The Cleveland Orchestra Sept. 29, 30, Oct. 8

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THE CLEVELAND ORCHESTRA F R ANZ WELSER-MÖST M U SIC DI R ECTOR September 29, 30, October 8 TCHAIKOVSKY FOURTH SYMPHONY

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THE CLEVELAND ORCHESTRA O F

C O N T E N T S

WEEK 1 9

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About the Orchestra Musical Arts Association . . . . . . . . . . . . . . . . . . . . . . 9 Music Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Conductors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Guest Information . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Severance Hall. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83 The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . 84 In the Spotlight Photograph . . . . . . . . . . . . . . . . . 85

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In the News Perspectives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Orchestra News . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

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CO V E R P H OTO G R A P H

BY R O G E R M A S T R O I A N N I

TA B L E

Concert — Week 1 Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . .

Program (Thursday and Friday) . . . . . . . . . . . . . .

Program (Saturday) . . . . . . . . . . . . . . . . . . . . . . . . .

Introducing the Program . . . . . . . . . . . . . . . . . . . .

29 30 31 33

STRAVINSKY

Concerto in D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 STRAVINSKY-GABRIELI Mass settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 Sung text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Copyright © 2011 by The Cleveland Orchestra and the Musical Arts Association Eric Sellen, Program Book Editor E-MAIL: esellen@clevelandorchestra.com Elaine Guregian, Communications Manager 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 The Musical Arts Association 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.

STRAVINSKY

Agon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 TCHAIKOVSKY

Symphony No. 4 . . . . . . . . . . . . . . . . . . . . . . . . . . 55 Conductor: Franz Welser-Möst . . . . . . . . . . . . . . . . 13 Cleveland Orchestra Chorus . . . . . . . . . . . . . . . . 46

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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.

Donors and Sponsors Corporate Honor Roll . . . . . . . . . . . . . . . . . . . . . . . . 69 Foundation / Government Honor Roll . . . . . . . . 71 Patron Listings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

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This program book is printed on paper that includes 10% recycled post-consumer content.

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B O A R D O F T R U S T E E S as of Setember 2011

T H E M U S I C AL ARTS AS SOCIATION operating The Cleveland Orchestra, Severance Hall, and Blossom Festival O F F I C E R S A ND E X E C UT I VE C O MMIT T E E Dennis W. LaBarre, President Richard J. Bogomolny, Chairman The Honorable John D. Ong, Vice President

Norma Lerner, Honorary Chair Raymond T. Sawyer, Secretary Beth E. Mooney, Treasurer

Jeanette Grasselli Brown Matthew V. Crawford Michael J. Horvitz Douglas A. Kern

Virginia M. Lindseth Alex Machaskee Nancy W. McCann John C. Morley

Larry Pollock Alfred M. Rankin, Jr. Audrey Gilbert Ratner Barbara S. Robinson

R E S I D E NT TR U S T E E S Gay Cull Addicott George N. Aronoff Dr. Ronald H. Bell Richard J. Bogomolny Charles P. Bolton Jeanette Grasselli Brown Helen Rankin Butler Scott Chaikin Paul G. Clark Owen M. Colligan Robert D. Conrad Matthew V. Crawford Alexander M. Cutler Bruce P. Dyer Terrance C. Z. Egger Hiroyuki Fujita Paul G. Greig Robert K. Gudbranson Jeffrey A. Healy Stephen H. Hoffman David J. Hooker Michael J. Horvitz Marguerite B. Humphrey

David P. Hunt Christopher Hyland James D. Ireland III Clifford J. Isroff Trevor O. Jones Jean C. Kalberer Nancy F. Keithley Douglas A. Kern John D. Koch S. Lee Kohrman Charlotte R. Kramer Dennis W. LaBarre Norma Lerner Virginia M. Lindseth Alex Machaskee Robert P. Madison Nancy W. McCann Thomas F. McKee Samuel H. Miller Beth E. Mooney John C. Morley Donald W. Morrison Meg Fulton Mueller

Gary A. Oatey Katherine T. O’Neill The Honorable John D. Ong Larry Pollock Alfred M. Rankin, Jr. Clara T. Rankin Audrey Gilbert Ratner Charles A. Ratner James S. Reid, Jr. Barbara S. Robinson Paul Rose Steven M. Ross Raymond T. Sawyer Luci Schey Neil Sethi Hewitt B. Shaw, Jr. David L. Simon Richard K. Smucker R. Thomas Stanton Thomas A. Waltermire Geraldine B. Warner Paul E. Westlake Jr. David A. Wolfort

NO N- R E S I D E NT T RUS T E E S Virginia Nord Barbato (NY) Laurel Blossom (SC) Richard C. Gridley (SC)

George Gund III (CA) Loren W. Hershey (DC) Mrs. Gilbert W. Humphrey (FL)

Herbert Kloiber (Germany) Ludwig Scharinger (Austria)

TR U S TE E S E X- O FFI C I O Iris Harvie, President, Volunteer Council of The Cleveland Orchestra Beth Schreibman Gehring, President, Women’s Committee of The Cleveland Orchestra Phyllis Knauf, State Chair, Blossom Women’s Committee TR U S TE E S E M E RI T I David A. Ruckman Naomi G. Singer

H O N O RARY T RUS T EES FOR LIFE Robert W. Gillespie Francis J. Callahan Dorothy Humel Hovorka Mrs. Webb Chamberlain Robert F. Meyerson Oliver F. Emerson Allen H. Ford

PA S T PR E S I D E NT 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

THE CLEVELAND ORCHESTRA Gary Hanson, Executive Director

clevelandorchestra.com

Severance Hall 2011-12

Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee Dr. Lester Lefton, President, Kent State University Barbara R. Snyder, President, Case Western Reserve University

Ward Smith 1983-95 Richard J. Bogomolny 1995-2002, 2008-09 James D. Ireland III 2002-08

SEVERANCE HALL 11001 Euclid Avenue Cleveland, Ohio 44106 Telephone (216) 231-7300

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

marks Franz Welser-Möst’s tenth year as Music Director of The Cleveland Orchestra, with a long-term commitment extending to the Orchestra’s centennial in 2018. Under his direction, the Orchestra is acclaimed for its continuing artistic excellence, is enlarging and enhancing its community programming at home, is presented in a series of ongoing residencies in the United States and Europe, continues its historic championship of new composers through commissions and premieres, and has re-established itself as an important operatic ensemble. Concurrently with his post in Cleveland, Mr. Welser-Möst became General Music Director of the Vienna State Opera in September 2010.

With a committed focus on music education in Northeast Ohio, Franz Welser-Möst has taken The Cleveland Orchestra back into public schools with performances in collaboration with the Cleveland Metropolitan School District.

The initiative continues and expands upon Mr. Welser-Möst’s active participation in community concerts and educational programs, including the Cleveland Orchestra Youth Orchestra and partnerships with music conservatories and universities across Northeast Ohio.

Under Mr. Welser-Möst’s leadership, The Cleveland Orchestra has established an ongoing biennial residency in Vienna at the famed Musikverein concert hall and at the Lucerne Festival in Switzerland. Together, they have appeared in residence at Suntory Hall in Tokyo, Japan, and at the Salzburg Festival, where a 2008 residency included five sold-out performances of a staged production of Dvořák’s opera Rusalka. In the United States, Mr. Welser-Möst has established an annual multi-week Cleveland Orchestra Miami Residency in Florida and launched a new biennial residency at New York’s Lincoln Center Festival in 2011.

Under Franz Welser-Möst’s direction, The Cleveland Orchestra has performed thirteen world and fifteen United States premieres. Through the Roche Commissions project, he and the Orchestra have premiered works by Harrison Birtwistle, Chen Yi, Hanspeter Kyburz, George Benjamin, and Toshio Hosokawa in partnership with the Lucerne Festival and Carnegie Hall. In addition, the Daniel R. Lewis Young Composer Fellow program has brought new voices to the repertoire, including Marc-André Dalbavie, Matthias Pintscher, Susan Botti, Julian Anderson, Johannes Maria Staud, Jörg Widmann, and Sean Shepherd.

Franz Welser-Möst has led opera performances each season during his P H OTO BY D O N S N Y D E R

T H E 2 01 1 - 1 2 S E A S O N

Severance Hall 2011-12

Music Director

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P H OTO BY R O G E R MA S T R O I A N N I

tenure in Cleveland, re-establishing the Orchestra as an important operatic ensemble. Following six opera-in-concert presentations, he brought fully staged opera back to Severance Hall with a three-season cycle of Zurich Opera productions of the Mozart-Da Ponte operas. He leads concert performances of Strauss’s Salome at Severance Hall and at Carnegie Hall during the 2011-12 season.

Franz Welser-Möst became General Music Director of the Vienna State Opera with the 2010-11 season. His long partnership with the company has included acclaimed performances of Tristan and Isolde, a new production of Wagner’s Ring cycle with stage director Sven-Eric Bechtolf, and, in his first season in the post, critically praised new productions of Hindemith’s Cardillac and Janáček’s Katya Kabanova. During the 2011-12 season, he continues his survey of the operas of Janáček with a new production of From the House of the Dead and also leads a new production of Verdi’s Don Carlo.

Mr. Welser-Möst also maintains an ongoing relationship with the Vienna Philharmonic. Recent performances with the Philharmonic include appearances at the Lucerne Festival and Salzburg Festival, in Tokyo, and in concert at La Scala Milan, as well as leading the Philharmonic’s 2011 New Year’s Day concert, viewed by telecast in seventy countries worldwide. Across a decade-long tenure with the Zurich Opera, culminating in three seasons as General Music Director (2005-08), Mr. Welser-Möst led the company in more than 40 new productions and numerous revivals.

