The Cleveland Orchestra November 21, 22, 23, 29, 30, December 1, 5, 6, 7 Concerts by Live Publishing

2O19 -2O2O

THE

CLEVEL AND ORC HE STR A FRANZ WELSER-MÖST

SEVERANCE HALL Perspectives

. . . . . . . . . . . . . . . . . . . . . . . . . . page 9

WEEK 8 — November

21, 22, 23 Haydn and Hummel . . . . . . . . . . . . . . . . . page 35

WEEK 9 — November

29, 30, December 1 Yuja Wang Plays Rachmaninoff . . . page 55

WEEK 10 — December

5, 6, 7 Tchaikovsky’s Sleeping Beauty

AUTU M N 2O19

. . . . page 77

Everything You Love

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About the Orchestra

PAGE

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

Perspectives from the President & CEO . . . . . . . . . 9 Board of Trustees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Music Director: Franz Welser-Möst . . . . . . . . . . . . 15 About The Cleveland Orchestra . . . . . . . . . . . . . . . 17 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Guest Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

NEWS

THE CLEVELAND ORCHESTRA

PROGRAM BOOK

Cleveland Orchestra News . . . . . . . . 22

8 HAYDN & HUMMEL

WEEK

Concert: November 21, 22, 23 . . . . . . . . . . . . . . . . 35 Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . 37

ON THE COVER Photograph by Roger Mastroianni

SCHUBERT

Selections from Rosamunde . . . . . . . . . . . . . . . . . 39 HUMMEL

Trumpet Concerto in E major . . . . . . . . . . . . . . . . 43 HAYDN

Symphony No. 104 (“London”) . . . . . . . . . . . . . . 47 Artists: McGegan / Sachs . . . . . . . . . . . . . . . . . . . . . . 34

9 YUJA WANG & RACHMANINOFF

WEEK

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 29, 30, December 1 . . . . . 55 Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . 57 PROKOFIEV

Suite from The Love for Three Oranges . . . . . . . . 59 RACHMANINOFF

Piano Concerto No. 4 . . . . . . . . . . . . . . . . . . . . . . . 63 POULENC

Sinfonietta . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 RAVEL

La Valse [The Waltz] . . . . . . . . . . . . . . . . . . . . . . . . . 71 Artists: Viotti / Wang . . . . . . . . . . . . . . . . . . . . . . . . . . 54

10 TCHAIKOVSKY’S SLEEPING BEAUTY

WEEK

Concert: December 5, 6, 7 . . . . . . . . . . . . . . . . . . . . 77 Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . 79 BERLIOZ

Overture to Béatrice et Bénédict . . . . . . . . . . . . . . 81 SAINT-SAËNS Piano Concerto No. 5 (“Egyptian”) . . . . . . . . . . . 85

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.

Preferred Airline of The Cleveland Orchestra

TCHAIKOVSKY

Selections from Sleeping Beauty . . . . . . . . . . . . . 89 Artists: Szeps-Znaider / Thibaudet . . . . . . . . . . . . . 80

Support Severance Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Annual Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 Heritage Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

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

End Note

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

Adella Prentiss Hughes at 150 . . . . . . . . . . . . . . . . 110

Table of Contents

The Cleveland Orchestra

S O U N D

O F

T H E

C I T Y

BakerHostetler is proud of our long association with The Cleveland Orchestra. We share its commitment to excellence and its dedication to a thriving community.

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What’s inside this ABOUT THE ORCHESTRA

Perspectives November-Decem ber 2019 This has been a busy and rewar ding autumn for estra. The seaso The Cleveland n opened with OrchMusic Director ing memorable Franz Welser-Mös performances t leadhere at home — annual Gala — including our sold-o and in New York, where a pair of ut Carnegie Hall’s Presid ent & concerts kicked 128th CEO off tending the Orche season. We also announced a new contract stra’s acclaimed exAchievement partnership with and Celebration Franz to 2027. at the Orchestra’s — There was indee Annual Meeting, d achievements held in early Novem much to discuss and celebrate of the past year, ber, as we gathered and coming decad to look back at e. We were please forward to opportunities and challenges ahead d to announce for the past fiscal that we’d balan in the year while contin ced the The significance uing to grow a younger and more institution’s budget of the Orchestra’s was echoed by engaged audie role in inspiring nce. keynote speak young people er Eric Gordon, across Northeast ropolitan Schoo chief executive l District, who officer of the Cleve Ohio reflected on the have in motivating land Metimpact that our students across music education initiat many academic ives platforms. Collaboration — As educational Orchestra recog and cultural amba nizes ssadors for this around the region the importance of partnering city, The Cleve land with other bedro to foster a life-lo ck institutions regular programs ng from with Baldwin Wallac appreciation of music and the arts. In addition land Institute of e University, Case Music, Cuyahoga to Western Reser Arts & Culture, rated with the ve University, Cleve and ideastream, Cleveland Museu this fall we have m of Art to encou Cleveland’s cultur collaborage out-of-town al treasures throu visitors to exper Michelangelo: Mind gh a ience of the Master paired weekend-getaway package to the CMA exhib with an Orchestra ition Inspiration and concert and hotel Understanding stay. land Museum — In the spring, we’ll of Art alongside again join other Northeast festival surrou Ohio organization forces with the Clevending s, as we host a sored: Art & Power the Orchestra’s presentation cityw of Alban Berg’s , this year’s festiva opera Lulu. Titled ide good and evil, l centers on illumi Cenand how gover nating how art nments have abuse can be used both power to contro d power by using l access and learni for used prejudice ng. We are intent ing in as many and minds and hearts on igniting new as possible, buildi sparks of under impact that transf standng ormative works on the inspirationa of art and music l and emotional can have on peopl Giving Thank s— e of all ages. on the many reason In the coming weeks, as the holida s we have to be ys presenting more grateful, The Cleve surround us and we all reflect music for more land Orchestra peopl world-class conce is committed to rts to educational e — across this region and aroun would be possib programs and community initiat d the globe. From le without your generous suppo ives, none of our associated with rt. Many of you The have special memo work ments with a year-e Cleveland Orchestra, and I hope ries you will consid nd gift — a gift er honoring those erations of music that will help us mocreate new memo lovers. Thank you. ries for future gen-

Sever ance Hall

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. What’s Happening? — Additional sections of the book give you information about events and happenings, including:

André Gremill illet let President & CEO The Cleveland Orchestra

2019-20

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2O2O eland city wide The Clev ndbreaking d for of its grou Power, schedule the name nd the & ered arou sored: Art ival is cent n Berg’s opera tival, Cen . The fest s of Alba on spring 2020 ance ussi a’s perform seek s to spur disc Orchestr ent cen2020, and governm point Lulu in May in society, role of art as a star ting Nazi about the prejudice, taking ement in Music mov the Orchessorship, and erate Art & t of a Music mov the Degene a major focal poin ade rate Art & will feature dAs ival any. fest the Degene Germany in the dec oun the Germ to ss known as -20 season, presentations surr s igated acro ld War. In addition tra’s 2019 ance tive ment inst s, and collabora ra perform nd Wor variety of ing up to the ope the Seco performance d Reich’s re ical befo mus , to the Thir artworks ing and lead banning ’t conform i Part y held a 19, and 22). ils include: tion didn deta that ed (May 16, unc bora literature uty, the Naz exhibitions Newly-anno ming in colla which will sical bea lic program eved idea of clas ely-attended pub selves, Education music it beli and Our ents wid series of of art and to Jewish, Comng History teachers and stud ningexamples with Faci eland area providing or decadent — due st, and other age in mea erni ful provide Clev s to help them eng udice, and was harm an American, Mod urce m, prej with reso about racis ist, Afric ns on is mun atio seas ing influences. ful convers ; of this com eum of minority “It is an itism highlights eland Mus whose ser-Möst. anti-Sem “One of the n at the Clev Franz Wel ically and An exhibit ts from its collectio Lulu,” says in Gerk both mus g g artis featured the opera lenging wor programmin Art honorin oved by Nazis and entations; an nse and chal ter. Yet this kind of inte such rem pres have was Art we ect mat work d because Degenerate e of Art Cinemain its subj ience.” l in Clevelan open aud many’s 1937 German d Institut is successfu y, adventurous, and nd A Clevelan of G.W. Pabst’s 1929 by the inar creating arou tiong are aord ired we enin extr val insp festi at the rela e that theque scre ’s Box, which was “With the “Lulu” cycl “we will look of how continues, in Berg’s lifetime — film Pandora Frank Wedekind’s ra; Lulu,” he tically s in of his ope and politics s and ‘30s was poli same play Beachthe libretto g ship of art pted for hosted by ic in the 1920 d. We are featurin Berg ada s of lectures Heritage. others certain mus ibite And a serie eum of Jewish and proh Krenek, and ik’ or r partabandoned in Schulhoff, Ernst tz Mus e and othe rtete Mus ‘Enta Erw wood’s Mal al details of thes ths led by works in the mon Nazis labe Addition ks that the announced be wor rian — will ts Music.” ic, authorita ner even CleveDegenerate period of autocrat tic expression 2020, The May ad. in sera ahe z Wel “It was festival d. ed any artis ctor Fran During the condemn a heavy han music dire , which German regimes who r narrow view with estra and ra Lulu d through land Orch prohibite ide of thei on the ope during the Nazi rise sed s were outs abu k focu is wor of Lulu their wrote Möst will at both the character Artists and Alban Berg into how Looking Just as the the composer y 1930s. , we will look — and censorship. matter of in the earl own way to power ive subject censorship sive in her abused by a system ress abu . opp and ther ent art can be governm Art & abusive and on one ano music and f and how iere, the Censored: turn people only from the itsel can ra s m ope way how a syste ortant topics, not work’s prem d to explore the ser-Möst. were imp halted the gne ld,” says Wel These are at the time tical ival is desi today’s wor Power fest ic and composers poli but bu also in nda, p past aga mus prop ch udice, in whi t became by the prej 25 ded wha damaged hate that surroun control, and tra News d Orches Clevelan 9-20 ce Hall 201 Sev eran

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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. 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.

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The Cleveland Orchestra

Program Book? ABOUT THE CONCERT

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About the Music — A longer essay or “program note” follows, usually discussing the composer’s life, how they came to write each work, and what the music is all about.

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About the Artists — Biographies are featured about soloists and conductors performing here at Severance Hall each week.

About this Book

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Additional sections include:

Severance Hall 2019-20

MUSIC

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SERGEI PROKOF IEV

(1899-1963 )

Food, Drink, and More — in addition to Severance Restaurant (open before evening concerts) and Opus Lounge (open before and after), 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.

Friday eve ning, No vember Saturday 29 eve Sunday afte ning, November , 2019, at 8:00 p.m . 30, 2019, rnoon, De at 8:00 p.m cember 1, 2019, Lorenzo at 3:00 p.m . Viotti, con . du

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.

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.

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What’s on Tonight? — A section of most

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born October 9, 1835 Paris

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ing a con S A Ë N S had dev cert pia oted his nist, he professio claimed would as Anton nal career Rubinstein have been as other lion to befamous , Lesche of and as actizky, or played him the age. His Paderews five self, pro ki, or techniqu vide scin piano concertos tillating e both , all of wh any in weigh evi Europe, t and nim dence of his ast ich he and cha mpioned onishing bleness. Mozart works by and Bee He played thoven a range across to Liszt. Yet playin of compo g the pia sers, fro all of the m no wa m over a ver concerned with s only one of ma ny activit music, tha y long life ies, not the sam t consum e time, an . He was a mo ed Sai dernist atheist wh ligious mu and a rea nt-Saëns o compo sic, a dee ctionar y sed a hu best-know ply at ge quant n work is serious and tho ity of reten) Car ughtful the friv nival of the Anima olous (but fun-fi composer whose His first lled and ls. four pia def tly wri between no concer t185 tos app seventeen 8 and 1875. ear ed at steady The Sec days, has ond, wh also cre remained ich he com intervals ated con his most posed in cer forty, Sai popular nt-Saëns tos for cello and concerto spent mo writing violin). (he — in No re and mo Aft rth Africa re time vac er the age of orchestra , which ationing in 1880, yie lde and two — orful on works for d the Suite algérie and e-m piano and nne for Piano Co ovement piece rencerto in orc 1896. Lik titled Africa in 189 hestra: a colthe end of his op e the fam 1 and the era Sam ous Bac Fifth son and chanale Delilah, Scene all of the About the se works at Music con-

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Perspectives November-December 2019

President & CEO

This has been a busy and rewarding autumn for The Cleveland Orchestra. The season opened with Music Director Franz Welser-Möst leading memorable performances here at home — including our sold-out annual Gala — and in New York, where a pair of concerts kicked off Carnegie Hall’s 128th season. We also announced a new contract extending the Orchestra’s acclaimed partnership with Franz to 2027.

