The Cleveland Orchestra February 20-23, 27-29 Concerts

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THE

CLEVEL AND ORC HE STR A FRANZ WELSER-MÖST

SEVERANCE HALL Perspectives

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

WEEK 15 — February 20, 21, 22, 23 Berlioz’s Symphonie Fantastique WEEK 16 — February

. . . page 39

27, 28, 29 Bruckner’s Fifth Symphony . . . . . . . . . page 61

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

About the Orchestra

PAGE

Weeks 15 and 16 Perspectives from the President & CEO . . . . . . . . . 9 Board of Trustees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Advisory Councils . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Music Director: Franz Welser-Möst . . . . . . . . . . . . 15 About The Cleveland Orchestra . . . . . . . . . . . . . . . 17 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Severance Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Guest Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

SPRING FESTIVAL Q&A: Franz Welser-Möst talks about Lulu, Art, and Censorship . . . . . . . . 23

NEWS

Cleveland Orchestra News . . . . . . . . 28

15 SYMPHONIE FANTASTIQUE

WEEK

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THE CLEVELAND ORCHESTRA

PROGRAM BOOK

ON THE COVER Photograph by Roger Mastroianni

Copyright © 2020 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: February 20, 21, 22, 23 . . . . . . . . . . . . . 39 Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . 41 TILSON THOMAS

Meditations on Rilke . . . . . . . . . . . . . . . . . . . . . . . . 43 Sung Text and Translations . . . . . . . . . . . . . . . . . . 47 BERLIOZ

Symphonie fantastique . . . . . . . . . . . . . . . . . . . . . 53 Conductor: Michael Tilson Thomas . . . . . . . . . . . . 38 Singers: Cooke, Burton . . . . . . . . . . . . . . . . . . . . . . . . . 51

16 BRUCKNER’S FIFTH SYMPHONY

WEEK

Concert: February 27, 28, 29 . . . . . . . . . . . . . . . . . 61 Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . 63 BRUCKNER

Symphony No. 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 Conductor: Herbert Blomstedt . . . . . . . . . . . . . . . . . 60

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.

Support Severance Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Annual Support Foundation and Government . . . . . . . . . . . . . . . Corporate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Individual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Heritage Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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End Note

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

Opera with The Cleveland Orchestra . . . . . . . . . . 94

4

Table of Contents

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

The Cleveland Orchestra

S O U N D

O F

T H E

C I T Y

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What’s inside this ABOUT THE ORCHESTRA

3HUVSHFWLYHV January 2020 The start of a new year brings with past and antici it time both for pation for the reflec fl tion on the future. As many our social media of you will channels — Faceb New Year began ook, Twitter, Instag have seen on , The Cleveland ram — as the Orchestra poste of celebrationâ€? d its own “twelv looking back at 3UHVLG HQW &(2 e days important mome ments from the nts and accom past decade. Under plishthe hashtag #Endo to Northeast Ohio, posts are potent reminders of fDecade, these The Cleveland and of music’s Orchestra’s value importance to so many peopl More Music for e every day. More People. Much of our work the larger goal of playing “more in recent years has been under music for more series and prese taken with peopl ntations. We’ve retooled our subsc e.â€? We’ve expanded and added es for guests here ription off new at fferings, and we’ve successfully Severance Hall. Through the generosity of forwa added new serviccreated new initiat numbers — initiat rd-thinking donor ives to encourage ives that now make s, young people We’ve continued to attend in record our annual Education celebrating comm Concerts free for holiday presentatio unity ties throu all schoo gh free community ls. ns. (Our 2019 Christ reached all-tim concerts and annua mas Concerts e highs in both l revenue and attend here at Severance Hall in Decem ance.) ber Martin Luther King Jr. Celeb rations. Each Orchestra has year for the past presented a specia four decades, The l free concert to together to celebr Cleveland bring the larger ate the spirit of Cleveland comm Dr. King’s vision year, the prese unity ntatio for a better and more collaborative demo n features a specially-assemble d community choru just world. Each nstration of huma This annual conce s lifting voices nity working toget in a rt is filled to capac her toward a better beyond Severance ity each year, with tomorrow. Hall through a its reach exten live radio broad the concert online ded to thousands cast and, in recen . Of special note t years, live stream Concertt from 2018 this year, the Orche ing of has been releas stra’s Martin Luther ed for national Welser-MĂśst’s King Jr. Celebr baton filmed as telecast, in a prese ation part of our ongoi ntation under ream. This teleca ng work with local Franz st brings toget her media partner with the powe ideastr of music to enhan photography and spoken words ce emotional reflec by telecast dates and fl tion and celebr and about Dr. King times, see page 27 of this book.) ation. (For details on Cleveland’s Amba ssador to the World. The nation our eff fforts to reach al MLK telecast out, here in Ohio is just one exam chestra and Franz and around the ple of Welser-MĂśst set world. In the coming month and, for the first off ff s, the Ortime, to the United on a spring international tour — this year to appear at the Abu Arab Emirates Europe as the first Amer Dhabi Festival. ican orchestra This spring, we’re to share a series invited to of new releases also launching showcasing the our own record Severance Hall ing label, Cleve with music-lover s around the world land/Welser-MĂśst partnership continue to enhan and . At the same time, ce initiatives, to touch and add to our concert off here at home, fferings, educa we the lives of more tion programs, people each year. and ticketing Thank for joinin g with us!

Perspectives — Each month, President & CEO AndrÊ 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:

AndrĂŠ Gremillet illllet President & CEO The Cleveland Orche

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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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Introducing the Concert — A special introductory page gives you a quick overview of the music to be performed, tying together the composers, performers, and musical styles you will be hearing.

Severance Restaurant (open before evening concerts) and Opus Lounge (open before and after), r a variety of drinks and snacks are available in lobbies throughout the building. Order yourself a beverage to enjoy, or ask about our special donor/subscriber lounges.

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Concert Timeline — For most concerts, a page is included showing expected running times of each piece and intermission, as well as an estimated end time. You’ll also find information about how to enhance your concert experience by learning more or relaxing with friends.

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Perspectives February 2020 A hundred years ago, Cleveland Orchestra founder Adella Prentiss Hughes recognized the value of music education for young people and the need to grow an audience for her new orchestra. More than a century later, education and community service are still core to our mission — and have never been more important. One of the great President & CEO joys of my professional life is sharing in the excitement students feel as they experience the power and passion of an extraordinary musical performance during a first-time visit to Severance Hall. Across the decades, the Orchestra has introduced more than four million Clevelandarea students to classical music through concerts presented for schools and families. This month, we present “Beethoven: The Man & His Music” — programmed to honor the legendary composer’s 250th birthday this year. For these daytime Education Concerts, we’re sharing with middle-school students a number of Beethoven’s orchestral masterpieces, as well as the difficult challenges he faced throughout his life. That Beethoven was able to overcome so many obstacles and channel both his frustrations and his love of humanity into composing some of the greatest music ever written is a lesson for everyone. In addition to performing Beethoven’s works for nearly 6,000 young people at Severance Hall, assistant conductor Vinay Parameswaran also leads the Orchestra in special presentations for students at the Lorain Palace Theatre and for west side Cleveland residents at Lakewood Civic Auditorium. The expansive reach of this year’s education performances is made possible, in part, by Mrs. Jane Nord, whose transformational gift to The Cleveland Orchestra last year ensures free admission to Education Concerts for all schools and students throughout our hometown community — forever. This remarkable donation was inspired by Mrs. Nord’s own “revelatory and powerful” experience hearing The Cleveland Orchestra as a young girl, and her wish that every child across Northeast Ohio have the same opportunity as she did to be moved by these world-class musicians. At the top of February, we welcomed Jamie Bernstein, daughter of Leonard Bernstein, to Severance Hall. Here, she shared her father’s radiant music in a program titled “The Bernstein Beat: What Makes Music Dance?” — presented as part of our 50th season of Cleveland Orchestra Family Concerts. As many of you know, Leonard Bernstein was not just an innovative composer, but also a brilliant music educator, who brought his pioneering Young People’s Concerts television series to millions of living rooms across the country in the 1960s. As The Cleveland Orchestra continues forward into its second century, Franz WelserMöst and this entire institution remain deeply committed to engaging young people through memorable musical presentations and education initiatives. March is Music In Our Schools Month across the United States — I hope everyone who has been inspired by The Cleveland Orchestra will reflect on the importance of music in your own lives, and join us in nurturing new generations of music lovers. We must all be advocates for music in our schools, and embrace every opportunity to spark a passion for this special artform in young and old alike. I’m reminded of Beethoven’s simple declaration: “Music can change the world.” Indeed, it does — every day.

Severance Hall 2019-20

André Gremillet President & CEO The Cleveland Orchestra

9

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

11

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

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

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Todd Locke Amanda Martinsek Michael Mitchell Randy Myeroff George Parras Beverly Schneider Astri Seidenfeld Reg Shiverick Tom Stanton Fred Stueber Terry Szmagala Brian Tucker Peter van Dijk* Diane Wynshaw-Boris Tony Wynshaw-Boris * deceased

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

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

Alfredo Gutierrez Luz Maria Gutierrez Maribel Piza Judy Samuels

Lists as of September 2 O19

Advisory Councils and Boards

The Cleveland Orchestra

1918

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

16 18th

1l1l 11l1 l1l1 1 1l

The The2017-18 2019-20season seasonwill marks mark Franz FranzWelser-Möst’s Welser-Möst’s18th 16th year yearas asmusic musicdirector. director.

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

40,000

each year

Over 40,000 young people attend Cleveland Orchestra concerts each year via programs funded by the Center for Future Audiences, through student programs and Under 18s Free ticketing — making up 20% of audiences.

52 53%

Over half of The Cleveland Orchestra’s funding each year comes from thousands of generous donors and sponsors, who together make possible our concert presentations, community programs, and education initiatives.

4million

Followers Follows onon Facebook social media (as of(June June 2019) 2016)

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

129,452 200,000

1931

150

concerts each year.

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

The Cleveland Orchestra performs over

THE CLEVEL AND ORCHESTRA

BY THE NUMBERS

it starts with a dream

18 East Orange Street Chagrin Falls, Ohio (440) 247-2828

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

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

Music Director

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

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2O 2O 19 -2O

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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

17

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

PHOTO BY ROGER MASTROIANNI

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

An Enduring Tradition of Community Support. The Cleveland Orchestra was born in Cleveland, created by a group of visionary citizens who believed in the power of music and aspired to having the best performances of great orchestral music possible anywhere. Generations of Clevelanders have supported this vision and enjoyed the Orchestra’s performances as some of the best such concert experiences available in the world. Hundreds of thousands have learned to love music through its education programs and have celebrated important events with its music. While strong ticket sales cover less than half of each season’s costs, the generosity of thousands each year drives the Orchestra forward and sustains its extraordinary tradition of excellence onstage, in the classroom, and for the community. Evolving Greatness. The Cleveland Orchestra was founded in 1918. Over the ensuing decades, the ensemble quickly

The Cleveland Orchestra

The Cleveland Orchestra

ing performances throughout the United States and, beginning in 1957, to Europe and across the globe have confirmed Cleveland’s place among the world’s top orchestras. Year-round performances became a reality in 1968 with the opening of Blossom Music Center. Today, concert performances, community presentations, touring residencies, broadcasts, and recordings provide access to the Orchestra’s acclaimed artistry to an enthusiastic, generous, and broad constituency at home throughout Northeast Ohio and around the world. Program Book on your Phone Visit www.ExpressProgramBook.com to read bios and commentary from this book on your mobile phone before or after the concert.

PHOTO BY ROGER MASTROIANNI

grew from a fine regional organization to being one of the most admired symphony orchestras in the world. Seven music directors have guided and shaped the ensemble’s growth and sound: Nikolai Sokoloff, 1918-33; Artur Rodzinski, 193343; Erich Leinsdorf, 1943-46; George Szell, 1946-70; Lorin Maazel, 1972-82; Christoph von Dohnányi, 1984-2002; and Franz Welser-Möst, since 2002. The opening in 1931 of Severance Hall as the Orchestra’s permanent home brought a special pride to the ensemble and its hometown. With acoustic refinements under Szell’s guidance and a building-wide restoration and expansion in 1998-2000, Severance Hall continues to provide the Orchestra an enviable and intimate sound environment in which to perfect the ensemble’s artistry. Tour-

Severance Hall 2019-20

The Cleveland Orchestra

19

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

20

Alfred M. and Clara T. Rankin Chair

The GAR Foundation Chair

Charles Bernard2 Helen Weil Ross Chair

Emilio Llinás2 James and Donna Reid Chair

Bryan Dumm Muriel and Noah Butkin Chair

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

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

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

Lynne Ramsey

Louis D. Beaumont Chair

Richard Weiss1

1

Charles M. and Janet G. Kimball Chair

Stanley Konopka2 Mark Jackobs Jean Wall Bennett Chair

Arthur Klima Richard Waugh Lisa Boyko Richard and Nancy Sneed Chair

Lembi Veskimets The Morgan Sisters Chair

Eliesha Nelson Joanna Patterson Zakany Patrick Connolly

The Musicians

Tanya Ell Thomas J. and Judith Fay Gruber Chair

Ralph Curry Brian Thornton William P. Blair III Chair

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

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

Mark Atherton Thomas Sperl Henry Peyrebrune Charles Barr Memorial Chair

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

Severance Hall 2019-20

2O19 -2O2O

O R C H E S T R A FLUTES Joshua Smith* Elizabeth M. and William C. Treuhaft Chair