Franz Welser-Möst’s recordings and videos have won major awards, including the Gramophone Award, Diapason d’Or, Japanese Record Academy Award, and two Grammy nominations. With The Cleveland Orchestra, he has created DVD recordings of live performances of four Bruckner symphonies, presented in three accoustically distinctive venues: Symphony No. 5 in the Abbey of St. Florian in Austria, Symphony No. 9 in Vienna’s Musikverein, and Symphonies Nos. 7 and 8 at Severance Hall. With Cleveland, he has also released a recording of Beethoven’s Ninth Symphony as well as an all-Wagner album featuring soprano Measha Brueggergosman. DVD releases on the EMI label have included Mr. Welser-Möst leading Zurich Opera productions of The Marriage of Figaro, Così fan tutte, Don Giovanni, Der Rosenkavalier, La Bohème, Fierrabras, and Peter Grimes.

For his talents and dedication, Mr. Welser-Möst has received honors that include recognition from the Western Law Center for Disability Rights, honorary membership in the Vienna Singverein, appointment as an Academician of the European Academy of Yuste, a Gold Medal from the Upper Austrian government for his work as a cultural ambassador, and the Kilenyi Medal from the Bruckner Society of America. He is the co-author of Cadences: Observations and Conversations, published in a German edition in 2007.

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Music Director

The Cleveland Orchestra

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THE CLEVELAND ORCHESTRA

Franz Welser-Möst MUSIC DIREC TOR Kelvin Smith Family Chair

Christoph von Dohnányi MUSIC DIRECTOR LAUREATE

Giancarlo Guerrero PRINCIPAL GUEST CONDUCTOR THE CLEVELAND ORCHESTRA MIAMI RESIDENCY

James Feddeck ASSISTANT CONDUCTOR Elizabeth Ring and William Gwinn Mather Chair

MUSIC DIRECTOR, CLEVELAND ORCHESTRA YOUTH ORCHESTRA

Sasha Mäkilä ASSISTANT CONDUCTOR Sidney and Doris Dworkin Chair

Robert Porco DIRECTOR OF CHORUSES Frances P. and Chester C. Bolton Chair

Lisa Wong P H OTO BY R O G E R MA S T R O I A N N I

ASSISTANT DIRECTOR OF CHORUSES

Ann Usher DIRECTOR, CLEVELAND ORCHESTRA CHILDREN’S CHORUS

Frank Bianchi DIRECTOR, CLEVELAND ORCHESTRA YOUTH CHORUS

Lisa Manning ASSISTANT DIRECTOR, CLEVELAND ORCHESTRA YOUTH CHORUS

T H E

C L E V E L A N D

FRANZ WELSER-MÖST M U S I C D I R E C TO R Kelvin Smith Family Chair

FIRST VIOLINS William Preucil CONCERTMASTER

Blossom-Lee Chair

Yoko Moore

ASSISTANT CONCERTMASTER

Clara G. and George P. Bickford Chair

Peter Otto

FIRST ASSOCIATE CONCERTMASTER

Jung-Min Amy Lee

ASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith Chair

Lev Polyakin

ASSISTANT CONCERTMASTER

Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Chair

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

Alexandra Preucil Dolan Katherine Bormann Ying Fu

SECOND VIOLINS Stephen Rose * Alfred M. and Clara T. Rankin Chair

Emilio Llinas

2

James and Donna Reid Chair

Eli Matthews

1

Patricia M. Kozerefski and Richard J. Bogomolny Chair

Elayna Duitman Ioana Missits Carolyn Gadiel Warner Stephen Warner Sae Shiragami Vladimir Deninzon Sonja Braaten Molloy Scott Weber Kathleen Collins Beth Woodside Emma Shook Jeffrey Zehngut VIOLAS Robert Vernon * Chaillé H. and Richard B. Tullis Chair

Lynne Ramsey 1 Charles M. and Janet G. Kimball Chair

Stanley Konopka 2 Mark Jackobs Jean Wall Bennett Chair

Arthur Klima Richard Waugh Lisa Boyko Lembi Veskimets Eliesha Nelson Joanna Patterson Patrick Connolly

CELLOS Mark Kosower* Louis D. Beaumont Chair

Richard Weiss 1 The GAR Foundation Chair

Charles Bernard 2 Helen Weil Ross Chair

Bryan Dumm Muriel and Noah Butkin Chair

Tanya Ell Ralph Curry Brian Thornton David Alan Harrell Paul Kushious Martha Baldwin Thomas Mansbacher BASSES Maximilian Dimoff * Clarence T. Reinberger Chair

Kevin Switalski 2 Scott Haigh 1 Mary E. and F. Joseph Callahan Chair

Mark Atherton Thomas Sperl Henry Peyrebrune Charles Barr Memorial Chair

Charles Carleton Scott Dixon HARP Trina Struble * Alice Chalifoux Chair

FLUTES Joshua Smith * Elizabeth M. and William C. Treuhaft Chair

Saeran St. Christopher Marisela Sager 2 Austin B. and Ellen W. Chinn Chair

Mary Kay Fink

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The Orchestra

The Cleveland Orchestra

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O R C H E S T R A

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

HORNS Richard King *

TIMPANI Paul Yancich *

George Szell Memorial Chair

Michael Mayhew §

Otto G. and Corinne T. Voss Chair

Tom Freer 2

Knight Foundation Chair

OBOES Frank Rosenwein * Edith S. Taplin Chair

Jeffrey Rathbun 2 Everett D. and Eugenia S. McCurdy Chair

Robert Walters ENGLISH HORN Robert Walters Samuel C. and Bernette K. Jaffe Chair

CLARINETS Franklin Cohen * Robert Marcellus Chair

Robert Woolfrey Daniel McKelway 2 Robert R. and Vilma L. Kohn Chair

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

Jesse McCormick Hans Clebsch Richard Solis Alan DeMattia TRUMPETS Michael Sachs * Robert and Eunice Podis Weiskopf Chair

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

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

Michael Miller TROMBONES Massimo La Rosa* Gilbert W. and Louise I. Humphrey Chair

Richard Stout

BASSOONS John Clouser *

Shachar Israel 2

Louise Harkness Ingalls Chair Sandra L. Haslinger Chair

Jonathan Sherwin CONTRABASSOON Jonathan Sherwin

Margaret Allen Ireland Chair

Donald Miller Tom Freer Marc Damoulakis KEYBOARD INSTRUMENTS Joela Jones * Rudolf Serkin Chair

Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair

Michael Miller

BASS CLARINET Linnea Nereim

Barrick Stees 2

PERCUSSION Jacob Nissly *

Alexander and Marianna C. McAfee Chair

BASS TROMBONE Thomas Klaber EUPHONIUM AND BASS TRUMPET Richard Stout TUBA Yasuhito Sugiyama*

LIBRARIANS Robert O’Brien Donald Miller ORCHESTRA PERSONNEL Carol Lee Iott DIRECTOR

Rebecca Vineyard MANAGER

ENDOWED CHAIRS CURRENTLY UNOCCUPIED ASSISTANT PRINCIPAL HARP

Sunshine Chair

* Principal § 1 2

Associate Principal First Assistant Principal Assistant Principal

Nathalie C. Spence and Nathalie S. Boswell Chair

Severance Hall 2011-12

The Orchestra

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Hold the hand of this generation and the next Doing the Most Good

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Charitable Gift Annuities Call

1-866-364-6446

Perspectivesfrom the Executive Director Over the course of 2011, we’ve seen regular news reports about the challenges faced by orchestras in cities around the country.

As Detroit, Denver, Honolulu, Louisville, Philadelphia, San Antonio, Syracuse, and others have struggled, many people have asked me about how we’re doing here in Cleveland.

What’s going on? As entertainment, information, and cultural options proliferate, membership and subscription rates are in decline for many leisure pursuits, including orchestras. Endowment and pension funds are compromised by market downturns, and persistent economic uncertainty dampens philanthropy. To survive In America today, orchestras must change.

For us in Cleveland, the regional economy, corporate landscape, and local population growth have been challenged for years. But The Cleveland Orchestra is one of very few symphony orchestras with the willingness and the proven ability to change. That’s why, in covering the story last spring, the Toronto Star reported “. . . Cleveland is giving fellow orchestras lessons in staying alive.”

The Cleveland Orchestra began to change in earnest more than five years ago, with residency programs outside Cleveland, artistic initiatives such as ballet and opera, new audience development programs, accelerated community activities, frequent benefit events, and more aggressive fundraising.

Our changes are driving revenue growth, especially philanthropy in Cleveland and operating revenues outside Cleveland. Yet even with record annual revenues, we still remain significantly under-endowed. On June 30, 2011, The Cleveland Orchestra endowment stood at $129 million, down from an all-time high of $157 million in the year 2000. For us to be financially healthy today would require a $300 million endowment, in keeping with other orchestras of our scope, scale, and quality. Without it, we have an unsustainable structural deficit that threatens the Orchestra’s survival.

What must we do? We must stay true to our core purpose of serving the art of music at the highest levels of excellence. We must be even more innovative and relevant to the communities we serve. And, above all else, we must increase our Endowment Fund by successfully soliciting transformational philanthropy from everyone who cares about the community, loves The Cleveland Orchestra, and believes in the power of great music to change lives.

As we launch Franz’s tenth season, we are grateful for our passionate concertgoers, for the generous annual gifts from individuals, foundations, and corporations, and for ongoing support from our county and state arts agencies, all among the most supportive anywhere. We are blessed with worldwide recognition for artistic preeminence and innovation — a credit to a great music director, fantastic musicians, a dedicated staff, and inspiring Trustee leadership.

I look forward to seeing you throughout the season and to discussing your participation in the effort to build our all-important Endowment Fund.