Achievement and Celebration — There was indeed much to discuss and celebrate at the Orchestra’s Annual Meeting, held in early November, as we gathered to look back at achievements of the past year, and forward to opportunities and challenges ahead in the coming decade. We were pleased to announce that we’d balanced the institution’s budget for the past fiscal year while continuing to grow a younger and more engaged audience. The significance of the Orchestra’s role in inspiring young people across Northeast Ohio was echoed by keynote speaker Eric Gordon, chief executive officer of the Cleveland Metropolitan School District, who reflected on the impact that our music education initiatives have in motivating students across many academic platforms. The evening ended with cake to celebrate the 150th birthday of Adella Prentiss Hughes, the Orchestra’s founder. Collaboration — As educational and cultural ambassadors for this city, The Cleveland Orchestra recognizes the importance of partnering with other bedrock institutions from around the region to foster a life-long appreciation of music and the arts. In addition to regular programs with Baldwin Wallace University, Case Western Reserve University, Cleveland Institute of Music, Cuyahoga Arts & Culture, and ideastream, this fall we have collaborated with the Cleveland Museum of Art to encourage out-of-town visitors to experience Cleveland’s cultural treasures through a weekend-getaway package to the CMA exhibition Michelangelo: Mind of the Master paired with an Orchestra concert and hotel stay. Inspiration and Understanding — In the spring, we’ll again join forces with the Cleveland Museum of Art alongside other Northeast Ohio organizations, as we host a citywide festival surrounding the Orchestra’s presentation of Alban Berg’s opera Lulu. Titled Censored: Art & Power, this year’s festival centers on illuminating how art can be used both for good and evil, and how governments have abused power by using prejudice and fear to control access and learning. We are intent on igniting new sparks of understanding in as many minds and hearts as possible, building on the inspirational and emotional impact that transformative works of art and music can have on people of all ages. Giving Thanks — In the coming weeks, as the holidays surround us and we all reflect on the many reasons we have to be grateful, The Cleveland Orchestra is committed to presenting more music for more people — across this region and around the globe. From world-class concerts to educational programs and community initiatives, none of our work would be possible without your generous support. Many of you have special memories associated with The Cleveland Orchestra, and I hope you will consider honoring those moments with a year-end gift — a gift that will help us create new memories for future generations of music lovers. Thank you.

Severance Hall 2019-20

André Gremillet President & CEO The Cleveland Orchestra

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

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

EUROPEAN ADVISORY BOARD

Larry Oscar, Chair Greg Chemnitz, Vice Chair Richard Agnes Mark J. Andreini Lissa Barry Dean Barry William P. Blair III Frank Buck Becky Bynum Phil Calabrese Paul Clark Richard Clark Kathy Coleman Judy Diehl Barbara Hawley Matt Healy Brit Hyde Rob Kochis Janet Kramer David Lamb Susan Locke

Herbert Kloiber, Chair Wolfgang Berndt, Vice Chair

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

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

* deceased

Alfredo Gutierrez Luz Maria Gutierrez Maribel Piza Judy Samuels

Lists as of September 2 O19

I N F E B R UARY AT S E V E R A N C E H A L L

AMADEUS Feb 7 — Fri at 7:30 p.m. Feb 9 — Sun at 2:00 p.m. The Cleveland Orchestra Vinay Parameswaran, conductor Cleveland Orchestra Chorus Amadeus is a sumptuous period epic and a soaring celebration of the music of Wolfgang “Amadeus” Mozart. Winner of eight Academy Awards, this 1984 movie tells the story of two Viennese musicians, court composer Antonio Salieri (F. Murray Abraham) and the bawdy genius Mozart (Tom Hulce). Presented with the film’s score performed live by The Cleveland Orchestra and Chorus

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CLEVELANDORCHESTRA.COM

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

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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

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

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

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

T H E

C L E V E L A N D

Franz Welser-Möst MUSIC DIREC TOR

CELLOS Mark Kosower *

Kelvin Smith Family Chair

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

Virginia M. Lindseth, PhD, Chair

Jung-Min Amy Lee ASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith Chair

Jessica Lee ASSISTANT CONCERTMASTER

Clara G. and George P. Bickford Chair

Stephen Tavani ASSISTANT CONCERTMASTER

Takako Masame Paul and Lucille Jones Chair

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

Kim Gomez Elizabeth and Leslie Kondorossy Chair

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

Miho Hashizume Theodore Rautenberg Chair

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

Alicia Koelz Oswald and Phyllis Lerner Gilroy Chair

Yu Yuan Patty and John Collinson Chair

Isabel Trautwein Trevor and Jennie Jones Chair

Mark Dumm Gladys B. Goetz Chair

Katherine Bormann Analisé Denise Kukelhan Zhan Shu

Alfred M. and Clara T. Rankin Chair

The GAR Foundation Chair

Charles Bernard2 Helen Weil Ross Chair

Emilio Llinás2 James and Donna Reid Chair

Bryan Dumm Muriel and Noah Butkin Chair

Eli Matthews1 Patricia M. Kozerefski and Richard J. Bogomolny Chair

Sonja Braaten Molloy Carolyn Gadiel Warner Elayna Duitman Ioana Missits Jeffrey Zehngut Vladimir Deninzon Sae Shiragami Scott Weber Kathleen Collins Beth Woodside Emma Shook Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Chair

Yun-Ting Lee Jiah Chung Chapdelaine VIOLAS Wesley Collins* Chaillé H. and Richard B. Tullis Chair

Lynne Ramsey

Louis D. Beaumont Chair

Richard Weiss1

Charles M. and Janet G. Kimball Chair

Stanley Konopka2 Mark Jackobs Jean Wall Bennett Chair

Arthur Klima Richard Waugh Lisa Boyko Richard and Nancy Sneed Chair

Lembi Veskimets The Morgan Sisters Chair

Eliesha Nelson Joanna Patterson Zakany Patrick Connolly

The Musicians

Tanya Ell Thomas J. and Judith Fay Gruber Chair

Ralph Curry Brian Thornton William P. Blair III Chair

David Alan Harrell Martha Baldwin Dane Johansen Paul Kushious BASSES Maximilian Dimoff * Clarence T. Reinberger Chair

Kevin Switalski2 Scott Haigh1 Mary E. and F. Joseph Callahan Chair

Mark Atherton Thomas Sperl Henry Peyrebrune Charles Barr Memorial Chair

Charles Carleton Scott Dixon Derek Zadinsky HARP Trina Struble* Alice Chalifoux Chair This roster lists the fulltime members of The Cleveland Orchestra. The number and seating of musicians onstage varies depending on the piece being performed.

Severance Hall 2019-20

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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

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

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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THE CLEVELAND ORCHESTRA

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

Severance Hall 2019-20

FE STIVAL 2O2O

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

Cleveland Orchestra News

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

THE LOTUS CL AT SE VE R AN CE

THE CLEVELAND ORCHESTRA

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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.

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

Cleveland Orchestra News

440.720.1102 440.720.1105 440.720.1104

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.

Comings and goings As a courtesy to the performers onstage and the entire audience, late-arriving patrons cannot be seated until the first break in the musical program.

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

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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

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

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

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

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

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

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

A Musicians’ Journey

The Cleveland Orchestra

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THE CLEVELAND ORCHESTRA

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

150th Anniversary of the birth of Adella Prentiss Hughes, who founded The Cleveland Orchestra November 29th marks the 150th birthday of Adella Prentiss Hughes, the Cleveland-born impresario who founded The Cleveland Orchestra in 1918. She attended Vassar College, where, during her senior year, she organized the banjo club and got her first taste of arts management by organizing a joint concert with the glee and banjo clubs. Upon returning to Cleveland from a season in Europe, she began organizing concerts working with the Fortnightly Music Club. By 1901, she was engaging touring orchestras for performances in Cleveland, hosting ensembles from New York, Boston, Philadelphia, Pittsburgh, and Chicago. Her determination that Clevelanders should have their own orchestra propelled Hughes to organize the right people at the right time for arts development in Cleveland. She founded the non-profit Musical Arts Association in 1915 and then persuaded them to create The Cleveland Orchestra three years later. She worked tirelessly as the Orchestra’s first general manager until 1933, and continued serving the Orchestra as a supporter until her death in 1950. Adella Prentiss Hughes was inducted into the Ohio Women’s Hall of Fame in 2001. For more information, see page 110 of this book or visit the Magic Box display located just outside the main level of the concert hall.

Cleveland Orchestra News

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THE CLEVELAND ORCHESTRA

H . A . I . L A . N . D F .A . R . E .W. E . L . L

Longtime ticket oďŹ&#x192;ce 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 â&#x20AC;&#x201D; nearly ten million tickets were sold during his years in the box office â&#x20AC;&#x201D; 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 subscribersâ&#x20AC;&#x2122; 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 Orchestraâ&#x20AC;&#x2122;s concerts, with Shostakovich as one of his personal favorite composers. â&#x20AC;&#x153;The loyalty and good judgement that Tim Gaines provided our audiences was remarkable,â&#x20AC;? commented Julie Stapf, senior director of marketing. â&#x20AC;&#x153;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.â&#x20AC;?

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The Cleveland Orchestra

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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.

Cleveland Orchestra News

Musicians Emeritus of

T H E

O R C H E S T R A

C L E V E L A N D

Listed here are the living members of The Cleveland Orchestra who served more than twenty years, all of whom now carry the honorary title of Emeritus. Appointed by and playing under four music directors, these 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

Appreciation

The Cleveland Orchestra

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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

Nicholas McGegan

Michael Sachs

In his sixth decade on the podium, British conductor Nicholas McGegan is recognized for his exploration of music from all periods. He has served as music director of San Francisco’s Philharmonia Baroque Orchestra for over thirty years and is also principal guest conductor of the Pasadena Symphony. He will retire from his directorship of Philharmonia Baroque at the end of the current season. He first led The Cleveland Orchestra in February 2007 and most recently appeared here in November 2018. Born in England and educated at Cambridge and Oxford universities, Mr. McGegan’s honors include being named an Officer of the Most Excellent Order of the British Empire. He earlier served as artistic director of the International Handel Festival 1991-2011. Among the few Baroque specialists working today who regularly also conduct major orchestras, Nicholas McGegan has led performances across North America and Europe, and in Asia and Australia. In addition to his orchestral concerts, he has led opera performances for major companies on both sides of the Atlantic. His recordings number more than 100, with over half featuring musical works by Handel. For more information, visit www.nicholasmcgegan.com.

Michael Sachs joined The Cleveland Orchestra as principal trumpet in 1988. His many performances as soloist with the Orchestra include the world premieres of trumpet concertos by John Williams and Michael Hersch (both commissioned by the Orchestra for Mr. Sachs), the United States and New York premieres of Hans Werner Henze’s Requiem, and, most recently, the world premiere of Matthias Pintscher’s Chute d’Étoiles. Mr. Sachs serves as head of the trumpet department at the Cleveland Institute of Music and is a member of the faculty at Northwestern University’s Bienen School of Music. In addition to teaching with leading summer festivals and, since 2015, as music director of Strings Music Festival in Steamboat Springs, Colorado, he presents masterclasses and workshops at conservatories and universities throughout the United States, Europe, and Asia as a clinician for Conn-Selmer instruments. Michael Sachs holds a bachelor’s degree in history from UCLA, with additional studies at New York’s Juilliard School. For more information, visit www.michaelsachs.com.