Saeran St. Christopher Jessica Sindell2 Austin B. and Ellen W. Chinn Chair

Mary Kay Fink PICCOLO Mary Kay Fink Anne M. and M. Roger Clapp Chair

OBOES Frank Rosenwein* Edith S. Taplin Chair

Corbin Stair Sharon and Yoash Wiener Chair

Jeffrey Rathbun2 Everett D. and Eugenia S. McCurdy Chair

HORNS Nathaniel Silberschlag* George Szell Memorial Chair

Michael Mayhew

Knight Foundation Chair

Jesse McCormick Robert B. Benyo Chair

Hans Clebsch Richard King Alan DeMattia

Robert and Eunice Podis Weiskopf Chair

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

Michael Miller

ENGLISH HORN Robert Walters

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

Michael Miller CLARINETS Afendi Yusuf* Robert Marcellus Chair

Robert Woolfrey Victoire G. and Alfred M. Rankin, Jr. Chair

Daniel McKelway2 Robert R. and Vilma L. Kohn Chair

E-FLAT CLARINET Daniel McKelway Stanley L. and Eloise M. Morgan Chair

BASSOONS John Clouser *

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

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

Louise Harkness Ingalls Chair

Gareth Thomas Barrick Stees2 Sandra L. Haslinger Chair

Jonathan Sherwin CONTRABASSOON Jonathan Sherwin

The Cleveland Orchestra

PERCUSSION Marc Damoulakis* Margaret Allen Ireland Chair

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

TRUMPETS Michael Sachs*

Robert Walters

Samuel C. and Bernette K. Jaffe Chair

§

Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair

LIBRARIANS Robert O’Brien Joe and Marlene Toot Chair

Donald Miller ENDOWED CHAIRS CURRENTLY UNOCCUPIED Sidney and Doris Dworkin Chair Blossom-Lee Chair Sunshine Chair Myrna and James Spira Chair Gilbert W. and Louise I. Humphrey Chair

* Principal § 1 2

Associate Principal First Assistant Principal Assistant Principal

CONDUCTORS Christoph von Dohnányi MUSIC DIRECTOR LAUREATE

Vinay Parameswaran ASSISTANT CONDUCTOR

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

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

The Musicians

Elizabeth Ring and William Gwinn Mather Chair

Lisa Wong DIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

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Music is at once the product of feeling and knowledge, for it requires . . . not only talent and enthusiasm, but also . . . study and reflection. —Alban Berg

SEVERANCE HALL FESTIVAL PERFORMANCES

May 15, 16, 19, 22, 23

Franz Welser-Möst talks about the opera and the festival surrounding The Cleveland Orchestra’s performances of . . .

Q&A

FESTIVAL

Q: Why did you choose Alban Berg’s Lulu for this season? What should audiences expect from this opera?

Franz: I believe that Alban Berg’s Lulu is, without question, one of the greatest operas of the 20th century, both musically and dramatically. It all fits together in very telling ways — the music, the story, the interaction of the characters. The history of this opera is also very interesting to learn about, and it sheds light on the opera itself and what was happening in the world when it was written a hundred years ago. Lulu is very much a contrast from last year’s opera, Strauss’s Ariadne auf Naxos. I believe it is good to offer different kinds of works. Some are happier and easier, others perhaps are more difficult — but each gives us many things to think about, and can help us understand music, humanity, and the world around us. Berg was one of the earliest and most successful practitioners of what is called twelve-tone music, and Lulu is one Severance Hall 2019-20

of his greatest creations. But let me say, first and foremost, that audiences should not be afraid of this music. This is not ugly music, it is powerful and romantic music. I like to say, perhaps a little disrespectfully but quite seriously, that Berg’s music — and Schoenberg’s and Webern’s also — is late Romantic music, but with some “wrong” notes added in. They did not set out to write ugly music, but instead they had a new understanding of how to use unexpected notes, which Mozart and Verdi and everyone had been doing for a long time, but here they use the unexpected notes with new purpose and in new ways. I find Lulu to be one of the strongest, most powerful pieces that I’ve ever conducted. It is truly an example of how art can trigger your emotions about aspects of life that perhaps you have not directly experienced for yourself. The music tells a powerful story, of a woman who endures so much and who is so vivid in the way she lives and reacts to those around her.

Franz Welser-Möst Q&A

23

Q: Please talk some more about the challenges in the storyline.

Franz: Lulu is a difficult story. It tells the story of a woman who is abused and taken advantage of. She uses love and sex as a transaction, to get what she needs to survive. And the people around her use her for their own purposes. They expect her to do what they want. But it is even more complex than this, because we see how Lulu has learned to manipulate the people around her. So that, eventually, you can begin to wonder who is being abused and who is abusive. Perhaps it is everyone. Lulu is a very complicated character and requires a truly talented singer and actress to do the role, which we have in Barbara Hannigan. Some people may find it disturbing. But I find it actually extremely touching, because you witness and come to understand the main character and the challenges she faces. We know that Alban Berg was a big womanizer, that he was not a model citizen for today’s world. We know all that. And we know that Lulu, for Berg, is a portrait of all women he knew. The character is part of the long-standing tradition in the theater of showing two opposing sides of a character. Lulu is good and she is bad. And good and bad things happen to her. For me, it is amazing what art can

24

put in front of us, how much it can trigger in your own thoughts and fantasy. Because we all have dark sides — nobody can say that everything inside our minds is all pure and light. Humans are filled with contradiction. And I find that a piece like Lulu gives us so much to think about. The best art helps us reflect on our own lives. Let me also add that there is clear evidence that Berg wrote into this opera commentary on his own life. Each character represents and has characteristics of his own circle of family and friends, and also himself. Some of the people in the opera are having affairs with one another, and that reflects what happened in real life. Others did not like one another. In fact, Arnold Schoenberg saw in the score the way Berg was making fun of him, and Schoenberg was offended and refused when Berg’s widow asked him to complete the opera after Berg died. So there are many levels to this opera. It is a very very powerful work that will give you new perspectives on being human and what is important in life.

Q: You are conducting the two-act version of this opera, which is often called the “incomplete” version. Can you explain why you prefer the opera this way?

Franz: We are presenting Lulu in the way it was first performed, in Zurich in 1937, with two acts that are followed by some music for orchestra alone, which Berg originally wrote to be part of the third act. Berg died in 1935, and many people try to say that he died before he had time to finish the third act, or so the story goes. I believe this is just nonsense. He had plenty of time to finish it — he had been working

Alban Berg’s LULU

The Cleveland Orchestra

on this opera for quite a few years. I believe that Berg, in writing this work, realized through his own instinct for drama, that the action in the third act was not necessary. So many things happen to Lulu. She is a victim, yet she survives and keeps making a life for herself. And Berg realized that the third act — in which she finally does die — he realized that including that would take away from the drama. Of course, the whole story of Lulu is very sensational, and raises eyebrows, even today. Many years after Berg’s death, the third act was finished by another composer, Friedrich Cerha, working from the sketches that Berg had made. And today it is often performed in that three-act version. But I believe Lulu is more dramatic in the original two-act version, and that this was in fact Berg’s choice. The orchestral Adagio that concludes the opera is one of the most deeply emotional, expressive, powerful pieces of music I know. In it we can contemplate everything that has happened to Lulu, and what will become of her — and of course we all will die. But we do not need to see what happens around her dying in order to understand the complicated and difficult life that she has led. Sometimes, as the saying goes, less is more.

Q: Please talk about the Festival surrounding The Cleveland Orchestra’s presentation, titled “Censored: Art & Politics.” How does this discussion enhance our understanding of the opera?

Franz: Lulu 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 Severance Hall 2019-20

such an extraordinary, adventurous, and open audience. With the festival we are creating around Lulu, we will look at the relationship between art and politics in Berg’s lifetime, of how certain music in the 1920s and ’30s was politically abandoned or prohibited. In addition to the opera, there will be two other concerts featuring works by Erwin Schulhoff, Ernst Krenek, and others — works that the Nazis labeled ‘Entartete Musik’ or ‘Degenerate Music.’ This period, in the early to mid-20th century, was a time of autocratic, authoritarian regimes who condemned artistic expression outside of their narrow view. And they often did so with a heavy hand. Artists and their work were prohibited through censorship. Some artwork was destroyed, and entire careers and so many creative lives lost. With the festival, we will look into how music and art can be abused by a system, just as the character of Lulu is abused and abusive in her own way in the opera. Because a system can turn people on one another. And I believe these are important topics, not only from the past but in today’s world. We see this happening still in our own time. Art is a direct reflection of human society. When you stifle art, you are limiting how people can learn from interacting with one another, how you can understand those around you through art and creativity. For the festival, we are partnering with other institutions in Cleveland, including the Museum of Art and the Maltz Museum of Jewish Heritage, to examine these issues not just in music, but in the

Franz Welser-Möst Q&A

25

visual arts and in literature and education. We live in a time where angst is more and more a part of everyday life all over the world. One of the key elements of political populism is that there must always be a scapegoat — there is always someone, a group of people, or an idea to blame. And, for instance, Berg’s score to Lulu includes jazz elements — and jazz at the time of the 1920s and ’30s was often not accepted as “real” art. Jazz musicians, black musicians, and minority composers were too often viewed as not having any value for society. Ultimately, with this festival, what we are doing is looking at great music, at great art, which was marginalized by the Nazis and others for all the wrong reasons. Art can liberate the mind. Creativity should not be stifled.

Q: How does opera fit into The Cleveland Orchestra’s offerings each year?

Franz: The Cleveland Orchestra has a long tradition with opera, going almost back to the Orchestra’s founding. In the 1930s, under Artur Rodzinski, operas were presented each season here at Severance Hall, with some very famous singers. But those staged productions were expensive and were discontinued after several years, even though everyone loved them. More recently, in my time here, we 26

have been able to make opera a focus again. Because playing this kind of dramatic music makes the Orchestra better, and, of course, because audiences respond to the emotional depth of opera. Just by listening to great singers, musicians of an orchestra learn to breathe and be more flexible, to respond to a given moment not just in your head but also with your heart.

Q: Please talk a little about next season’s opera, Giuseppe Verdi’s Otello.

Franz: Next season, we will present Verdi’s opera Otello, which was premiered in 1887. This was the second to the last opera that Verdi ever wrote, and after hesitating for several years, he began composing it in secret, when he was seventy years old. He had gained much experience during his lifetime as a composer, and he brought it all together to create this new masterpiece. One aspect of this score that I think is very important is Verdi’s orchestration, which is more symphonic than what he had done before. It is even more layered. Here, in Otello, even more than earlier scores, the orchestra shows us the thinking, the psychology going on in the characters’ minds. And Verdi shows just how gifted he was, not just as a musician, but in understanding people and motivations. This will be the first time I am conducting Otello, and I am looking forward to do so. This includes welcoming Simon Keenlyside back to Severance Hall, where he will perform the role of Iago for the first time. He is such a gifted artist and actor and friend, and I am pleased he has chosen to debut this role here in Cleveland.

Franz Welser-Möst Q&A

The Cleveland Orchestra

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orchestra news

THE CLEVELAND ORCHESTRA

Spring Festival brings context to controversial opera “Lulu” by fostering discussion around the role and weaponization of art in society F E S T I VA L Cleveland, Ohio — The Cleveland Orchestra has announced further updates for this season’s festival, titled Censored: Art & Power, r taking place in spring 2020. The festival is centered around the Orchestra’s performances of Alban Berg’s opera Lulu on May 16, 19, and 22, and seeks to spark discussion about the role of art in society, government censorship, and prejudice — using as a starting point Nazi Germany’s oppression and weaponization of the arts by labelling groups and styles “Degenerate Art & Music.” The festival features a variety of collaborative presentations surrounding the opera performances. “This period, in the early to mid-20th century when Berg’s Lulu was composed, was a time of autocratic, authoritarian regimes who condemned artistic expression outside of their narrow view,” says Franz Welser-Möst, music director of The Cleveland Orchestra. “And they often did so with a heavy hand. Artists and their work were prohibited through censorship. Some artwork was destroyed, and entire careers and so many creative lives lost. With the Censored: Art & Power festival, we will look into how music and art can be abused by a system, just as the character of Lulu is abused and abusive in her own way in the opera. Because a system can turn people on one another.” “And I believe these are important topics, not only from the past but in today’s world,” continues Welser-Möst. “We see this happening still in our own time. Art is a direct reflection of human society. When you stifle art, you are limiting how people can learn from interacting with one another, how you can understand those around you

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through art and creativity.” “The Cleveland Orchestra’s festival this season, which we are calling Censored: Art & Power, came out of our desire to demystify Alban Berg’s opera Lulu, which had been stigmatized from the moment it was written,” says Mark Williams, chief artistic officer of The Cleveland Orchestra. “Lulu was created at a time in history when political forces were against the composer, the work’s musical style, and the subject matter, so that it was banned before its premiere. It was not performed in Berg’s lifetime, and only later recognized as a true 20th-century masterpiece. Today, we have the opportunity not only to perform this influential work, but also to give audiences a sense of the times surrounding the work’s creation that lead to its banning. It is moving music and a compelling story, but we also knew that it would be meaningful to create context around it, and that was the birth of Censored: Art & Power. In the festival, we are exploring how art and power are connected, how art can be used for political purposes, and how art and censorship can be used, not only to control artists, but to control the public who is consuming the art.” In addition to the performances of the opera (May 16, 19, and 22), the Orchestra is also presenting two additional concerts (May 15 and 23) exploring different genres of music and classes of composers and performers whose work was stigmatized by Nazi propaganda and whose lives were ruined or eliminated, including Jewish artists banned and later killed in the Holocaust. The Festival also features a variety of col-

Cleveland Orchestra News

The Cleveland Orchestra

orchestra news

THE CLEVELAND ORCHESTRA

V ER llaborative aborative presentations with local arts and education institutions, including: The Cleveland Museum of Art is hosting a gallery talk on Tuesday, May 5, at noon, led by curatorial assistant June De Phillips. The talk will take place in the museum’s German Expressionism and Surrealism Gallery (225) and concentrate on innovative German artists of the 20th century, including Max Beckmann, Ernst Ludwig Kirchner, and Gabriele Münter, whose work the Nazi regime removed from public art collections and featured in the 1937 Degenerate Art Exhibition. Tickets required, space is limited. Cleveland Institute of Art students, with guidance from Cleveland Orchestra staff, are working on an illustration project based on the prompt “censorship in the 21st century.” Selections from their final artwork will be displayed in May at Severance Hall, shown side-by-side with prints of censored work from around the time that Lulu was composed. A series of collaborative lectures, readings, and musical performances will be hosted by the Maltz Museum of Jewish Heritage in Beachwood. These include: on Wednesday, May 13, at 7:00 p.m., Cleveland State University faculty member Mark Cole will give a lecture titled “Degenerate Art: Power & Censorship in Nazi Germany”; on Wednesday, May 20, at 7:00 p.m., the museum will present a performance featur-

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ing music of banned composers; on Wednesday, esday May 27, at 7:00 p.m., Interplay Jewish Theatre will perform a staged reading of Lauren Gunderson’s play “Bauer,” relating the story of persecuted painter and printmaker Rudolf Bauer; and on Wednesday, July 15, at 7:00 p.m., WCLV radio host Eric Kisch will discuss representative “degenerate” composers and celebrate their contributions to classical music. On Sunday, May 17 at 1:30 p.m. and Tuesday, May 19 at 1:30 p.m., Cleveland Institute of Art Cinematheque will screen Florian Henckel von Donnersmarck’s film Never Look Away, y a 2019 Academy Award-nominated film based on the life and work of German painter Gerhard Richter, who was haunted by early brushes with Nazism and Communism; and on Thursday, May 21, Cinematheque will show G.W. Pabst’s 1929 German film Pandora’s Box, x which was inspired by the same Frank Wedekind’s plays that Berg adapted for the libretto of his opera. In addition, Facing History and Ourselves will share a reading and resource list influenced by the themes of “Censored: Art & Power,” which will be promoted and provided to educators throughout Ohio and the Midwest and be available around the world through their website, facinghistory.org. More details about any of these events and ticket/admission information can be found at the websites for each partnering organization.

