dance, beginning with some klezmer-style riffs for the solo violin and clarinet. Burlesca means simply a rustic dance, but in this sparkling rondo (no more gloom from the bass instruments) there are more references than ever to Jewish scales and melodies. Revenge is sweet as the onceterrifying Passacaglia bass is handed over to xylophone and flute — and later to the soloist and to the horns — for mockery and derision. —David Wright © 2019
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.
David Wright lives in New Jersey and writes about music. He previously served as program annotator for the New York Philharmonic.
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About the Music
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Get drawn in.
Immerse yourself in the genius of Michelangelo’s creative process.
Now through January 5 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
Supporting Sponsors
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In Honor of Helen M. DeGulis Stephen Dull David A. Osage and Claudia C. Woods Dr. and Mrs. Gösta Pettersson Dr. Linda M. Sandhaus and Dr. Roland S. Philip Anne H. Weil
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
cma.org
Symphony No. 3 (“Eroica”) in E-flat major, Opus 55 composed 1802-04
At a Glance
by
Ludwig van
BEETHOVEN born December 16, 1770 Bonn died March 26, 1827 Vienna
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Beethoven composed his Third Symphony between 1802 and 1804. He conducted the first performance at a private concert in the home of Prince Lobkowitz, to whom the work is dedicated, in December 1804. The first public performance took place at the Theater-an-der-Wien on April 7, 1805, again with the composer conducting. This symphony runs about 50 minutes in performance. Beethoven scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 3 horns, 2 trumpets, timpani, and strings.
The Cleveland Orchestra first performed Beethoven’s “Eroica” Symphony in October 1920, under Nikolai Sokoloff’s direction. It is among the most frequently performed symphonies in the Orchestra’s repertoire, appearing often in Cleveland’s programming at home and in cities around the world. It was most recently presented as part of “The Prometheus Project” under Franz Welser-Möst’s baton during the 2017-18 season.
About the Music E U R O P E I S N O T what it once was. Change is afoot, in ways
good, bad, and uncertain. After centuries of conflict, the past fifty years have moved things dramatically toward shared values and understanding. Although, admittedly, some notable setbacks in the past decade have pushed in other directions. Indeed, it is amazing to consider just how far this disparate group of nations has come in recent decades — a single currency (with a few notable holdouts, along with some new question marks) and an extensive list of common regulations and cross-border agreements. With all of this accomplished quietly, almost behind the scenes, largely by a group of new bureaucrats focussed on common goals and the common good. Whether the “people” can understand and embrace the long-term value of such shared commonality remains to be seen. The ongoing anguish of Brexit, more than three years after the initial vote, as well as populist and nationalist candidates clamoring for attention and winning support for more narrow self-interests, all of these — along with accelerated changes to life and living enabled by technology — are now pushing the entire continent (indeed, the whole world) toward uncharted and untested paths forward. In 1803, things were swinging in different directions, too. Europe was intoxicated by ideas — or at least its artists and About the Music
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ABOVE AND BELOW — Differing accounts of Beethoven’s outrage at Napoleon.
The story tells of him tearing the paper in two. The manuscript (at top) shows a physical, maybe violent attempt to erase the word “Buonaparte.”
Bonaparte out, “Heroic” in “In this symphony, Beethoven had Buonaparte in mind, but as he was when he was First Consul. Beethoven esteemed him greatly at the time and likened him to the greatest Roman consuls. I as well as several of his more intimate friends saw a copy of the score lying upon his table with the word ‘Buonaparte’ at the extreme top of the title page, and at the extreme bottom ‘Luigi van Beethoven,’ but not another word. Whether and with what the space between was to be filled out, I do not know. I was the first to bring him the intelligence that Buonaparte had proclaimed himself emperor, whereupon he flew into a rage and cried out: ‘Is he then, too, nothing more than an ordinary human being? Now he, too, will trample on all the rights of man and indulge only his ambition. He will exalt himself above all others to become a tyrant!’ Beethoven went to the table, took hold of the title page by the top, tore it in two, and threw it on the floor. The page had to be rewritten, and only then did the symphony receive the title ‘Sinfonia eroica’.” — from Recollections of Ferdinand Ries
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Beethoven’s Third Symphony
The Cleveland Orchestra
intellectuals were — and of a raucous kind. The interest then was Revolution, the Rights of Man, and the importance of the individual. One of their central myths was that of Prometheus, a solitary man who defiantly brought fire (“power”) to the people. Real life is not so tidy as myth, and Napoleon Bonaparte was no Prometheus. Yet even as observers at the time suspected that Napoleon had hijacked the French Revolution and turned it into a war of global conquest, they were fascinated by his inexorable rise. And what better emblem for the worth of the individual than this “little corporal” who bestrode the world? “He put me under a spell, as a snake does a bird,” the Austrian playwright and patriot Grillparzer recalled later. In 1806, the philosopher Hegel called Napoleon “a soul of worldwide significance.” Long after the general’s death, the great poet Goethe drew a musical analogy: “Napoleon played the world as Hummel his piano; both achievements appear miraculous . . . [yet] the whole is done before our eyes.” It is another musical analogy that many associate with Napoleon today, however — Beethoven’s Symphony No. 3 in E-flat major, subtitled Sinfonia eroica, per festiggiare il sovvenire d’un gran’ uomo [“Heroic symphony, to celebrate the memory of a great man”], as the composer ultimately called it. The famous anecdote about Beethoven tearing up the title page dedicated to Napoleon, a story eloquently expressing both Beethoven’s attraction to power and defiance of tyranny, is nevertheless only one chapter in the historical and personal saga that led to this revolutionary work of music, an “achievement” more “miraculous” than anything any of his contemporaries even imagined. C O N F RO N TAT I O N A N D C R I S I S
“I am not satisfied with my works up to the present time,” Beethoven confided to his friend Krumpholz in 1802. “From today I mean to take a new path.” That path necessarily led away from his teacher Haydn (whom Beethoven even began to avoid socially), away from such popular successes as the First and Second Symphonies and the Septet — away, in fact, from the entire musical old order. Like the policies of French First Consul Napoleon (who was just a year older than the composer), Beethoven’s path led toward confrontation and crisis. Beethoven’s feelings of isolation were deepened at this time by the first signs of advancing deafness. At a doctor’s sugSeverance Hall 2019-20
About the Music
“From today I mean to take a new path,” wrote Beethoven in 1803. The path would have to lead away from his teacher Haydn, away from such popular successes as the First and Second Symphonies — away, in fact, from the entire musical old order. Like the policies of Napoleon (who was just a year older than the composer), Beethoven’s path led toward confrontation and crisis.
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19th-century lithograph of Beethoven as a “gentleman.”
gestion, he escaped the stress of city life for six months in the bucolic village of Heiligenstadt. In October 1802, near the end of his stay there, Beethoven poured his despondent thoughts into an extraordinary confessional document, found among his papers after his death and now known as the Heiligenstadt Testament. This rambling discourse on his malady, ostensibly addressed to the composer’s two brothers, reads like a suicide note (“Farewell, and do not wholly forget me when I am dead”) yet rejects that solution (“I would have ended my life — it was only my art that held me back”), yearning instead for “but one day of pure joy” in the life remaining to him. “Beethoven here enacted his own death in order that he might live again,” writes the astute biographer and psychoanalyst Maynard Solomon. “He re-created himself in a new guise, self-sufficient and heroic.” Death was a preoccupation of those times. Art, literature, and music were full of the deaths . . . of Mirabeau, Marat, Danton, and other heroes, from which the Revolution flamed up more brightly than ever. (In fact, death was nearly a prerequisite for enshrinement as a hero, which may explain why “Napoleon’s funeral” takes place less than halfway through Beethoven’s symphony for him, composed when the real-life Napoleon was alive and kicking and considering an invasion of Austria. In 1821, when Beethoven was told that Napoleon had died on the island of St. Helena, he said, “I have already composed the proper music for that catastrophe.”) Certainly Beethoven was aflame with ambitious new ideas on his return to Vienna. Two works in particular from 1803 vastly expand their polite Classical genres: the “Kreutzer” Sonata for violin and piano, Opus 47, and the new symphony that Beethoven was already calling “Buonaparte.” By the end of the year, he was at work on the opera Fidelio. And still more heroic overtures, named for their protagonists, would follow — Egmont, Coriolan, King Stephen, and finally a very noisy ode (full of canon and battle clash) to Napoleon’s nemesis, Wellington’s Victory. Beethoven had come through the crisis, and was striding purposefully along his “new path.” The Heiligenstadt Testament, as Maynard Solomon writes, had proved to be “the
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About the Music
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literary prototype of the Eroica Symphony, a portrait of the artist as hero . . . a daydream compounded of heroism, death, and rebirth.” Solomon’s description is echoed in a newspaper review of the symphony’s first public performance, which took place in the Theater-an-der-Wien on April 7, 1805, with the composer conducting: “This long composition, extremely difficult to perform, is in reality a tremendously expanded, daring, and wild fantasia.” The review continues, less flatteringly, “It lacks nothing in the way of startling and beautiful passages, in which the energetic and talented composer must be recognized; but often it loses itself in anarchy.” Beethoven’s pupil Carl Czerny recalled a self-appointed critic at the premiere who expressed himself succinctly from the gallery: “I’ll give another kreutzer if only the thing will stop!” These reactions were normal enough on first hearing a symphony that was twice as long as any previous work in the genre. In any case, the dissatisfaction that evening was mutual. “The public,” wrote another journalist, “thought the symphony too difficult, too long, and [Beethoven] too discourteous, for he did not deign to give even a nod to the part of the audience that was applauding. Beethoven, on the contrary, did not find the applause sufficiently enthusiastic.” And so was confirmed what Beethoven already knew — his new path would be a lonely one.