Guest Artists

Principal Trumpet Robert and Eunice Podis Weiskopf Endowed Chair Principal Cornet Mary Elizabeth and G. Robert Klein Endowed Chair The Cleveland Orchestra

The Cleveland Orchestra

THE FR ANZ WELSER- MÖST

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

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CLEVELAND ORCHESTRA Thursday evening, November 21, 2019, at 7:30 p.m. Friday evening, November 22, 2019, at 7:00 p.m. Saturday evening, November 23, 2019, at 8:00 p.m.

Nicholas McGegan, conductor FRANZ SCHUBERT (1797-1828)

Selections from incidental music to the play Rosamunde, D.797 Overture followed on Thursday and Saturday by:

No. 2. Ballet No. 5. Entr’acte after the Third Act No. 9. Ballet JOHANN NEPOMUK HUMMEL (1778-1837)

Trumpet Concerto in E major 1. Allegro con spirito 2. Andante 3. Finale: Rondo MICHAEL SACHS, trumpet

INTER MISSION (Friday evening is presented without intermission) F. JOSEPH HAYDN (1732-1809)

Symphony No. 104 (“London”) in D major 1. 2. 3. 4.

Adagio — Allegro Andante Menuet: Allegro — Trio Finale: Spiritoso

Friday evening’s concert is dedicated to Haslam 3 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 Sunday afternoon, February 23, 2020, at 4:00 p.m.

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Program: Week 8

November 21, 22, 23 THI S WE E KE ND’S CONCE RT Restaurant opens: THUR 4:30 FRI 5:00 SAT 5:00

Concert Preview: BEGINS ONE HOUR BEFORE CONCERT

Severance Restaurant 216-231-7373

Reservations (suggested) for dining:

or via www.UseRESO.com

CO N CE R T

P R E V I E W — Reinberger Chamber Hall

THURSDAY AND SATURDAY ONLY

“New Instruments, New Colors” with guest speaker Emily Laurance, Case Western Reserve University

SCHUBERT Selections from Rosamunde . . . . . . page 39

Schubert

Concert begins: THUR 7:30 SAT 8:00

FRIDAY EVENING 7:00

(20 minutes)

Hummel

HUMMEL Trumpet Concerto . . . . . . . . . . . . . . page 43 (20 minutes)

Haydn

INTERMISSION (20 minutes)

HAYDN Symphony No. 104 (“London”) . . . page 47

8:10

(30 minutes)

Concert ends:

(approx.)

YS@ After Fridays@7 A D I Join us for more good times, with a FR

THUR 9:05 SAT 9:35

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

This Week’s Concertss

special post-concert cocktail gathering to mix and mingle with Cleveland Orchestra musicians and audience colleagues, in the Lotus Club and on the main orchestra level of the Concert Hall.

The Cl Th Clev Cleveland eland l dO Orchestra rchest h tra

INTRODUCING THE CONCERT

Overture&Ballet, Concerto&Symphony T H I S W E E K ’ S C O N C E R T S present a view of classical music’s

ongoing evolution at the turning of the 18th into the 19th centuries — showcasing some delightful music for the stage, a fiery concerto, and a masterful symphony. The program begins with some of Schubert’s incidental music for the stageplay Rosamunde. Premiered in the theater in Vienna in 1823, Schubert’s music is both evocative and effective for scene- and mood-setting. Guest conductor Nicholas McGegan has chosen two ballet sequences and entr’acte (for Thursday and Saturday), plus the overture (for audiences on all nights) to enjoy. Next comes a concerto featuring The Cleveland Orchestra’s principal trumpet, Michael Sachs. This is a shining work by Johann Nepomuk Hummel, a composer relatively unknown today. It is his only trumpet concerto, written for the virtuoso Viennese trumpeter Anton Weidinger, whose artistry and ideas helped showcase both what a trumpet can do and how it might do it. Weidinger was a pioneer in the “keyed” trumpet, a middle-stage in developing the instrument to today’s better-known (and better behaved) valved varities. Either option, however — keys or valves — added notes to the instrument’s range, thus allowing for more fun and brilliance in both the playing and listening. To close, we hear Joseph Haydn’s last symphony, premiered in 1795 in London. After spending years thinking about, writing, and evolving the symphony into the pinnacle form for classical instrumental music, Haydn wrote more than a dozen stellar examples for his two trips to London. Each was acclaimed and applauded — and stand today as masterpieces of form and balance, filled with contrasts and invention. The last is no exception, and carries its nickname for the whole series. —Eric Sellen Above: A keyed trumpet from circa 1800; such keys helped pave the way for today’s modern, valved instruments.

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Introducing the Concert

Forever. Legacy Donors to the Cleveland Museum of Art promise a future that will give people opportunities to imagine and learn for generations to come. Consider adding the Cleveland Museum of Art to your estate plan either by bequest, trust, or other planned gift. Contact Diane M. Strachan, CFRE, at 216-707-2585 or dstrachan@clevelandart.org, to create your lasting legacy for our community.

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

Now through January 5 cma.org #1 Attraction in Cleveland

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

Selections from Rosamunde, D.797 incidental music composed 1823 for the play by Helmina von Chézy

At a Glance

Franz

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

Schubert composed nine movements of incidental music in the fall of 1823 for the play Rosamunde, Fürstin von Cypern [“Rosamunde, Princess of Cyprus”] by Helmina von Chézy (17831856). The play was first performed with Schubert’s music on December 20, 1823, in a production at Vienna’s Theater-an-der-Wien. For those performances, Schubert did not write an overture specifically for Rosamunde, but instead re-used the overture from his recently completed opera Alfonso und Estrella. The overture that was later published with the Rosamunde music and is today known as the Rosamunde Overture comes from another Schubert opera, Die Zauberharfe [“The Magic Harp”], written four years earlier.

The “Overture to Rosamunde” runs almost 10 minutes in performance. The additional selections being performed at this weekend’s concerts, largely consisting of two ballet scenes, run just over 10 minutes in performance — giving evening audiences about 20 minutes of music altogether. Schubert scored this music for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, and strings. The Cleveland Orchestra has performed a number of selections from Rosamunde, beginning with the ballet music in 1924. The overture followed in 1933. The ballet music was heard most recently in concerts here in 1997, with the overture most recently presented at Severance Hall by the Vienna Philharmonic in 2006.

About the Music T H E C H A R A C T E R O F Rosamunde, a princess of Cyprus who finagles her way toward being queen, was born of the fertile imagination of Helmina von Chézy, who enjoyed a certain fame in her own day as a playwright and poet. Chézy’s life stretched from 1783 to 1856, although later generations have largely shelved her work as being of little value. Even her contribution to Schubert’s musical output — as author of the play Rosamunde — is riddled with questions and unknowns. Almost concurrently to Rosamunde, she wrote the libretto for Carl Maria von Weber’s opera Euryanthe, so that she can, perhaps, be blamed for some of that work’s odd-storyline obstacles, which were not entirely overcome by Weber’s musical genius. Schubert, too, at this point in his short life, really wanted to write a successful opera, but evenso, happily enough, took up the task of creating “incidental music” to comment on and undergird certain situations in the play, or provide mood-setting between change of scenes. Owing to evolving tastes and changing Germanic operatic traditions, Schubert’s dozen or so

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About the Music

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.

works in opera failed in his lifetime and have never been reclaimed. (It would be easy enough to devolve here into a longer discussion about what was happening with German opera in the early decades of the 19th century, but regardless of how oddly mash-up some of the works created during that time appear to us now — including Schubert’s own attempts in the genre — the experiments of the time led, in a twisted fashion, to Weber’s Freischütz and eventually to the masterpieces of Richard Wagner. Some failed experiments do, perhaps even more often than we imagine, bring knowledge, rewards, and success.) Chézy’s four-act play Rosamunde was premiered at Vienna’s Theater-an-der-Wien late in 1823 with incidental music provided by Schubert. For many years, our only information on what the play was about came from contemporary reviews. The play text itself had long been considered lost to history — until a report two decades ago revealed that a revised version (written down after the production for which Schubert’s music was composed) was re-discovered; it was published in 1996. Typical of the period — when the surging Romantic movement was stirring audiences’ desire for plenty of strong passions and moments of magic — the story can today seem far-fetched and overly-dramatic, filled with concealed identities, odd coincidences, villains enamored of alluring women, and letters tinged with poison. But many a successful opera or play has included storylines ripe for ridicule — including many of Wagner’s and Giuseppe Verdi’s great masterpieces. So what is important is, perhaps, not the episodic elements themselves, but how the composer binds them together and uses music to create dramatic effect and inevitability. As for Rosamunde, we are even today somewhat unclear exactly how Schubert’s music — an overture (or two) and nine numbers — actually related to specific events in the play. Even the text of four sung numbers offer few clues to dramatic situations: one is a love song, and the other three are scene-setting choruses (of ghosts, shepherds, and hunters, respectively). The overture we know today as belonging to Rosamunde actually didn’t. For the premiere, Schubert used a different, earlier overture, from his opera Alfonso und Estrella. And the published score, long after Schubert’s death, mistakenly utilized yet another Schubert overture, originally from Die Zauberharfe [The Magic Harp]. The publisher’s mistake, however, has cemented this overture’s identity today as the “Overture to Rosamunde.” About the Music

The Cleveland Orchestra

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Here, strong opening chords lead to some gentler music, filled at times with a foreboding undercurrent. In due course, this all moves through a stirringly melodic campaign, which, interspersed with quieter episodes, builds to a welcome gallop and finishes off with a rousing flourish. Two of the numbers that Schubert wrote for the incidental music are ballets; the first more energized and dramatic, the second much simpler and more lyrical. The first ballet begins in B minor, but ends with an unrelated Andante section in a new key (G major). The second ballet continues the light and playful tone of this Andante. Between the ballets, this weekend’s evening audiences hear an Entr’acte showcasing Schubert’s great command of both melody and orchestral color — with its theme recognized by many from Schubert’s re-use of a slight varition to it in his String Quartet in A minor, D.804, known as the “Rosamunde” Quartet. —Eric Sellen © 2019 The 2019-20 season is Eric Sellen’s 27th year as program book editor for The Cleveland Orchestra.

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About the Music

Trumpet Concerto in E major composed 1803-04

At a Glance

Johann Nepomuk

Hummel wrote his Trumpet Concerto in E major in 1803 for the trumpet virtuoso Anton Weidinger (for whom Haydn also wrote his only trumpet concerto). The work was performed in early 1804 in a concert for the Esterházy court, where Hummel had just become Konzertmeister, with Weidinger as the soloist. This concerto runs about 20 minutes in performance. It is scored for an

orchestra of flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, timpani, and strings, plus the solo trumpet. The Cleveland Orchestra first presented this concerto in 1990 at daytime Education Concerts with Ryan Anthony as soloist. It was presented in public concerts in 1992 and again in 2002, with Michael Sachs playing the solo part; those earlier renditions were in the transposed key of E-flat major.