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Shaker Square, Ohio 44120 | 216.921.3333 Severance Hall 2019-20

Visit Edwins Butcher Shop and Edwins Bakery 13024 Buckeye Rd., near S. Moreland Blvd.

Cleveland Orchestra News

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

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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.

Cleveland Orchestra News

The Cleveland Orchestra

orchestra news

THE CLEVELAND ORCHESTRA

Franz Welser-Möst and Cleveland Orchestra embark on spring tour to Europe and Abu Dhabi T H E C L E V E L A N D O R C H E S T R A and Franz Welser-Möst embark on their twentieth international tour together this spring, with seven performances scheduled in three cities across Europe (Vienna, Paris, and Linz), and four concerts in the United Arab Emirates as the first American orchestra to perform at the Abu Dhabi Festival. The tour performances span March 19 to April 4. The tour’s concert programs feature the pairing of symphonies by Sergei Prokofiev and Franz Schubert, two composers separated by a century in time, but who shared gifts for melody and intricate layers of musical meaning. Other works on the tour as part of the Abu Dhabi Festival include Tchaikovsky’s Fifth Symphony and Dvořák’s Cello Concerto. The ensemble will be joined in Europe by frequent Cleveland Orchestra guest artist Julia Fischer for performances of Prokofiev’s First Violin Concerto. In Abu Dhabi, the concerts feature baritone Simon Keenlyside, cellist Yo-Yo Ma, and a special collaboration with American Ballet Theatre for staged performances of Prokofiev’s Romeo and Juliet with choreography by Kenneth MacMillan. Long acclaimed for its artistry and musical excellence, The Cleveland Orchestra is a proud ambassador for Ohio, carrying the depth and breadth of local arts and cultural understanding across the globe. The 2020 International Tour is part of the Orchestra’s 102nd season and the 18th year of the ensemble’s acclaimed partnership with Welser-Möst. “Nearly every season over the past half century, The Cleveland Orchestra has toured internationally,” says André Gremillet, the Orchestra’s President and CEO. “We are extraordinarily proud to represent Cleveland and Northeast Ohio around the world. Touring remains an essential part of our season both from an artistic and an audience development perspective. It is always a great pleasure for us to be back in Vienna and Paris, and we are honored to be the first orchestra from the United States to play the renowned Abu Dhabi Festival. Music truly is a universal language that transcends cultures and connects us all.” Commenting on the tour and his pairing of

Severance Hall 2019-20

works by Schubert and Prokofiev, Franz WelserMöst said: “It is important that we continue to perform works that are too often neglected or have been forgotten. This season, I am pairing works by Schubert and Prokofiev because, although both of them are well-known composers, there is still so much of their music that remains unknown. Their creativity shares a number of similarities and contrasts, and I believe that hearing them together brings out special qualities of their genius. Their lesser-known masterpieces should . ..ParisLinzVienna be rediscovered. At the same time, their acclaimed works also showcase the art and creativity of two extraordinary composers. The lesser-known symphonies — such as Schubert’s Third and Fourth, or Prokofiev’s Second, Third, and Sixth — are absolute jewels, which audiences should experience. They have as much to offer as Schubert’s ‘Great’ C-major Symphony or Prokofiev’s Romeo and Juliet.” “In Vienna, we are a household name, from performing there every other season,” continued Welser-Möst. “We are also well-known in Paris. We leave a lasting impression. And on this tour we have some interesting things to offer. Prokofiev’s Second Symphony has never before been performed at Vienna’s Musikverein and the last time Prokofiev’s Sixth Symphony was played there was in 1983 with the Leningrad Philharmonic — and I was in that audience, in standing room. I believe it is important that we present programming, to offer audiences an experience to say, ‘Oh, that is different.’ Helping audiences discover something new, something they enjoy, is important. When we’ve done that, I think we have done a good job.” For complete tour details, dates, and programs, visit www.clevelandorchestra.com.

Cleveland Orchestra News

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Abu Dhabi Festival

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The Cleveland Orchestra

orchestra news

THE CLEVELAND ORCHESTRA

A.R.O.U.N.D T.O.W.N Recitals and presentations featuring Orchestra musicians Upcoming local performances by Cleveland Orchestra musicians and family:

Friends of The Cleveland Orchestra presents their next “Meet the Artist” program on Friday, February 28 — featuring Peter Otto, first associate concertmaster of The Cleveland Orchestra. The event takes place in the Sky Lounge at One University Circle (10730 Euclid Avenue) in Cleveland, and features a short performance and conversation with Ilya Gidalevich OF THE CLEVELAND ORCHESTRA (artistic administrator for The Cleveland Orchestra). Registration and a private reception begins at 11:30 a.m., with lunch following at 12 noon, followed by the program. For tickets, visit clevelandorchestra. com/meetheartist.

FRI ENDS

Soprano Gabrielle Haigh, an alumnus of the Cleveland Orchestra Children’s Chorus (2001-06) and Youth Chorus (2007-09), returns to Northeast Ohio as soloist with the Akron Symphony Orchestra in the Mozart Requiem on February 22, 2020, and as soloist with the Canton Symphony Orchestra in Dvořák’s Te Deum on April 25, 2020. Ms. Haigh is the daughter of Scott Haigh (first assistant principal bass).

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.

Severance Hall 2019-20

National telecast for Cleveland Orchestra’s Martin Luther King Jr. Celebration Concert 2018 concert released nationally American Public Television (APT), a leading syndicator of top-rated programming to the country’s public television stations, selected ideastream’s production, “Martin Luther King Jr. Celebration Concert with The Cleveland Orchestra,” for national distribution. Stations across the United States have the opportunity to telecast the program beginning in January 2020. For Northeast Ohio audiences, WVIZ/PBS ideastream broadcast the program twice — with it now available for streaming via PBS-member app services nationwide. The program features The Cleveland Orchestra’s 2018 live concert conducted by music director Franz Welser-Möst, showcasing the moving and inspiring community celebration honoring the life of Dr. Martin Luther King Jr. The telecast program, jointly created two years ago by ideastream in partnership with The Cleveland Orchestra, is a tribute to the slain civil rights leader as told through music and Dr. King’s own words. The moving and inspiring program features music specially selected to relate to themes in speeches by Dr. King, excerpts of which are included in the hour-long program. KeyBank sponsored the 2018 concert and program.

Cleveland Orchestra News

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orchestra news

THE CLEVELAND ORCHESTRA

Conductor John Williams leads soldout The Cleveland Orchestra on April 26 The Cleveland Orchestra has announced an added concert to the season, with composer John Williams leading the Orchestra in a special one-night-only program featuring music from his celebrated film scores on Sunday afternoon, April 26, 2020 at Severance Hall. Williams’s movie scores are among the most acclaimed in cinema history. He has also written a selection of works for the concert stage, including a trumpet concerto composed for The Cleveland Orchestra and principal trumpet Michael Sachs, premiered in Cleveland in 1996. Williams has previously led The Cleveland Orchestra in a dozen performances across the years as part of the summer Blossom Music Festival. He made his Severance Hall debut with the Orchestra in 2018. John Williams is one of America’s most accomplished and successful composers for film and the concert stage. Across a career that began in the 1950s, he has composed

music and served as music director for more than 100 films. These include the Star Wars films, the first three Harry Potter movies, and the entire Indiana Jones film series. His 45-year creative partnership with Steven Spielberg includes Jaws, E.T. the Extra-Terrestrial, Close Encounters of the Third Kind, Lincoln, and Schindler’s List. Williams has earned five Academy Awards and 51 Oscar nominations, 24 Grammy Awards, 4 Golden Globes, and 3 Emmys. He is the recipient of the National Medal of Arts and Kennedy Center Honors. Williams served as music director of the Boston Pops Orchestra for fourteen seasons and now holds the title of laureate conductor. All tickets for the concert were soldout within days of the concert’s announcement in January.

Join us as the premier American ragtime ensemble recreates the syncopated stylings of a bygone era. The orchestra will underscore classic silent films with actors such as Stan Laurel and Oliver Hardy in “Habeas Corpus” (1928), Charlie Chaplin in “The Rink” (1916), and Buster Keaton in “One Week” (1920).

The Maltz Performing Arts Center proudly presents

The Peacherine Ragtime Society Orchestra:

Sunday, March 15 | 3 p.m. Tickets range from $12-$40 Purchase your tickets at case.edu/maltzcenter.

Underscoring the Masters of Silent Comedy 34

Cleveland Orchestra News

The Cleveland Orchestra

orchestra news

THE CLEVELAND ORCHESTRA

Economic study shows The Cleveland Orchestra’s influence and impact across Northeast Ohio The Cleveland Orchestra has released information from a study it commissioned from research firm Kleinhenz & Associates and Case Western Reserve University. The study examines the Orchestra’s economic and social impact on the local and regional areas the ensemble calls home. Driven by a commitment to enrich lives by creating extraordinary musical experiences at the highest level, The Cleveland Orchestra continues to foster a culture of excellence, integrity, and artistic innovation. The economic study, conducted during the Orchestra’s 2017-18 season, analyzes the financial influence this renowned institution has on Northeast Ohio. The study concludes that The Cleveland Orchestra generates $135.4 million of annual sales across Northeast Ohio’s seven-county region, calculated by looking at a variety of factors, including performances held at Severance Hall and summer concerts at Blossom Music Center (both classical programming by the Orchestra and the rock, country, and other music presented by Live Nation). In addition, activities at Severance Hall and Blossom Music Center supported by The Cleveland Orchestra created nearly 1,300 jobs, which are directly accountable for $60.8 million of annual payroll income. The study determined that the Orchestra remains an integral thread woven through the fabric of the Northeast Ohio community, and the economic areas most affected by its influence are performing arts, dining and restaurants, hotel, and travel. “The Cleveland Orchestra provides terrific value to the people of Northeast Ohio and is an invaluable asset in helping our company recruit the best talent from around the nation,” said Richard K. Smucker, Chair of The Cleveland Orchestra and Executive Chairman of The J.M. Smucker Company. “The Cleveland Orchestra is also the only art form from this region that travels the globe every year, and as such it performs an important role as ambassador for the city. By carrying the name of Cleveland in this way, the Orchestra provides many of our region’s companies with exciting connections to new international business possibilities.” “For more than a century, The Cleveland

Severance Hall 2019-20

Orchestra has been committed to presenting inspirational and unrivaled music performances for audiences across Northeast Ohio, and around the world,” said André Gremillet, President and CEO of The Cleveland Orchestra. “This remarkable ensemble has demonstrated a lifelong dedication to engaging the members of its community by participating in a wealth of educational programs for people of all ages. Although many Clevelanders possess a deep and enduring appreciation for the Orchestra’s musical and cultural significance, we hope this study also helps people understand the organization’s economic value to Cleveland and Northeast Ohio.” “The Cleveland Orchestra has been a vibrant part of Cleveland’s economic and cultural fabric, benefitting those who live here and those who visit from all over the world,” said Dr. Tomislav Mihaljevic, CEO & President of the Cleveland Clinic and a Cleveland Orchestra Trustee. “It is internationally recognized for the highly talented musicians, leaders, and programs that have made it a tremendous asset to this community for many years. We are very proud and honored to have such a treasure that helps the city recruit great talent to Cleveland.” After concluding that the Orchestra is responsible for $135.4 million in spending across the region, the report also determined that $116 million of that total comes from operations and $19.4 million from visitors to the region. At Severance Hall, the Orchestra generates approximately $99.5 million in economic activity within Cuyahoga County. Further findings reveal that the Orchestra generates $84.2 million in spending from its operating expenditures, and its visitors generate $15.3 million in sales. There were 159,000 attendees of Orchestra events at Severance Hall, spending $11.2 million excluding ticket sales; 45 percent of those visitors were from outside Cuyahoga County. More than half of The Cleveland Orchestra’s musicians are connected to the Cleveland Institute of Music as members of the faculty, alumni, or both. Together, The Cleveland Orchestra and CIM are responsible for annually adding $172.1 million to Northeast Ohio’s economy.