Severance Hall 2011-12

Gary Hanson

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THE CLEVELAND ORCHES-

News

OrchestraNews Cleveland Orchestra’s first Lincoln Center Festival Residency this summer brought rave reviews

A

CLEVELAND ORCHESTRA THE CLEVELAND ORCHESTRA THE CLEVELAND ORCHE

THE CLEVELAND ORCHESTRA

The Cleveland Orchestra’s inaugural residency with the Lincoln Center Festival July 13-17 received overwhelming critical acclaim. Franz Welser-Möst led the Orchestra in four concerts featuring four Bruckner symphonies (Nos. 5, 7, 8, and 9), with three of the symphonies paired with works by American composer John Adams. Critics and writers from the New York Times, Cleveland Plain Dealer, New Yorker, and Time Magazine described the performances as “magnificent,” “exhilarating,” “beautifully played,” “breathtaking,” and “left me awestruck.”

Writing about the Orchestra’s performance of Bruckner’s Fifth Symphony, Anthony Tommasini of the New York Times called it “a magnificent performance.”

Time Magazine’s major online story by Craig Duff included a comparison of Welser-Möst’s championship of Bruckner symphonies to Leonard Bernstein bringing the world’s attention to Gustav Mahler.

In his review of the Orchestra’s performance of Bruckner’s Symphony No. 7, Allan Kozinn of the New York Times called Franz’s reading “commanding.”

Zachary Lewis of the Plain Dealer reported that “the performances . . . under music director Franz Welser-Möst were little short of magnificent.”

New York Times critic Steve Smith concluded his review of Bruckner’s Ninth Symphony with this description: “. . . a spellbinding account that showed Mr. Welser-Möst and the orchestra in their finest light.”

Alex Ross from the New Yorker magazine tweeted: “The Cleveland Orchestra has been playing brilliantly all week, but today’s concert — Adams Doctor Atomic Symphony and Bruckner 9 — left me awestruck.”

22

Welcome to new musicians The Cleveland Orchestra welcomes three new musicians who have joined the Orchestra in the past two months.

Jacob Nissly joins The Cleveland Orchestra as principal percussion with the start of the 2011-12 season.

Mr. Nissly previously served as principal percussion of the Detroit Symphony and has performed with ensembles including the New World Symphony, Metropolitan Opera Orchestra, and the Chicago Symphony Orchestra.

He holds a bachelor of music and jazz studies degree from Northwestern University and a master of music degree from the Juilliard School, and was recently appointed to the faculty of the Eastman School of Music.

Also joining the Orchestra at the start of the season is Ying Fu, as a member of the first violin section. A native of Shanghai, China, Mr. Fu has won prizes in competitions in Europe, China, and the United States. He holds a bachelor of music degree from the Shanghai Conservatory and a master of music degree from Rice University. He is currently a doctor of musical arts degree candidate at Rice University, studying with Cho-Liang Lin and Sergiu Luca.

The Cleveland Orchestra welcomed Jeffrey Zehngut as a new member of the second violin section in August during this summer’s Blossom Festival concerts.

Zehngut served as associate principal second violin of the San Diego Symphony 200511 and as principal second of the Canton Symphony Orchestra 2002-05. He holds degrees from the Cleveland Institute of Music, where he studied with William Preucil and Paul Kantor.

Cleveland Orchestra News

The Cleveland Orchestra

OrchestraNews

The Cleveland Orchestra’s website is now available in a streamlined format as an application for cell phones. The “app” can be downloaded in versions for iPhone or Android phones, and many of its features also display on other webready mobile phones.

The new app offers fans a convenient and streamlined way to purchase tickets, listen to Cleveland Orchestra radio broadcasts, and connect to the Orchestra’s social media. Created in partnership with InstantEncore.com, a leading performing arts digital platform, the app connects fans to The Cleveland Orchestra Blog, Facebook, YouTube, and information about the Orchestra (including musicians’ photos and biographies), and venues. The app also allows on-demand, streaming broadcasts from WCLV of performances by The Cleveland Orchestra and Cleveland Orchestra Youth Orchestra.

This latest tech innovation is an addition to the Orchestra’s ongoing social media platforms and website, including The Cleveland Orchestra Blog (viewed by readers in all 50 states and more than 100 countries), Facebook, Twitter, Flickr, and YouTube. The Cleveland Orchestra’s website offers convenient online seat selection and print-at-home ticketing.

Additional features to the mobile app will be added in the coming months.

The app can be downloaded free from the iTunes Stores or Android Marketplace. Links for downloading can also be found on the Orchestra’s homepage.

As a courtesy to the performers onstage and the audience around you, all patrons are reminded to turn off cell phones and to disengage electronic watch alarms prior to the concert.

Severance Hall 2011-12

Cleveland Orchestra News

23

THE CLEVELAND OR-

The Cleveland Orchestra’s 2011-12 Family Concert Series, for young people ages 7 and older, begins with a special Halloween Spooktacular! concert on Sunday afternoon, October 30. Families are invited to wear Halloween costumes and come to Severance Hall to be chilled, thrilled, and filled with the sounds of memorable mysterious mystical magical macabre music for this deliciously spooky concert. Carl Topilow leads the Cleveland Institute of Music Orchestra for this concert, stepping in for The Cleveland Orchestra (who will be on tour).

In addition to the concert, each of the season’s four Family Concerts features free pre-concert activities and post-concert treats. The activities, starting one hour before each concert, include Instrument Discovery, where children can try various instruments. After each performance, families are invited to enjoy a free treat compliments of series sponsor Giant Eagle.

The series features three more concerts after Halloween — Scenes from Tchaikovsky’s Nutcracker (with Academy Trainees from The Joffrey Ballet) in December, Carnival of the Animals in April, and Beethoven Lives Upstairs (with Classical Kids Live!) in May. Family Concert Series subscriptions and individual tickets are now available at clevelandorchestra.com or thru the Severance Hall Ticket Office.

THE CLEVELAND ORCHESTRA

Cleveland Orchestra now available as an app for mobile phones

THE CLEVELAND ORCHESTRA

Family Concerts begin with Halloween Spooktacular! on October 30

Silence is golden

HE CLEVELAND ORCHESTRA HESTR

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THE CLEVELAND ORCHES-

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OrchestraNews A.R.O.U.N.D T.O.W.N Recitals and presentations featuring Orchestra musicians

A

CLEVELAND ORCHESTRA THE CLEVELAND ORCHESTRA THE CLEVELAND ORCHE

THE CLEVELAND ORCHESTRA

Upcoming perofrmances by members of The Cleveland Orchestra in Northeast Ohio include: Cleveland Orchestra violinists Miho Hashizume, Peter Otto, and Isabel Trautwein perform works of Bach, Vivaldi, and Kurtág with area musicians on Sunday afternoon, October 2, at 3 p.m. as part of the Heights Arts concert season. The performance takes place at the recently restored Tudor Arms Hotel (10660 Carnegie Ave, Cleveland). Reservations for individual concerts in the series can be made online on the Music page of www.heightsarts.org. For subscription and membership information, call 216-371-3457.

Cleveland Orchestra musicians Maximilian Dimoff, Trina Struble, Mark Dumm, and Henry Peyrebrune perform blues and bluegrass together as part of “Martinis & Moonshine” on Sunday evening, October 9. The benefit event for the Cleveland Institute of Music is being presented by the CIM Women’s Committee and takes place at Sammy’s Metropolitan Ballroom (925 Euclid Ave, Cleveland). Cocktails begin at 5 p.m., followed by a 6 p.m. performance. The evening concludes with dinner. Tickets are $85 and $125 for patrons. Reservations are required by calling 216-791-5000.

Members of The Cleveland Orchestra and guest Caroline Goulding perform Bach’s Brandenburg Concerto No. 3 and highlights from Vivaldi’s Four Seasons as a fundraiser for the Music Outreach Collaborative, which serves at-risk preschool-aged children. The event takes place on Sunday, October 9, from 5 to 8 p.m. at the Cleveland Restoration Society’s Sarah Benedict House

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and Garden (3751 Prospect Avenue, Cleveland). To request an invitation by mail, write to: Music Outreach Collaborative, 1675 Crest Rd, Cleveland Heights, OH 44121, or send your email request to musicoutreachcollaborative@gmail. com.

Cleveland Orchestra musicians Daniel McKelway and Lembi Veskimets join with musical friends to perform at the 14th Annual Instrumental Evening for the Earth, held on Thursday evening, November 10. The event runs from 6:00 to 9:30 p.m. at West Shore Unitarian Universalist Church (20401 Hilliard Blvd, Rocky River).

For more information, visit earthdaycoalition.org or call 216-281-6468.

Guest artist Nicolaj Znaider presents masterclass for area students on October 11 Nicolaj Znaider, who performs as guest soloist with The Cleveland Orchestra on October 13, 14, and 15, presents a masterclass at Severance Hall on Tuesday, October 11, beginning at 4 p.m. During the class, which is open to the public, Znaider will work with students from the Cleveland Orchestra Youth Orchestra, Cleveland Institute of Music, and Oberlin College Conservatory of Music. The event is part of The Cleveland Orchestra’s Student Advantage Program.

Attending the masterclass is free to the public, but tickets are required and can be obtained thru the Severance Hall Ticket Office or online at clevelandorchestra. com.

Cleveland Orchestra News

The Cleveland Orchestra

OrchestraNews 2011-12 Celebrity Series on sale now — featuring variety of artists with The Cleveland Orchestra

Cleveland Orchestra education programs discussed at White House conference Cleveland Orchestra Director of Education & Community Programs Joan Katz Napoli was included in a group of performing artists and leaders invited to the White House in July as part of a program titled Champions of Change. While there, she shared information about the ways The Cleveland Orchestra serves more than 70,000 people annually through programs including school fieldtrip concerts, youth performing ensembles, and Music Study Groups for adults, as well as Music Mentors and Music Masters programs to support instrumental music programs in local schools.