HUMMEL

About the Music

born November 14, 1778 Pressburg, Hungary (what is today Bratislava, Slovakia)

T O D AY B E S T K N O W N for his Trumpet Concerto in E major, Johann Nepomuk Hummel — just eight years younger than Beethoven — was, during his lifetime, considered a formidable composer and virtuoso pianist. Hummel’s musical abilities were such that by the age of six he was already a competent violinist and pianist. He was taken into the Mozart household as a pupil, and within two years “the master” recommended that Hummel seriously consider a performing career. On this advice, Johann and his father embarked on a fouryear European tour very like what young Wolfgang and his father had done some years earlier, but extending across the English Channel near the start of 1790. They stayed on the British Isles for several years as a result of the younger man’s success as both a performer and then as a teacher. Johann made acquaintance with Haydn during that master’s first visit to London in 1792, and performed as pianist in Haydn’s Piano Trio in A-flat major as part of the Salomon Concert Series. Soon enough, however, Hummel returned to Vienna and became a composition student of Beethoven’s counterpoint teacher, Johann Georg Albrechtsberger, and the ever popular (as a teacher) Antonio Salieri. Beethoven was a fellow student and the two became friends. In 1803, as Haydn was becoming increasingly aware of his own inability to continue duties as Kapellmeister at the Esterházy court, he recommended Hummel to become one of three associates, that of Konzertmeister in

died October 17, 1837 Weimar, Germany

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About the Music

charge of secular vocal music, particularly opera. Hummel officially began his new post as Konzertmeister to the Esterházy court in January 1804 with a bang — with the premiere of his Trumpet Concert in E major, composed for and performed by the Viennese trumpet virtuoso Anton Weidinger (for whom Haydn also composed) on his keyed trumpet. Weidinger is himself credited with making innovations to the keyed trumpet, a relatively new instrument at the time that was eventually replaced first by the slide, then the modern valved trumpet. The keyed mechanism allowed trumpeters to play all the notes of the chromatic scale with relative ease, and not simply the tones based on the harmonic series of the natural, keyless trumpet. (Different trumpets were, and still are, built in different keys, with each providing strengths and challenges for playing various notes.) THE MUSIC

Following an orchestral introduction, the solo trumpet restates the first theme over a light string accompaniment; this same treatment follows with the movement’s second theme. The ensuing brief development section gives way to the recapitulation, characterized by a more integrated interplay of themes between trumpet and orchestra than in the material’s initial exposition. In the middle movement Andante, the lyrical, song-like nature of the melodic material given to the trumpet is a great display of the new capacity for full-scale playing that the keyed trumpet could provide. Evenso, Hummel saves some truly virtuosic writing for the closing movement. This finale is in rondo form, with a recurring main theme separating with contrasting interludes. It begins with an expectant and forward-driving unaccompanied trumpet solo. The greatest contrast to the rondo theme follows its second statement, with an interplay between major and minor modes. The soloist reflects this tonal treatment with contrasting efforts featuring first rhythmic dynamism and then a more sustained melodic feeling. The final return to the rondo theme comes in a varied form, the climax of which is an ascending — and thrilling — line of trills for the trumpet.

About the Music

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Symphony No. 104 (“London”) in D major composed 1795

At a Glance

F. Joseph

HAYDN

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

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Haydn completed his last set of symphonies, later cataloged as Nos. 99-104, in preparation for his second trip to England, in 1794-95. The last of these, numbered after Haydn’s death as No. 104, was given its world premiere on May 4, 1795, at the King’s Theatre in London under the composer’s direction. In Englishspeaking countries, it has acquired the nickname of “London,” while German speakers usually refer to it as the “Salomon” Symphony after the im-

presario (Johann Peter Salomon) who invited Haydn to perform in London. This symphony runs about 30 minutes in performance. Haydn scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. The Cleveland Orchestra first performed Haydn’s “London” Symphony during the 1920-21 season. It has been programmed occasionally since that time, most recently in April 2011 under the direction of Ton Koopman.

About the Music I N S E P T E M B E R 1 7 9 0 , Joseph Haydn’s longtime patron,

Prince Nicolas Esterházy, passed into eternity. After twentyeight years as the Prince’s faithful musical servant, Haydn’s life was about to change. Nicolas’s heir, Prince Anton, did not have the interest in music of his father; he immediately dissolved the house orchestra and, while nominally maintaining Haydn in his service, left the composer to do whatever he wished. Haydn soon departed the Esterházy palace to explore the big city of Vienna. There, Haydn — whose music was well-known across much of Europe — was flooded with various offers, including becoming court composer to Prince Anton Grassalkovics (a son-in-law to Nicolas) and an invitation from King Ferdinand IV of Naples to visit his court and write operas. Yet, the invitation that most intrigued him came unexpectedly in the form of a stranger who appeared at his apartment with the simple words, “My name is Salomon. I have come from London to fetch you; we shall conclude our accord tomorrow.” That agreement, quickly worked out by Mr. Salomon, stipulated that Haydn was to receive a fee of 1200 British pounds sterling to write a new opera, six new symphonies, plus various others smaller compositions to be performed by him in twenty concerts, and one benefit concert. Salomon was also to recieve the music’s copyright. A tall order by any measure. Haydn considered his options for Italy and London seriAbout the Music

Hanover Square Rooms concert hall, where many of Haydn’s “London” symphonies were premiered. Above, the interior in an 1844 illustration (with replaced chandeliers) and an exterior view from about the same time. Upper right: Johann Peter Salomon, the impresario who invited Haydn to come to London and lead a series of concerts.

ously. But perhaps it was not quite the dilemma it might at first appear. Haydn’s earlier interest in writing operas had waned considerably in the face of Mozart’s many masterpieces in the genre. He also didn’t relish the idea of once again being tied to a court as “an upper servant.” In fact, Haydn knew that his greatest strengths lay in instrumental music and, London, having excellently trained orchestras and eager audiences, was compelling. In addition, London offered him the adventure of a bustling city wherein he could exercise his new found freedom. And, of course, the fee money to be earned was immense. In the end, the invitation from Johann Peter Salomon — violinist, impresario, and conductor with his own orchestra — won out. THE BUSTLING CIT Y OF LONDON

Haydn’s first stay in London lasted from January 1791 through June 1792, and by all accounts it was for him a stimulating and completely satisfying experience. London at that time was at the center of world trade and contained within its ever expanding boundaries all the contrasts between riches and poverty, between commercial interests of the bourgeoisie and the landed gentry, and that between squalor and opulence arising from the inevitable contradictions of empire.

About the Music

The Cleveland Orchestra

Haydn recorded his fascination with all these thriving contrasts and with English life in general in his London notebooks. And perhaps what impressed him most was the abundance of musical activity in the city. Each year’s concert season lasted from September through June, with the most prestigous activity usually occurring in the spring. There were a variety of weekly subscription series that served as major events, both socially and artistically. As in Vienna, Italian opera flourished. And the greatest singers and instrumentalists from all over Europe came to London, adding prestige to the city’s artistic achievements and looking to benefit themselves with large salaries and high honors. Indeed, it seemed that London’s concert houses were always busy and always full. When Haydn stepped into this thriving milieu of musical life, his reputation was already renowned and his arrival was greatly anticipated by the city’s audiences. Everywhere he went he was treated with great respect and, as a star attraction, made many new acquaintances, including the Prince of Wales. After two delays beyond Salomon’s control, Haydn’s first performance in the concert series took place on March 11, 1791, in the Hanover Square rooms, which were, at the time, London’s most prestigious concert location. The evening’s climax was the premiere of a new Haydn Symphony (later designated as “No. 96”) featuring Salomon as leader (or first violinist, what American’s call the “concertmaster”), with Haydn conducting from the harpsichord. To say this concert was a great success is an understatement. A later music historian referred to Haydn’s “electrical effect on all present,” creating “such a degree of enthusiasm as almost amounted to frenzy.” Even more noteworthy was the final sentence of an article in the Morning Chronicle: “We cannot suppress our very anxious hope that the first musical genius of his age may be induced by our liberal welcome to take up his residence in England.” The rest of the concerts of the series, from March through June, saw one triumph after another. In July 1791, Haydn was invited to Oxford, where he received the honorary degree of Doctor of Music. He was now firmly placed at the pinnacle of his career, annointed on foreign soil and applauded through many lands. A TRIUMPHANT RETURN TO LONDON

Following a second successful season of concerts, Haydn bid adieu to London at the end of June 1792 and arrived back in VienSeverance Hall 2019-20

About the Music

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.

na on July 24. After the elation he felt at being “the first genius of his age” in London, his celebrity seems not to have evoked much response at all from the Viennese press — he was basically ignored. The context for this included the void left by the death of Mozart the previous December, which affected Haydn for the rest of his life, even if Viennese society continued almost without noticing. New disaster struck on January 26, 1793, when Haydn’s dearest friend and closest confidant, Marianne von Genzinger, died at the age of thirty-eight, just three years older than the young Mozart at his death. Bereft of his closest friend, Haydn felt a new and deep loneliness. Haydn quietly finished out the rest of 1793. Among his tasks was as the teacher of Beethoven (no easy thing), composing a symphony (No. 99) and the “Apponyi” Quartets, and preparing for a second London visit. Salomon and the composer finalized their new agreement in the autumn of 1793. All that is known about the negotiations is that Haydn was to compose and conduct six new symphonies; the fee has not survived history. Haydn set foot for a second long stay in London on February 4, 1794. Audiences were again captivated and appreciative. Nearly a year later, in January 1795, Salomon announced an end to his concerts. But a new concert series was soon established, called the “Opera Concerts,” in which Haydn participated. And it was under these auspices that Haydn premiered his new Symphony in D major — soon nicknamed the “London” Symphony and later designated as “No. 104” — on May 4, 1795. Not only was this his last symphony for London, it was to be his final statement in a genre that all through his career he had played such a major role in developing. THE MUSIC

Symphony No. 104 commences with an Adagio introduction in D minor. A unison ascending fifth (answered by a descending fourth played by the entire orchestra), gives way to a soft, plaintive “sigh motif” — a descending half-step in the first violin — that evokes the soundworld of Mozart’s Requiem (also in the key of D minor). A brief pause separates the Adagio from the main Allegro section, with its first theme in D major. Following a full-orchestra tutti transition, the Allegro theme is stated in the dominant key of A major. A closing section leads

About the Music

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to the movement’s development, built largely on the sigh motif and the ascending arpeggio figure from the closing section. The first theme returns during the recapitulation. The second movement, an Andante in G major, is made of a quasi-rondo “theme and variations” form boasting a dramatic development in G minor. The wit of the third movement Minuetto is most notable in the use of pauses at key points of its unfolding. The folk-like melody that dominates the Finale, marked Spiritoso, was until recently thought to have been based on a cry vocalized by local London vendors. More recently, it has come to recognized as “Oj Jelena,” a Croatian ballad. This last movement is not a traditional rondo, but is cast in a fuller sonata form, with the recapitulation carrying forth developmental tendencies almost until the final chord. —Steven LaCoste © 2019

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About the Music

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Lorenzo Viotti

Yuja Wang

Conductor Lorenzo Viotti is principal conductor of Lisbon’s Gulbenkian Orchestra. Earlier this year, he was named chief conductor of the Netherlands Philharmonic Orchestra and Dutch National Opera, beginning with the 2021-22 season. Born in Lausanne, he holds dual Swiss and French nationality. He studied piano, singing, and percussion in Lyon, and conducting in Vienna and Weimar. His honors include first prize in the 2012 Cadaqués International Conducting Competition, winning the Nestlé and Salzburg Festival Young Conductors Awards in 2015, and being named “Newcomer of the Year” at the 2017 International Opera Awards. He has led major orchestras across Europe, including in Amsterdam, Berlin, Dresden, Leipzig, London, Milan, and Vienna. As an operatic conductor, his work includes performances in Dresden, Frankfurt, Klagenfurt, Lyon, Paris, and Stuttgart. Current and future engagements include operas in Hamburg, New York, and Tokyo, as well as concerts with the Danish National Symphony Orchestra, Gustav Mahler Youth Orchestra, Orchestre National de Radio France, and the Royal National Scottish Orchestra. He is making his Cleveland Orchestra debut with these concerts.