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Musicians Emeritus of

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Listed here are the members of The Cleveland Orchestra who hold the honorary title Emeritus. Included are living members who retired after served more than twenty years. Appointed by and playing under four music directors, these 39 retired 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 King * — continues as member 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 December 15, 2019

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Appreciation

The Cleveland Orchestra

orchestra news

THE CLEVELAND ORCHESTRA

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

The Musical Arts Association gratefully acknowledges the artistry and dedication of all the musicians of The Cleveland Orchestra. In addition to rehearsals and concerts throughout the year, many musicians offer performance and coaching time in support of Orchestra education, community engagement, fundraising, and audience development activities. We are pleased to recognize these musicians, listed below, who offered their talents and artistry for such presentations during the 2018-19 season. Mark Atherton Martha Baldwin Charles Bernard Katherine Bormann Lisa Boyko Charles Carleton Jiah Chung Chapdelaine Hans Clebsch John Clouser Kathleen Collins Wesley Collins Ralph Curry Marc Damoulakis Alan DeMattia Maximillian Dimoff Scott Dixon Bryan Dumm Mark Dumm Tanya Ell Mary Kay Fink Tom Freer Wei-Fang Gu Scott Haigh David Alan Harrell Miho Hashizume Shachar Israel Mark Jackobs Dane Johansen Joela Jones Richard King Arthur Klima Alicia Koelz Stanley Konopka Mark Kosower Paul Kushious Jung-Min Amy Lee Yun-Ting Lee Michael Mayhew Takako Masame Eli Matthews Jesse McCormick Daniel McKelway Michael Miller Ioana Missits

Sonja Braaten Molloy Eliesha Nelson Robert O’Brien Peter Otto Chul-In Park Joanna Patterson Zakany Henry Peyrebrune Lynne Ramsey Jeffrey Rathbun Jean Preucil Rose Stephen Rose Frank Rosenwein Michael Sachs Jonathan Sherwin Thomas Sherwood Sae Shiragami Emma Shook Zhan Shu Jessica Sindell Thomas Sperl Saeran St. Christopher Corbin Stair Lyle Steelman Barrick Stees Richard Stout Trina Struble Yasuhito Sugiyama Jack Sutte Stephen Tavani Gareth Thomas Brian Thornton Isabel Trautwein Lembi Veskimets Robert Walters Carolyn Gadiel Warner Richard Waugh Scott Weber Richard Weiss Beth Woodside Robert Woolfrey Paul Yancich Yu Yuan Afendi Yusuf Jeffrey Zehngut

Severance Hall 2019-20

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

Cleveland Orchestra News

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Michael Tilson Thomas

American conductor Michael Tilson Thomas is music director of the San Francisco Symphony, where he is completing his 25th and final year with the 2019-20 season. He is also co-founder and artistic director of the New World Symphony, and conductor laureate of the London Symphony Orchestra. In addition to conducting the world’s leading orchestras, he is noted for his work as a composer and a producer of multimedia projects dedicated to music education and the reimagination of the concert experience. He has won eleven Grammy Awards for his recordings, is the recipient of the National Medal of Arts, and is a Chevalier dans l’ordre des Arts et des Lettres of France. Mr. Tilson Thomas made his Cleveland Orchestra debut in August 1974 and most recently led performances here at Severance Hall with The Cleveland Orchestra in March 2018 and with the San Francisco Symphony in November 2014. Born in Los Angeles, Michael Tilson Thomas is the third generation of his family to follow an artistic career. His grandparents, Boris and Bessie Thomashefsky, were founding members of the Yiddish Theater in America. His father, Ted Thomas, was a producer at the Mercury Theater

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Company in New York before moving to Los Angeles where he worked in films and television. His mother, Roberta Thomas, was the head of research for Columbia Pictures. Mr. Tilson Thomas began his formal education at the University of Southern California, studying piano with John Crown, and conducting and composition with Ingolf Dahl. In 1969, after winning the Koussevitzky Prize at Tanglewood, Mr. Tilson Thomas was appointed assistant conductor of the Boston Symphony Orchestra, and served until 1974 in that role and then as principal guest conductor. His conducting positions have also included music director of the Buffalo Philharmonic (1971-79), principal guest conductor of the Los Angeles Philharmonic (1981-85), and principal conductor of the London Symphony Orchestra (1988-95). As a guest conductor, Mr. Tilson Thomas has appeared with the major orchestras of Europe and North America. Michael Tilson Thomas’s discography stretches to over 120 albums, including Mahler’s orchestral works with the San Francisco Symphony. A new album is due out later this year of his own compositions performed by the SFSymphony. For more information, please visit www.michaeltilsonthomas.com.

Guest Conductor

The Cleveland Orchestra

THE

CLEVEL AND ORCHESTRA M U S I C D I R E C TO R

Severance Hall

Thursday evening, February 20, 2020, at 7:30 p.m. Friday evening, February 21, 2020, at 8:00 p.m. Saturday evening, February 22, 2020, at 8:00 p.m. Sunday afternoon, February 23, 2020, at 3:00 p.m.

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FR ANZ WELSER- MÖST

Michael Tilson Thomas, conductor MICHAEL TILSON THOMAS

(b. 1944)

Meditations on Rilke (six songs to texts by Rainer Maria Rilke) 1. 2. 3. 4. 5. 6.

Herbsttag [Autumn Day] Ich lebe mein Leben [I Live My Life] Das Lied des Trinkers [The Drinker’s Song] Immer wiederr [Again, Again] Imaginärer Lebenslauff [Imaginary Biography] Herbst [Autumn]

(Sung in German with projected English supertitles.)

SASHA COOKE, mezzo-soprano DASHON BURTON, bass

INT ER MISSION HECTOR BERLIOZ (1803-1869)

Symphonie fantastique, Opus 14 Episode in the Life of an Artist 1. Reveries: Largo — Passions: Allegro agitato e appassionato assai 2. A Ball: Waltz: Allegro non troppo 3. Scene in the Country: Adagio 4. March to the Scaffold: Allegretto non troppo 5. Dream of a Witches’ Sabbath: Larghetto — Allegro

LIVE RADIO BROADCAST

Saturday evening’s concert is being broadcast live on WCLV (104.9 FM). The concert will be rebroadcast as part of regular weekly programming on WCLV on two Sunday afternoons, April 26, and July 5, at 4:00 p.m.

Severance Hall 2019-20

Program: Week 15

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February 20, 21, 22, 23 THI S WE E KE ND’S CONCE RT Restaurant opens: THUR 4:30 FRI 5:00 SAT 5:00 SUN 12:00

Concert Preview: BEGINS ONE HOUR BEFORE CONCERT

Severance Restaurant Reservations (suggested) for dining:

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

E V E N I N G P R E V I E WS Reinberger Chamber Hall

“Anatomy of a Musical Obsession” with guest speaker Francesca Brittan, Case Western Reserve University

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

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

TILSON THOMAS Meditations on Rilke . . . . . . . . . . . . . page 43 (35 minutes)

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

INTERMISSION (20 minutes)

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

BERLIOZ Symphonie fantastique . . . . . . . . . . page 53 (50 minutes)

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

Concert ends: (approx.)

THUR FRI SAT SUN

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This Week’s Concerts

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INTRODUCING THE CONCERT

Life, Love& Storytelling

B ER L I OZ

SMITHSON

T H E A R T O F S T O R Y T E L L I N G in music is as old as song itself. Words

carry meaning, but so does the music, either supporting or commenting on the narrative texts — or by itself, without words. This week’s concerts offer examples of each: a brand-new song cycle filled with humor, meaning, and uncertainty, alongside a famously thrilling symphony drawn from real life, penned by a love-obsessed composer. The program begins with a set of songs for two soloists and orchestra written by guest conductor Michael Tilson Thomas, who led their world premiere performances last month in San Francisco. Featuring German texts from a century ago, these songs are intended to evoke thoughts about life, perhaps even the big issues of why and wherefore — but often through smaller everyday examples and observations of how life moves and ebbs, flies and goes. After intermission comes a startlingly fresh and uninhibited symphony, now nearly 200 years old. Hector Berlioz wrote his Symphonie fantastique in 1830. In it, he portrayed his lovesickness for an Irish actress, Harriet Smithson, whom he’d seen onstage in productions of Shakespeare. He was mad for her — as mad as love can make a person. He was also enthralled with Beethoven’s Third Symphony, the surging and forceful “Heroic.” Combining these inspirations, and daring to tell all, Berlioz wrote a wild symphony about love. Here he put into music his infatuation, his desire, the heartfelt ache of rejection by his beloved — spiced, quite literally it is believed, by opium-induced hallucinations as he tried to ease his emotional pain. As it turned out, writing the music was not therapy enough. Berlioz married Smithson with starry eyes and later wrote: “I love her with a deep and tender love which, now that it is shared, no longer has the dreadful bitterness of the first five years.” Yet the story did not end well. The marriage was a disaster. Not understanding each other’s joys or apprehensions, they quarrelled, then separated and divorced. Berlioz helped Harriet financially for many years thereafter. But we remember them for the wild, fantastical music his longing inspired. —Eric Sellen

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Introducing the Concert

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Meditations on Rilke composed 2019, and from sketches and musical thoughts across the decades — setting poem/texts by Rainer Maria Rilke

At a Glance

by

Michael

TILSON THOMAS born December 21, 1944 Los Angeles, California lives in San Francisco and Miami Beach

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Tilson Thomas wrote his Meditations on Rilke in 2019, drawing on some sketches and ideas that he had been assembling for many years. The texts were chosen from poems by German author Rainer Maria Rilke (1875-1926). The world premiere performances took place with the composer conducting the San Francisco Symphony on January 9, 10, 11, and 12, 2020, featuring mezzo-soprano Sasha Cooke and baritone Ryan McKinney as the soloists. This set of six songs runs about 35 minutes in performance. Tilson Thomas scored it for 2 flutes (second doubling piccolo), 2 oboes (second

doubling english horn), 3 clarinets (B-flat, E-flat, and bass clarinet), 2 bassoons (second doubling contrabassoon), 2 horns, 2 trumpets, 2 trombones, percussion (snare drum, 2 tenor drums, bass drum, cymbals, rute, hi-hat, marimba, crotales, tambourine, whip, wood blocks, chimes, vibraphone, xylophone, glockenspiel), timpani, piano, celeste, harp, and strings, plus mezzo-soprano and baritone soloists. The Cleveland Orchestra is presenting these songs for the first time at this weekend’s concerts, following the world premiere last month.

About the Music M I C H A E L T I L S O N T H O M A S , known colloquially to friends,

colleagues, and the public as “MTT,” has been a star conductor for half a century. With early stops in Boston, Buffalo, and London, he co-founded the New World Symphony Orchestra in Florida in 1987, creating a now world-famous training institution for orchestral musicians. And this year, at age 75, he completes twenty-five celebrated years as music director of the San Francisco Symphony with the close of the 2019-20 season. Throughout these decades, Tilson Thomas has also devoted time to composing, although that aspect of his creative life has been kept more low-key than a number of equally-famous conductor-composers across history — composers who found they could conduct and/or conductors who decided they wanted to write music of their own. (Boulez, Bernstein, Mahler, and Wagner are among the famously great conductors who convincingly did both, while in today’s world many composers take up conducting both to promote and enable their own works and to learn the realities of orchestration and performance first-hand.) Tilson Thomas’s earlier works have included a setting of poems by Emily Dickinson (2002) and by Walt Whitman (1999), About the Music

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in addition to a piece for narrator and orchestra titled From the Diary of Anne Frank (1991), as well as more unusual works featuring, for instance, four marimbas and percussion (2003). More recently, with his fulltime gig in San Francisco coming to an end, MTT has started focusing renewed energy on both the idea and reality of writing music. And this week’s set of six songs by the German poet Rainer Maria Rilke is among the results. Created for alternating mezzo-soprano and baritone soloists, Meditations on Rilke received its world premiere last month in San Francisco. “I first read Rilke’s poems in English translation thirty or forty years ago, loved them, and started reading and even memorizing them in German,” the conductor noted in a recent interview. “When you recite poetry, you can hear its music, and now that I am fully reconnecting with my ‘composer self,’ the music of these poems have turned into a set of compositions.” Born in 1875, Rilke was one of the German language’s most intense poets of the late 19th and early 20th centuries, filling his writing with evocations of thought, solitude, life’s purpose, and mystical reflection. As Tilson Thomas notes in his own comments about these songs (see below), part of MTT’s intention was to bring together his own thoughts of what life has frequently seemed to be about, in sadness, humor, coincidence, or everyday experiences — a kind of journal about his life, of ideas we may share. —Eric Sellen THE COMPOSER’S OWN WORDS

Michael Tilson Thomas has written the following comments about this new set of songs: “In 1917, in a bar just outside of Laramie, Wyoming, sat an old piano. Behind it there sat a seemingly older pianist. He’d been there since forever, playing for tips and drinks, and was happy to provide whatever music anyone wanted to hear. Everyone had gotten kind of used to his musical meanderings over the years and his music had led them to unexpected places . . .” The story is based on a tale my father told me. In the early 1930s, as a young man, he and a few other WPA-lefty-artist friends drove across the country in an old jalopy. They arrived in Oatman, Arizona — a last-chance, nearly-abandoned mining town. It’s still there. They had run out of money and needed to get cash to buy food, gas and, most of all, to get out of Oatman. In the café/bar was a sign saying “Dance, Saturday Night — Pianist Wanted.” My dad, who

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About the Music

The Cleveland Orchestra

could play any Gershwin, Berlin, swing, rhumba, whatever number, asked for the job. “Just so long as you can play our music,” said the guy behind the counter. Teddy signed on with total confidence. Imagine how startled he was on Saturday when they asked him to play the “Bear Fat Fling.” And, of course, he figured out how to play it. Amusingly, it was this same “Bear Fat Fling” that I later learned when I began performing Charles Ives’s music. My Six Rilke Songs, recently renamed Meditations on Rilke, are reflections of the many moods the poems suggest. The motifs and harmonies of these pieces have been with me for years, decades. This approach to music as a kind of lifelong journal, or confessional companion, was what my father — and as I have more recently learned, my grandfather, and even my great grandfather — experienced. My fondest wish is that all people would have this kind of relationship to music, with music spontaneously popping into their minds, perhaps in recollection, perhaps in anticipation of places within their spirits. The Meditations on Rilke are all based on musical motifs that recur, recombine, and morph differently in each song. The opening piano solo in “Herbsttag” [Autumn Day] musically describes the opening paragraph of these notes. “Herbsttag” was the first song to be written and has existed for solo voice, solo trombone, solo cello, and now this accompanied version. It introduces most of the motifs that are heard in the rest of the cycle. The fourth song, “Immer wieder” [Again, Again] is like a Schubert “cowboy song.” (My father often pointed out the similarity between songs like “Red River Valley” to many of Schubert’s songs.) The fifth song, “Imaginärer Lebenslauf” [Imaginary Biography], is a duet inspired by the wonderful opportunity of imagining particular voices — Sasha Cooke’s for one — sing these songs. The sixth song, “Herbst” [Autumn], returns to the subject of the months before winter. It opens with a flute solo that connects the motifs from the earlier songs into one long melody. The musical language in these songs is quite traditional. There are melodies, harmonies, bass lines, invertible counterpoint. My greatest concern has always been: “What remains with the listener when the music ends?” It is my hope that some of these musical reflections of many years may stick with you.