wrote one journalist, “thought the symphony too difficult, too long, and the composer too discourteous, for he did not deign to give even a nod to the part of the audience that was applauding. Beethoven, on
THE MUSIC
In performance, the Symphony No. 3 needs no subtitle, no Napoleon, no Prometheus, no Heiligenstadt Testament. Even the proverbial person from Mars could not fail to be moved (or horrified, like some of those first hearers) by the organic force of the notes themselves. May familiarity never dull our awareness of the daring masterstrokes in the opening movement — the two mighty opening chords, like cosmic ticks of a god’s metronome, setting the pace for all that follows; the first theme, which seems placidly to affirm E-flat major, until it slides down to C sharp, opening a window onto a vast harmonic landscape; the graceful, wholly new theme that appears in the development in the remote key of E minor; the horn, unable to stand the suspense any longer, jumping the gun at the start of the recapitulation and seeming to come in four bars “early”; and the monumental architecture of this entire 691-bar first movement, in which the tiniest musical motifs are linked to form themes, then groups of themes, then sections, and finally a single great edifice. Like other great buildings, it is easy — and a pleasure — to get lost in this. Severance Hall 2019-20
“The public,”
About the Music
the contrary, did not find the applause sufficiently enthusiastic.” Thus was confirmed what Beethoven already knew — his new path would be a lonely one.
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The second-movement Marcia funebre [“Funeral March”], on the other hand, tells its story vividly and directly. One can almost picture the formal gait of the marchers, the drums that gently urge them on, the reveries of happier times in the major-key middle section, the bugle corps that snaps us back to reality with its dire fanfare. The “disintegration” of the theme in the coda section nearer the end is a metaphor for death that Beethoven had used before, in his Joseph Cantata. And what could be a greater contrast to all this than the jolly chase of the third-movement Scherzo?! Impressions of a chaotic hunting scene (or the exhilaration of battle?), full of cries and exclamations near and far, are reinforced by the bold horn calls (literally a “trio”) at mid-movement. Beethoven opens the fourth-movement finale, just as he did the first movement, with a proclamation of important events to come. Then, humorously, a barely audible bass line peeks around the corner. A countermelody is added, and finally the dance tune itself, which we now realize begins with the same notes as the opening theme of the first movement. Again, something is being built, the other foundation structure of the symphony’s triumphal arch, this time based on variation form, but with superimposed features such as a sonata-style development and rondo-like episodes. Near the end, there is a period of repose, marked with the tempo Poco andante, in which the hero — plainly Beethoven himself now — can survey his accomplishments at a distance, but even here the anxieties of the present intrude, and the symphony closes with a fresh burst of energy and determination. —David Wright © 2019
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About the Music
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Mahler, in a photograph taken in 1909 in New York
The point is not to take the world’s opinion as a guiding star, but to go one’s way in life and to work unfalteringly, neitheer depressed by failurre nor seduced by applause. —Gustav Mahler
THE FR ANZ WELSER- MÖST
M U S I C D I R E C TO R
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2O19 -2O2O
CLEVELAND ORCHESTRA Thursday evening, November 14, 2019, at 7:30 p.m. Saturday evening, November 16, 2019, at 8:00 p.m. Sunday afternoon, November 17, 2019, at 3:00 p.m.
Jakub Hrůša, conductor JOHN ADAMS (b. 1947)
On the Transmigration of Souls (for orchestra, chorus, children’s chorus, and pre-recorded soundtrack)
with the CLEVELAND ORCHESTRA CHORUS Lisa Wong, director and members of the CLEVELAND ORCHESTRA CHILDREN’S CHORUS Ann Usher, director and members of the CLEVELAND ORCHESTRA YOUTH CHORUS Daniel Singer, director
INTER MISSION GUSTAV MAHLER (1860-1911)
Symphony No. 4 in G major 1. Bedächtig. Nicht eilen. [Deliberately. Not rushed.] 2. In gemächlicher Bewegung, ohne Hast [In easy motion, without haste] 3. Ruhevoll [Serene] 4. Sehr behaglich [Very leisurely] JOÉLLE HARVEY, soprano
Thursday evening’s concert is dedicated to The Ralph and Luci Schey Foundation 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 Saturday evening, January 11, 2020, at 8:00 p.m.
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Program: Week 7
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November 14, 16, 17 THI S WE E KE ND’S CONCE RT Restaurant opens: THUR 4:30 SAT 5:00 SUN 12:00
Concert Preview: BEGINS ONE HOUR BEFORE CONCERT
Concert begins: THUR 7:30 SAT 8:00 SUN 3:00
Severance Restaurant Reservations (suggested) for dining:
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C O N C E R T P R E V I E W — Concert Hall
“Heavenly Life” with Bryan Gilliam, Duke University
Duration times shown for musical pieces (and intermission) are approximate.
ADAMS On the Transmigration of Souls . . . . . . . . . . . . . . page 59 (25 minutes)
Cleveland Orchestra Store INTERMISSION (20 minutes)
Located in Smith Lobby on the groundfloor, the Cleveland Orchestra Store is open before and after concerts, and during intermission.
MAHLER Symphony No. 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 69 (55 minutes)
Share your memories of the performance and join the conversation online . . . facebook.com/clevelandorchestra twitter: @CleveOrchestra instagram: @CleveOrch
Concert ends: (approx.)
THUR 9:15 SAT 9:45 SUN 4:45
(Please note that photography during the performance is prohibited.)
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TThis his Week’s Concerts
The Cleveland Orchestra
INTRODUCING THE CONCERT
Peace, Loss & Transcendence T H I S W E E K ’ S C O N C E R T presents two very different works, written al-
most exactly a century apart — and offering two contrasting views about life and death, loss and remembrance, joy and understanding. The program opens with On the Transmigration of Souls, written in 2002 as a memorial tribute “to honor the heroes and in memory of the victims of” the events of September 11, 2001 — in the aftermath and mayhem as four planes crashed, in New York, Washington D.C., and Pennsylvania. This piece was awarded the Pulitzer Prize in music in 2003, recognizing both Adams’s creativity and care in responding to a difficult moment in history. It is, necessarily, an emotionally-laden work, which elicits both simple and complicated memories for many audience members. In writing it, the composer created a pre-recorded soundtrack of New York street noises, and voices, which, by an array of speakers throughout the performance hall, creates a “memory space” for listeners. Within this, the music unfolds onstage. In form, On the Transmigration of Souls is a decidedly modern requiem, written in and for today’s world. It offers solace to heartache, through art. It can be a difficult work to experience. It may grab your emotions unexpectedly, but it is unlikely to leave you cold. Keep breathing. Remember the goodness of human life here on this world. The concert turns clearly brighter on the other side of intermission, when guest conductor Jakub Hrůša leads Mahler’s sometimes gentle, sometimes clangorous, at times oddly humorous Fourth Symphony. Melodic and evocative, this work from 1899-1900 encapsulates much of Mahler’s ideas about what a symphony could be, especially as a form for beauty. The final movement is a song of the naive delights of heaven — simple pleasures like food and wine — bringing an unexpectedly joyful and serene close to these performances. Joélle Harvey is the soloist. —Eric Sellen
Jakub Hrůša’s biography can be found on page 36.
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Introducing the Concert
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On the Transmigration of Souls composed 2002
At a Glance
by
John
ADAMS born February 15, 1947 Worcester, Massachusetts currently residing in Berkeley, California
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Adams wrote On the Transmigration of Souls between February and July 2002, on commission from the New York Philharmonic “to honor the heroes and in memory of the victims of” the events of 9/11 in 2001. It was premiered on September 19, 2002, at Avery Fisher Hall, conducted by Lorin Maazel. This work runs about 25 minutes in performance. Adams scored it for 3 flutes (third doubling piccolo), 3 oboes, 2 clarinets, bass clarinet, contrabass clarinet, 2 bassoons, contrabassoon, 4 horns, 4 trumpets, 3 trombones, 2
tubas, timpani, 4 percussion (crotales, multiple high triangles, chimes, suspended cymbal, brake drums, glockenspiel), piano, celesta, quarter-tone piano, 2 harps, and strings, plus fourpart chorus and children’s chorus. In addition, there is a pre-recorded multichannel soundtrack dispersed to a variety of speakers located throughout the performance space and operated from a central mixing board inside the auditorium. The Cleveland Orchestra is presenting this work for the first time with this weekend’s concerts.