Chinese pianist Yuja Wang is regarded among the most important artists of her generation. She performs with major orchestras across Asia, Europe, and North America, as well as being involved with residencies, recitals, concert tours, and chamber music. This season, she is the focus of an “Artist Spotlight” at London’s Barbican Center, where she is curating and performing in several events, including the London premiere of John Adams’s piano concerto, titled Must the Devil Have All the Good Tunes. She made her Cleveland Orchestra debut in August 2011 and most recently performed here in October 2016. Born in Beijing, she began studying piano at age six and attended Beijing’s Central Conservatory of Music. Ms. Wang continued her education in Canada and with Gary Graffman at the Curtis Institute of Music in Philadelphia. An exclusive Deutsche Grammophon artist, Yuja Wang received an Echo Young Artist of the Year Award in 2011. Her recordings have also been recognized with a Grammy nomination. Other honors include a 2010 Avery Fisher Career Grant and being named Musical America’s Artist of the Year in 2017. For more information, please visit www. yujawang.com.

Guest Artists

The Cleveland Orchestra

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 Friday evening, November 29, 2019, at 8:00 p.m. Saturday evening, November 30, 2019, at 8:00 p.m. Sunday afternoon, December 1, 2019, at 3:00 p.m.

Lorenzo Viotti, conductor SERGEI PROKOFIEV (1891-1953)

SERGEI RACHMANINOFF (1873-1943)

Suite from The Love for Three Oranges 1. 2. 3. 4. 5. 6.

Ridiculous People The Magician and Witch Play Cards (Infernal Scene) March Scherzo The Prince and the Princess The Escape

Piano Concerto No. 4 in G minor, Opus 40 1. Allegro vivace 2. Largo 3. Allegro vivace YUJA WANG, piano

INTER MISSION FRANCIS POULENC (1899-1963)

MAURICE RAVEL (1875-1937)

Sinfonietta 1. 2. 3. 4.

Allegro con fuoco Molto vivace Andante cantabile Très vite et très gai

La Valse [The Waltz]

This weekend’s concerts are sponsored by Parker Hannifin Corporation. Saturday evening’s concert is dedicated to Jim and Myrna Spira in recognition of their extraordinary generosity in support of The Cleveland Orchestra.

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Program: Week 9

Nov 29, 30, Dec 1 THI S WE E KE ND’S CONCE RT Restaurant opens: FRI 5:00 SAT 5:00 SUN 12:00

Concert Preview: BEGINS ONE HOUR BEFORE CONCERT

Concert begins: FRI 8:00 SAT 8:00 SUN 3:00

Severance Restaurant Reservations (suggested) for dining:

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

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

“Comedy as Parody, Parody as Nostalgia” with Emily Laurance, e Case Western Reserve University

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

PROKOFIEV Suite from The Love for Three Oranges . . . . . . . . page 59 (15 minutes)

RACHMANINOFF Piano Concerto No. 4 . . . . . . . . . . . . . . . . . . . . . . . page 63 (25 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)

POULENC Sinfonietta . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 67 (25 minutes)

Concert ends: (approx.)

FRI 9:50 SAT 9.50 SUN 4:50

RAVEL The Waltz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 71 (15 minutes)

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

Post-Concert CD Signing on Saturday evening, Nov November 30 with Yuja Wang, at Opus Lounge

TThis his Week’s Concerts

The Cleveland Orchestra

INTRODUCING THE CONCERT

Fruit, Dance& Metaphor

T H I S W E E K ’ S C O N C E R T presents four musical works, two by Russian

composers and two by Frenchman. One is derived from an absurdist (shall we say “metaphoric”?) opera. One is a piano concerto of unexpected qualities, filled with vigor and melody. Another was to be a short sinfonietta, but grew larger while keeping that name. And the last depicts the smashing and crashing of eras — as a paean to a dashingly sm elegant dance form. Russia and France have had an off-again, on-again relationship for many centuries, including or especially in the arts. The Czars yearned for acceptance as a great European power and for long stretches mirrored French tastes and elegance as the most refined. The concert begins with a suite of music from Sergei Prokofiev’s opera The Love for Three Oranges. OrigiSer nally prem premiered in Chicago in 1921, the opera was penned during Prokofiev’s two-decade sojourn away from his homeland. This is fun-filled music, infused with rhythms and colorful orchestration. Next comes Rachmaninoff’s Fourth Piano Concerto with soloist Yuja Wang. While never entirely neglected, this is the least well-known of the Russian composer’s five works for piano and orchestra. It met some resistance when first performed, from audiences and critics who wanted something easier and more like Rachmaninoff’s earlier concertos. Yet it is well worth experiencing its deft sense of balance and athletic daring. After intermission, guest conductor Lorenzo Viotti offers French views on two Germanic musical forms: the symphony and the waltz. First comes Francis Poulenc’s Sinfonietta, originally written for the BBC. Its four movements offer a spiritedly modern (but at times gentle) take on a symphony. The concert closes with an exhilarting work by Maurice Ravel, portraying in a very musical way the cataclysm that was World War I — and the destruction of the previous century’s society epitomized by the danceform of the grand Viennese “waltz.” Here La Valse depicts the calamity of a whole musical world whirling, whittled, and whirled to its end. —Eric Sellen

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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.

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Introducing the Concert

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Suite from The Love for Three Oranges arranged 1921-22, from the opera composed 1919

At a Glance

Sergei

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

Prokofiev composed his opera The Love for Three Oranges (“Lyubov k tryom apelsinam” in Russian) in 191819. The Chicago Opera accepted the work’s commission and gave the world premiere on December 30, 1921. With Prokofiev himself conducting, the opera was sung in French and presented as “L’amour des trois oranges.” In 1923, the composer derived a six-movement concert suite from the opera’s music; the suite was premiered on November 29, 1925, in Paris. The suite being heard this weekend runs about 15 minutes in performance. Prokofiev scored it for 2 flutes, piccolo, 2 oboes, english horn, 2 clarinets, bass clarinet, 3 bassoons

(third doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (tubular bells, xylophone, cymbals, tam-tam, triangle, bass drum, side drum, tambourine), 2 harps, and strings. The Lake Erie Opera Theater presented Prokofiev’s opera The Love for Three Oranges in September 1965, with members of The Cleveland Orchestra under the direction of Michael Charry, at Severance Hall. The orchestral suite, or movements from it, have been performed on several occasions over the years, most recently when Stephane Deneve conducted the suite at Severance Hall in October 2016.

About the Music P R O K O F I E V ’ S F I R S T O P E R A , Maddalena, was a one-act

melodrama on the model of Strauss’s Elektra. His second, The Gambler, was a strongly modernist version of a story by the Russian author Fyodor Dostoyevsky. Neither of these were performed, the latter because it was ready for production just as the 1917 Revolution began to break out in the streets of Petrograd. Before Prokofiev left Russia, in the spring of 1918, he was given a libretto by the great theater director Vsevolod Meyerhold called The Love for Three Oranges. This was derived from a play that the Italian playwright Carlo Gozzi had created in 1761, titled L’amore delle tre melarance, in which Commedia dell’arte characters constantly intervene in an absurd folktale about a King who learns that only laughter will cure his sick son. Having reached New York in November 1918, Prokofiev gave a piano recital in Aeolian Hall that created a sensation and led to a contract from the Chicago Grand Opera to stage The Love for Three Oranges. The music was composed quickly, but there were the usual delays in bringing it to the stage, by which time Prokofiev had moved on to Paris, where he saw a better future for himself and his music. He returned to Chicago in 1921 to conduct his opera’s premiere, where it was well received. Severance Hall 2019-20

About the Music

A performance in New York soon thereafter aroused a barrage of hostility, however. Very successful performances in Leningrad and Moscow, in contrast, established the opera as one of Prokofiev’s major works, and it has become in our own time by far the most widely performed of all his operas. The opportunities it offers to inventive directors and designers are irresistible — in terms of its fantastical story, enormous opportunities for visual interest, musical variety and pizzazz, and all-around fun and daring. As soon as the opera was complete, Prokofiev planned a suite for piano with movements The Love for Three drawn from the opera, with an orchestral suite Oranges has become to follow. This was not done until his return by far the most widely visit to America in the winter of 1921-22, however, and there was no performance of the performed of all Prosuite until November 1925 in Paris. The first kofiev’s operas. The performance in Moscow was given in 1927 by opportunities it offers the “democratic” (conductorless) orchestra to inventive directors and called Persimfans.

designers are irresistible — in terms of its fantastical story, enormous opportunities for visual interest, musical variety and pizzazz, and all around fun and daring.

THE MUSIC

The music is engagingly sparky throughout the opera, full of gross humor, especially for the clownish Commedia dell’arte characters. The suite’s opening movement is drawn from various scenes, including the first bars of the opera and a playful march that introduces Prokofiev’s mock-classical style. In the second movement the King’s sorcerer, named Celio, and Fata Morgana, working for Leander, the King’s enemy, play three rounds of cards. Celio loses. This is quite correctly headed “Infernal Scene” or “Scene in Hell.” The March and Scherzo are both short movements, the March recurring throughout the opera and heard for the first time when Truffaldino attempts to entertain the Prince and make him laugh. The Scherzo symbolizes the storm that helps transport the Prince and Truffaldino in their quest for the three oranges, kept by the evil witch Creonta. Here the orchestral virtuosity betrays Prokofiev’s debt to Rimsky-Korsakov and

About the Music

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Stravinsky (particularly Stravinsky’s musical styling in the ballet Pétrouchka). Out of the three oranges, once the Prince finds them, emerge three Princesses, the first two of whom die of thirst. The third is saved by a group of Eccentrics (or Ridiculous People), who send her a pail of water. The Prince and the Princess attempt a love duet, but are constantly interrupted. The fifth movement of the suite offers up the thirst music (viola solo and divided strings), the recognition music (horn solo) and the interrupted love music (beginning and end). In the final scene, all the characters who had conspired against the King are condemned to death, but at the last moment Fata Morgana appears and opens a trapdoor through which the malefactors all escape. This movement provides the final music of the opera (cruelly testing the string section of any orchestra), while the Prince and Princess live happily ever after — of course. —Hugh Macdonald © 2019

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About the Music

Music is enough for a lifetime, but a lifetime is not enough for music. â&#x20AC;&#x201D;Sergei Rachmaninoff

Piano Concerto No. 4 in G minor, Opus 40 composed 1914-26, revised 1927-28 and again in 1941

At a Glance

Sergei

RACHMANINOFF born April 1, 1873 Semyonovo, Russia died March 28, 1943 Beverly Hills, California

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Rachmaninoff composed most of his Piano Concerto No. 4 in 1926, after doing some initial sketches as early as 1914. The composer was soloist for the work’s first performance, on March 18, 1927, with the Philadephia Orchestra conducted by Leopold Stokowski. This concerto runs about 25 minutes in performance. Rachmaninoff scored it for 2 flutes, piccolo, 2 oboes, english horn, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percus-

sion (triangle, snare drum, bass drum, tambourine, cymbals), and strings. The Cleveland Orchestra first presented Rachmaninoff’s Fourth Piano Concerto as part of the 1973 Blossom Festival in August of that year, with soloist Augustin Anievas under Louis Lane’s direction. It has been programmed only occasionally since then, most recently in January 1996, when Jean-Yves Thibaudet was soloist with Vladimir Ashkenazy on the podium.