Rainer Maria Rilke (1875-1926)

—Michael Tilson Thomas January 2020 Severance Hall 2019-20

About the Music

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Maltz Performing Arts Center

Chatham Baroque

Westminster Choir

April 24-26, 2020 | bw.edu/bachfest BWV performs the premiere of Fantasy-Partita on “Von Gott will ich nicht lassen” by Dr. James Primosch, winner of the RBI 50th Anniversary Commission Contest. The concert will also include works by J. S. Bach, Schütz, and Schein. Featuring Chatham Baroque April 24 | 7 pm | Gamble Auditorium, Baldwin Wallace University J. S. Bach: Brandenburg Concerto No. 6 BW Faculty/Cleveland Orchestra members Daniel McKelway, Lembi Veskimets, Charles Carleton and Factory Seconds Brass Trio (Jack Sutte, Jesse McCormick and Rick Stout), and friends April 25 | 2 pm | Gartner Auditorium, Cleveland Museum of Art J. S. Bach: St. Matthew Passion, BWV 232 BW Motet Choir and Festival Orchestra joined by the Westminster Choir and Chatham Baroque, Dr. Joe Miller, conducting April 25 | 7 pm | Maltz Performing Arts Center Baldwin Wallace University, Berea, Ohio 44017 | 440-826-8070 Baldwin Wallace University, Berea, Ohio 44017 | 440 826 8070

Meditations on Rilke music by Michael Tilson Thomas (b. 1944) setting German texts by Rainer Maria Rilke (1875-1926)

1. Herbsttag

October Day

Herr, es ist Zeit. Der Sommer war sehr gross. Leg deinen Schatten auf die Sonnenuhren, und auf den Fluren lass die Winde los.

Oh Lord, it’s time, it’s time. It was a great summer. Lay your shadow now on the sundials, and on the open fields let the winds go!

Befiehl den letzten Früchten voll zu sein; gib ihnen noch zwei südlichere Tage, dränge sie zur Vollendung hin und jage die letzte Süsse in den schweren Wein.

Give the tardy fruits the hint to fill; give them two more Mediterranean days, drive them on into their greatness, and press the final sweetness into the heavy wine.

Wer jetzt kein Haus hat, baut sich keines mehr. Wer jetzt allein ist, wird es lange bleiben, wird wachen, lesen, lange Briefe schreiben und wird in den Alleen hin und her unruhig wandern, wenn die Blätter treiben.

Whoever has no house by now will not build. Whoever is alone now will remain alone, will wait up, read, write long letters, and walk along sidewalks under large trees, not going home, as the leaves fall and blow away.

2. Ich lebe mein Leben

I Live My Life

Ich lebe mein Leben in wachsenden Ringen, die sich über die Dinge ziehn. Ich werde den letzten vielleicht nicht vollbringen, aber versuchen will ich ihn.

I live my life in growing orbits which move out over the things of the world. Perhaps I can never achieve the last, but that will be my attempt.

Ich kreise um Gott, um den uralten Turm, und ich kreise jahrtausendelang; und ich weiss noch nicht: bin ich ein Falke, ein Sturm oder ein grosser Gesang.

I am circling around God, around the ancient tower, and I have been circling for a thousand years, and I still don’t know if I am a falcon, or a storm, or a great song. PLE A SE TURN PAGE QUIE TLY

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3. Das Lied des Trinkers

The Song the Drunkard Sings

Es war nicht in mir. Es ging aus und ein. Da wollt ich es halten. Da hielt es der Wein. (Ich weiss nicht mehr, was es war.) Dann hielt er mir jenes und hielt mir dies, bis ich mich ganz auf ihn verliess. Ich Narr.

It wasn’t really inside me. It came in and went again. I wanted to hold it. But the wine was holding it. (I’ve forgotten now exactly what it was.) Then he held this out to me, and that out to me, till I was completely dependent on him. I’m an ass.

Jetzt bin ich in seinem Spiel, und er streut mich verächtlich herum und verliert mich noch heut an dieses Vieh, an den Tod. Wenn der mich, schmutzige Karte, gewinnt, so kratzt er mit mir seinen grauen Grind und wirft mich fort in den Kot.

Now I’m playing his game, and he throws me here and there, wherever he pleases, and maybe today he’ll lose me to that pig, death. When death has won me, the smudged-up card, he will scratch his old scabs with me and toss me on the heap.

4. Immer wieder

Again, again!

Immer wieder, ob wir der Liebe Landschaft auch kennen und den kleinen Kirchhof mit seinen klagenden Namen und die furchtbar verschweigende Schlucht, in welcher die anderen enden: immer wieder gehn wir zu zweien hinaus unter die alten Bäume, lagern uns immer wieder zwischen die Blumen, gegenüber dem Himmel.

Again, again, even if we know the countryside of love, and the tiny churchyard with its names mourning, and the chasm, more and more silent, terrifying, into which the others dropped: we walk out together anyway beneath the ancient trees, we lie down again, again, among the flowers, and face the sky.

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Sung Texts and Translations

The Cleveland Orchestra

5. Imaginärer Lebenslauf

Imaginary Biography

Erst eine Kindheit, grenzenlos und ohne Verzicht und Ziel. O unbewusste Lust. Auf einmal Schrecken, Schranke, Schule, Frohne und Absturz in Versuchung und Verlust.

First childhood, no limits, no renunciations, no goals. Such unthinking joy. Then abruptly terror, schoolrooms, boundaries, captivity, and a plunge into temptation and deep loss.

Trotz. Der Gebogene wird selber Bieger und rächt an anderen, dass er erlag. Geliebt, gefürchtet, Retter, Ringer, Sieger und Überwinder, Schlag auf Schlag.

Defiance. The one crushed will be the crusher now, and he avenges his defeats on others. Loved, feared, he rescues, wrestles, wins, and overpowers others, slowly, act by act.

Und dann allein im Weiten, Leichten, Kalten. Doch tief in der errichteten Gestalt ein Atemholen nach dem Ersten, Alten . . .

And then all alone in space, in lightness, in cold. But deep in the shape he has made to stand erect he takes a breath, as if reaching for the First, Primitive . . .

Da stürzte Gott aus seinem Hinterhalt.

Then God explodes from his hiding place.

6. Herbst

Autumn

Die Blätter fallen, fallen wie von weit, als welkten in den Himmeln ferne Gärten; sie fallen mit verneinender Gebärde.

The leaves are falling, falling as if from far up, as if orchards were dying high in space. Each leaf falls as if it were motioning “no.”

Und in den Nächten fällt die schwere Erde aus allen Sternen in die Einsamkeit.

And tonight the heavy earth is falling away from all the other stars in the loneliness.

Wir alle fallen. Diese Hand da fällt. Und sieh dir andre an: es ist in allen.

We’re all falling. This hand here is falling. And look at the other one. . . . It’s in them all.

Und doch ist Einer, welcher dieses Fallen unendlich sanft in seinen Händen hält.

And yet there is Someone, whose hands infinitely calm, hold up all this falling. English translations courtesy of HarperCollins Publishers. Excerpted from Selected Poems of Rainer Maria Rilke, A Translation from the German and Commentary by Robert Bly. Copyright © 1981 by Robert Bly. Reprinted with permission.

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Passion. PERIOD. BAROQUE ORCHESTRA jeannette sorrell

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O Jerusalem!

CROSSROADS OF THREE FAITHS

“The place where brothers and strangers are one…” – Jalal al-Din Rumi, 13th-c. Persian poet

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Music and poetry from the four quarters of the Old City, including selections from Monteverdi’s great Vespers of 1610, Arabic love songs and rapturous singing of Jewish cantors. The performers, including musicians of diverse backgrounds, join in celebration of brotherhood and sisterhood.

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Sasha Cooke

Dashon Burton

American mezzo-soprano Sasha Cooke sings with leading orchestras, opera companies, and chamber ensembles and is known for her wide-ranging repertoire and commitment to new music. She made her Cleveland Orchestra debut in October 2012 and most recently sang here in October 2018. This season she is serving as artist-in-residence with the San Francisco Symphony. Ms. Cooke is a graduate of Rice University and the Juilliard School, and participated in the young artists’ programs of Aspen, Marlboro, the Metropolitan Opera, and Ravinia. Her honors include first place in the 2010 Gerda Lissner and José Iturbi International Music competitions, and the Kennedy Center’s Marian Anderson Award. Sasha Cooke regularly performs in recital and with major orchestras, at opera venues, and in summer festival performances around the world. She has sung in a variety of new musical works including the world premieres of pieces by Mohammed Fairouz, Mark Grey, Marc Neikrug, and Augusta Read Thomas. Ms. Cooke’s artistry can be heard on two Grammy Awardwinning albums, John Adams’s Doctor Atomic and Mason Bates’s The (R)evolution of Steve Jobs.

American bass-baritone Dashon Burton made his Cleveland Orchestra debut in May 2005 and most recently appeared here in May 2019. He began his studies at Case Western Reserve University, graduated from Oberlin College Conservatory of Music and then earned a master’s degree from Yale University’s Institute of Sacred Music. Mr. Burton has performed at festivals and with orchestras across the United States, including appearances with the Bethlehem Bach Festival in Pennsylvania, Carmel Bach Festival, Cincinnati May Festival, and Spoleto USA Festival, and with Copenhagen’s Le Concert Lorrain, Boston’s Handel & Haydn Society, Oratorio Society of New York, and the Yale Schola Cantorum. An advocate of new music, Mr. Burton has premiered works by William Brittelle, Edie Hill, and Caroline Shaw. He is a founding member of Roomful of Teeth, an ensemble devoted to new compositions and winner of the 2013 Grammy for best chamber music/small ensemble performance. Dashon Burton’s competition honors include top prize from the International Vocal Competition in the Netherlands. For more information, visit www.dashonburton.com.

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About the Music

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Symphonie fantastique, Opus 14 (Episode in the Life of an Artist) composed 1830

At a Glance

by

Hector

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

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Berlioz composed his Symphonie fantastique during the spring of 1830. The work’s premiere was given at the Paris Conservatory on December 5, 1830, conducted by François-Antoine Habeneck. This symphony runs about 50 minutes in performance. Berlioz scored it for 2 flutes (second doubling piccolo), 2 oboes (second doubling english horn), 2 clarinets (second doubling e-flat clarinet), 4 bassoons, 4 horns, 2 trumpets, 2 cornets, 3 trombones, 2 ophicleides (an older brass instrument now replaced by tuba),

timpani, percussion (cymbals, bass drum, snare drum, and bells), 2 harps, and strings. The Cleveland Orchestra first performed Berlioz’s Symphonie fantastique in April 1924 — and has programmed it frequently since that time. The Orchestra has recorded the Symphonie fantastique five times: in 1941 with Artur Rodzinski, in 1977 and 1982 with Lorin Maazel, in 1989 with Christoph von Dohnányi, and in 1996 with Pierre Boulez (winning a 1998 Grammy Award for best orchestral performance).

About the Music W H E N A N E W Y O R K N E W S P A P E R in 1868 described the

Symphonie fantastique as “a nightmare set to music,” it was meant to be an insult. Yet this was exactly what Berlioz intended — not that the critic should have a miserable evening, but that the listener should grasp, even dimly, the nightmarish agonies of the composer’s own experience. Of Berlioz’s real suffering there can be no doubt. One has only to read the letters of 1829 (when Berlioz was twenty-five years old) to glimpse the torment of a composer whose mind was bursting with musical ideas and whose heart was bleeding. The object of his passion was an Anglo-Irish actress, Harriet Smithson, whom Berlioz had seen on the stage two years before in the roles of Juliet and Ophelia. Since then, he had viewed her only at a distance, while of his very existence she was still quite unaware. How was this unreal passion to be expressed? His first thought, naturally enough, was a dramatic Shakespearean work, perhaps a Romeo and Juliet, for which he composed, it seems, a few movements. He then set several of Thomas Moore’s Irish Melodies to music, which at least evoked the land of her birth. Once he had encountered Beethoven’s symphonies, especially the “Eroica” (which impressed him just as strongly as Shakespeare), he liked the idea of writing a BeethoAbout the Music

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BERLIOZ’S BELOVED A portrait of the AngloIrish actress Harriet Smithson, and a portrayal of

venian symphony — except that the customary triumphant ending had no counterpart in his own world. The dilemma was resolved early in 1830 when he was informed, evidently by a new aspirant to the role of lover, that Harriet was a typical actress, free and easy with her favors and in no way worthy of the exalted passion that consumed him day and night. Now, he suddenly realized, he could represent this dramatic episode in his life as a symphony, with a demonic, orgiastic finale in which both he and she are condemned to hell. The symphony was speedily written down in little more than three months and performed for the first time later that year. It became a main item in Berlioz’s many concerts in the 1830s, for each of which he issued a printed program explaining the symphony’s narrative.

her onstage as Ophelia

A PA S S I O N AT E S T O RY R E N D E R E D I N M U S I C

in Shakespeare’s Hamlet.