About the Music J O H N A D A M S emerged to national recognition in the 1990s, after twenty years of ongoing creativity, as America’s most performed and most influential serious composer since Aaron Copland’s heyday in the mid-20th century. Yet today, at age 72, he is still too often labeled and lumped in with other trail-blazing “minimalist” composers. Yes, he found inspiration in the ideas of Philip Glass and Steve Reich, back in college, but that was decades ago. To be sure, Minimalism’s repetitive reductionism gave Adams a launch in new directions, but his music has evolved so far and added so much in depth and breadth in the ensuing decades that any label is now largely irrelevant. Over the course of time, minimalism has become just one of many techniques in Adams’s expansive compositional arsenal. Like every great composer, he is himself, and his is a unique musical voice. His extended work in writing operas and oratorios — including Nixon in China, The Death of Klinghoffer, Doctor Atomic, A Flowering Tree, and Girls of the Golden West, as well as El Niño and The Gospel According to the Other Mary — has given him a natural understanding of writing for voice, and a strong (and, for many listeners, welcome) affinity for melody. In addition, those works for the stage have also sharpened Adams’s keen sense of drama and dramatic space. For On the About the Music
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Adams talks about his On the Transmigration of Souls . . . My desire in writing this piece is to achieve in musical terms the same sort of feeling one gets upon entering one of those old, majestic cathedrals in France or Italy. When you walk into the Chartres Cathedral, for example, you experience an immediate sense of something otherworldly. You feel you are in the presence of many souls, generations upon generations of them, and you sense their collected energy as if they were all congregated or clustered in that one spot. And even though you might be with a group of people, or the cathedreal itself filled with other churchgoers or tourists, you feel very much alone. . . . “Transmigration” means “the movement from one place to another” or “the transition from one state of being to another.” It can apply to populations of people, to migrations of species, to changes of chemical compositon, or to the passage of cells through a membrane. But in this case I mean it to imply the movement of the soul from one state to another. And I don’t just mean the transition from living to dead, but also the change that takes place within the souls of those that stay behind, of those who suffer pain and loss and then themselves come away from that experience transformed. . . .
I am always nervous with the term ‘healing’ as it applies to a work of art. I am reminded that we Americans can find a lot of things ‘healing.’ These days a criminal sentenced to death is executed and then we speak of ‘healing.’ It’s perplexing. So it’s not my intention to attempt ‘healing’ in this piece. The event will always be there in memory, and the lives of those who suffered will forever remain burdened by the violence and the pain. Time might make the emotions and the grief gradually less acute, but nothing, least of all a work of art, is going to heal a wound of this sort. Instead, the best I can hope for is to create something that has both serenity and the kind of ‘gravitas’ that those old cathedrals possess. Modern people have learned all too well how to keep our emotions in check, and we know how to mask them with humor or irony. Music has a singular capacity to unlock those controls and bring us face to face with our raw, uncensored, and unattenuated feelings. That is why during times when we are grieving or in need of being in touch with the core of our beings, we seek out those pieces which speak to us with that sense of gravitas and serenity.” —John Adams, 2002 © Reprinted from John Adams’s website www.earbox.com
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About the Music
The Cleveland Orchestra
PHOTO: UNITED STATES AIR FORCE
Transmigration of Souls, his choice of creating a sound space within the concert auditorium, through the use of recorded city sounds, “inside” of which the audience experiences the overall piece, is a particularly evocative and moving choice. Adams wrote On the Transmigration of Souls in 2002 at the request of the New York Philharmonic, for the opening weekend of concerts of that orchestra’s 2002-03 season — performances that would mark a year’s anniversary since the tragic events of September 11, 2001. The composer thus had an unusually short amount of time — barely six months — to conceptualize and complete a new work for what would be an important and emotionally-laden performance. He visited and toured Ground Zero in March 2002, when the clean-up had been ongoing for some time and things looked “more like a construction site.” Yet there were still telltale markers and missing elements in the area, and a bigger emotional wound that ran across thousands of interconnected lives. Adams’s biggest challenge was what kind of text could amplify or help synthesize the emotional weight of the occasion. He quickly decided that there was no reason to narrate the story of 9/11. The events had been thoroughly documented in the news media, and everyone was going to know what had happened. How to tell the story, then? Perhaps something simpler, in the details. And so Adams chose several layers of “texts,” including a recorded soundscape of street noises intended to set the audience in a common, everyday space, out on the streets of New York. To this are added recitation of the names of some of the hundreds and hundreds who died, plus remembrances (spoken and sung) posted on the streets around Ground Zero by family and friends. Some are hopeful, soon after the tragedy, while others are resigned to the changes in their lives that 9/11 brought. Adult and children’s (or treble) chorus, plus orchestra perform and sing the core musical material within and as part of this context. At times, the individual texts are unimportant, merely being the necessary vowel or phrase that must be sung. At other times, details of text stand out, separated from the person they memorialize. Halfway through, the orchestra and chorus begin building a long crescendo together, angrily stirring the air to a sustained and uncontested climax. Then the music fades . . . to smaller parts again . . . and then . . . lone voices . . . and back to everyday sounds. Adams said that he very consciously avoided the word “requiem” or “memorial” for this work. And that his chosen title, On the Transmigration of Souls, should be thought of more as a “memory space.” In an interview Severance Hall 2019-20
About the Music
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for the New York Philharmonic’s premiere, he continued: “It’s a place where you can go and be alone with your thoughts and emotions. The link to a particular historical event — in this case to 9/11 — is there if you want to contemplate it. But I hope that the piece will summon human experience that goes beyond this particular event.” For those of us who lived through that day, the memories pull, even nearly two decades later. Our interconnected lives, as a nation, as a world, as a species . . . bind us. My husband was scheduled to fly out later that morning from Philadelphia; my sister was stranded in Denver and had to drive hundreds of miles home; a friend was trapped in Paris for an extra week; my brother-in-law had a job interview that morning in Manhattan but hadn’t yet left his house in suburban New Jersey. And yet, my “connections” pale next to those whose losses were and are real, tangible, unalterable. John Adams may, indeed, have avoided the words requiem and memorial, but . . . life itself — individually, collectively — is but a tribute to human creativity and understanding. Art makes a difference, can make us feel human in the face of death, and destruction, and loss. Together and alone. —Eric Sellen © 2019
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About the Music
The Cleveland Orchestra
T E X T S On the Transmigration of Souls Except where otherwise noted, the text consists of phrases from missing-persons posters and memorials posted in the vicinity of the ruins of the World Trade Center, Lower Manhattan, September and October, 2001.
“Missing . . .” “Remember . . .” “. . . we will miss you . . . we all miss you . . . we all love you.” “I’ll miss you, my brother, loving brother.” “It was a beautiful day.” “You will never be forgotten.” “She looks so full of life in that picture.” “I see water and buildings . . .” 1 “Windows on the World” “. . . a gold chain around his neck, a silver ring . . . his middle finger . . . a small gap . . . his two front teeth . . . a little mole on his left cheek . . . a wedding band . . . a diamond ring.” “Charlie Murphy. Cantor Fitzgerald. 105th Floor. Tower One North. Weight: 180 pounds. Height: 5’11”. Eye color: hazel. Hair color: brown. Date of birth: July ninth, 1963. Please call . . . ‘We love you, Chick’.” “Louie Anthony Williams. One World Trade Center. Port Authority, 66th Floor. ‘We love you, Louie. Come home’.” The sister says: “He was the apple of my father’s eye.” 2 1 2 3 4 5 6 7
The father says: “I am so full of grief. My heart is absolutely shattered.” 3 The young man says “. . . he was tall, extremely good-looking, and girls never talked to me when he was around.” 4 Her sister says: “She had a voice like an angel, and she shared it with everyone, in good times and bad.” 5 The mother says: “He used to call me every day. I’m just waiting.” 6 The lover says: “Tomorrow will be three months, yet it feels like yesterday since I saw your beautiful face, saying, ‘Love you to the moon and back, forever’.” The man’s wife says: “I loved him from the start. . . . I wanted to dig him out. I know just where he is.” 7 “light . . . day . . . sky . . .” “My sister.” “My brother.” “I love Dave Fontana.” “My daughter.” “My son.” “It was a beautiful day. . . .” “I see water and buildings. . . .” 1 “I love you.”
AA #11 flight attendant Madeline Amy Sweeny sister of Francis Nazario; quoted in the New York Times “Portraits of Grief,” February 17, 2002 father of Paul Lisson; quoted in the New York Times “Portraits of Grief,” February 17, 2002 David Wilson speaking of Joshua M. Piver; quoted in the New York Times “Portraits of Grief,” February 24, 2002 sister of Mary Yolanda Dowling; quoted in the New York Times “Portraits of Grief,” September 16, 2001 mother of Michael Mullin; quoted in the New York Times “Portraits of Grief,” September 15, 2001 wife of L. Russell Keene III; quoted in the New York Times “Portraits of Grief,” September 17, 2001
In addition, names can be heard on the pre-recorded soundtrack from a reading of a list of people who died in the attacks on the 9/11.
Severance Hall 2019-20
About the Music
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Treble Chorus
prepared by Daniel Singer assisted by Adam Landry with Jacob Bernhardt , accompanist
This ensemble has been specially-formed for this week’s performances from members of Cleveland Orchestra Youth and Children Choruses.