As part of the one-day event, Katz Napoli (shown at right, at the White House with Minnie Driver and Patricia Arquette) discussed how The Cleveland Orchestra was among the first symphony orchestras in the country to implement an arts integration program, Learning Through Music, which is now in its fourteenth year. Learning Through Music supports learning across the K-5 curriculum utilizing music as a tool.

THE CLEVELAND

The Cleveland Orchestra’s season of Celebrity Series was announced over the summer and is now on sale as series subscriptions or on an individual concert basis. The Celebrity Series features the Orchestra and guest artists performing popular, film, and jazz music.

The season’s four programs are: Singer-songwriter Randy Newman (December 3), known for his scores for such films as Toy Story and hit singles such as “Short People,” performs with The Cleveland Orchestra.

The Colors of Christmas (December 20), featuring vocalists Peabo Bryson, Jennifer Holliday, Lea Salonga, and Ben Vereen performing Christmas and holiday favorites with the Orchestra.

Charlie Chaplin’s City Lights (March 31), a timeless romantic comedy, shown on a large screen with the film score performed live by The Cleveland Orchestra, with guest conductor William Eddins.

John Pizzarelli (April 10), jazz guitarist and vocalist, joins the Orchestra to pay tribute to Nat “King” Cole with favorites from the Great American Songbook.

THE CLEVELAND ORCHESTRA THE CLEVELAND ORCHESTRA TRA THE CLEVELAND ORCHESTRA

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Cleveland Orchestra News

25

THE CLEVELAND ORCH

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OrchestraNews Blog presents more Cleveland Orchestra news online The Cleveland Orchestra Blog

THE CLEVELAND ORCHESTRA

Looking for the latest news about The Cleveland Orchestra? Or behindthe-scenes information about an upcoming artist or event? Photographs from a recent event? Learn more online at clevelandorchestrablog.com.

Check out recent postings to: â&#x20AC;&#x201D; Learn which Cleveland Orchestra musician previously performed in the orchestra at La Fenice Opera House, and about another who has been spending time at Marlboro Music; â&#x20AC;&#x201D; Admire a local artistâ&#x20AC;&#x2122;s rendering of Severance Hallâ&#x20AC;&#x201D;number 93 in a series of 100 depictions of Cleveland sights; â&#x20AC;&#x201D; Connect to a Plain Dealer preview

of Franzâ&#x20AC;&#x2122;s 10th season â&#x20AC;&#x201D; and remember what our music director looked like when he took the helm; â&#x20AC;&#x201D; View photos from the Orchestraâ&#x20AC;&#x2122;s 9/11 Commemoration Concert; â&#x20AC;&#x201D; Meet the new members of the Orchestra.

Read all this and more at our Blog.

You can post your own comments, too.

Or visit the Orchestra at Facebook, follow us on Twitter, and watch us on YouTube!

Call Alan Weinberg, Managing Partner, at 216-685-1100.

Weltman, Weinberg & Reis Co., LPA

26

Cleveland Orchestra News

The Cleveland Orchestra

OrchestraNews Women’s Committee celebrates ninety years with special fashion show

“Endless Summer” gala celebrates Blossom and The Cleveland Orchestra

Bruckner Society of America presents Franz Welser-Möst with special award The Bruckner Society of America chose Franz Welser-Möst to receive the Society’s Julio Kilenyi Medal of Honor for his “understanding, advocacy, and dedication to Bruckner’s music.” The award was first given in 1933 to Arturo Toscanini, Serge Koussevitsky, and Bruno Walter.

Since that time, the Society has continued to present it to conductors, scholars, and musicologists who have helped to further the understanding and appreciation of Anton Bruckner’s life and work.

The award was presented on July 13 during a rehearsal at Avery Fisher Hall in New York. In addition to four DVD recordings of Bruckner symphonies made with The Cleveland Orchestra in the past four years, Welser-Möst has recorded Bruckner symphonies with the London Philharmonic and the Gustav Mahler Youth Orchestra. He leads The Cleveland Orchestra in performances of Bruckner’s Fourth this season at Severance Hall, on April 26, 27, and 28, 2012.

Cleveland Orchestra News

27

THE CLEVELAND OR-

Severance Hall 2011-12

The Cleveland Orchestra Youth Orchestra held its annual overnight retreat in early September. The retreat at Hiram House Camp in Moreland Hills featured rehearsals, special clinic sessions, and a chance to get acquainted through social activities. The group’s first Severance Hall concert is on Sunday, November 20, with music director James Feddeck conducting.

THE CLEVELAND ORCHESTRA

The State Blossom Women’s Committee staged an end-of-summer gala on Friday, September 9, in Twinsburg to benefit The Cleveland Orchestra and Blossom. Titled “Endless Summer,” the benefit commemorated the 2011 Blossom Festival season and all things musical. State Chairman Phyllis Knauf notes that the event was a collaboration of all chapters of BWC and was their most ambitious fundraising effort in the 43-year history of the organization.

The “Endless Summer” gala evening featured a Strolling Supper prepared by nine Celebrity Chefs from Northeast Ohio. Among the evening’s fundraising items were six steamer trunks once belonging to Cleveland Orchestra musicians, which had been restored and decorated by local artists commissioned by the Blossom Women’s Committee.

Youth Orchestra prepares for the new season

THE CLEVELAND ORCHESTRA

The Women’s Committee of The Cleveland Orchestra celebrated their 90th anniversary with a fashion revue and luncheon at Severance Hall on July 18, attended by more than 300 members and guests. President Beth Schreibman Gehring welcomed the Ursuline College School of Fashion Design in a presentation of fashions from the past 90 years.

The Women’s Committee is dedicated to providing support for The Cleveland Orchestra through volunteer service, education activities, and fundraising opportunities. For additional information on volunteering, please call 216-231-7557.

HE CLEVELAND ORCHESTRA HESTR

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LEARNING MORE ABOUT THE MUSIC

clevelandorchestra.com

Concert Previews The Cleveland Orchestra offers a variety of options for learning more about the music before each concert begins.

For each concert, the program book includes program notes commenting on and providing background about the composer and his or her work being performed that week, along with biographies of the guest artists and other information. You can read these before the concert, at intermission, or afterward. (Program notes are also posted ahead of time online at clevelandorchestra.com, usually by the Monday directly preceding the concert.)

The Orchestra’s Music Study Groups also provide a way of exploring the music in more depth. These classes, professionally led by Dr. Rose Breckenridge, meet weekly in locations around Cleveland to explore the music being played each week and the stories behind the composers’ lives.

Free Concert Previews are presented one hour before most subscription concerts throughout the season at Severance Hall. The previews (see listing at right) feature a variety of speakers and guest artists speaking or conversing about that weekend’s program, and often include the opportunity for audience members to ask questions.

Cleveland Orchestra Concert Previews are presented before every regular subscription concert, and are free to all ticketholders to that day’s performance. Previews are designed to enrich the concert-going experience for audience members of all levels of musical knowledge through a variety of interviews and through talks by local and national experts.

Concert Previews are made possible by a generous endowment gift from Dorothy Humel Hovorka.

September 29 “The 2011-12 Season” with Franz Welser-Möst in conversation with Gary Hanson, executive director

September 30 “Fire and Ice — Tchaikovsky and Stravinsky” with Rose Breckenridge, Cleveland Orchestra Music Study Groups administrator and lecturer

October 6 and 9 “Serene Beauty in Troubled Times” with Rose Breckenridge, Cleveland Orchestra Music Study Groups administrator and lecturer

October 8 “Red and Blue, Black and White” with Rose Breckenridge, Cleveland Orchestra Music Study Groups administrator and lecturer

October 13 and 15 “Mendelssohn’s Travels, Tchaikovsky’s Travails” with Francesca Brittan, assistant professor of music, Case Western Reserve University For future Concert Preview details visit clevelandorchestra.com

Severance Hall 2011-12

Concert Previews

29

T H E C L E V E L A N D O R C H E S T R A F R A N Z

W E L S E R - M Ö ST M U S I C

D I R E C T O R

Severance Hall

Thursday evening, September 29, 2011, at 8:30 p.m.

Friday morning, September 30, 2011, at 11:00 a.m.*

Franz Welser-Möst, conductor Concerto in D (for string orchestra)

IGOR STRAVINSKY (1882-1971)

1. Vivace 2. Arioso: Andantino 3. Rondo: Allegro

Missa Brevis (transcribed for brass)

ANDREA GABRIELI (c1530 -1585)

— performed as alternating movements with —

Mass (for chorus and orchestra)

IGOR STRAVINSKY

1.

2.

3.

4.

5.

Kyrie / Kyrie Gloria / Gloria Credo / Credo Sanctus / Sanctus Benedictus — Agnus Dei / Agnus Dei

CLEVELAND ORCHESTRA CHAMBER CHORUS Robert Porco, director

INTERMISSION * PYOTR ILYICH TCHAIKOVSKY (1840-1893)

Symphony No. 4 in F minor, Opus 36 1.

2.

3.

4.

Andante sostenuto — Moderato con anima Andantino in modo di canzona Scherzo: Pizzicato ostinato Finale: Allegro con fuoco

The Thursday evening concert will end at about 10:20 p.m.

The Cleveland Orchestra’s Friday Morning Concert Series is endowed by the Mary E. and F. Joseph Callahan Foundation.

* The Friday morning concert is performed without intermission and

features Stravinsky’s Concerto in D followed by the Tchaikovsky symphony.

The concert will end at about 12:10 p.m.

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Concert Program — Week 1

The Cleveland Orchestra

1112 clevelandorchestra.com

Saturday evening, October 8, 2011, at 8:30 p.m.