Although the symphony is explicitly about an “artist” and his “beloved,” it is partially about Romeo and Juliet, and even more obviously about himself and Harriet, as everyone probably knew. Even after Berlioz had, by a strange irony, met and married Harriet Smithson three years later, the symphony’s dramatic program remained. There can be few parallels to this extraordinary tale of love blooming in real life after it had been violently repudiated and exorcized in a work of art. All five movements contain a single recurrent musical theme, the idée fixe (“obsession”), which represents the artist’s love, and is transformed according to the context in which the artist finds his beloved. After a slow introduction (“Reveries”), which depicts “the sickness of the soul, the flux of passion, the unaccountable joys and sorrows . . . before he saw his beloved,” the idée fixe is heard as the main theme of the opening movement’s main Allegro section (“Passions”), with violins and flute lightly accompanied by sputtering lower strings. The surge of passion is aptly described in the volcanic first movement, although the movement ends in

Berlioz became infatuated with Smithson when he saw her perform in Paris. They eventually married, but were never very happy together.

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About the Music

The Cleveland Orchestra

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an unexpected picture of religious consolation. In the second movement (“A Ball”), the artist glimpses the beloved in a crowd of whirling dancers. In the third movement (“Scene in the Country”), two shepherds call to each other on their pipes, with the music depicting the stillness of a summer evening in the country, the artist’s passionate melancholy, the wind caressing the trees, and the agitation caused by the beloved’s appearance. At the end, the lone shepherd’s pipe is answered only by the rumble of distant thunder. In his despair, the artist has poisoned his beloved and is condemned to death. The fourth movement is the “March to the Scaffold,” as he is led to the guillotine before the raucous jeers of the crowd. In his last moments, he sees the beloved’s image (the idée fixe in the clarinet’s most piercing range) before the blade falls. Finally, in the fifth movement (“Dream of a Witches’ Sabbath”), the artist finds himself a spectator at a sinister gathering of spectres and weird, mocking monsters of every kind. The idée fixe appears, horribly distorted, bells toll, the religious Dies irae motif is coarsely intoned by tubas (originally written for ophiSeverance Hall 2019-20

About the Music

55

cleide, a lower-pitched keyed bugle created in 1817) and bassoons, and the witches’ round-dance gathers momentum. Eventually the dance and the Dies irae join together and the symphony ends in a riot of brilliant orchestral sound. RO M A N T I C C R E AT I V I T Y

The Symphonie fantastique has remained to this day a classic document of the Romantic imagination and a great virtuoso piece for orchestra. Berlioz’s grasp of the orchestra’s potential charge was uncanny at so early an age. His writing for brass and percussion is particularly novel, and in the second movement he later added a part for solo cornet to evoke the ballroom music of his day. That movement also introduced harps into the symphony orchestra for the first time, while the finale calls for bells and the squeaky highpitched E-flat clarinet. The ophicleide (usually replaced in modern performances by tuba) was then the normal bass brass instrument in France, relished by Berlioz for its coarse tone in such demonic contexts as this. It is curious to reflect that much of the symphony’s musical material was drawn from earlier compositions. It was recently discovered, for instance, that the main melody of the third movement was originally the main theme of a movement in Berlioz’s early Messe solennelle, and the “March to the Scaffold” was rescued from an unperformed opera called Les Francs-juges. In addition, it is probable that the ballroom music was originally meant for his aborted Roméo et Juliette. If so, its new function in the symphony is strikingly apt since Romeo’s first glimpse of Juliet at the Capulets’ ball is exactly how Berlioz imagined the artist seeing his unhappy, doomed “beloved” — and not unlike his own experience on first seeing Harriet perform on stage. When Berlioz finally composed a symphony on Romeo and Juliet nearly ten years later, his ballroom music was already taken, so he had to write a new, and even more spectacular ball. The Symphonie fantastique remains the most potent example in music of the Romantic spirit in full flood, melding music, literature, poetry, imagination, and personal experience into a sensational drama — a drama of the senses and of uninhibited emotion, bursting with life. —Hugh Macdonald © 2020 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

The Cleveland Orchestra

Berlioz, painted in Rome in 1832, probably by Emile Signol.

Love cannot express the idea of music, while music may give an idea of love. —Hector Berlioz

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Herbert Blomstedt

Swedish-American conductor Herbert Blomstedt has been leading orchestras for more than half a century. His leadership and artistry are especially associated with the San Francisco Symphony, Leipzig Gewandhaus Orchestra, and Dresden Staatskapelle. Mr. Blomstedt first conducted The Cleveland Orchestra in April 2006. His most recent concerts here were in February 2019; he returns this coming summer to lead performances on July 14 and 15, at Severance Hall and as part of the 2020 Blossom Music Festival. Born in Springfield, Massachusetts in 1927 to Swedish parents, Herbert Blomstedt began his musical education at the Royal Academy of Music in Stockholm and at the University of Uppsala. He later studied conducting at the Juilliard School, contemporary music in Darmstadt, and renaissance and baroque music at the Schola Cantorum Basiliensis. He also worked with Igor Markevich in Salzburg and Leonard Bernstein at Tanglewood. In 1954, Mr. Blomstedt made his conducting debut with the Stockholm Philharmonic Orchestra. He subsequently served as music director of the Danish Radio Symphony Orchestra, Oslo Philharmonic, Dresden Staatskapelle, and the

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Swedish Radio Symphony Orchestra. He is conductor laureate of the San Francisco Symphony, which he served as music director 1985-95. He was subsequently music director of Hamburg’s NDR Symphony Orchestra and of Leipzig’s Gewandhaus. In recent years, Herbert Blomstedt has been named honorary conductor of the Bamberg Symphony Orchestra, Leipzig Gewandhaus Orchestra, Tokyo’s NHK Symphony Orchestra, and the Danish and Swedish radio symphony orchestras. In addition to these, he regularly guest conducts with many of the world’s greatest orchestras. Mr. Blomstedt’s extensive discography includes over 130 works with the Dresden Staatskapelle, and the complete works of Carl Nielsen with the Danish Radio Symphony. His award-winning recordings with the San Francisco Symphony are on Decca/London. His collaborations with other ensembles, including the Leipzig Gewandhaus Orchestra, can be heard on Decca, Deutsche Grammophon, and RCA Red Seal. He has recorded the complete Bruckner symphonies for the German label Querstand. Among Mr. Blomstedt’s honors are several doctorate degrees and membership in the Royal Swedish Music Academy. In 2003 he received the German Federal Cross of Merit.

Guest Conductor

The Cleveland Orchestra

THE

CLEVELAND ORCHESTRA M U S I C D I R E C TO R 2O19 -2O2O

FR ANZ WELSER- MÖST

Severance Hall

Thursday evening, February 27, 2020, at 7:30 p.m. Friday evening, February 28, 2020, at 8:00 p.m. Saturday evening, February 29, 2020, at 8:00 p.m.

Herbert Blomstedt, conductor ANTON BRUCKNER (1824-1896)

Symphony No. 5 in B-flat major 1. 2. 3. 4.

Adagio — Allegro Adagio: Sehr langsam [Very leisurely] Scherzo: Molto vivace (Schnell) — Trio Finale: Adagio — Allegro moderato

The symphony is presented without intermission and will run approximately 70 minutes.

LIVE RADIO BROADCAST

Saturday evening’s concert is being broadcast live on WCLV (104.9 FM). Current and past Cleveland Orchestra concerts are broadcast as part of regular weekly programming on WCLV (104.9 FM), Saturday evenings at 8:00 p.m. and Sunday afternoons at 4:00 p.m.

Severance Hall 2019-20

Program: Week 16

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2O19 -2O2O

February 27, 28, 29 THI S WE E KE ND’S CONCE RT Restaurant opens: THUR 4:30 FRI 5:00 SAT 5:00

Concert Preview: BEGINS ONE HOUR BEFORE CONCERT

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

Severance Restaurant Reservations (suggested) for dining:

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

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

“Bruckner’s Hidden Worlds That Shine” with Meaghan Heinrich, Wisconsin Conservatory of Music

BRUCKNER Symphony No. 5 . . . . . . . . . . . . . . . . page 65 (70 minutes) The symphony is presented without intermission. Duration and ending times shown are approximate.

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

Share your memories of the performance and join the conversation online . . . Concert ends:

facebook.com/clevelandorchestra twitter: @CleveOrchestra instagram: @CleveOrch

(approx.)

THUR 8:45 FRI 9:15 SAT 9:15

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

Opus Lounge Stop p byy our friendlyy speakeasy p lounge (with full bar service) forr post-concert drinks, desserts, and co onvivial comradery.

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TThis his Week’s Concerts

The Cleveland Orchestra

INTRODUCING THE CONCERT

Hope, Faith& Music

T H I S W E E K E N D ’ S C O N C E R T S feature Bruckner’s Fifth Symphony,

led by guest conductor Herbert Blomstedt, who has long been renowned for his understanding and advocacy for Bruckner’s musical vision. Opinions about Bruckner’s symphonies vary widely, from the oftquoted (and entirely apt) description as “cathedrals in sound” to overlylong sighs of cosmic mystery, from second-rate Mahler to the work of an extraordinarily gifted symphonist. And everything in between. In part, Bruckner’s own personality got in the way, in person and, later, in reputation. He was often socially awkward, with many people who met him thinking he was unsophisticated and, perhaps, not very smart. He was, instead, intensely focused on music as his life’s work and vocation. He was unsure of himself when interacting with people, but clear about what he wanted to write in his music. He waited patiently for opportunities for his symphonies to be performed. He heard only a few of them in his own lifetime, and even those were marred by “corrections” made by mostly well-meaning conductors and his own students who tried to “help” his music sound more like what people expected. Bruckner was a devout Catholic, whose faith informed and infused his view of music’s form and A silhouette cut-out of value. He was a gifted organist, whose improvizations Bruckner conducting. at the keyboard were universally acclaimed. But it took decades after his death before his symphonies gained advocates, first among conductors and then from a slowly awakening public. Many of his scores were restored to his original intentions, advancing his cause as a composer of singular ideas and ideals. He might not be poised as a man. He was simply different. From all of this, it becomes clear that Bruckner had an extraordinary understanding of music, if not the simple niceties of everyday society and easy conversation. He might be awkward to have a beer with, but inspiring as a teacher or mentor. Let us listen and breathe in his magic and mystery. —Eric Sellen

Severance Hall 2019-20

Introducing the Concert

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Picture. Perfect.

Marilyn Monroe, the Beatles, and Twiggy. This new exhibition features approximately 180 works that take viewers through the photographer’s creative process.

OPEN NOW Support provided by Fred and Laura Ruth Bidwell

Sally and Sandy Cutler

Viki and Al Rankin

cma.org Marilyn Monroe, 1952. Philippe Halsman (American, b. Russia [now Latvia], 1906–1979). Gelatin silver print, ferrotyped; 25.4 x 19.8 cm. © Halsman Archive. Image courtesy of the Cleveland Museum of Art

Symphony No. 5 in B-flat major composed 1875-78

At a Glance

by

Anton

BRUCKNER born September 4, 1824 Ansfelden, Upper Austria died October 11, 1896 Vienna

Severance Hall 2019-20

Bruckner began his Fifth Symphony in February 1875 and completed the first draft in May 1876. He subsequently made some revisions to the score, completing these by November 1878. The score remained unpublished and unperformed (with the exception of a two-piano rendering played in 1887). Bruckner’s pupil, the conductor Franz Schalk, introduced the work on April 8, 1894, in Graz. Bruckner was unable to attend and never heard the symphony performed. For the premiere, Schalk made wide-ranging cuts and changes, including reorchestrations. This is the version that was first published, in 1896. The original version, based on Bruckner’s manuscript scores, was

published in 1935. This weekend’s performances utilize a 2005 edition of Nowak’s 1951 edition, incorporating some corrections to the 1935 version. This symphony runs about 70 minutes in performance. Bruckner’s score calls for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, and strings. The Cleveland Orchestra first performed this symphony in 1974, under the direction of Lorin Maazel. Christoph von Dohnányi and the Orchestra recorded this symphony in 1991 for Decca. The Orchestra and Franz Welser-Möst are featured on a videorecording on the Clasart label.