ADAMS On the Transmigration of Souls Grace Allen Serin Misi Arikan* Moriah Armstrong* Maria Avila Julie Beardslee Leah Benko Adam Bonnet Savannah Brown* Anna Buescher Katelyne Crouch Sasha Desberg Persephone Enders-Naeem* Evgenia Evdokimenko Spencer Fortney Jade Gladue*
Abby Golden Kiersten Grantz Lizzie Heiner Maria Hisey Seth Hobi Millie Houston Sophie Kwiatkowski Diana Lucic Krish Malte Edith Masuda* Grace Mino Amelia Morra Adelyn Nicholson* Laura Obergefell Grace Prentice Victoria Rasnick
Audrie Ryan Ava Schick Emma Schoeffler* Josh Shearer Emma Smith Connie Tian Sasha Turner James Wilkinson* Ishani Zimmerman Listing shows members of the Youth Chorus, with members of the Children’s Chorus designated with an asterisk ( * )
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Cleveland Orchestra Choruses
The Cleveland Orchestra
Cleveland Orchestra Chorus Lisa Wong, Director
Daniel Singer, Assistant Director Joela Jones, Principal Accompanist
The Cleveland Orchestra Chorus is one of the few professionally-trained, all-volunteer choruses sponsored by a major American orchestra. Founded at the request of George Szell in 1952 and following in the footsteps of a number of earlier community choruses, the Cleveland Orchestra Chorus has sung in hundreds of performances at home, at Carnegie Hall, and on tour, as well as in more than a dozen recordings. Its members hail from nearly fifty Cleveland-area communities and together contribute over 25,000 volunteer hours each year.
ADAMS On the Transmigration of Souls SOPRANO
ALTO
TENOR
Laurel Babcock Amy Foster Babinski Claudia Barriga Ruby Chen Susan Cucuzza Anna K. Dendy Emily Engle Molly Falasco Lisa Fedorovich Sarah Gould Angeleina T.V. Grant Rebecca S. Hall Karen Hazlett Ashlyn Herd 5 Lisa Hrusovsky Shannon R. Jakubczak Kate Macy Clare Mitchell S. Mikhaila Noble-Pace Jennifer Heinert O’Leary Allison M. Paetz Lenore M. Pershing Jylian Purtee Meghan Schatt Monica Schie Megan Tettau Sharilee Walker Mary Wilson Xiaoge Zhang 5
Emily Austin Debbie Bates Kristin Butler Julie A. Cajigas Barbara J. Clugh Carolyn L. Dessin Brooke Emmel Marilyn Eppich Charlotte Fallick Diana Weber Gardner Rachael Grubb Kristen Hosack Betty Borlaug Huber Karen S. Hunt Sarah N. Hutchins Melissa Jolly Kate Klonowski Kristi Krueger Cathy Lesser Mansfield Danielle S. McDonald Karla McMullen Holly Miller Peggy A. Norman Dawn Ostrowski Marta PĂŠrez-Stable Jennifer Rozsa Ina Stanek-Michaelis Jane Timmons-Mitchell Martha Cochran Truby Gina L. Ventre Laure Wasserbauer Caroline Willoughby Leah Wilson Debra Yasinow Lynne Leutenberg Yulish
Daveon Bolden 5 Vincent L. Briley Rong Chen Daniel M. Katz Peter Kvidera Adam Landry Tod Lawrence Shawn Lopez Rohan Mandelia Ryan Pennington Matthew Rizer Ted Rodenborn Matt Roesch John Sabol James Storry Steven Weems Allen White Peter Wright BASS
Christopher Aldrich Tyler Allen Jack Blazey Sean Cahill Serhii Chebotar Peter B. Clausen Nick Connavino Christopher Dewald Jeffrey Duber
Matthew Englehart Jose Hernandez Dennis Hollo Jason Howie Jeral Hurd James Johnston Joshua Jones Matthew Kucmanic Jason Levy Scott Markov Tyler Mason Robert Mitchell Tremaine Oatman Francisco X. Prado Brandon Randall John Riehl Andrew Schettler Robert G. Seaman John Semenik Jarod Shamp James B. Snell Charles Tobias
5 = 2019-20 Shari Bierman Singer Fellows
Vincent L. Briley and Lisa Fedorovich, Co-Chairs, Cleveland Orchestra Chorus Operating Committee Jill Harbaugh, Manager of Choruses Becca Varadan, Manager of Youth Choruses
Severance Hall 2019-20
Cleveland Orchestra Choruses
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Lisa Wong Director of Choruses Frances P. and Chester C. Bolton Endowed Chair The Cleveland Orchestra
Lisa Wong was appointed director of choruses for The Cleveland Orchestra in May 2018, after serving as acting director throughout the 2017-18 season. She joined the choral staff of The Cleveland Orchestra as assistant director of choruses at the start of the 2010-11 season, assisting in preparing the Cleveland Orchestra Chorus and Blossom Festival Chorus for performances each year. In 2012, she took on added responsibilities as director of the Cleveland Orchestra Youth Chorus, leading that ensemble for five seasons. In addition to her duties at Severance Hall, Ms. Wong is an associate professor of music at The College of Wooster, where she conducts the Wooster Chorus and teaches courses in conducting, choral literature, and music education. She previously taught in public and private schools in New York, Pennsylvania, and Indiana. Active as a clinician, guest conductor, and adjudicator, she serves as a music panelist for the National Endowment for the Arts. Recent accolades have included work in Nairobi, Kenya, and Stockholm, Sweden. Ms. Wong holds a bachelor’s degree in music education from West Chester University and master’s and doctoral degrees in choral conducting from Indiana University.
Daniel Singer Director Cleveland Orchestra Youth Chorus
Daniel Singer joined the choral conducting staff of the Cleveland Orchestra in 2012 as assistant director of The Cleveland Orchestra Youth Chorus. He was promoted to director of the Youth Chorus with the 2017-18 season. Since 2011, Mr. Singer has served as director of music at University School in Hunting Valley, Ohio, where he conducts orchestra and chorus. Mr. Singer is also active as a guest conductor and clinician, and has worked with honor choirs and top student ensembles in Ohio, Michigan, Illinois, and North Carolina. Mr. Singer performs professionally with Quire Cleveland and has sung as baritone soloist with ensembles throughout the region, including the Wooster Symphony Orchestra and Chorus, Choral Arts Cleveland, and the Suburban Symphony of Cleveland. He is also an arranger and composer, having written for choral and instrumental groups throughout the United States. Prior to coming to Ohio, Daniel Singer worked as a performer, music director, and teacher in the Chicago area. He taught high school choral music in the cities of Lincolnshire and Cary and participated in music engagement in the Chicago Public Schools. Mr. Singer holds a bachelor of music degree in choral and instrumental music education from Northwestern University and a master of music degree in choral conducting from Michigan State University.
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Cleveland Orchestra Choruses
The Cleveland Orchestra
Passion. PERIOD. BAROQUE ORCHESTRA jeannette sorrell
SCARBOROUGH FAYRE
Music from Merry Old England NOVEMBER 21-24
“Amanda Powell’s performance could make a stone cry.�
These concerts are generously sponsored by KAREN & RICHARD SPECTOR
– SEEN & HEARD INTERNATIONAL
Simon and Garfunkel knew a great tune when they found one, even if it came from the Renaissance. In this new program from Jeannette Sorrell, ten musicians encounter the joys and sorrows of daily life among the royals and the peasants. The exquisite music of Dowland and Purcell meets haunting English ballads and merry tunes from Shakespeare’s stage. AMANDA POWELL soprano
JEANNETTE SORRELL harpsichord & direction
AND FRIENDS ON OXWHV YLROLQ Ă XWHV KDPPHUHG GXOFLPHU DQG PRUH
11/21 11/22 11/23 11/24
First United Methodist, AKRON St. Paul's Episcopal, CLEV. HTS. CLEVELAND Institute of Music ROCKY RIVER Presbyterian
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Business owners, marketing managers, executive directors:
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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
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Welcom e....... WEEK 1
HALL
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. . . 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
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Symphony No. 4 in G major composed 1899-1900
At a Glance
by
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 the first three movements of his Fourth Symphony during the summers of 1899 and 1900. The fourth movement, written in 1892 as a song under the title “Das himmlische Leben” (“The Heavenly Life”) and performed in the following year, was originally intended for inclusion in his Third Symphony. The first performance of the Fourth Symphony took place on November 23, 1901, in Munich under the composer’s direction; the soprano soloist was Margarete Michalek. This symphony runs approximately 55 minutes in performance. Mahler
scored it for 4 flutes (third and fourth doubling piccolo), 3 oboes (third doubling english horn), 3 clarinets (second doubling small clarinet in E-flat, third doubling bass clarinet), 3 bassoons (third doubling contrabassoon), 4 horns, 3 trumpets, timpani, percussion (bass drum, triangle, sleigh bells, glockenspiel, cymbals, tam-tam), harp, and strings, with the addition — in the fourth movement — of a solo soprano voice. The Cleveland Orchestra first performed this work in January 1937 led by Artur Rodzinski; the most recent performances were in 2013.
About the Music V E N I S O N , A S P A R A G U S , eleven thousand virgins . . .