Franz Welser-Möst, conductor Concerto in D (for string orchestra)

IGOR STRAVINSKY (1882-1971)

1. Vivace 2. Arioso: Andantino 3. Rondo: Allegro

Agon (complete ballet score)

IGOR STRAVINSKY

1. Pas-de-quatre 2. Double pas-de-quatre 3. Triple pas-de-quatre Prelude 4. First pas-de-trois: Saraband-Step 5. Gaillarde 6. Coda Interlude 7. Second pas-de-trois: Bransle simple 8. Bransle gai 9. Bransle de Poitou Interlude 10. Pas-de-deux 11. Four duos 12. Four trios INTERMISSION PYOTR ILYICH TCHAIKOVSKY (1840-1893)

Symphony No. 4 in F minor, Opus 36 1.

2.

3.

4.

Andante sostenuto — Moderato con anima Andantino in modo di canzona Scherzo: Pizzicato ostinato Finale: Allegro con fuoco

The Saturday concert is sponsored by Parker Hannifin Corporation.

The Saturday evening concert will end at about 10:25 p.m.

LIVE RADIO BROADCAST

Saturday evening’s concert is being broadcast live on WCLV (104.9 FM).

The concert will be rebroadcast as part of regular weekly programming on WCLV on Sunday afternoon, November 20, at 4:00 p.m.

Severance Hall 2011-12

Concert Program — Week 1

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The Cleveland Orchestra

INTRODUCING THE PROGRAM

Action & Reaction S T R AV I N S K Y A N D T C H A I K O V S K Y represent opposite poles of taste, if we take Tchaikovsky’s music to be the height of richly expressive 19thcentury Romanticism, and Stravinsky’s to be the leading example of the 20th century’s reaction against it, the neo-classic par excellence. But they also share their Russian roots, and a lot more besides.

Stravinsky’s lifelong devotion to Tchaikovsky was real, and it went beyond their shared devotion to ballet and to Russian folksong — Stravinsky’s ballet Le Baiser de la fée (“The Fairy’s Kiss”) is even built on Tchaikovsky’s musical themes.

Stravinsky’s father, Fyodor, was a leading bass-baritone at the Mariinsky Theater in St. Petersburg who sang in a number of Tchaikovsky premieres. The boy Igor could surely not forget the famous composer Tchaikovsky coming to the house and giving him an affectionate pat on the head.

But Stravinsky’s late works inhabit a world that Tchaikovsky would not have recognized. The severity of Stravinsky’s late style was part of the post-World War Two move toward total abstraction.

In three concerts (each a slightly different mix of musical selections), Franz Welser-Möst and The Cleveland Orchestra explore a contrast between these composers’ music in the concert hall. All three concerts include Stravinsky’s Concerto in D (for string orchestra) and Tchaikovsky’s well-loved Fourth Symphony. To these, the first evening concert also includes Stravinsky’s Mass, interwoven with a Venetian 16th-century Missa Brevis arranged for brass instruments — throwing a revealing light on both pieces. The second evening concert, a week later, includes the score to Stravinsky’s ballet Agon.

—Hugh Macdonald Hugh Macdonald is Avis H. Blewett Professor of Music at Washington University in St. Louis and is a noted authority on French music. He has written books on Beethoven, Berlioz, and Scriabin.

Severance Hall 2011-12

About the Music

33

Chinese Art in an Age of Revolution

FU BAOSHI .

Presenting sponsor:

Additional support from:

Baker Hostetler

Organized by the Cleveland Museum of Art with the Nanjing Museum. Mountain Spirit, 1946. Fu Baoshi. Nanjing Museum.

Heaven and Earth Glowing Red, 1964.

Nanjing Museum.

Fu Baoshi Exhibition Programs MODERN CHINA: A Multidisciplinary Exploration Saturday, October 29, 1:30â&#x20AC;&#x201C;4:00. Wen-hsin Yeh, University of California, Berkeley, Peter Galassi Museum of Modern Art, and Julia Andrews, Ohio State University.

Book Club: The White-Haired Girl 3 Wednesdays, November 2, 9, 16, 1:30â&#x20AC;&#x201C;2:45.

China: Art and Technology Art Cart 3 Sundays, November 6, December 4, January 8, 1:00â&#x20AC;&#x201C;3:00.

Perspectives on Contemporary Chinese Art Wednesday, November 30, 6:30. Artist Ji Yunfei and Paola Morsiani, Curator of Contemporary Art

Two ďŹ lms on the Three Gorges Dam Up the Yangtze Friday, December 2, 7:00 and Still Life Sunday, December 4, 1:30.

Holiday Film Festival: Recent Chinese Cinema 1:30 each afternoon, December 26â&#x20AC;&#x201C;31.

Chinese Art Music: Yang Wei and Ensemble Friday, December 9, 7:30.

Mandarin and Cantonese language tours Sunday, October 23, Saturday, November 26, and Wednesday, December 28, 1:00â&#x20AC;&#x201C;2:00 (Mandarin) and 2:00â&#x20AC;&#x201C;3:00 (Cantonese).

Chinese Painting Demonstration Sunday, December 4, 1:30-3:30 The Art of Reinvention: China, Ohio, and the New Global Economy January 4, 2012.

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Rembrandt in America February 19â&#x20AC;&#x201C;May 28, 2012 This exhibition brings together about 50 autograph paintings by Rembrandt as well as others thought to be by the artist when they entered American collections. Adults $14, members free.

Organized by the Cleveland Museum of Art, the North Carolina Museum of Art, Raleigh, and the Minneapolis Institute of Arts. The exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. Additional support provided by the Samuel H. Kress Foundation. Sponsored by KeyBank.

Self-Portrait, 1659. Rembrandt van Rijn. National Gallery of Art, Washington 1937.1.72

THURSDAY-FRIDAY-SATURDAY

Concerto in D (for string orchestra) composed 1946

by

IGOR

STRAVINSKY born June 17, 1882 Oranienbaum, near St. Petersburg, Russia died April 6, 1971 New York

I G O R S T R A V I N S K Y settled in the United States in 1939 and became an American citizen at the end of 1945. The most substantial work he composed during those years of World War Two was the Symphony in Three Movements. Otherwise, he had formed the habit of writing 10- to 15-minute works, often on commission, often for ballet. Among these was the Ebony Concerto, written for the Woody Herman band. Early in 1946, he was commissioned to write a work for the 20th anniversary of the Basel Chamber Orchestra, whose founder and conductor was the great Maecenas of music, Paul Sacher. Having married into the Swiss pharmaceutical family of La Roche,* Sacher devoted his wealth to commissioning works from all the prominent composers of his time and to a foundation in Basel, which is now a major center for the study of modern music. Never have valium and librium been put to better combined use.

The music of the work that Stravinsky wrote for Sacher belongs unmistakably to the neo-classic style that Stravinsky had made his own for almost thirty years. It is strongly rhythmic, with sharp accents at unexpected places. There is acidic dissonance within a familiar tonal language. And there is virtuoso handling of instrumental resources, in this case a normal string orchestra, with each section required sometimes to divide and sometimes to reduce to a single player. The resourcefulness of the writing is remarkable. Its tonality too is clear, even in the direct title of the work, Concerto in D (although it alternates between both major and minor, and sometimes displays the two simultaneously). It is a “concerto” in the Baroque sense, of an ensemble piece that features contrasts of tone and texture.

Like many other concert pieces by Stravinsky, this work has inspired ballets from several choreographers. In 1951, Jerome Robbins created a macabre ballet to this music called “The Cage,” and it has also served the German choreographers Dore Hoyer and Werner Ulbrich.

The listener is at once captivated by the insistent conflict of major and minor (F natural against F sharp in the “key of

* A more recent relationship with Roche Pharmaceuticals involves The Cleveland

Orchestra directly. Beginning in 2003, Roche has funded an ongoing series of new musical works as Roche Commissions, a joint project with the Lucerne Festival, Cleveland Orchestra, and Carnegie Hall.

Severance Hall 2011-12

About the Music

35

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D”) and by the spiky writing that serves as a theme. In the first movement, contrast is provided by a luscious static passage in the middle, where two chords alternate. Some new rich chords are introduced, but the original pair persists. Eventually the rapid staccato music of the opening returns.

The second movement, Arioso, is in a secure B-flat major tonality, with the cantilena section of the “aria” shared by first violins and cellos. A solid two-chord cadence happens twice, as if satirizing the recitative conventions of Baroque music. The music moves directly into the swift concluding third-movement Rondo, a virtuoso display for every section of the string orchestra.

It is remarkable that at the time Stravinsky was writing this concerto he had already started to compose the Mass, a work that shows a new austerity and a quest for a new direction after the long period in which his style had changed little. Even so, when the Mass was first performed a year after the Concerto, no one could have had any premonition that in the following decade he would move to the abstraction of the twelve-note method in such works as the ballet Agon and in the Canticum sacrum.

Thus would Stravinsky, the great revolutionary composer of The Rite of Spring at the dawn of the 20th century, having been so long seen as a reactionary in contrast to Arnold Schoenberg’s modernist twelve-tone method, surprise the world again by seeming to take sides with the enemy.

At a Glance Stravinsky composed his Concerto in D between March and August 1946 on a commission from Paul Sacher to celebration the 20th anniversary of the Basel Chamber Orchestra.

Sacher led the world premiere in Basel on January 27, 1947.

This work runs just over ten minutes in performance.

Stravinsky scored it for a string chamber orchestra.

The Cleveland Orchestra has presented this work on only one previous occasion, at a weekend of concerts at Severance Hall (with a subsequent performance at Carnegie Hall) led by Daniel Barenboim in early 1973.