About the Music R A C H M A N I N O F F ’ S First Piano Concerto was composed in 1891, the Second in 1901, and the Third in 1909. The Second is still one of the most popular concertos in all, and the Third is a great challenge for pianists — and, therefore, also in no danger of being neglected. But Rachmaninoff’s Fourth Piano Concerto is the stepchild of the group. It was not well received in his lifetime, and is less often played than the others. In part because it can be a challenge for players to interpret or audiences to understand. The concerto’s genesis was not straightforward. It was probably begun in 1914 when the composer still maintained his routine of leaving Moscow for the summer months to work in the country. Nothing emerged from that year, however, nor from a further spell of work on it in 1917, his last year visiting his country estate and living in his homeland. In the unsettled years that followed the Russian Revolutions of 1917 — Rachmaninoff slipped out of the country with his family at the end of the year — little more work was done, and the concerto did not coalesce into shape until 1926, a year spent partly in Dresden, partly in New York, and with plenty of time spent completing the concerto. Rachmaninoff gave the first performance in March 1927, with the Philadelphia Orchestra under Leopold Stokowski, with further performances in New York, Washington, and Baltimore. Accustomed to spiky novelties from Stravinsky and HinAbout the Music

demith, the critics were universally sour on the new piece. Rachmaninoff set about revising it, reducing it by over a hundred bars. He played it in its new form in London in 1929, to a very similar cool reception as in America. Although he was lionized as a player every time he appeared, this was one of several times in his life when Rachmaninoff could not count on winning friends by composing. He made a second revision to the score in 1941, in which year he made a recording, the last time he ever played it. This rather bleak history springs from the disappointment of his admirers that this concerto did not, on first hearing at least, live up to the previous two. The Fourth is less obviously melodious and less clearly conRachmaninoffâ&#x20AC;&#x2122;s Fourth structed. Yet the brilliant piano writing is still in Piano Concerto was evidence, and there is imaginative orchestration not well received in too. But the work is structured in short, disparate sections, and there are perhaps too many his lifetime, and is less ideas, rather than too few. Rachmaninoff was often played than his clearly trying not to repeat himself, while many other concertos â&#x20AC;&#x201D; in of his admirers, perhaps, simply were hoping part because it can be for more of the same. Too many had, perhaps pegged this composer into a hole, while he was a challenge for players still wanting to try new things and evolve. to interpret and audienc-

es to understand. He was, utlimately, a cmposer of far wider range than many of his critics fully admit

THE MUSIC

Whereas, for example, his earlier concertos, taking a cue from Tchaikovsky, climaxed with full-blooded statements of a strong theme heard earlier, the opening theme of the Fourth Concerto is presented by the piano in grand handfuls against a throbbing accompaniment in the wind at the very beginning, as if it was the crowning moment of the movement. His purpose is not clear until the end of the movement which, in contrast, wistfully recapitulates the second subject in the first violins over rippling arpeggios in the piano, followed by an abrupt coda, which seems to cut them off in midstream. Another oddity in this opening movement is what sounds like a noisy conclusion in the key of C major, only to move away wistfully to comment with other themes and motifs. The beautiful slow movement is based on the simplest of ideas: three descending notes of the scale E-D-C, broadly

About the Music

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harmonized, and comprised essentially of a single paragraph without any contrasting middle section. Then the finale picks up a small leaping phrase from the first movement and runs along at a swift pace without ever allowing any theme (or any key) to linger for long. In short, Rachmaninoff makes few concessions to his listeners’ expectations other than to dazzle them with speed and brilliance. In fact, the Fourth was not quite Rachmaninoff’s last piano concerto, except in name. His next work for piano and orchestra was the Rhapsody on a Theme of Paganini, a work whose design (built with a theme, followed by a set of imaginative and at times dazzling variations) and effect are as clear as they are obscure in the Fourth Concerto. He was, ultimately a composer of far wider range than many of his critics — during his life and even today — don’t often enough fully admit. —Hugh Macdonald © 2019 Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis. He has written books on Beethoven, Berlioz, Bizet, and Scriabin.

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About the Music

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Sinfonietta composed 1947-48

At a Glance

Poulenc wrote his Sinfonietta in 1947-48 on a commission from the British Broadcasting Corporation (BBC) for what is today known as Radio 3, its classical music service. It was first performed on October 24, 1948, by the London’s Philharmonic Orchestra conducted by Roger Désormière. The first United States performances were given by The Cleveland Orchestra under the direction of George Szell, in October 1949 at Severance Hall.

The suite being heard this weekend runs about 25 minutes in performance. Poulenc scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, harp, and strings. The Cleveland Orchestra has presented Poulenc’s Sinfonietta on only one previous occasion, for a pair of concerts in October 1949 that marked the work’s United States premiere, conducted by George Szell.

Francis

POULENC born January 7, 1899 Paris died January 30, 1963 Paris

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About the Music P O U L E N C ’ S S I N F O N I E T T A was composed in 1947-48, dur-

ing what the composer called his “second youth.” This was the period following World War II, when Paris was recovering from the German occupation and when the style of Poulenc’s first youth, the jazz-inspired frivolity of “Les Six” in the 1920s, was mellowing. (Les Six was the name given, in 1920, to six young French firebrand composers working in Montparnasse; the name was coined in part to contrast with and connect to the Russian “Five,” who had similarly sought to redefine Russia’s national music two generations earlier.) Part of Poulenc’s musical mellowing may be credited to his religious faith, which he more fully embraced in the 1930s. Another part came from the serenity of middle age — critics and younger composers had not yet begun to snipe at him for not being a modernist (meaning atonal or serial) composer, and he enjoyed wide celebrity in the company of Stravinsky, Hindemith, and other leading voices of the postwar period. The commission that became Sinfonietta came from the BBC in London, whose Third Programme broadcast service was launched in September 1946 with the purpose of presenting drama, music, and serious cultural programs nationwide. The new service was, of course, accused of elitism, but it also set a standard of broadcasting literacy that has been envied to this day. Within a year, the BBC was commissioning new music, and Poulenc’s name made its way onto the internal suggestion list in February 1847. He was invited to compose a work for small About the Music

orchestra of 14-16 minutes’ duration on the model of Prokofiev’s Classical Symphony. The fee was £100. Following the opening of his comic opera Les Mamelles de Tirésias had opened at Paris’s Opéra-Comique in June 1947, Poulenc set to work on the commission. The title Sinfonietta was agreed from the start, and he made good progress on the first three movements. “Catastrophe!” he then wrote on August 18, “the Sinfonietta has become a symphony. The first three movements last 19 minutes, and I have orchestrated two of them. I still have the finale to do.” Considering himself a composer who worked at the deliberate but slow speed of a tortoise, he became worried about the October deadline. “I’ll never be ready on time, not being a Hindemith or a Milhaud, but more of a Falla or Ravel.” The deadline was missed. In fact, the fiPoulenc created his nale was not ready until September 1948, with Sinfonietta in 1947-48, various other compositions, such as the seven during what some have songs known as Calligrammes and the Cello call the composer’s “secSonata, distracting him from the task already begun. Once completed, the Sinfonietta was ond youth.” This was quickly programmed and rehearsed, with a first the period following performance in a BBC studio on October 24, 1948, World War II, when Paris conducted by Roger Désormière. was recovering from Poulenc and his partner, baritone Pierre Bernac, then left for the United States for a the German occupation three-month concert tour, returning to Paris in and when the style of time to hear the Sinfonietta there on January Poulenc’s first youth, in20, 1949, conducted again by Désormière. The first performance in America was given by The fused with jazz-inspired Cleveland Orchestra under George Szell late that frivolity of the1920s, year, in October.

was mellowing.

THE MUSIC

Some of the themes in Poulenc’s Sinfonietta were salvaged from a string quartet that the composer had recently attempted to write. From this, perhaps, comes part of the feeling that his style, which had always seemed perfectly adapted for wind instruments with spiky articulation and short-breathed phrasing, now lies nicely for the strings, with a good balance between both groups. Pairs of horns and trumpets have prominent parts, but there are no trombones. Poulenc’s fondness for short, self-

About the Music

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One call does it all. 216.831.3200 contained phrases, with each movin’g to a sense of resolution in cadence, is a reflection of his natural feeling for the human voice, and, whereas Rachmaninoff would continue a melody for many pages without trace of a break, Poulenc writes brief rests between phrases as if to allow for breathing. The second movement is a scherzo and in the slow second movement, marked Andante Cantabile, the clarinet is given an unusually long melody, with an accompaniment of classical breeding that might have come from Brahms. Elsewhere Poulenc’s natural gaiety is never far from view, although even the finale becomes dreamy, amorous even, after a whirlwind opening. Throughout the Sinfonietta we hear themes that begin with four rapid notes, like the waggle of a dog’s tail. This is one of Poulenc’s signatures, and its regular reappearance, along with passages of traditional development, suggests that it was not at all a catastrophe that the work turned out to be larger than he intended, a work in fact which he would not have been ashamed to call a symphony. —Hugh Macdonald © 2019

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About the Music

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La Valse [The Waltz] composed 1905-20

At a Glance

Maurice

RAVEL born March 7, 1875

Ciboure, Basses-Pyrénées died December 28, 1937 Paris

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Ravel made some preliminary sketches for a “large waltz” as early as 1905. He completed the final composition and titled it La Valse [“The Waltz”] in 1920. It was first performed on December 12, 1920, in Paris, with Camille Chevillard leading the Lamoureux Orchestra. La Valse runs something over 10 minutes in performance. Ravel scored it for piccolo, 3 flutes, 2 oboes,

english horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, 2 harps, and strings. The Cleveland Orchestra first performed La Valse on April 19, 1923, with Nikolai Sokoloff conducting. Since that time, it has been programmed frequently, most recently at Severance Hall in September 2018 conducted Franz Welser-Möst.

About the Music T H E C O N C E R T concludes with a vibrant musical homage to

the Germanic waltz, written by a Frenchman. The waltz had swept across Europe in the closing decades of the 18th century, eventually finding its zenith in the Austrian capital of Vienna. The word itself came from the German verb walzen, which was originally not much more specific than the English word “dance.” Eventually, faster waltzing overtook the slower minuet in popularity, and the verb became a noun, first in English and then in German. Although he wrote dance music, Mozart never called any of his pieces a waltz. Beethoven wrote a few, but still called them dances (tanzen). In 1819, Carl Maria von Weber wrote a piano piece titled Invitation to the Dance. Its popularity, first as a piano piece and then as orchestrated by Berlioz, set the pattern for what quickly became the typical Viennese waltz — not one dance, but a string of dance tunes written together as a group, often alternating slower and faster sections, with the various tunes and sections repeated and developed . . . almost like a short symphony. The waltz carried forward on successive waves of renewed popularity throughout the 19th century, propelled by the artistry and showmanship of one particular family of composers, beginning with Johann Strauss Sr. (1804-1849). His touring orchestra, along with that of his even more famous son, Johann Jr., spread the waltz craze throughout Europe (and even to American shores.) French composer Maurice Ravel was greatly inspired by dance forms throughout his career — and, even in Paris, was About the Music

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thoroughly exposed to the structured elegance that the waltz represented throughout Europe’s Germanlands. Ravel began sketching what would become The Waltz [La Valse] in 1905, imagining that he would create a pleasant and uplifting tribute to the power of the 19th century’s greatest dance form as perfected by Johann Strauss Jr. At the time, Ravel planned to call the new work “Vienna.” Different projects intervened, however, and Ravel found himself writing other music instead. And when World War I came along, the French composer could not bring himself to continue writing “music of the enemy.” (Ravel enlisted in the French Army to fight, but was turned down by the infantry and then the air services, before being assigned to the supply department, where he helped organize and drive trucks filled with petrol to the front lines.) Ravel finally completed La Valse in 1920, writing into it a sense not just of the waltz at the height of its popularity, but a larger view of the great Germanic society that had created it and that had been smashed by the forces of World War I — death and destruction, diversity and democracy. In the score, Ravel had the following text printed: “An Imperial court about 1855. At first the scene is dimmed by a kind of swirling mist, through which one discerns, vaguely and intermittently, the waltzing couples. Little by little the vapors disperse, the illumination grows brighter, revealing an immense ballroom filled with dancers; the blaze of the chandeliers comes to full splendor.” The music begins softly, almost imperceptibly. Slowly, a waltz forms. Like the great Strauss waltzes, this “waltz” is really a set of several waltz-tunes, alternated and developed together. The music builds and builds, with ever greater energy, but also with a sense of foreboding, of a distant storm on the horizon, of unwanted dissonances lurking deep in the music. Dance now, for you cannot know what tomorrow shall bring. But the dance goes on, and on. At last there is a great climax, and then the three-quarter beat of the waltz shatters and is smashed, finished, suddenly over. Exhilarating while it lasted, in history and in Ravel’s epic musical storytelling, the waltz was king and then . . . no longer. —Eric Sellen © 2019

About the Music

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THE

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

Severance Hall

Thursday evening, December 5, 2019, at 7:30 p.m. Friday morning, December 6, 2019, at 11:00 a.m.* Friday evening, December 6, 2019, at 8:00 p.m. Saturday evening, December 7, 2019, at 8:00 p.m.