About the Music B R U C K N E R ’ S S T O R Y is one of triumph over adversity. Mis-

understood and even reviled during his lifetime, he received a fresh drubbing from the press with each symphony he premiered. His “ugly music” was filled with “rotting odors,” they cried. “Bruckner composes like a drunkard!” And yet Bruckner continued to compose until his last decade — eleven symphonies across a life of seventy years, if you count his first “study” work. For this composer, these symphonies were a form of fighting back against the odds, emerging from darkness into light in a carefully crafted sweep that echoed Beethoven at his mightiest. And that is why listening to them can be such an ecstatic experience. No wonder there are so many Bruckner appreciation societies, sites, and forums. If one is open to the experience, for both the enthusiast and newcomer, a Bruckner symphony has you witness the birth and gradual formation of a complete and utterly satisfying musical world. From apparent chaos, the music assumes immaculate shape until, in its final bars, it burns like a star in its own universe. The main adversary Bruckner faced throughout his life was not some viperous critic, but himself. Chronic self-doubt About the Music

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defined his career. For every appointment or new step forward, Bruckner sought assurance from every corner. Cautious to the point of paranoia, he felt paralyzed unless he was completely insured against failure. When he applied for the post of organist at Linz Cathedral, for example, he could not leave the safe confines of St. Florian monastery — where he could have happily spent the rest of his days — until the monks had committed in writing to re-employ him should the Linz post not work out. The same prevarication and need for assurance plagued his creative life. Bruckner did not trust himself to write his first symphonic work, the so-called symphony No. “00” or “null,” until he had first subjected himself to the most rigorous training in counterpoint and harmony. This came at the hands of Herr Sechter, a taskmaster who forbade any “free” composition and subjected his pupils to one mind-knotting contrapuntal exercise after another. As an organist, Bruckner had a natural flair for such exercises, but still the doubt remained. What he did compose, throughout his life, he revised again and again, partly to appease critics but mainly to address his own nagging concerns. His anxiety reached toxic levels on three occasions, causing him to collapse with nervous exhaustion. It was during these periods that he sought manically to bring order to his environment, mainly through counting everything around him. He counted bricks in the buildings across the street, the leaves on the trees, the stars at night, even the sequins on the dress of someone who had come to visit him in hospital. This “numeromania” insinuated itself into his composing, where he would count every bar in the symphony and made sure it fitted within a pre-ordained design. So how did these neuroses carry forward in his life? VIE NNA BECKON S

After a long stint as an organist, Bruckner applied to become the professor of harmony and counterpoint at Vienna’s prestigious conservatory. Naturally, the move to Vienna and the financial insecurity it involved filled him with dread. But he was forty-four and recognized that it must be then or never. At the conservatory, he took to continuing the legacy of Sechter, keeping lessons to the study of counterpoint in all its forms. Students recall how kindly their teacher was, but many were crushingly bored as he stood dispassionately at the board and yet again chalked up a fugal subject. It was like having a diet of pure greens, day in day out. (Which, to be sure, works for some, but bores most

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About the Music

The Cleveland Orchestra

Anton Bruckner, 1885, oil painting by Hermann Kaulbach

“Anton Bruckner: There is arguably no other composer who spent so many years studying his art before establishing his unique voice. He remained a devout Catholic for the whole of his life, and his faith pervades all his music, even though it was with the traditionally secular symphony — Gothic cathedrals in sounds, as they have often been described — that his originality was established.” —The Rough Guide to Classical Music

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of us beyond torture.) The city of Vienna was a harsh environment, full of sneering and backbiting. Bruckner, from much smaller environs, lacked the swagger needed to ride high in such a place. Despite his professorship, he remained an outsider to the musical establishment until he died — notwithstanding the awards and accolades that belatedly came his way. Some of this outsiderdom Bruckner welcomed, as it both symbolized and fostered a humility that made him reliant on his faith alone. Composing was a compact between him and his maker. The opinions of others mattered, but their significance eventually faded. When writing his Seventh Symphony he would ask: “How then would I stand there before Almighty, God, if I followed the others and not Him? Someday I will have to give an account of myself.” IF CLOTHES MAKETH THE MAN . . .

Bruckner never made an effort to blend in with the fashions of the day, musical or otherwise. Consider the standard portrait of him that dates from the 1870s: the composer stares impassively beyond the frame, his jacket like a painter’s smock that slopes loosely off the shoulders, shirt collar illfitting and gaping, hair clipped short to a severe white bristle and face heavy with years of anxiety. His slovenly appearance was a slap in the face of Viennese chic. That was Bruckner’s way — a dogged resistance to anything urbane. He was proud of his rural roots and hankered for a bygone world, even while proposing and producing a musical way forward into a new future. Thus, despite this traditional bent, he was a prophet to some, a daring progressive who used dissonance to startling new effect. But to many, he was either a simpleton or an oddball. And Bruckner remains a divisive figure to this day, even with the scholarship and popularity his works now attract. The reality of his personality was more complex. Afterall, a man who could improvise a four-part fugue at the organ was clearly no simpleton. The trouble was not a lack of intellect but a lack of breadth. His life had revolved purely around the organ loft until his forties, and he showed precious little interest in anything that might have Severance Hall 2019-20

About the Music

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eased his route into wider society. He couldn’t give a fig about politics, he read little, and made no attempt to polish up his country accent. His blunt mannerisms often ended up offending, and his remarks sometimes revealed an unpleasant chauvinism. (His interactions with women remained famously problematic throughout his life, as his piety dictated he could only marry a virgin. This, at least, was how he justified propositioning teenage girls even when he was in his seventies. Bruckner died a bachelor.) TRIUMPH OVE R ADVE RSIT Y

For many in Vienna, the length of Bruckner’s symphonies palled, and their slow pacing felt too ponderous — with one long paragraph after another delivered in indigestible blocks. Johannes Brahms once called Bruckner’s works “symphonic boaconstrictors,” and the epithet stuck — big, long, tight (and not in a good way). It took time for the public to learn how to listen to these large works, but by 1881 the tide was gently turning, with the Fourth Symphony managing to get a warm reception. But regardless of audience reactions, Bruckner continued to compose. Not just out of a sense of God-given duty, but because it also represented a place of self-renewal and escape — even when it became more like purgatory when the first draft saw the light of day. In a cathartic sweep of personal output, the initial versions of the third, fourth, and fifth symphonies followed one upon the next in quick succession. Despite all the obstacles, this composer was, perhaps, finding his stride. Bruckner set to work on his Fifth Symphony in 1875 in the immediate aftermath of the disastrous premiere of his Third Symphony, where the crowd had filed, one by two, group by group, out of the hall before the end. The first tune for the Fifth that came to him, appropriately enough, was the heavily sighing oboe melody that would open the second movement. The whole work took just months to write, held together as he worked it out, by an exquisite architecture, his most elaborate yet! From the outside, that architecture seems a repeat of previous symphonies, and of a tried-and-trusted pattern that dates back to Beethoven — a lengthy and intense first movement where material slowly coalesces, a slow movement that feels like an act of liturgical devotion, a sonata-form scherzo, and a finale that sums up the work’s ideas in glorious fashion. Internally, however,

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About the Music

The Cleveland Orchestra

April 22 – May 10, 2020 over 100 events including soprano Renée Fleming and pianist Evgeny Kissin in an iconic collaboration

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Bruckner took his thinking to audacious new levels. There would be more dissonance, more counterpoint, and a larger pay-off at the end as his new symphonic world took full form. A NOTE ON VERSIONS

One of Bruckner’s students and early advocates, the conductor Franz Schalk, deemed the Fifth Symphony too long for its first performance in 1894. Before leading the premiere, he cut fifteen minutes from the scherzo and finale. He also added some Wagnerian touches, including an off-stage brass ensemble and touches of triangle and cymbals, splashed on like cheap cologne. This version, which was never heard by Bruckner, was later rejected in favor of the original by successive directors of the International Bruckner Society, Robert Haas and Leopold Nowak. For this week’s Cleveland Orchestra performances, Herbert Blomstedt is using the third edition of the Nowak version (published 2005), based on the 1878 score. LI S TE N I N G TO A FANTA S TI C SY M PH O N Y

Bruckner called this work “fantastic” because it has fantasySeverance Hall 2019-20

About the Music

71

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.

like elements. The first movement is the best example of this, with the music often taking unexpected turns. The opening starts with typically hushed tones, as strings join each other one by one, rising in gentle supplication. Then the brass, like a bolt from the blue, blast out dramatic arpeggios in a new key. The brass will often be used like this throughout the opening movement, intervening as if from a different, grander world — challenging acquiescence and any hint of withdrawal. There will be two more groups of themes in this movement, each occupying a different dramatic space. Each time, they return, they are developed before being ingeniously fused with one another. And just when you think you know the direction of travel, Bruckner slips a gear, switches harmony and finds a by-road. Ideas seem to falter and pause just as they have found momentum, as if the whole story is being held together as a series of loose recollections (“This reminds me . . .”) It can make for involved and exciting listening. The Adagio second movement opens with plucked strings, which turn out to be a recurring opening device for three of the four movements, a way of binding the material by sonority as well as motif. After some tentative gestures, lead by the sighing oboe, the strings introduce a typically broad Brucknerian melody, reaching to the heavens. Given the underlying tempo (Sehr langsam or “very slow”), Bruckner’s skill is in keeping the material in a perpetual state of motion, each line feeding the next. The Scherzo third movement has a distinct Austrian accent, with its nod to a Ländler style of dance (think Lederhosen and hearty slaps), while also recalling the bright energy and pointedness of a Beethoven scherzo. The first violins are given characteristically lilting lines, but their dance is held in check by the accompaniment — this is not going to be a Mahlerianstyle flight of fancy, where the dance opens a portal to a deeply personal world. Instead, Bruckner stays neatly within the idiom, even though there are several about-turns. It is a movement that is both playful and disruptive, dainty and raucous. The finale fourth movement starts by recalling the first IN PERFECT HARMO N Y S INCE 1988

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About the Music

The Cleveland Orchestra

movement’s reflective opening. Soon though, a clarinet interrupts the reverie with a chirpy motif, a dawn call when everybody is still dreaming of the past. This call then becomes a fugal subject as Bruckner puts all that diligent contrapuntal training under Sechter to impressive use. Another “double fugue” follows (with two subjects and their own set of responses), all of which is eventually counterpointed against a third, chorale-like theme underneath. You have an insight here into how Bruckner might have improvised at the organ bench, tossing the ideas from manual to manual before bringing the pedals in on mighty reed stops. Bruckner once remarked to a student that “counterpoint isn’t genius, only a means to an end.” Here in the Fifth Symphony he uses it to bring the fantasy-like ideas of earlier movements into new focus, repurposing them and showing how, all along, they belong together. It is an exercise of perfect dovetailing and large-scale summation. The symphony’s thematic unity is underlined in its final exclamations, as a motto theme from the first movement is pealed in the brass, each peal more joyful and triumphant than the last. —Jonathan James © 2020 Jonathan James is a lecturer, conductor, and BBC presenter based in Bristol, England. There he runs a specialist music school and leads creative workshops.

Anton Bruckner Arrives in Heaven — a silhouette by Otto Böhler (1873-1915). Bruckner is being greeted (from left to right) by Liszt, Wagner, Schubert, Schumann, Weber, Mozart, Beethoven, Gluck, Haydn, Handel, and Bach (at organ).

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About the Music

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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

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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 January 20, 2020 $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 $100,000 TO $249,999

Paul M. Angell Family Foundation The Cleveland 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 Martha Holden Jennings Foundation

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Myra Tuteur Kahn Memorial Fund of the Cleveland Foundation The Frederick and Julia Nonneman 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 Kent State University The Kirk Foundation (Miami) Miami-Dade County Department of Cultural Affairs (Miami) National Endowment for the Arts 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 The George Garretson Wade Charitable Trust Wesley Family Foundation

Foundation/Government Annual Support

$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) The Frederick W. and Janet P. Dorn Foundation D’Addario 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 Welty Family Foundation The Thomas H. White Foundation, a KeyBank Trust The Edward and Ruth Wilkof Foundation The Wright Foundation The Wuliger Foundation Anonymous

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

Annual Support gifts in the past year, as of January 20, 2020 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 Quality Electrodynamics

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$50,000 TO $99,999

The Lubrizol Corporation PNC 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 Frantz Ward LLP The Giant Eagle Foundation Great Lakes Brewing Company Hahn Loeser & Parks LLP Huntington National Bank Miba AG (Europe) Northern Trust Olympic Steel, Inc. RPM International Inc. The Sherwin-Williams Company Third Federal Foundation 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 Component Repair Technologies, Inc. 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 Struktol Company of America Ulmer & Berne LLP Vincent Lighting Systems Margaret W. Wong & Associates LLC Anonymous (2)

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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 January 20, 2020 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+ 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 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 Mr. Yuval Brisker The Brown and Kunze Foundation Mr. and Mrs. Marshall Brown Rebecca Dunn JoAnn and Robert Glick Mrs. John A Hadden Jr.* Mr. and Mrs. Donald M. Jack, Jr. Mr. and Mrs. Douglas A. Kern Toby Devan Lewis Ms. Nancy W. McCann+ Mr. Stephen McHale 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 78

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

Individual Annual Support

The Cleveland Orchestra

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

Elisabeth DeWitt Severance Society 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 Dr. Robert Brown and Mrs. Janet Gans 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 Dr. Malcolm E. Kenney, PhD 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 Mr. and Mrs. Alex Machaskee+ John C. Morley 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 The Seven Five Fund+ Hewitt and Paula Shaw+ Kim Sherwin+ Ms. Eileen Sotak and Mr. William Kessler R. Thomas and Meg Harris Stanton Mr. and Mrs. Alfred Umdasch (Europe) Mr. and Mrs. John Warner Meredith and Michael Weil Paul and Suzanne Westlake Tony and Diane Wynshaw-Boris+

The Severance Cleveland HallOrchestra 2019-20

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 Mary and Bill Conway Judith and George W. Diehl+ Nancy and Richard Dotson+ Mr. Brian L. Ewart and Mr. William McHenry+ Joan Alice Ford Mr. Allen H. Ford Friends of The Cleveland Orchestra Mr. and Mrs. Robert W. Gillespie Dr. Edward S. Godleski Patti Gordon (Miami) Richard and Ann Gridley+ Kathleen E. Hancock Sondra and Steve Hardis Jack Harley and Judy Ernest Iris and Tom Harvie+ Amy and Stephen Hoffman David and Nancy Hooker+ Joan and Leonard Horvitz Richard Horvitz 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 Mr. Donald W. Morrison+* Margaret Fulton-Mueller Dr. Anne and Mr. Peter Neff Steven and Ellen Ross Dr. Isobel Rutherford Astri Seidenfeld Meredith M. Seikel Mr. Heinrich Spängler (Europe) Mr. and Mrs. Richard P. Stovsky Mr. and Mrs. Leonard K. Tower Mr. Daniel and Mrs. Molly Walsh Tom and Shirley Waltermire+ Mr. and Mrs. Fred A. Watkins+ Mr. and Mrs. Jeffery J. Weaver Robert C. Weppler Sandy and Ted Wiese Max and Beverly Zupon Anonymous listings continue