—Hugh Macdonald © 2011

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Severance Hall 2011-12

About the Music

37

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THURSDAY EVENING

Missa Brevis by andrea gabrieli

(c1530-1585)

composed 1572 (transcribed for brass quartet)

PERFORMED AS ALTERNATING MOVEMENTS WITH

Mass

by igor stravinsky (1882-1971) composed 1944-47 (for chorus and chamber orchestra)

About Stravinskyâ&#x20AC;&#x2122;s Mass R U S S I A N C O M P O S E R S as different as Stravinsky and Rachmaninoff drew instinctively on the ancient traditions of the Orthodox Church, conveyed in musical terms through the medium of chant. Eastern chant and Western chant have common roots and share many features that we recognize today even when transfigured by the complexity of Western classical language. These include a dependence on stepwise movement, for example, without leaps, and a style of word-setting that emphasizes the spiritual significance of every word. In the Orthodox Church, musical instruments are forbidden, investing its musical tradition with an austerity and solemnity that the Western Church left behind in the Baroque period, when elaboration and magnificence were seen to be virtues shared by both earthly and divine authority.

It was his encounter with richly elaborate Mass settings from the 18th century, specifically by Haydn and Mozart, that implanted in Stravinsky the idea of composing a Mass that would strip away the gloriously operatic elements that their Masses unashamedly display and instead zoom in on the act of faith that the ancient Latin words embody. Stravinsky had become a communicant member of the Orthodox Church in the 1920s and was never a member of the Roman Catholic Church (even though he was sympathetic to many features of Catholic practice and belief). In the instance of creating Mass, he happened not to like the sound of unaccompanied choral voices and needed the support of instruments for purely musical reasons.

Stravinskyâ&#x20AC;&#x2122;s Mass is thus a Catholic Mass, capable of being sung in a liturgical setting, although it is now more often heard in the concert hall or in a concert setting in church. It is ironic that the first performance of this Severance Hall 2011-12

About the Music

39

anti-theatrical devotional work was given in the mecca of operatic flimflam, La Scala, Milan, no less.

The first two movements were composed in 1944 in Hollywood, where Stravinsky was living during the war, and the remaining movements followed in 1947, after an interruption devoted to the composition of the Ebony Concerto, the Concerto in D, and the ballet Orpheus.

It is instructive to compare the style of the Mass with that of the Concerto in D. Although both works can be broadly categorized as neo-classical, the concerto is a virtuoso work that shows off what a string orchestra can do, while the Mass is veiled in austerity and solemnity, never fast, never loud, never stretching ecclesiastical propriety. Stravinsky had shown in Oedipus Rex how powerful a message a Latin text can convey in a dramatic context; here the words are eternal and familiar, yet they are invested with spiritual weight even though the setting is neither emphatic nor elaborate.

It took a highly sophisticated mind such as Stravinsky’s to achieve so clear an effect of simplicity. He once said that he was trying to write “very cold music, absolutely cold, that will appeal directly to the spirit.”

The accompaniment is provided by two wind quintets, one of double reeds (oboes, english horn, and bassoons), one of brass (trumpets and trombones). They provide alternating entries with the voices for the most part, rather than a running accompaniment, and their chording and phrasing are perfectly appropriate to their timbre, reminiscent of the Symphony of Psalms, where Stravinsky also gave double reeds and brass prominence.

The choral writing is never in more than four parts, although solo voices are required for certain passages.

The flavor of the voices and instruments is immediately tasted in the opening Kyrie, and the Christe provides the customary contrast by introducing some of the rare imitative writing in this work. The Gloria is far from the shout of praise that we get from Beethoven in his Missa solemnis, being shaped instead in the improvisatory fashion in which chant might be sung in middle-eastern churches.

The five movements are grouped around the central Credo, which has a longer text than the other movements. “There is so much to believe,” Stravinsky said. The words are presented in a matter-of-fact manner rising to a moment of extra weight on “Of his kingdom there shall be no end.” Only the Amen allows the voices to show some independence one from another.

The Sanctus closes with a richly scored Hosanna, the one passage in the work where austerity is denied, while the closing Agnus Dei is disarmingly plain in its straightforward presentation of the text and the instrumental refrains that precede and follow each line.

—Hugh Macdonald © 2011

40

About the Music

The Cleveland Orchestra

About Gabrieli’s Missa Brevis S T R AV I N S K Y

was deeply attached to the city of Venice. He gave some important premieres there, including his opera The Rake’s Progress in 1951, and he chose to be buried there. In his post-war period, he made a close study of Claudio Monteverdi (1567-1643) and his contemporaries, especially their response to the particular layout of St. Mark’s Cathedral.

The cori spezzati peculiar to Venetian music were designed for the antiphonal, stereophonic effects that the building offers, and these effects are intended in a number of Stravinsky’s late works. Stravinsky’s late works also treat brass instruments in a manner not unlike that of the Gabrielis, whose music for St. Mark’s brings out the magnificent resonance of the instruments in such an acoustic.

Unlike Monteverdi, the two Gabrielis were born and died in Venice. Andrea, the uncle, was organist at St. Mark’s from 1566 until his death twenty years later. He was a prolific composer of sacred music and madrigals, and in accordance with the common practice of the time, instruments were freely substituted for voices even in music with a sung text. He also wrote much ceremonial music using wind and string instruments.

The brass instruments of the time, cornetti and tromboni, were well suited to this function in a large building.

Andrea’s nephew Giovanni took over the care of St. Mark’s music from his uncle and remained in charge until his death in 1612. The two composers have distinct personalities, but they were both prolific in the production of sacred and secular music, vocal and instrumental, much of it for the church they served.

Andrea Gabrieli’s Missa Brevis [Short Mass] is a modest work from 1572 in the subdued style conforming to the strictures issued by the Council of Trent, determined to curtail some of the excesses that had invaded Catholic church music. It does not exploit antiphonal effects, but alternates the imitative entries of polyphonic music with solid harmonies for a change of texture and emphasis. It therefore matches Stravinsky’s Mass in its severity. Alternating movements from the two composers throws a revealing light on both, and creates an arc of influence across the space of nearly four centuries.

STRAVINSKY

At a Glance Stravinsky wrote his Mass in 1944-1947. It was first performed on October 27, 1948, at the Teatro alla Scala in Milan, conducted by Ernest Ansermet.

The five movements of Stravinsky’s Mass together run almost 20 minutes in performance. The composer orchestrated it for 2 oboes, english horn, 2 bassoons, 2 trumpets, and 3 trombones (arranged in two groups of five winds and five brass), plus four-part chorus.

The Cleveland Orchestra is presenting Stravinsky’s Mass for the first time with this evening’s concert.

GABRIELI

At a Glance Gabrieli wrote the six movements of this Missa Brevis in 1572 in four vocal parts.

The Cleveland Orchestra is presenting it for the first time at this evening’s concert, transcribed for a brass quartet of 2 trumpets, horn, and trombone.

—Hugh Macdonald © 2011

Severance Hall 2011-12

About the Music

41

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Missa Brevis by andrea gabrieli

(c1530-1585)

composed 1572 (transcribed for brass quartet)

PERFORMED AS ALTERNATING MOVEMENTS WITH

Mass

by igor stravinsky (1882-1971) composed 1944-47 (for chorus and chamber orchestra)

Kyrie — from Missa Brevis Kyrie — from Mass Kyrie eleison, Christe eleison, Kyrie eleison.

Lord, have mercy upon us, Christ have mercy upon us, Lord, have mercy upon us.

Gloria — from Missa Brevis Gloria — from Mass Gloria in excelsis Deo, et in terra pax hominibus bonae voluntatis.

Glory be to God on high, and peace on earth to men of good will.

Laudamus te, benedicimus te, adoramus te, glorificamus te.

Gratias agimus tibi propter magnam gloriam tuam.

We praise You, we bless You, we adore You, we glorify You. We give You thanks for Your great glory.

Domine Deus, Rex coelestis, Deus Pater omnipotens, Domine, Fili unigenite, Jesu Christe, Domine Deus, Agnus Dei, Filius Patris.

Lord God, heavenly King, God, the Father Almighty, Lord Jesus Christ, the only-begotten Son, Lord God, Lamb of God, Son of the Father.

Qui tollis peccata mundi, miserere nobis; suscipe deprecationem nostram.

Qui sedes ad dexteram Patris, miserere nobis.

You, who takes away the world’s sins, have mercy on us; receive our prayer.

You, who sits at the Father’s right hand, have mercy on us.

Quoniam tu solus sanctus, tu solus Dominus, tu solus altissimus, Jesu Christe.

For You alone are holy, You alone art Lord, You alone art most high, Jesus Christ.

Cum Sancto Spiritu in gloria Dei Patris. Amen.

Together with the Holy Ghost, in the glory of God the Father. Amen.

Credo — from Missa Brevis PLEASE TURN PAGE QUIETLY

Severance Hall 2011-12

Sung Text — Mass

43

Credo — from Mass Credo in unum Deum, patrem omnipotentem, factorem coeli et terrae visibilium omnium et invisibilium.

Credo in unum Dominum Jesum Christum, Filium Dei unigenitum; et ex Patre natum ante omnia saecula.

Deum de Deo, Lumen de Lumine: Deum verum de Deo vero; Genitum, non factum; consubstantialem Patri, per quem omnia facta sunt; Qui propter nos homines, et propter nostram salutem, descendit de coelis, Et incarnatus est de Spiritu Sancto ex Maria Virgine, et homo factus est.

Crucifixus etiam pro nobis; sub Pontio Pilato passus et sepultus est, Et resurrexit tertia die, secundum Scripturas.

Et ascendit in caelum, sedet ad dexteram Patris.

Et iterum venturus est cum gloria judicare vivos et mortuos; Cujus regni non erit finis.