Who would have thought that these apparently un-symphonic items would have their special place in the best-loved and most frequently played of Mahler’s symphonies? The Fourth Symphony is “about” childhood, in the sense that most of Mahler’s music seems to be “about” profound issues of life and death. Perhaps we are more willing to identify with the child’s world than to face the numberless existential issues that haunted Mahler throughout his life. At all events, there is a directness and charm in the Fourth Symphony that is missing from the others, with their often sprawling exploration of good and evil, heaven and hell. The Fourth Symphony adopts the standard classical fourmovement design and uses a modest orchestra heavy on woodwinds but light on brass (no trombones or tuba); there are no formidable thunderbolts and no tense musical arguments that defy the listener’s comprehension. We emerge from the symphony in a glow of serenity and peace. Its origin — and a clue to its understanding — lies in Mahler’s preoccupation with the folk world of Des Knaben Wunderhorn (“The Youth’s Magic Horn”), a collection of poetry published nearly a hundred years earlier purporting to be German folk poetry, but About the Music
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Program Book on your Phone Read about the music before the concert. To read bios and commentary from this book on your mobile phone, you can visit ExpressProgramBook.com before or after the concert.
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often half genuine, half invented. Between 1888 and 1899, Mahler set over a dozen poems from this collection for voice and piano or orchestra, some of which found their way into the symphonies he was composing at the same time. Both the Second and Third Symphonies included settings of these verses, and in the very long Third Symphony Mahler originally planned to include, as a seventh movement, a setting of a song he had written in 1892 to the Wunderhorn poem “Der Himmel hängt voller Geigen” (“Heaven is Full of Violins”). Before the Third Symphony was published (in 1898), this song was taken out and set aside as the basis of a symphony of its own. Mahler titled the song “Das himmlische Leben” (“The Heavenly Life”) and composed three new movements to precede the song, all creating an image of childhood sealed by the child’s vision of heaven in the song. When he began this Fourth Symphony, Mahler had been music director at the Vienna Opera for a little over a year, an intense commitment that allowed him freedom to compose only in the summer months. In 1899, he bought a plot of land at Maiernigg on the Wörther Lake near the southernmost point of Austria for the express purpose of building a second home for his annual break far from the cutthroat musical politics of the capital. While his chalet was being built, Mahler began work on the Fourth Symphony at Altaussee, a similar lakeside resort in the Austrian province of Styria, where he spent the summer. By the time he resumed composition the following year, the chalet at Maiernigg was ready, and it was there that he finished the symphony on August 5, 1900. It was first performed in November 1901, at which time he had just met, but not yet married, Alma Schindler. The child’s dreams were therefore largely drawn on his own. The opening movement, in traditional symphonic form, has a disarming tunefulness, occasionally colored by jingling sleigh-bells. The clarity of Mahler’s orchestration, even when several counterpoints are heard at once, is amazing. One good tune follows another, all seeming to smile, never to grimace, and the close is exquisite. The second movement, a kind of scherzo, features a solo violin tuned higher than normal to suggest a country fiddler. There are ghostly shadows in this music, mildly threatening perhaps, but set aside by the gemütlich (“pleasant or congenial”) quality of the pulse. As so often in Mahler, he is never done until he has exhausted the implications of his material — if there are new permutations and combinations to discover, he will. The third movement is a calm Adagio, particularly genAbout the Music
The Cleveland Orchestra
Mahler describes his Fourth Symphony . . . Imagine the undifferentiated blue of the sky, a blue that is more difficult to capture than all the changing and contrasting shades. This is the fundamental tone of the whole. Only occasionally does it become dark and ghostly horrible — but it’s not the sky itself that darkens. For us alone does it become suddenly ghastly, just as one is often overtaken with an attack of panic on the most beautiful day in a light-filled forest.” —Gustav Mahler
erous to the cellos, who present the first theme. After a while, the tempo suddenly quickens, recalling the pulse of the scherzo, with the main theme dragged into new disguises. Just when the pace seems to be running out of control, the horns put on the brakes and calm returns. But a new surprise arrives in the form of a gigantic chord of E major, important for the harp and then the timpani, which casts an ambiguous shadow over the end of the movement. The musical implications of this chord are not made clear until the end of the symphony, which will eventually end in the key of E major, as if the child’s dream has led, like a yellow brick road, to that particular vision of heaven. The last movement entrusts the vision to the soprano soloist. The child imagines a carefree life in heaven, full of dancing and playing, good music and good food (asparagus, beans, hare, fish, wine), and full of saints and martyrs, too. The child has no qualms about imagining King Herod butchering a lamb or St. Luke slaughtering an ox. St. Peter catches fish, of course, and St. Martha, the patron saint of cooks, serves the dish. Why Mahler retained the three lines that mention St. Ursula, martyred along with eleven thousand virgins, is a mystery. Afterall, he did omit one verse of the poem, where it mentions St. Lawrence, another martyr who is also regarded as a patron saint of cooks because he was himself . . . cooked. —Hugh Macdonald © 2019 Hugh Macdonald is Avis H. Blewett Professor Emeritus at Washington University in St. Louis and is an authority on French music. He has written a variety of books, including biographies of Beethoven, Berlioz, Bizet, and Scriabin.
Severance Hall 2019-20
About the Music
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Assisting Parents and Students with IEPs and Behavioral Interventions
MainStage 2019-20
Thursday, November 21 Fei-Fei Margaret Baxtresser Annual Piano Concert Education/School Law Practice Group Nicola, Gudbranson & Cooper, LLC 216-621-7227 | www.nicola.com
Tuesday, February 25, 2020 Academy of St Martin in the Fields with Joshua Bell, violin Saturday, March 21, 2020 Augustin Hadelich, violin Canton Symphony Orchestra special venue: Umstattd Hall, Canton Tuesday, April 14, 2020 Junction Trio featuring Conrad Tao, piano Stefan Jackiw, violin Jay Campbell, cello 7:30 p.m. , Akron’s EJ Thomas Hall $45 / $40 / $25 / free for students
330-761-3460 tuesdaymusical.org 72
The Cleveland Orchestra
Symphony No. 4 H E AV E N LY L I F E text adapted by Gustav Mahler from Des Knaben Wunderhorn (“The Youth’s Magic Horn”) collected and adapted by Achim von Arnim and Clemens Brentano
Movement 4 Wir geniessen die himmlischen Freuden, D’rum thun wir das Irdische meiden. Kein weltlich’ Getümmel Hört man nicht im Himmel! Lebt alles in sanftester Ruh’. Wir führen ein englisches Leben! Sind dennoch ganz lustig daneben, Wir tanzen und springen, Wir hüpfen und singen. Sankt Peter im Himmel sieht zu!
We revel in heavenly pleasures, From everyday cares we fly away. None of the world’s tumult do we hear in heaven! Everyone lives in absolute peace. We lead an angelic life! And are quite merry together, We dance and leap, We hop and sing, With Saint Peter in heaven looking on!
Johannes das Lämmlein auslasset, Der Metzger Herodes drauf passet! Wir führen ein unschuldig’s, Unschuldig’s, geduldig’s, Ein liebliches Lämmlein zu Tod! Sankt Lukas den Ochsen tät schlachten Ohn’ einig’s Bedenken und Achten. Der Wein kost kein Heller, Im himmlischen Keller Die Englein, die backen das Brot.
Saint John releases the young lamb, Herod the Butcher is ready! We’re leading an innocent, blameless yet willing, a delicious young lamb to its death! Saint Luke is now slaying the ox without a thought or care. The wine costs not a penny in our heavenly cellar, The angels are baking bread.
Gut Kräuter von allerhand Arten, Die wachsen im himmlischen Garten! Gut Spargel, Fisolen, Und was wir nur wollen! Ganze Schüsseln voll sind uns bereit! Gut Apfel, gut Birn, und gut Trauben, Die Gärtner die alles erlauben! Willst Rehbock, willst Hasen, Auf offener Strassen Sie laufen herbei.
Good herbs of all varieties are grown in heaven’s garden. Good asparagus, French beans, and whatever else we might desire! Whole platefuls are prepared for us! Good apples, good pears, and good grapes, The gardeners give us anything! If you want deer, if you’d like rabbit, out in our streets they are all running nearby. PLE A SE TURN PAGE QUIETLY
Severance Hall 2019-20
Sung Text Mahler Symphony No. 4
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CONTINUED FROM PREVIOUS PAGE
Sollt ein Fasttag etwa kommen Alle Fische gleich mit Freuden angeschwommen! Dort läuft schon Sankt Peter Mit Netz und mit Köder Zum himmlischen Weiher hinein. Sankt Martha die Köchin muss sein!
Should a fasting-day come ’round, All the fish come joyfully swimming to us! Already Saint Peter is running — with his net and his bait — out to the heavenly fishpond. Saint Martha will have to be the cook!
Kein’ Musik ist ja nicht auf Erden, Die uns’rer verglichen kann werden. Elftausend Jungfrauen Zu tanzen sich trauen! Sankt Ursula selbst dazu lacht!
None of earth’s music can be compared to ours. Eleven thousand young maidens dare to dance together! Saint Ursula herself laughs with them!