2O19 -2O2O

FR ANZ WELSER- MÖST

Nikolaj Szeps-Znaider, conductor HECTOR BERLIOZ (1803-1869)

CAMILLE SAINT-SAËNS (1835-1921)

Overture to Béatrice and Bénédict Piano Concerto No. 5 (“Egyptian”) * in F major, Opus 103 1. Allegro animato 2. Andante 3. Molto allegro JEAN-YVES THIBAUDET, piano

INTER MISSION * PYOTR ILYICH TCHAIKOVSKY (1840-1893)

Selections from Sleeping Beauty Introduction — no. 3: Pas de Six — no. 4: Finale — no. 17: Panorama — no. 6: Waltz — no. 23: Pas de Quatre — no. 24: Pas de Caractère — no. 15: Pas d’Action no. 9: Finale of Act One — no. 28c: Variation du Prince Désiré — no. 8a: Grand pas d’Action * The Friday Morning Concert is performed without intermission and features the Overture and Selections from Sleeping Beauty only.

This weekend’s concerts are sponsored by Jones Day. Thursday evening’s concert is dedicated to Rebecca Dunn in recognition of her extraordinary generosity in support of The Cleveland Orchestra. The Cleveland Orchestra’s Friday Morning Concert Series is endowed by the Mary E. and F. Joseph Callahan Foundation.

Severance Hall 2019-20

Program: Week 10

December 5, 6, 7 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

Severance Restaurant Reservations (suggested) for dining:

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CONCERT PREVIEW Reinberger Chamber Hall

MORNING PREVIEW Friday morning — Concert Hall

“Long Ago and Far Away”

“Tales of Love and Happy Endings”

with Francesca Brittan, Case Western Reserve University

with Rose Breckenridge FRIDAY MORNING 11:00

BERLIOZ Overture to Béatrice and Bénédict . . . . page 81 (10 minutes)

SAINT-SAËNS Piano Concerto No. 5 . . . . . . . . . . . . . . . page 85 (30 minutes)

INTERMISSION (20 minutes)

Berl. Tchaikovsky

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

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

12:00

TCHAIKOVSKY Sslections from Sleeping Beauty . . . . . page 89 (40 minutes)

Severance Restaurant Post-Concert Luncheon follows the Friday Morning concert.

Concert ends: (approx.)

THUR 9:15 SAT 9:45 SUN 4:45

Cleveland Orchestra Store

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

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

Post-Concert CD Signing on Friday evening, December 6 with Jean Yves-Thibaudet, at Opus Lounge

TThis hi Week’s Concerts

The Cleveland Orchestra

INTRODUCING THE CONCERT

Romantic Stories & Origins

TCHAIKOVSK Y

SAINT- SAËNS

BERLIOZ

T H I S W E E K ’ S P R O G R A M presents three works from the 19th century

— or just two for the Friday Morning concert. All three have French connections, and each features memorable, colorfilled music. One is from an opera, another from a ballet, while the third is a delightful piano concerto filled with grace, elegance, and good fun. The concert opens with an overture to Hector Berlioz’s opera Béatrice and Bénédict. Based on Shakespeare’s Much Ado About Nothing, this tenderhearted and charming opera was premiered in 1862. The overture offers a spirited sense of action and drama, alternating between fiery expectancy and poignant music of bittersweet calm, then bursting to a solid conclusion. Next, for the evening concerts, is Camille Saint-Saëns’s lively “Egyptian” Piano Concerto, from 1896. The composer was one of the finest pianists of the 19th century — and a great champion of concertos by Mozart and Beethoven, helping convince the world anew what great works those were. In his own Piano Concerto No. 5, Saint-Saëns added French interest and taste for the Middle East (the nickname attests to time the composer spent in North Africa, and to his use in the score of “exotic” elements borrowed from the music of countries there). Guest pianist Jean-Yves Thibaudet takes the solo role. To end the concert, guest conductor Nikolaj Szeps-Znaider has woven together his own suite of musical selections from Tchaikovsky’s great ballet score for Sleeping Beauty. y The ballet, premiered in 1890, was the brainchild of Marius Petipa, the acclaimed French-born choreographer whose innovations almost singlehandedly brought ballet forward to become a modern classical artform — and whose work in Russia gave that country an early and often unequaled ranking in balletic dancing, where it often remains today. The music is equal parts drama, emotion, and rhythm — and full of pleasure with or without the age-old story of love’s awakening. —Eric Sellen

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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

Introducing the Concert

Nikolaj Szeps-Znaider

Jean-Yves Thibaudet

Danish musician Nikolaj Szeps-Znaider is acclaimed as both a violinist and conductor. He has served as principal guest conductor of the Mariinsky Theater Orchestra since 2010. This season, he leads the Orchestre National de Lyon on tour to Russia and will become the ensemble’s music director with the 2020-21 season. This season, he is also artist-in-residence with the Vienna Symphony, as both conductor and soloist. Other recent and future conducting engagements include opera productions with the Dresden Semperoper and Royal Danish Opera, as well as conducting the orchestras of Chicago, Los Angeles, Munich, New York, and Stockholm, and the London Symphony Orchestra. As a strong advocate for identifying and fostering new generations of artists, he is president of Denmark’s triennial Nielsen Competition. His discography features recordings from both the concerto and chamber music repertoire. Born to PolishIsraeli parents, Nikolaj Szeps-Znaider studied at the Royal Danish Academy of Music, Juilliard School, and the Vienna Conservatory. Mr. Szeps-Znaider made his Cleveland Orchestra debut in 1999 as a concerto soloist. His Cleveland Orchestra conducting debut was in February 2014.

For more than three decades, French pianist Jean-Yves Thibaudet has performed world-wide, recorded dozens of albums, and built a reputation as one of today’s most sought-after pianists. From the start of his career, Mr. Thibaudet has delighted in music beyond the standard repertoire, from jazz to opera. He expresses his passion for education and fostering young musical talent as the first-ever artist-inresidence at the Colburn School in Los Angeles, where he makes his home. His 2019-20 season also includes time as artistin-residence with the Saint Louis Symphony Orchestra. He also tours a program of Schumann, Fauré, Debussy, and Enescu with Midori, followed by the complete Beethoven sonatas for piano and violin. Mr. Thibaudet made his Cleveland Orchestra debut in 1991 at Blossom, and most recently performed here in April 2018. His award-winning discography comprises more than 50 albums, including two jazz albums that feature the music of Duke Ellington and Bill Evans. Born in Lyon, France, Jean-Yves Thibaudet began piano studies at age five, entered the Paris Conservatory at 12, and won the Premier Prix de Conservatoire at 15. For more information, visit www.jeanyvesthibaudet.com.

Guest Artists

The Cleveland Orchestra

Overture to Béatrice and Bénédict composed 1860-62

At a Glance

Hector

BERLIOZ born December 11, 1803 La Côte-Saint-André, Isère, France died March 8, 1869 Paris

Severance Hall 2019-20

Berlioz wrote his opera Béatrice et Bénédict between 1860 and 1862, on a commission for a work to open the new theater being constructed in Baden-Baden. Berlioz wrote his own libretto, based on Shakespeare’s play Much Ado About Nothing. The overture was completed last, in February 1862, utilizing themes from the already finished opera. The work was premiered in Baden-Baden on August 9, 1862, under the composer’s direction. (This was the last musical piece that Berlioz completed.)

This overture runs not quite 10 minutes in performance. Berlioz scored it for flute, piccolo, 2 oboes, 2 clarinet, 2 bassoons, 4 horns, 2 trumpets, cornet, 3 trombones, timpani, and strings. The Cleveland Orchestra first performed the overture to Berlioz’s Béatrice and Bénédict in October 1948, under the direction of George Szell. It has been presented only a few times since then, most recently in April 2009 led by Colin Davis.

About the Music D U R I N G F R A N C E ’ S S E C O N D E M P I R E , when Napoleon’s

ambitious nephew ruled France, no spa in Europe was more fashionable than Baden-Baden, that small, infinitely tranquil little dukedom on the northwest edge of the Black Forest. Every summer season, the aristocracy of a dozen nations gathered there to take the waters, to gamble, to gossip, to flirt, and to see and be seen. Although the town was in German territory, Russian and French visitors predominated, and French was the language spoken everywhere. “For four months of the year,” the local paper announced, “the little town of Baden-Baden is truly the capital of Europe.” But it was the capital of art-lovers and Philistines. Musicians, writers, journalists, and caricaturists mingled with gamblers, gourmets, and princes. The spa’s uncrowned king was Edouard Bénazet, manager of the casino, who plowed his profits back into artistic enterprise. Bénazet’s most enlightened act was to engage Hector Berlioz to give full-scale concerts every year. The therapeutic effect of these visits on the composer cannot be overestimated. Locked into Parisian music by his obligations as a music critic, Berlioz had become deeply embittered by musical politics in the capital, and was particularly despondent about the prospects of ever seeing his great masterpiece Les Troyens [“The Trojans”] staged there. It was about his summer visits to the spa that he About the Music

wrote some of his most picturesque and amusing essays. So when Bénazet decided to build a brand-new theater in Baden-Baden and commission an opera from Berlioz, the composer responded with vivacity. His passion for Shakespeare had drawn him principally to the great tragedies, Hamlet, King Lear, and Romeo and Juliet. But he loved the comedies, too, and he selected Much Ado About Nothing as the basis for a bright little opéra-comique for which he wrote the libretto himself. At first this was to be in a single act, but it soon expanded to two. In February 1862, he completed the opera, with the overture composed last, adding the words “The End” (in English) under the closing measures. It was to be his last work. The first performance inaugurated the new theater in August 1862, conducted by Berlioz himself. At the second performance, he was suffering so badly from his chronic neuralgia that he conducted “better than usual,” with the opera and his exertions perhaps taking his focus off the pain. The opera was not performed in Paris until 1890. This music displays more clearly than any other work Berlioz’s delicate, filigree orchestral technique. “It is a caprice written with the point of a needle,” he once said. The overture introduces a number of extracts from the opera. Its main material is derived from the closing duet for Béatrice and Bénédict, when the two lovers forswear their constant arguments in favor of peace — at least for a while. A slow section gives Béatrice’s aria in Act II to the clarinet and impassioned unison strings. Then the Allegro section returns, brilliantly evoking the tone of a piquant comedy set in Sicily in the 16th century. —Hugh Macdonald © 2019

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CHRISTMAS ORATORIO

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Bachâ&#x20AC;&#x2122;s festive Christmas Oratorio is a feast of RUFKHVWUDO FRORUV ZLWK WUXPSHWV WLPSDQL Ă XWHV oboes, bassoon, and strings. Guest conductor Julian Wachner, along with concertmaster Olivier Brault, leads Parts 1, 2, 5 & 6 of the oratorio. Julian Wachner, guest conductor

Molly Netter soprano

Daniel Moody countertenor

Apollo's Fire and Apollo's Singers

Steven Soph tenor

Jesse Blumberg baritone

DECEMBER 11-15 WILLOUGHBY HILLS | AKRON CLEVELAND | SHAKER HEIGHTS BAY VILLAGE

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Piano Concerto No. 5 (“Egyptian”) in F major, Opus 103 composed 1896

Camille

SAINT-SAËNS born October 9, 1835 Paris died December 16, 1921 Algiers

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At a Glance Saint-Saëns wrote his Fifth Piano Concerto in Egypt in the spring of 1896. The premiere took place on June 2, 1896, in Paris, at the Salle Pleyel, with the composer at the piano and Paul Taffanel conducting. (The occasion was a concert marking the 50th anniversary of Saint-Saëns’s debut as a pianist at the age of 10 in 1846.) This concerto runs about 30 minutes in performance. Saint-Saëns scored it for an orchestra of 2 flutes

and piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, percussion (tam-tam), and strings, plus the solo piano. The Cleveland Orchestra first performed Saint-Saëns’s “Egyptian” Piano Concerto in November 1922. It has been programmed a few times since then, most recently in February 2017, when Cédric Tiberghien played it on a weekend of concerts conducted by Matthias Pintscher.