Credo in Spiritum Sanctum, Dominum et vivificantem, qui ex Patre Filioque procedit; qui cum Patre et Filio simul adoratur et conglorificatur; qui locutus est per prophetas.

Credo in unam sanctam Catholicam et Apostolicam Ecclesiam.

Confiteor unum Baptisma in remissionem peccatorum.

Et expecto resurrectionem mortuorum, et vitam venturi saeculi. Amen.

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I believe in one God, the Father Almighty, maker of heaven and earth, of all things visible and invisible.

I believe in one Lord Jesus Christ, the only-begotten Son of God; and born of the Father before all ages.

God of Gods, Light of Light, true God of true God; begotten, not made; consubstantial with the Father,

by Whom all things were made; Who for us people and for our salvation, came down from heaven, And became incarnate by the Holy Ghost of the Virgin Mary, and was made man.

He was crucified also for us; suffered under Pontius Pilate and was buried, And the third day He arose again according to the Scriptures.

And ascended into heaven, and sits at the Father’s right hand.

And He is to come again, with glory, to judge both the living and the dead; of whose kingdom there shall be no end.

I believe in the Holy Ghost, the Lord and Giver of life, Who proceeds from the Father and the Son; Who, together with the Father and the Son, is adored and glorified; Who spoke by the prophets.

I believe in one holy Catholic and Apostolic Church.

I confess one baptism for the remission of sins.

And I expect the resurrection of the dead, and the life of the world to come. Amen.

Sung Text — Mass

The Cleveland Orchestra

Sanctus â&#x20AC;&#x201D; from Missa Brevis Sanctus â&#x20AC;&#x201D; from Mass Sanctus Dominus Deus Sabaoth.

Pleni sunt coeli et terra gloria tua.

Osanna in excelsis.

Benedictus qui venit in nomine Domini.

Osanna in excelsis.

Holy, holy, holy, Lord God of Sabaoth.

Heaven and earth are full of Thy Glory Hosanna in the highest.

Blessed is he who comes in the Lordâ&#x20AC;&#x2122;s name.

Hosanna in the highest.

Benedictus and Agnus Dei â&#x20AC;&#x201D; from Missa Brevis Agnus Dei â&#x20AC;&#x201D; from Mass Agnus Dei, qui tollis peccata mundi, miserere nobis.

Agnus Dei, qui tollis peccata mundi, dona nobis pacem.

Lamb of God, who removes the worldâ&#x20AC;&#x2122;s sins, have mercy on us.

Lamb of God, who removes the worldâ&#x20AC;&#x2122;s sins, grant us peace.

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Sung Text â&#x20AC;&#x201D; Mass

45

THUR SDAY

Robert Porco

Director of Choruses Frances P. and Chester C. Bolton Endowed Chair The Cleveland Orchestra

Robert Porco became director of choruses for The Cleveland Orchestra in 1998. In addition to overseeing choral activities and preparing the Cleveland Orchestra Chorus for concert programs each year, he conducts the Orchestra’s series of Christmas concerts at Severance Hall as well as subscription concert programs at Severance Hall and at each summer’s Blossom Festival.

Mr. Porco was recently honored by Chorus America with its annual Michael Korn Founders Award for “a lifetime of significant contributions to the professional choral art.” Throughout his career, he has been active as a conductor of opera and of choral-and-orchestral works. He is a regular guest conductor and the director of choruses for the Cincinnati May Festival, and has guest-conducted orchestras in the United States and Europe. He has prepared choruses for such prominent conductors as Pierre Boulez, James Conlon, Andrew Davis, Christoph von Dohnányi, Raymond Leppard, James Levine, Jesús López-Cobos, Zubin Mehta, André Previn, Kurt Sanderling, Robert Shaw, Leonard Slatkin, and Franz Welser-Möst, among others.

Ohio native Robert Porco served as chairman of the choral department at Indiana University’s Jacobs School of Music (1980-98) and currently teaches doctoral-level conducting there. He has directed the Cincinnati May Festival Chorus since 1989.

He previously served as artistic director and conductor of the Indianapolis Symphonic Choir (1989-98).

Lisa Wong

Assistant Director of Choruses

The 2011-12 season marks Lisa Wong’s second year as assistant director of choruses for The Cleveland Orchestra. In this capacity, she assists in preparing the Cleveland Orchestra Chorus for performances throughout the season. In addition to her duties at Severance Hall, Ms. Wong is a faculty member at the College of Wooster, where she conducts the Wooster Chorus and the Wooster Singers and teaches courses in conducting and music education. She previously taught in public and private schools in New York, Pennsylvania, and Indiana, where she worked with the choral department of the Indiana University Jacobs School of Music (including directing the Chamber Choir of the Indiana University Children’s Choir). Active as a clinician, guest conductor, and adjudicator, Ms. Wong holds a bachelor’s degree in music education from West Chester University and master’s and doctoral degrees in choral conducting from Indiana University.

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Cleveland Orchestra Chamber Chorus

The Cleveland Orchestra

THURSDAY

Cleveland Orchestra Chorus Robert Porco, Director

Lisa Wong, Assistant Director Joela Jones, Principal Accompanist The Cleveland Orchestra Chorus is one of the few professionally-trained, all-volunteer choruses sponsored by a major American orchestra. Founded at the request of George Szell in 1952 and following in the footsteps of a number of earlier community choruses, the Cleveland Orchestra Chorus has sung in hundreds of performances at home, at Carnegie Hall, and on tour, as well as in more than a dozen recordings. Its members hail from nearly fifty Cleveland-area communities and together contribute over 15,000 volunteer hours to the Orchestraâ&#x20AC;&#x2122;s music-making each year.

The Chamber Chorus is made up of selected members from the full chorus roster.

STRAVINSKY MASS

Cleveland Orchestra Chamber Chorus SOPRANOS

ALTOS

TENORS

BASSES

Julie A. Cajigas Mary Jane Carlin Rosie Gellott Debbie Gutowski Rebecca S. Hall Lisa Hrusovsky Shannon R. Jakubczak Lisa Manning Julie Myers-Pruchenski Sarah Osburn Monica Schie Laura Schupbach

Emily Austin Sara Burky Carolyn Dessin Betty Huber Jenna Kirk Diana Martin Ginger Mateer Danielle S. McDonald Marta Perez-Stable Cindy Pitera Ina Stanek-Michaelis

Gerry C. Burdick Peter Kvidera Steve Lawson Jared Littleton Rohan Mandelia Tremaine Oatman Matthew Rizer Lee Scantlebury William Venable Chester F. Willey

Nikola Budimir Steve diLauro Paul Guyer Paul Hubbard Robert Judge Joel Kincannon Jason Levy Daniel May, Jr. Roger Mennell Corey Rubin

Jill Harbaugh, Manager of Choruses Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee

THE CLEVELAND ORCHESTRA clevelandorchestra.com 24/7 news, tickets & more

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Cleveland Orchestra Chamber Chorus

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“The trouble with music appreciation in general is that people are taught to have too much respect for music.

They should be taught to love it instead.”

—Igor Stravinsky

medium is the message.”

“The

— Marshall McLuhan, 1911-1980

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SATURDAY EVENING

Agon (complete ballet music) composed 1953-57

by

IGOR

STRAVINSKY born June 17, 1882 Oranienbaum, near St. Petersburg died April 6, 1971 New York

Severance Hall 2011-12

A LT H O U G H S T R AV I N S K Y is unquestionably the leading composer for ballet in the 20th century, his ballet scores are more often heard in the concert hall than in the theater. This is partly for economic reasons, but partly too because, unlike so many forgotten 19th-century ballet scores, Stravinsky’s scores are far from being merely “danceable” music — they very much evoke a strong sense of movement, action, and character. At times, works like Petrushka or The Fairy’s Kiss played as concert works invariably excite an audience’s imagination to the point where we might almost believe we have seen the ballet itself.

Stravinsky’s addiction to rhythmic clarity in his long neo-classic period responded well to dancers’ needs and was suitable for ballets with antique themes, such as Apollo or Orpheus. He was always drawn to the remote frieze-like quality of ancient myth. But in 1953, when Stravinsky was invited by Lincoln Kirstein and George Balanchine to write a new work for the New York City Ballet, he had moved on to a creative phase where he sought abstraction above all else. The composer had long renounced the conventional gestures of emotional expression, but he and Balanchine now conceived a truly abstract ballet without a setting or a story, simply a series of dances for eight women and four men who wear rehearsal costume and interact in carefully programmed combinations. The Greek word Agon (it comes close to rhyming with “wagon,” for those wondering how to pronounce it) suggests a contest, although no actual contest is specified or implied in the score.

In terms of musical style, abstraction was achieved through Stravinsky’s close study of the music of Anton Webern. Indeed, Agon is partly a twelve-tone composition, but it is in no way reminiscent of Arnold Schoenberg’s pioneering works in that style. Stravinsky preferred the focus that Webern (Schoenberg’s pupil) brought to individual notes, carefully chosen and spaced, each with its own color. Stravinsky was also drawn to French courtly dances from the grand siècle, as can be seen in the Gaillarde in Part II and the Bransles in Part III of the ballet score, which were suggested by the 1623 collection Apologie de la Danse by De Lauze.

Rhythmic regularity is now less pronounced than in earlier Stravinsky scores, a certain randomness having affected this About the Music

51

The Greek word Agon suggests a contest, although no actual contest is specified or implied in the score.

In this ballet, Stravinsky and Balanchine conceived a truly abstract ballet without a setting or a story, simply a series of dances for eight women and four men who interact in carefully programmed combinations.