Cäcilia mit ihren Verwandten Sind treffliche Hofmusikanten! Die englischen Stimmen Ermuntern die Sinnen, Das alles für Freuden.
Cecilia and her relations are exquisite court musicians! The angelic voices gently stir our minds so that everyone awakens refreshed. (English translation by Eric Sellen)
Joélle Harvey American soprano Joélle Harvey is known for the range of her repertoire — specializing in older works, especially Handel and Mozart, as well as new music. Recent and upcoming engagements include appearances with the orchestras of Los Angeles, New York, San Diego, Saint Paul, Toronto, and Utah, as well as performances with the Glyndebourne Festival Opera, Handel and Haydn Society, and Pittsburgh Opera. Ms. Harvey has also sung with the London Symphony Orchestra, Amsterdam’s Royal Concertgebouw, and Les Violons du Roy, and at the BBC Proms and London’s Royal Opera House. Her Cleveland Orch-
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estra debut was in October 2014, with her most recent appearance here in August 2019 as part of the Summers@Severance season. Joélle Harvey is the recipient of a 2011 first prize from the Gerda Lissner Foundation, along with honors from the George London Foundation and the Richard Tucker Foundation. She earned bachelor’s and master’s degrees in vocal performance from the University of Cincinnati College-Conservatory of Music, and was a member of Glimmerglass Opera’s 2007 Young American Artists Program and San Francisco Opera’s Merola Program. For more information, visit www.joelleharvey.com.
Mahler Symphony No. 4 Sung Text
The Cleveland Orchestra
& Cleveland Women’s Orchestra
Manon Lescaut
present PUCCINI’s
Complete, fully staged opera presented
in the chamber setting of the magnificent
Crystal Ballroom at the Tudor Arms Hotel, presented in collaboration with the Cleveland Women’s Orchestra under the baton of Maestro John Thomas Dodson.
Friday, Nov. 22, 2019 | 7:30 pm
TICKETS $55 Sponsor Seating $25 General Admission $10 Student Call 216-816-1411 or purchase online at theclevelandopera.org
Sunday, Nov. 24, 2019 | 3:30 pm
Grand Ballroom at Tudor Arms Hotel 10660 Carnegie Ave., Cleveland OH 44106 FREE valet parking & FREE delightful treats sponsored by The Cleveland Opera. Wine & drinks available for purchase from Tudor Arms.
Artwork: Madame de Pompadour 1755 by Maurice Quentin de la Tour
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 October 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 Mr. and Mrs. James A. Haslam III Francie and David Horvitz Mr. and Mrs. Michael J. Horvitz Dorothy Humel Hovorka* 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
Severance Hall 2019-20
The Walter and Jean Kalberer Foundation Mr. and Mrs. Joseph P. Keithley Mr. and Mrs. Douglas A. Kern KeyBank Knight Foundation Milton A. & Charlotte R. Kramer Charitable Foundation Kulas Foundation Mr. and Mrs. Dennis W. LaBarre Nancy Lerner and Randy Lerner Mrs. Norma Lerner and The Lerner Foundation Daniel R. Lewis Jan R. Lewis Peter B. Lewis* and Janet Rosel Lewis Virginia M. and Jon A. Lindseth The Lubrizol Corporation Maltz Family Foundation Elizabeth Ring Mather and William Gwinn Mather Fund Elizabeth F. McBride Ms. Nancy W. McCann William C. McCoy The Sisler McFawn Foundation Medical Mutual The Andrew W. Mellon Foundation Mr. and Mrs. Robert F. Meyerson* Ms. Beth E. Mooney The Morgan Sisters: Susan Morgan Martin, Patricia Morgan Kulp, Ann Jones Morgan John C. Morley John P. Murphy Foundation David and Inez Myers Foundation National Endowment for the Arts The Eric & Jane Nord Family Fund Mrs. Jane B. Nord 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 Charles and Ilana Horowitz 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 Richard & Emily Smucker Family Foundation Jenny and Tim Smucker Richard and Nancy Sneed Jim and Myrna Spira Lois and Tom Stauffer Mrs. Jean H. Taber* Joe and Marlene Toot Ms. Ginger Warner Robert C. Weppler Janet* and Richard Yulman Anonymous (7)
Severance Society / Lifetime Giving
* deceased
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THE CLEVELAND ORCHESTRA
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 October 25, 2019 Adella Prentiss Hughes Society gifts of $100,000 and more
Lillian Baldwin Society gifts of $75,000 to $99,999
INDIVIDUAL GIFTS OF $500,000 AND MORE
Mr. William P. Blair III+ Mr. Yuval Brisker Virginia M. and Jon A. Lindseth Milton and Tamar Maltz Ms. Beth E. Mooney+ Barbara S. Robinson (Cleveland, Miami)+ The Ralph and Luci Schey Foundation
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 John C. Morley Rosanne and Gary Oatey (Cleveland, Miami)+ James and Donna Reid Ms. Ginger Warner Mr. and Mrs. Franz Welser-Möst
George Szell Society gifts of $50,000 to $74,999 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 Ms. Nancy W. McCann+ William J. and Katherine T. O’Neill The Honorable and Mrs.* John Doyle Ong Mrs. Alfred M. Rankin, Sr. Charles and Ilana Horowitz Ratner+ Sally and Larry Sears+ Marjorie B. Shorrock+ Jim and Myrna Spira+ Dr. Russell A. Trusso Barbara and David Wolfort+ 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: +
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The Cleveland Orchestra
Elisabeth DeWitt Severance 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 Mr. Tim Murphy and Mrs. Barbara Lincoln 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+ Larry J. Santon+ 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+
Listings of all donors of $300 and more each year are published annually, and can be viewed online at CLEVELANDORCHESTRA . COM
The Severance Cleveland HallOrchestra 2019-20
Dudley S. Blossom Society
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 Dr. Edward S. Godleski 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 Horvita and Erica Hartman-Horvitz (Cleveland, Miami) Mr. Jeff Litwiller+ Mr. and Mrs. Thomas B. McGowan Mr. Thomas F. McKee+ Stanley* and Barbara Meisel The Miller Family: Sydell Miller+ Lauren and Steve Spilman+ Stacie and Jeff Halpern+ Edith and Ted* Miller Margaret Fulton-Mueller Dr. Anne and Mr. Peter Neff Dr. Isobel Rutherford Astri Seidenfeld Meredith M. Seikel The Seven Five Fund Kim Sherwin Mr. Heinrich Spängler (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 listings continue Anonymous
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 Cook 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. 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*+ Dr. Veit Sorger (Europe) The Stair Family Charitable Foundation, Inc. Lois and Tom Stauffer Dr. Elizabeth Swenson Bruce and Virginia Taylor+ 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 (10)
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 Drs. Erik and Ellen Gregorie 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 Dr. and Mrs. Herbert Kern Dr. Gilles* and Mrs. Malvina Klopman+ 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
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. and Victor J. Cohn+ Mr. and Mrs. Arnold L. Coldiron Kathleen A. Coleman Diane Lynn Collier and Robert J. Gura+ Marjorie Dickard Comella Component Repair Technologies, Inc. Mr.* and Mrs. Gerald A. Conway 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
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Individual Annual Support
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www.Larchmere.com Severance Hall 2019-20
81
listings continued
J James and Virginia Meil+ Dr. Susan M. Merzweiler+ Loretta J. Mester and George J. Mailath Claudia Metz and Thomas Woodworth Lynn and Mike Miller Drs. Terry E. and Sara S. Miller Dr. Shana Miskovsky Mr. and Mrs.* William A. Mitchell 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 Muriel Salovon 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) Jim Simler and Doctor Amy Zhang+ 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, Stra Jr. Mr. and Mrs. Joseph D. D Sullivan Ms. Lorraine S. S Szabo+ Taras SSzmagala and Helen Jarem Robert and Carol Taller Sidney Taurel and Maria Castello Branco Philip and Sarah Taylor Mr.* and Mrs. Robert N. Trombly Robert and Marti* Vagi Mr. Randall Wagner 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+ Ms. Carol A. Yellig Anonymous (3)
Mr. and Mrs. Homer D. W. Chisholm 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 Ms. Doris Donnelly 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 Dr. and Mrs. Avrum I. Froimson
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 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. Joel R. Hlavaty 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 Bruce and Nancy Jackson Donna L. and Robert H. Jackson Mr. and Mrs. Richard A. Janus
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 Drs. Nathan A. and Sosamma J. Berger 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 Dr. Victor A. Ceicys Mr. and Mrs. James B. Chaney Dr. Ronald Chapnick* and Mrs. Sonia Chapnick Mr. Gregory R. Chemnitz