About the Music I F S A I N T - S A Ë N S had devoted his professional career to be-

ing a concert pianist, he would have been as famous and as acclaimed as Anton Rubinstein, Leschetizky, or Paderewski, or any other lion of the age. His five piano concertos, all of which he played himself, provide scintillating evidence of his astonishing technique both in weight and nimbleness. He played across Europe, and championed works by a range of composers, from Mozart and Beethoven to Liszt. Yet playing the piano was only one of many activities, not all of them concerned with music, that consumed Saint-Saëns over a very long life. He was a modernist and a reactionary at the same time, an atheist who composed a huge quantity of religious music, a deeply serious and thoughtful composer whose best-known work is the frivolous (but fun-filled and deftly written) Carnival of the Animals. His first four piano concertos appeared at steady intervals between 1858 and 1875. The Second, which he composed in seventeen days, has remained his most popular concerto (he also created concertos for cello and violin). After the age of forty, Saint-Saëns spent more and more time vacationing — and writing — in North Africa, which yielded the Suite algérienne for orchestra in 1880, and two works for piano and orchestra: a colorful one-movement piece re-titled Africa in 1891 and the Fifth Piano Concerto in 1896. Like the famous Bacchanale Scene at the end of his opera Samson and Delilah, all of these works conAbout the Music

tain musical allusions to Moorish music in one form or another, although, except in the case of Africa, Saint-Saëns was too much a classicist ever to allow such elements to be more than glancing evocations of distant places. (These touches of “exotic” music act, perhaps, like the sounds of splattering rain in a movie scene, establishing the weather and then fading off except for occasional reminders; the scene is not “about” the rain. These Saint-Saëns works are not “about” North Africa, but merely tinged with aural incense by having been written there.) In January 1896, Saint-Saëns went to Milan for the Italian première of his opera Henry VIII, and from there traveled on to Cairo for his customary winter vacation. He ventured up the Nile into Upper Egypt and then came back After the age of forty, down river to settle into a Cairo hotel to write the Saint-Saëns spent much Fifth Piano Concerto. As usual, the music flowed time vacationing — and from his pen, and it took just over three weeks to writing — in North Afcomplete. His first ideas for the work had been noted down on a previous holiday two years rica, which yielded the before, when he went to the Canary Islands, but Suite algérienne for orthe main work was completed in Cairo in time chestra in 1880, and to include the new concerto in a momentous two works for piano and concert at Paris’s Salle Pleyel, marking the fiftieth anniversary of the composer’s first appearance orchestra: the colorthere in 1846 at the age of ten. This anniversary ful one-movement Afritook place on June 2, 1896, with the great violinca of 1891 and the Fifth ist Sarasate, a close friend, sharing the bill. Piano Concerto in 1896. The concerto was published the same year with a dedication to Louis Diémer, a fine pianist All contain musical alluwho played it many times. Saint-Saëns continsions to Moorish music ued to play it regularly in public, even past his in one form or another. eightieth birthday. THE MUSIC

There is nothing Egyptian about the concerto, except for some specific touches in the second movement. The outer movements are perfectly European and, one might say, classical in their balance of themes and tempos. The opening theme in the first movement has an affinity with plainchant, like many of Saint-Saëns’s tunes, and the second main tune recalls Brahms in its broad sweep. The finale third movement is a brilliant tourde-force that actually exhibits little force. Rather, its magic lies in fleetness and ingenuity, and it keeps the soloist scampering from

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one end of the keyboard to the other. The most remarkable music is to be found in the middle movement, which is unlike anything else by Saint-Saëns. It is not simply that most of the themes have a Middle-Eastern character, based on modal intervals; it also proceeds strangely from one episode to another without any apparent direction, like an improvisation, although the balance of the movement is cleverly controlled and seemingly well-proportioned. The one theme that is said to have a Nubian origin, related to something the composer heard in local music — perhaps by Nile boatmen singing — of modern Upper Egypt (today’s southern Egypt stretching into Sudan). But the tune, in fact, sounds more northern, and has no arabic intervals at all. Two curious passages stand out. In one, the left hand plays a series of notes that are colored by the right hand with soft chords that give it the sound of an organ mixture stop, a device later used by Ravel in Boléro. The other is a strange chirruping in the distant key of F-sharp major, beneath which a Chinese-influenced melody is heard against soft blows on the tam-tam. Was Saint-Saëns recalling other journeys to distant parts, or just being playful? —Hugh Macdonald © 2019 Severance Hall 2019-20

About the Music

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

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

Selections from Sleeping Beauty composed 1888-89; arranged into a suite by Nikolaj Szeps-Znaider

At a Glance

Pyotr Ilyich

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

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Tchaikovsky composed the ballet Spyáshchaya krasávitsa [“The Sleeping Beauty”] in 1888-89; it was first performed on January 15, 1890, at St. Petersburg’s Mariinsky Theater. The selections from Sleeping Beauty presented at this weekend’s concerts were chosen by guest conductor Szeps-Znaider and run about 40 minutes in performance. Tchaikovsky’s score calls for an orchestra of 2 flutes, piccolo, 2 oboes, english horn, 2 clarinets, 4 horns, 2 cornets, 2 trumpets, 3 trombones, tuba, timpani, percussion (triangle, tambourine, snare drum, bass drum, cymbals, tam-

tam), glockenspiel, 2 harps, piano, and strings. A variety of selections from Sleeping Beauty have been featured on Cleveland Orchestra concerts over the years. The Waltz from Sleeping Beauty was most recently played at a Family Concert in February 2016, led by Brett Mitchell. A suite of music was performed by Leonard Slatkin during the 1997 Blossom Festival, and Vladimir Ashkenazy twice conducted his own set of selections from the ballet score at Severance Hall subscription concerts in 2003 and again in 2006.

About the Music P R I N C E C H A R M I N G A N D his Awakening Kiss have long

achieved the status of myth in the Western World, where many generations were brought up on this enchanting story. It was Charles Perrault who first put it to paper, published as “La Belle au bois dormant” in his Stories of Mother Goose of 1697. The Brothers Grimm further popularized it as Dornröschen in the early 19th century. Much more recently, Walt Disney (and others) have made or remade the story in animation, in the theater, and as a live-action film — while academics and whole new generations have analyzed and discussed the psychological, feminist, gender stereotypes, and archetypical implications of this enduring tale. It was in 1888 that Marius Petipa, the French-born director of the Imperial Ballet in St. Petersburg, decided to create a fulllength ballet based on what in Russian was known as “Spyáshchaya krasávitsa.” Under Petipa’s direction, St. Petersburg had become the second ballet capital of the world, after Paris. In a sense, Russia even outdid Paris, due to the fact that the Imperial Theater was able to attract Pyotr Ilyich Tchaikovsky, the country’s greatest living composer, who wrote two full-length scores for the company: Sleeping Beauty and The Nutcracker. (Tchaikovsky’s first ballet, Swan Lake from 1877, was written for the Bolshoi Theater in Moscow.) The libretto or storyline for the Sleeping Beauty ballet was About the Music

written — following the tellings of Perrault and the Grimms — by Ivan Vsevolozhsky, who was the director of the Imperial Theater and a longtime admirer of Tchaikovsky’s. The ballet includes a prologue and three acts. Tchaikovsky worked closely with Petipa during the composition of the ballet, receiving (and mostly following) detailed instructions from the choreographer — as to the meter and style for each scene or dance, and often the number of measures for various dance components. THE STORY Work on the score went rather swiftly. Tchaikovsky recorded the progress he was making in his diary, and on the last page of his sketches, he noted: “Finished the sketches 26 May 1889 in the evening at 8 o’clock. Praise God! In all I worked 10 days In the Prologue, the new-born Princess, in October, 3 weeks in January, and a week whose name is Aurora, receives the blessnow! And so in all about 40 days.” ings of six fairies and the curse of the It took the composer another ten seventh one — here called Carabosse weeks (from May 30 to August 16, 1889), to write out the full score from those sketches. — who wasn’t invited to the festivities. Rehearsals began on August 23 and, after Act I takes place on Aurora’s twentieth four months of hard work in the dance stubirthday, when she pricks her finger on a dio, the premiere took place accompanied spindle handed to her by an old woman by a printed playbill dated January 3, 1890 in disguise (Carabosse, of course). The (January 15 according to the Western calendar, not adopted in Russian until signed Lilac Fairy commutes what would othinto law by Vladimir Lenin in early 1918). erwise be a death sentence to instead The Sleeping Beauty was billed as a sleeping for a hundred years — and the ballet-féerie (“fairytale ballet”), and proentire kingdom goes to sleep along with duced with lavish sets and luxurious costhe favorite daughter. Act II, then, shows tumes. It was a great success, prompting Prince Désiré’s journey to Aurora’s castle the participants of this performance to collaborate again two years later, giving to awaken her, a hundred years later, and the world The Nutcracker. Yet despite the Act III the very elaborate wedding party. universal popularity of that perennial Christmas favorite, it is Sleeping Beauty that the New Grove Dictionary of Music and Musicians calls “the supreme example of 19th-century classical ballet.” It was conceived very much as a Gesamtkunstwerk, to use the German word that Richcard Wagner coined, meaning “total work of art,” for the synthesis of all the arts. Certainly music, chore-

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Varitions on the story of Sleeping Beauty have been portrayed and popularized in many artforms, from children’s books to animated and live-action films,

ography, and scenery together form an indissoluble unity in Tchaikovsky’s ballet. All that said, in a concert performance such as this weekend’s selections of numbers from the score, as we concentrate on the music alone, we will still notice the dramatic nature of the score, sometimes enhanced by the choosing of numbers out of order but arranged for contrast, unity, and drama. In addition to set dance pieces, there are a large number of “action” movements, in which the plot moves forward and is directly reflected by the music — adopting more complex symphonic forms and uses of harmony and orchestration to take the place of the missing words. —Peter Laki © 2019

via thousands of performances (staged or in concert) of Tchaikovsky’s ballet score, and by many paintings, drawings, and sketches, including a series of large canvases by British Pre-Raphaelite artist Edward Burne Jones (1833-1898).

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

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

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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

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: +

82 94

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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

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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 SpĂ¤ngler (Europe) Mr. and Mrs. Richard P. Stovsky Mr. and Mrs. Leonard K. Tower Mr. and Mrs. Daniel P. Walsh Tom and Shirley Waltermire+ Mr. and Mrs. Fred A. Watkins+ Mr. and Mrs. Jeffery J. Weaver Robert C. Weppler Sandy and Ted Wiese Max and Beverly Zupon listings continue Anonymous

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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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Severance Hall 2019-20

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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

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Individual Annual Support

Orchestra The Cleveland Orchestra

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

103

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

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.

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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.

MainStage series

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

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

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

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

Severance Hall 2019-20

Guest Information

Tuesday, February 25 Academy of St. Martin in the Fields with Joshua Bell, violin Saturday, March 21 Augustin Hadelich, violin Canton Symphony Orchestra special venue: Umstattd Hall, Canton Tuesday, April 14 Junction Trio featuring Conrad Tao, piano Stefan Jackiw, violin Jay Campbell, cello

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330-761-3460 tuesdaymusical.org 109

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

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We believe that all Cleveland youth should have access to high-quality arts education. Through the generosity of our donors, we have invested more 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.

(877) 554-5054 clevelandfoundation.org/success