Individual Annual Support

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Frank H. Ginn Society gifts f off $10,000 to $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) Robert and Jean* Conrad+ Mrs. Barbara Cook Mr. and Mrs. Matthew V. Crawford Mr. and Mrs. Manohar Daga+ Mrs. Barbara Ann Davis+ Henry and Mary* Doll+ Dr. and Mrs. Lloyd H. Ellis Jr. Carl Falb William R. and Karen W. Feth+ Michael Frank and Patricia A. Snyder Ms. Marina French Albert I.* and Norma C. Geller Mr. Robert Goss Mr. and Mrs. Stephen Griebling Mr. Michael GrĂśller (Europe) Mr. Alfred Heinzel (Europe)

Mr. and Mrs. Jerry Herschman Dr. Fred A. Heupler+ 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. John Mueller Brian and Cindy Murphy+ Randy and Christine Myeroff Mr. J. William and Dr. Suzanne Palmer+ John N.* and Edith K. Lauer Dr. Roland S. Philip and Dr. Linda M. Sandhaus+ 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 Mrs. Florence Brewster Rutter* Dr. and Mrs.* Martin I. Saltzman Mr. Lee Schiemann Carol* and Albert Schupp Dr. and Mrs. James L. Sechler 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)

Mr. S. Stuart Eilers+ Mary and Oliver* Emerson Mr. Joseph Falconi Joseph Z. and Betty Fleming (Miami) 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+ Donna L. and Robert H. Jackson 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+ Rudolf and Eva Linnebach Frank and Jocelyne Linsalata Mr. Henry Lipian Drs. Todd and Susan Locke David and Janice* Logsdon Anne R. and Kenneth E. Love Elsie and Byron Lutman

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 Ms. Elizabeth Brinkman 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. and Mrs. James V. Conway Mr. John Couriel and Mrs. Rebecca Toonkel (Miami) Mr. and Mrs. Ralph Daugstrup Thomas S. and Jane R. Davis Pete and Margaret Dobbins+ Mr. and Mrs. Robert P. Duvin Elliot and Judith Dworkin

84 80

Individual Annual Support

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listings continued

Da Mann and Bernadette Pudis David Ms. Amanda Martinsek M JJames 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 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 Lute and Lynn Quintrell Mr. and Mrs. Roger F. Rankin

Brian and Patricia Ratner Ms. C. A. Reagan 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) Don Schmitt and Jim Harmon 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 Sandra and Richey Smith Dr. Marvin and Mimi Sobel*+ Mr. and Mrs. William E. Spatz George and Mary Stark+ Dr.* and Mrs. Frank J. Staub

Mr. and Mrs. Donald W. Strang, Jr. Stroud Family Trust Mr. and Mrs. Joseph D. Sullivan Sulliv Ms. Lorraine S. Szabo+ Szabo Taras Szmaga Szmagala and Helen Jarem Robert and Carol Taller Sidney Taurel and Maria Castello Branco Philip and Sarah Taylor Mr. Joseph F. Tetlak Mr.* and Mrs. Robert N. Trombly Robert and Marti* Vagi Bobbi and Peter* van Dijk 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. Frank H. Carpenter William and Barbara Carson Dr. Victor A. Ceicys Mr. and Mrs. James B. Chaney Dr. Ronald Chapnick* and Mrs. Sonia Chapnick Mr. Gregory R. Chemnitz Mr. and Mrs. Homer D. W. Chisholm 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 Dr. Todd Diacon 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. and Mrs. Frederick A. Fellowes Mr. William and Dr. Elizabeth Fesler Scott A. Foerster Mr. Paul C. Forsgren Carol A. Frankel 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 and Ms. Cynthia Prior Mr. William Gaskill and Ms. Kathleen Burke Mr. Wilbert C. Geiss, Sr. Anne and Walter Ginn Holly and Fred Glock Dr.* and Mrs. Victor M. Goldberg Dr. and Mrs. Ronald L. Gould Dr. Robert T. Graf Mr. James Graham and Mr. David Dusek Mr. Calvin Griffith Candy and Brent Grover 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 Mrs. Julia M. Healy Matthew D. Healy and Richard S. Agnes

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 Michael and Karen Baldridge 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 Mr. Lawrence A. Blaustein 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 Brian and Cyndee Burke Mr. and Mrs. Robert G. Busha Mr. and Mrs. Marc S. Byrnes Rev. Dr. Joan Brown Campbell and Rev. Dr. Albert Pennybacker John and Christine Carleton

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Individual Annual Support

Orchestra The Cleveland Orchestra

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 Thomas and Mary Holmes Gail Hoover and Bob Safarz Ms. Sharon J. Hoppens Xavier-Nichols Foundation/ Robert and Karen Hostoffer Dr. Randal N. Huff and Ms. Paulette Beech+ Ms. Laura Hunsicker Ruth F. Ihde Ms. Kimberly R. Irish Bruce and Nancy Jackson Pamela Jacobson Mr. and Mrs. Richard A. Janus Mr. and Mrs. Bruce D. Jarosz Robert and Linda Jenkins Mr. Robert and Mrs. Mary V. Kahelin Rudolf D.* and Joan T. Kamper Mr. Jack E. Kapalka 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 Mr. Donald N. Krosin Alfred and Carol Lambo Mr. and Mrs. John J. Lane, Jr.+ 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 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 Mr. Barry Dunaway and Mr. Peter McDermott Ms. Nancy L. Meacham Mr. and Mrs. James E. Menger Glenn and Ida Mercer Beth M. Mikes Mr. Ronald Morrow III Eudice M. Morse Mr. Raymond M. Murphy

The Cleveland Severance HallOrchestra 2019-20

Ms. Megan Nakashima Joan Katz Napoli and August Napoli Richard B. and Jane E. Nash Andrea Nobil (Miami) 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 Nan and Bob Pfeifer Dale and Susan Phillip Dr. Marc A. and Mrs. Carol Pohl Peter Politzer and Jane S. Murray 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 Joan and Rick Rivitz Mr. D. Keith and Mrs. Margaret Robinson Mr. Timothy D. Robson+ 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 Fr. Robert J. Sanson Ms. Patricia E. Say Mr. Paul H. Scarbrough Ms. Beverly J. Schneider Mr. James Schutte+ Mrs. Cheryl Schweickart Mr. and Mrs. Alexander C. Scovil Ms. Kathryn Seider Rafick-Pierre Sekaly Mr. Eric Sellen and Mr. Ron Seidman Steve and Marybeth Shamrock Ginger and Larry Shane Harry and Ilene Shapiro Ms. Frances L. Sharp Mr. Philip and Mrs. Michelle Sharp Larry Oscar & Jeanne Shatten Charitable Fund of the Jewish Federation Dr. and Mrs. William C. Sheldon Terrence and Judith Sheridan 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 David Kane Smith Ms. Janice A. Smith Mr. Eugene Smolik Ms. Barbara R. Snyder Drs. Nancy and Ronald Sobecks Drs. Thomas and Terry Sosnowski Diane M. Stack Mr. and Mrs. Jeffrey C. Stanley

Individual Annual Support

Sue Starrett and Jerry Smith Edward R. & Jean Geis Stell Foundation Frederick and Elizabeth Stueber Michael and Wendy Summers Mr. David Szamborski Mr. and Mrs. John Taylor Ken and Martha Taylor Mr. Karl and Mrs. Carol Theil+ Mr. John R. Thorne and Family Bill and Jacky Thornton Dr. and Mrs. Thomas A. Timko Drs. Anna* and Gilbert True Dr. Margaret Tsai Steve and Christa Turnbull+ Gina Vernaci and Bill Hilyard Teresa Galang-Viñas and Joaquin Vinas (Miami) Mr. and Mrs. Les C. Vinney John and Deborah Warner Margaret and Eric* Wayne+ Mr. Peter and Mrs. Laurie Weinberger Katie and Donald Woodcock Elizabeth B. Wright+ Rad and Patty Yates Dr. William Zelei Mr. Kal Zucker and Dr. Mary Frances Haerr Anonymous (2)+ Anonymous (Miami) (1) Anonymous (6)

* deceased

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

Thank You The Cleveland Orchestra is sustained through the support of thousands of generous patrons, including the Leadership donors listed on these pages. For more about how you can play a supporting role for The Cleveland Orchestra, please contact the Philanthropy & Advancement Office by phone: 216-456-8400 or by email: donate @clevelandorchestra.com

87 83

Dreams can come true

Cleveland Public Theatre’s STEP Education Program Photo by Steve Wagner

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

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

Legacy Giving THE CLEVELAND ORCHESTRA

H E R I TAGE S O C I ET Y The Heritage Society honors those individuals who are helping to ensure the future of The Cleveland Orchestra with a Legacy gift. Legacy gifts come in many forms, including bequests, charitable gift annuities, and insurance policies. The following listing of current members is as of June 2019. For more information, please contact the Orchestra’s Legacy Giving Office by contacting Rachel Lappen at rlappen@clevelandorchestra.com or 216-231-8011. Lois A. Aaron Leonard Abrams Gay Cull Addicott Stanley and Hope Adelstein* Sylvia K. Adler* Norman* and Marjorie Allison Dr. Sarah M. Anderson George N. Aronoff Herbert Ascherman, Jr. Jack and Darby Ashelman Mr. and Mrs. William W. Baker Jack L. Barnhart Margaret B. and Henry T.* Barratt Rev. Thomas T. Baumgardner and Dr. Joan Baumgardner Fred G. and Mary W. Behm Fran and Jules Belkin Dr. Ronald and Diane Bell Bob Bellamy Joseph P. Bennett Marie-Hélène Bernard Ila M. Berry* Howard R. and Barbara Kaye Besser Dr.* and Mrs. Murray M. Bett Dr. Marie Bielefeld Raymond J. Billy (Biello) Mr. William P. Blair III Doug and Barb Bletcher Madeline & Dennis Block Trust Fund Mrs. Flora Blumenthal Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. and Mrs. Charles P. Bolton Kathryn Bondy* Loretta and Jerome Borstein* Mr. and Mrs.* Otis H. Bowden II Drs. Christopher P. Brandt and Beth Brandt Sersig Mr. D. McGregor Brandt, Jr. David and Denise Brewster Robert W. Briggs Elizabeth A. Brinkman Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Thomas Brugger, MD Mr. and Mrs. Harvey Buchanan* Joan and Gene* Buehler Gretchen L. Burmeister

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

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

The Cleveland Orchestra

Legacy Giving

85

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*

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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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P H OTO BY S T E V E H A L L © H E D R I C H B L E S S I N G

11001 Euclid Avenue Cleveland, Ohio 44106

P H OTO BY S T E V E H A L L © H E D R I C H B L E S S I N G

CLEVELANDORCHESTRA.COM

the world’s most beautiful concert halls, Severance Hall has been home to The Cleveland Orchestra since its opening on February 5, 1931. After that first concert, a Cleveland newspaper editorial stated: “We believe that Mr. Severance intended to build a temple to music, and not a temple to wealth; and we believe it is his intention that all music lovers should be welcome there.” John Long Severance (president of the Musical Arts Association, 19211936) and his wife, Elisabeth, donated most of the funds necessary to erect this magnificent building. Designed by Walker & Weeks, its elegant Georgian HAILED AS ONE OF

Severance Hall 2019-20

Severance Hall

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 French 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.

89

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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

FUZE series Wednesday, April 22 Ann Hampton Callaway’s Jazz Goes to the Movies Golden age of Hollywood love songs

7:30 p.m., Akron’s EJ Thomas Hall

330-761-3460 tuesdaymusical.org 93

T H E B AC K PAG E

OPER A TR ADITIONS The Cleveland Orchestra has a long and storied history of operatic performances. In the mid-1930s, after the opening of Severance Hall, music director Artur Rodzinski led several fully-staged opera productions each year (including the United States premiere of Shostakovich’s Lady Macbeth of Mtzensk). But economic constraints of the Depression ended the series after a few years. The Orchestra’s season featured occasional in-concert presentations in the ensuing decades, as well as several summer seasons of Lake Erie Opera’s staged productions at Severance Hall in the mid-1960s and two staged productions at Blossom in the mid1980s. During Franz Welser-Möst’s tenure, opera has become a regular and welcome part of the Orchestra’s annual schedule, now boasting nearly twenty operas featuring international stars and up-and-coming talent, and mixing in-concert presentations alongside innovatively-staged productions.

Views from the Stage

Opposite page, top to bottom: Wagner’s Die Walküre in 1934 and Shostakovich’s Lady Macbeth of Mtzensk in 1935 were among fully-staged operas in Severance Hall’s early years. More recently, Mozart’s Così fan tutte in 2010 was featured as part of a three-year cycle of Mozart’s Da Ponte operas in productions from Zurich Opera.

PHOTOS BY ROGER MASTROIANNI

At left: Nina Stemme starring in the title role in a concert presentation of Strauss’s Salomé in 2012.

Franz Welser-Möst led The Cleveland Orchestra and an international cast of singers in a unique production of Leoš Janáček’s The Cunning Little Vixen in 2014, directed by Yuval Sharon and blending together live action with projected animation. Encore performances were presented in 2017-18, in Cleveland and Vienna.

Severance Hall 2019-20

Views from the Stage

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