86 82
Individual Annual Support
Cleveland Orchestra Orchestra The Cleveland
Mr. and Mrs. Bruce D. Jarosz Robert and Linda Jenkins Mr. Robert and Mrs. Mary V. Kahelin Mr. Jack E. Kapalka 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 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 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 Henry Peyrebrune and Tracy Rowell 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+
The Cleveland Severance HallOrchestra 2019-20
Mr. and Mrs. Peter J. Ryerson Dr. Harry S. and Rita K. Rzepka+ Peter and Aliki Rzepka Dr. Vernon E. Sackman and Ms. Marguerite Patton With special thanks to the Fr. Robert J. Sanson Leadership Patron Committee Ms. Patricia E. Say for their commitment to each Mr. Paul H. Scarbrough year’s annual support initiatives: Don Schmitt and Jim Harmon Ms. Beverly J. Schneider Brinton L. Hyde, chair Mr. James Schutte+ air Robert N. Gudbranson, vice chair Mrs. Cheryl Schweickart Barbara Robinson, past chair Mr. and Mrs. Alexander C. Scovil Ronald H. Bell Ms. Kathryn Seider James T. Dakin Rafick-Pierre Sekaly Karen E. Dakin Mr. Eric Sellen and Mr. Ron Seidman Henry C. Doll Steve and Marybeth Shamrock Judy Ernest Ginger and Larry Shane Nicki N. Gudbranson Harry and Ilene Shapiro Jack Harley Ms. Frances L. Sharp Iris Harvie Larry Oscar & Jeanne Shatten Charitable Faye A. Heston Fund of the Jewish Federation David C. Lamb Larry J. Santon Dr. and Mrs. William C. Sheldon Raymond T. Sawyer Terrence and Judith Sheridan Mr. Richard Shirey+ Mr. and Mrs. Reginald Shiverick+ Michael Dylan Short Mr.* and Mrs. Bob Sill Howard and Beth Simon Ms. Ellen J. Skinner Robert and Barbara Slanina Ms. Anna D. Smith Ms. Janice A. Smith Sandra and Richey Smith The Cleveland Orchestra is Mr. Eugene Smolik sustained through the support of Ms. Barbara R. Snyder thousands of generous patrons, Drs. Nancy Ronald Sobecks Drs. Thomas and Terry Sosnowski including the Leadership donors Jeff and Linda Stanley listed on these pages. Listings of Edward R. & Jean Geis Stell Foundation all annual donors of $300 and Frederick and Elizabeth Stueber Michael and Wendy Summers more each year are published Mr. David Szamborski annually, and can be viewed onMr. and Mrs. John Taylor line at CLEVELANDORCHESTRA .COM Ken and Martha Taylor Mr. Karl and Mrs. Carol Theil+ Mr. John R. Thorne and Family For information about how Bill and Jacky Thornton you can play a supporting Dr. and Mrs. Thomas A. Timko role for The Cleveland OrchDrs. Anna* and Gilbert True Dr. Margaret Tsai estra’s ongoing artistic excelSteve and Christa Turnbull+ lence, education programs, Bobbi and Peter* van Dijk and community partnerships, Teresa Galang-Viñas please contact our Philanand Joaquin Vinas (Miami) Mr. and Mrs. Les C. Vinney thropy & Advancement Office John and Deborah Warner by phone: 216-456-8400 Margaret and Eric* Wayne+ or by email: donate Mr. Peter and Mrs. Laurie Weinberger Katie and Donald Woodcock @clevelandorchestra.com Elizabeth B. Wright+ Rad and Patty Yates Dr. William Zelei Mr. Kal Zucker and Dr. Mary Frances Haerr Anonymous (2)+ * deceased Anonymous (Miami) (1) Anonymous (6)
Thank You
Individual Annual Support
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THE CLEVELAND ORCHESTRA
Corporate Support The Cleveland Orchestra extends heartfelt gratitude and partnership with the corporations listed on this page, whose annual support (through gifts of $2,500 and more) demonstrates their belief in the Orchestraâ&#x20AC;&#x2122;s music-making, education programs, and community initiatives.
Annual Support gifts in the past year, as of October 25, 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
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$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 Cleveland-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) Northern Trust (Miami) Olympic Steel, Inc. RPM International Inc. The Sherwin-Williams Company Thompson Hine LLP United Airlines University Hospitals Anonymous
Corporate Annual Support
$2,500 TO $14,999 Amsdell Companies Applied Industrial Technologies 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. Glenmede Trust Company 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 October 25, 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
The Eric & Jane Nord Family Fund State of Ohio $100,000 TO $249,999
Paul M. Angell Family Foundation William Randolph Hearst Foundation The Louise H. and David S. Ingalls Foundation Kulas Foundation John P. Murphy 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 New World Somewhere Fund The M. G. O’Neil Foundation The O’Neill Brothers Foundation 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 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
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BARBARA J. STANFORD AND VINCENT T. LOMBARDO
“We love the extraordinary Cleveland Orchestra experience – being in palatial Severance Hall, attending an insightful pre-concert talk or post-concert event, and listening to a magnificent orchestra play music that both entertains and enlightens,” say Vincent T. Lombardo and Barbara J. Stanford. “A Cleveland Orchestra concert transports us to a different and much better world. That is why we have subscribed to The Cleveland Orchestra for almost 20 years, and why we have included the Orchestra in our estate planning.”
To find out more about investing in the future of The Cleveland Orchestra with a planned gift that costs nothing today, contact: Rachel Lappen 216-231-8011 legacygiving@clevelandorchestra.com
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
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Legacy Giving THE CLEVELAND ORCHESTR A HERITAGE SOCIETY L I S T I N G C O N T I N U ED
Bev and Bob Grimm Candy and Brent Grover Thomas J.* and Judith Fay Gruber Henry and Komal Gulich Mr. and Mrs. David H. Gunning Mr. and Mrs. William E. Gunton Mrs. John A Hadden Jr. Richard* and Mary Louise Hahn James J. Hamilton Raymond G. Hamlin, Jr. Kathleen E. Hancock Holsey Gates Handyside* Norman C. and Donna L. Harbert Mary Jane Hartwell* William L.* and Lucille L. Hassler Mrs. Henry Hatch (Robin Hitchcock) Nancy Hausmann Virginia and George Havens Barbara L. Hawley and David S. Goodman Gary D. Helgesen Clyde J. Henry, Jr. Ms. M. Diane Henry Wayne and Prudence Heritage T. K.* and Faye A. Heston Fred Heupler, M.D. Mr. and Mrs.* Daniel R. High Mr. and Mrs. D. Craig Hitchcock* Bruce F. Hodgson Mary V. Hoffman Feite F. Hofman MD* Mrs. Barthold M. Holdstein* Leonard* and Lee Ann Holstein David and Nancy Hooker Thomas H. and Virginia J.* Horner Fund Patience Cameron Hoskins Elizabeth Hosmer Dorothy Humel Hovorka* Dr. Christine A. Hudak, Mr. Marc F. Cymes Dr. Randal N. Huff Mrs. Marguerite B. Humphrey Adria D. Humphreys* Ann E. Humphreys and Jayne E. Sisson David and Dianne Hunt Karen S. Hunt Mr. and Mrs. G. Richard Hunter Ruth F. Ihde Mr.* and Mrs. Jonathan E. Ingersoll Pamela and Scott Isquick Mr. and Mrs. Clifford J. Isroff* Mr. and Mrs. Donald M. Jack, Jr. Carol S. Jacobs Pamela Jacobson Milton* and Jodith Janes Jerry and Martha Jarrett* Merritt and Ellen Johnquest* Allan V. Johnson E. Anne Johnson Nancy Kurfess Johnson, M.D.
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David and Gloria Kahan Julian and Etole Kahan David George Kanzeg Bernie and Nancy Karr Drs. Julian and Aileen Kassen* Milton and Donna* Katz Nancy F. Keithley and Joseph P. Keithley Patricia and Walter Kelley* Bruce and Eleanor Kendrick Malcolm E. Kenney Mr. and Mrs. Douglas A. Kern Charles M. and Janet G. Kimball* James and Gay* Kitson Mr. Clarence E. Klaus, Jr. Mary Elizabeth and G. Robert Klein* Fred* and Judith Klotzman Paul and Cynthia Klug Martha D. Knight Mr. and Mrs. Robert Koch Dr. Vilma L. Kohn* Mr. Clayton Koppes Susan Korosa Mr.* and Mrs. James G. Kotapish, Sr. Margery A. Kowalski Janet L. Kramer Mr. James Krohngold Mr. and Mrs. Gregory G. Kruszka Thomas* and Barbara Kuby Eleanor* and Stephen Kushnick Mr. and Mrs. Dennis W. LaBarre James I. Lader Mr. and Mrs. David A. Lambros Mrs. Carolyn Lampl Marjorie M. Lamport* Louis Lane* Kenneth M. Lapine and Rose E. Mills Lee and Susan Larson Charles K. László and Maureen O’Neill-László Anthony T. and Patricia Lauria Charles and Josephine Robson Leamy Fund* Jordan R. and Jane G. Lefko Teela C. Lelyveld Mr. and Mrs. Roger J. Lerch Judy D. Levendula Dr. and Mrs. Howard Levine Bracy E. Lewis Mr. and Mrs.* Thomas A. Liederbach Rollin* and Leda Linderman Virginia M. and Jon A. Lindseth Ruth S. Link* Dr. and Mrs. William K. Littman Dr. Jack and Mrs. Jeannine Love Jeff and Maggie Love Dr. Alan and Mrs. Min Cha Lubin Linda and Saul Ludwig Kate Lunsford Patricia MacDonald 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.
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11001 Euclid Avenue Cleveland, Ohio 44106
P H OTO BY S T E V E H A L L © H E D R I C H B L E S S I N G
CLEVELANDORCHESTRA.COM
the world’s most beautiful concert halls, Severance Hall has been home to The Cleveland Orchestra since its opening on February 5, 1931. After that first concert, a Cleveland newspaper editorial stated: “We believe that Mr. Severance intended to build a temple to music, and not a temple to wealth; and we believe it is his intention that all music lovers should be welcome there.” John Long Severance (president of the Musical Arts Association, 1921-1936) and his wife, Elisabeth, donated most of the funds necessary to erect this magnificent building. Designed by Walker & Weeks, its elegant HAILED AS ONE OF
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Georgian exterior was constructed to harmonize with the classical architecture of other prominent buildings in the University Circle area. The interior of the building reflects a combination of design styles, including Art Deco, Egyptian Revival, Classicism, and Modernism. An extensive renovation, restoration, and expansion of the facility was completed in January 2000. In addition to serving as the home of The Cleveland Orchestra for concerts and rehearsals, the building is rented by a wide variety of local organizations and private citizens for performances, meetings, and special events each year. Severance Hall
The Cleveland Orchestra
11001 Euclid Avenue Cleveland, Ohio 44106 CLEVELANDORCHESTRA.COM
WELCOME
LEARN MORE
Severance Hall is Cleveland’s “musical home” for symphonic music and many other presentations. We are strongly committed to making everyone feel welcome. The following information and guidelines can help you on your musical journey.
CONCERT PREVIEWS
DOORS OPEN EARLY The doors to Severance Hall open three hours prior to most performances. You are welcome to arrive early, enjoy a glass of wine or a tasty bite, learn more about the music by attending a Concert Preview, or stroll through this landmark building’s elegant lobbies. The upper lobbies and Concert Hall usually open 30 minutes before curtain.
SPECIAL DISPLAYS Special archival displays providing background information about The Cleveland Orchestra or Severance Hall can often be viewed in the lobby spaces or in the Humphrey Green Room (just off the left-hand side of the Concert Hall on the main Orchestra Level).
PROGRAM NOTES
FOOD AND DRINK SEVERANCE RESTAURANT Pre-Concert Dining: Severance Restaurant at Severance Hall is open for pre-concert dining for evening and Sunday afternoon performances (and for lunch following Friday Morning Concerts). Operated by Marigold Catering, a certified Green Caterer. To make reservations, call 216-231-7373, or online by visiting www.useRESO.com. Please note that the Restaurant 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
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SHARING THE SPACE
ACCESS AND SERVICES
The concert halls and lobbies are shared by all audience members. Please be mindful and courteous to others. To ensure the listening pleasure of all patrons, please note that anyone creating a disturbance may be asked to leave the performance.
We welcome all guests to our concerts and strive to make our performances accessible to all patrons.
LATE SEATING Performances at Severance Hall start at the time designated on the ticket. In deference to the performers onstage, and for the comfort and listening pleasure of audience members, late-arriving patrons will not be seated while music is being performed. Latecomers are asked to wait quietly until the first break in the program, when ushers will assist them to their seats. Please note that performances without intermission may not have a seating break. These arrangements are at the discretion of the House Manager in consultation with the conductor and performing artists.
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.
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SERVICES FOR PERSONS WITH DISABILITIES Severance Hall provides special seating options for mobility-impaired persons and their companions and families. There are wheelchair- and scooter-accessible locations where patrons can remain in their wheelchairs or transfer to a concert seat. Aisle seats with removable armrests are also available for persons who wish to transfer. Tickets for wheelchair accessible and companion seating can be purchased by phone, in person, or online. As a courtesy, Severance Hall provides wheelchairs to assist patrons in going to and from their seats upon entering the building. 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.
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.
north O point portfolio managers c o r p o r a t i o n Ronald J. Lang Diane M. Stack Daniel J. Dreiling
440.720.1102 440.720.1105 440.720.1104
TICKETS LOST TICKETS If you have lost or misplaced your tickets, please contact the Ticket Office as soon as possible. In most cases, the Ticket Office will be able to provide you with duplicate seating passes prior to the performance.
TICKET EXCHANGES
Join us for dinner before or after the orchestra.
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
Fine Dining in Little Italy – mere minutes from Severance Hall.
Guest Information
www.mangelos.com ~ 216.721.0300 2198 Murray Hill Rd. • Cleveland, OH 44106 • mangelos.com
Happy Hour 5-7 pm Monday thru Friday. Fridays – ½ off any bottle of wine under $100!
World-class performances. World-class audiences. Advertise among friends in The Cleveland Orchestra programs.
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contact Live Publishing Company 216.721.1800 info@livepub.com
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T H E B AC K PAG E
BIRTHDAY SALUTE A personal tribute to the “Mother of The Cleveland Orchestra”
ADELLA PRENTISS HUGHES born November 29, 1869 died August 23, 1950
his November marks the 150th birthday of Adella Prentiss Hughes, visionary leader and “Mother” of The Cleveland Orchestra — and the only woman to found a major American symphony. I didn’t always know her name, but her actions had a major impact on my life. Born in Cleveland, Adella Prentiss attended what later became Hathaway Brown before graduating from Vassar College. There she studied music and had her first opportunities to manage performances. She returned home and, as an impresario, pursued offering symphonic concerts to Clevelanders. By the start of the 20th century, she had organized an annual series of the very best orchestras. In 1915, she incorporated the Musical Arts Association to continue her work more formally, and then asked the new board of community leaders: “Shouldn’t Cleveland have its very own orchestra?”
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Within three years, she became founding general manager of The Cleveland Orchestra, an ensemble created not just to play great music for adults, but to inspire younger generations through school concerts and music instruction. During her 15 years in that role, she also helped secure the promise, and reality, of building Severance Hall. To document the Orchestra’s early history, she kept ample and meticulous records, which became the basis for today’s extensive Cleveland Orchestra Archives. Decades later, I became one of the four million young people introduced to classical music by The Cleveland Orchestra. Severance Hall was the most beautiful place I had ever seen — and I fell in love with the building and its resident musicians. I even decided to learn to play the trumpet — not a natural choice for
Adella Prentiss Hughes
The Cleveland Orchestra
a girl growing up in the 1950s. By high school, I was first chair in band, and later understood that music had provided me with a sense of belonging and greater self-confidence. Not long after I met my first husband, I learned that he owned one of my favorite albums, featuring The Moldau, recorded by George Szell and The Cleveland Orchestra. When we moved to Cleveland, one of our first purchases was a full-season Orchestra subscription. The marriage ended, but each of us continues as a subscriber nearly half a century later, committed to the music for ourselves and, as donors, for future generations. As my life has evolved, I’ve realized that Mrs. Hughes’s expansive and boundary-pushing accomplishments offer a strong example of empowerment and a framework for women to develop skills for leadership in the arts. Perhaps partly for that reason, she founded the Women’s Committee of The Cleveland Orchestra in 1921. When a friend invited me to join a related volunteer group in 1975, another defining chapter in my life began. Working on the Junior Committee with women whose passion for the Orchestra mirrored my own provided extraordinary opportunities for personal and professional growth, culminating in my role as president (1987-89). Although the Women’s and Junior Committees no longer exist, their volunteer spirit continues in today’s Friends of The Cleveland Orchestra. Thanks to relationships I developed as a volunteer, I filled several temporary staff positions before becoming the Orchestra’s fundraising communications manager in 1995. In this role I witnessed how the commitment to excellence onSeverance Hall 2019-20
stage was mirrored behind the scenes. What a privilege it was to collaborate with Orchestra staff and trustees who continue to be among Northeast Ohio’s brightest and most influential leaders. While working at Severance Hall, I made life-long friends and met my current husband. We endowed a seat at Blossom, the Orchestra’s summer home, for our “engagement ring” and continue to enjoy our subscription concerts. Having learned many valuable professional lessons and skills at the Orchestra, I became Director of Development for the Shaker Schools Foundation in 2005. Precious aspects of my life intersected in 2012 when The Cleveland Orchestra performed at Shaker Heights High School. And the cycle continues. When my sons were young, I introduced them to Severance Hall and its musicians. This season, I will begin sharing that same experience with my three-year-old grandson. Without the tenacity and vision of Adella Prentiss Hughes and her extraordinary efforts on behalf of Cleveland’s music-loving community, my life would be very different. On the occasion of this landmark anniversary of her birth, I humbly bear witness to the ongoing value of her passion for music and of her leadership. Through her determination and courage, Cleveland — and the world — are better places. —Sue Starrett NOVEMBER 2019
Sue Starrett has admired and valued The Cleveland Orchestra through six decades as a listener, volunteer, employee, and donor.
A 150th Birthday Salute
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Rainey Institute El Sistema Orchestra
A SYMPHONY OF
success
We believe that all Cleveland youth should have access to high-quality arts education. Through the generosity of our donors, we have invested more than $5 million since 2016 to scale up neighborhoodbased programs that now serve 3,000 youth yearround in music, dance, theater, photography, literary arts and curatorial mastery. Thatâ&#x20AC;&#x2122;s a symphony of success. Find your passion, and partner with the Cleveland Foundation to make your greatest charitable impact.
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