52

aspect, at least from the listener’s perspective. The composer’s sharp sense of orchestral color, on the other hand, is more acute than ever. He uses a large orchestra in the manner of a chamber ensemble, each instrument being selected for specific duties, and never all heard at once. Each movement has its own tinta, as the opera composer Giuseppe Verdi would have called it, with a characteristic sonority or “sound world” derived from the instruments that take part.

There are twelve movements (equalling the number of dancers), divided into four parts with three movements each.

Three interludes between the groups bring the total up to fifteen movements. At the beginning, the four men are seen aligned across the back of the stage with their backs to the audience.

And at the end, the female dancers leave the stage with the men back in their original positions. Balanchine’s choreography was completely abstract; Stravinsky compared it to a painting by Mondrian, and the work as a whole, although only twenty minutes long, was hugely successful at its original performance.

To assist the listener in following the separate movements, the principal instruments involved are given below: Part I Movement 1. Pas-de-quatre for four male dancers. Mostly brass, playing tag, with separate interjections from harp and mandolin, and from the lower strings.

Movement 2. Double pas-de-quatre for eight female dancers.

Obsessive little clusters in the winds foreshadow the serial treatment that comes later.

Movement 3. Triple pas-de-quatre for all twelve dancers.

Short, nervous phrases from most of the orchestra. The second violins are given a melody with the characteristic cluster shape.

Prelude. Timpani, followed by trumpets. Flutes and bassoons close the piece.

Part II Movement 4. First pas-de-trois: Saraband-Step. One male dancer. Solo violin, xylophone, and two trombones.

Movement 5. Gaillarde. Two female dancers. Flutes, harp, mandolin, double basses.

About the Music

The Cleveland Orchestra

Movement 6. Coda. One male and two female dancers. Solo violin, trombone, flutes. Many isolated notes.

Interlude. Ensemble, double bass harmonics, reprise of Prelude’s close.

Part III Movement 7. Second pas-de-trois: Bransle simple. Two male dancers. Trumpets, trombone, clarinets.

Movement 8. Bransle gai. One female dancer. Castanets, flutes, bassoons.

Movement 9. Bransle de Poitou. One female and two male dancers. Strings, brass, piano.

Interlude. Echoes of the Prelude.

Part IV Movement 10. Pas-de-deux. The longest movement. a.) Solo strings. b.) Variation. One male, then one female dancer.

Horns, piano, flutes. c.) Coda. Both dancers. Strings, mandolin, harp, trombones.

Movement 11. Four duos. Male and female dancers in pairs.

Pizzicato strings, trombones.

Movement 12. Four trios. Full company. Spiky strings. Reprise of the opening. The female dancers leave the stage.

The male dancers take their position as at the beginning.

—Hugh Macdonald © 2011 At a Glance Stravinsky wrote the music for the ballet Agon between 1953 and 1957, on a commission funded by the Rockefeller Foundation for the New York City Ballet. Stravinsky worked closely with choreographer George Balanchine in the conception of the ballet and the outline of its sections. The completed score was premiered on June 17, 1957, by the Los Angeles Philharmonic conducted by Robert Craft. The ballet was presented with Balanchine’s choreography for the first time on December 1, 1957, in New York City.

This ballet score runs just over 20

Severance Hall 2011-12

About the Music

minutes in performance. Stravinsky scored it for 3 flutes (third doubling piccolo), 2 oboes, english horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 4 trumpets, 3 trombones, harp, mandolin, piano, timpani, percussion (3 tom-toms, xylophone, castanets), and strings.

The Cleveland Orchestra has performed this music on two previous occasions: in August 1969 in ballet performances with the New York City Ballet at Blossom Music Center, and at a weekend of concerts at Severance Hall in 1972 conducted by Pierre Boulez.

53

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Both concerts feature B-W piano faculty members (pictured at left) performing on Gamble Auditorium’s two new Steinway D Grand pianos College and Motet Choirs at 6:00 and 8:00 p.m. conducted by Dirk Garner The B-W Symphony Orchestra at 8:00 p.m. conducted by Dwight Oltman Open House Saturday 10:00 a.m. to 1:00 p.m. with family-friendly activities, concerts and open rehearsals And much more from faculty, students and alumni

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Excellence . . . from Bach to Broadway 2011-2012 On-Campus Audition Dates

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54

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The Cleveland Orchestra

THURSDAY- FRIDAY- SATURDAY

Symphony No. 4 in F minor, Opus 36 composed 1877-78 FEW WORKS

by

Pyotr Ilyich

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

Severance Hall 2011-12

in the orchestral repertory carry such a strong emotional charge as Tchaikovsky’s last three symphonies — Nos. 4, 5, and 6. Audiences respond in an almost personal way to the capacity of this music to move us to the depths.

As for reading their deeper meaning, the task is made easier for us by the composer’s frank acknowledgement that such works are bound to provoke the listener’s imagination in realistic and dramatic ways. Of course Beethoven’s Fifth has a program, he asserted, when asked if his own Fourth was similarly programmatic: “My symphony rests upon a foundation that is nearly the same, and if you haven’t understood me, it follows only that I am not a Beethoven, a fact which I have never doubted.” The main point Tchaikovsky wanted to make follows at once: “There is not a note in this symphony which I did not feel deeply, and which did not serve as an echo of sincere impulses within my soul.”

To his patroness Nadezhda von Meck, with whom he kept up a close correspondence for over fourteen years without ever meeting (except twice, briefly, and by accident), he explained the program of the Fourth Symphony in great detail. According to this analysis, the gloomier parts of the work are concerned with fate (represented in the opening passage for brass) and depression, and the eternal struggle to rise above it. There are some brighter moments, and the finale supposedly presents the joy of others as something that might be shared, a cure for the self-hatred and despair that otherwise invades the soul.

But it is not likely that Tchaikovsky intended for Madame von Meck or us to take this program too seriously. Nor should we assume that the symphony is a record of the emotional and psychological crisis that he suffered at the time of its composition. Certainly the year 1877 brought him to a point where suicide was at least a possibility, but how far the music reflected these events is not easy to determine.

In the summer of 1876, at the time he attended the opening of the inaugural Bayreuth Festival with the first performance of Wagner’s Ring of the Nibelung, Tchaikovsky declared his determination to get married, without anyone in particular in mind as his partner. That winter, he started work on the Fourth Symphony, completing the draft of the first three movements before he met the young lady who was to become his wife. The About the Music

55

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bizarre circumstances of their meeting, their almost immediate marriage, and the composer’s appalling realization that instead of curing him of his homosexuality as he perhaps hoped, marriage turned out to be a hell even worse than Dante’s version, which he had so recently depicted with great vividness in his musical tone poem Francesca da Rimini.

Tchaikovsky fled, first to his relatives in the country, then to Switzerland and Italy, where he completed the symphony and finished the orchestration. In such circumstances many creative artists would have abandoned their art in a haze of self-pity.

But Tchaikovsky’s muse never let up. Not only did he complete the Fourth Symphony at this time, he also composed his finest opera, Eugene Onegin, with the exquisite Violin Concerto to follow soon after. There were occasional fallow periods in his career, but the year 1877, however dramatic in domestic affairs, was not one of them. To the end of his life, he sustained the habit of composing for several hours every day, producing one of the most varied and appealing bodies of work of any composer of his generation.

THE MUSIC

At the very start of the first movement, the forthright statement on horns and bassoons grabs the listener’s attention.

We are not likely to overlook its recurrence at critical points in this and later movements — and we are not supposed to. But the music settles into a plaintive flow in a halting triple rhythm, overwhelmingly committed to the minor key. The first movement offers some striking contrasts of mood and key, such as the clarinet’s gentle waltz-tune with playful responses from the other winds, and a swaying figure in the violins accompanied by a pair of drums. But the motto theme returns, and the symphonic argument leads to the first of many stupendous climaxes in this work.

The second movement is not a profound moment of soulsearching, but a tender intermezzo featuring the solo oboe (later other winds), very lightly accompanied. There is a strong Russian flavor in this movement and no laughs. A lighter mood is provided by the third-movement scherzo, one of Tchaikovsky’s neatest inventions. The conventional division of orchestras into the three families of strings, woodwinds, and brass gave him the idea of featuring each in turn, each with its own melody, its own tempo, and its own character. The strings, furthermore, Severance Hall 2011-12

About the Music

We should not assume that the Fourth Symphony is a record of the emotional and psychological crisis that Tchaikovsky suffered at the time of its composition.

The year 1877 brought him to a point where suicide was at least a possibility, but how far the music reflected these events is not easy to determine.

57

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58

The Cleveland Orchestra

are plucked throughout, pizzicato. The divisions are not watertight, for snatches of one kind of music keep intruding on the others. The impression is of a teasing game, full of humor, and free from dark thoughts of any kind.

The noisy finale features in its midst a Russian folksong based on a descending minor scale answered (sometimes) by two solid thumps. In due course, the solemn motto theme makes its dramatic appearance, but it cannot stem the tide of high spirits that close the symphony, leaving Tchaikovsky’s depression (real or imagined) far behind.

—Hugh Macdonald © 2011

ABOVE

Tchaikovsky with his wife Antonina Miliukova, during their brief marriage in 1877.

RIGHT

His patroness, Nadezhda von Meck.

Severance Hall 2011-12

About the Music

At a Glance Tchaikovsky began composing his Fourth Symphony in February 1877 in Russia, completing the first three movements by summer. He wrote the final movement in Italy later in the year and finished the orchestration in Venice in January 1878. The work was first performed on February 22, 1878, in Moscow at a concert of the Russian Musical Society conducted by Nikolai Rubinstein.

This symphony runs about 40 minutes in performance. Tchaikovsky scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, cymbals, triangle), and strings. The score was published in 1880 with a dedication “to my best friend” (Nadezhda von Meck).

The Cleveland Orchestra first performed this symphony in November 1921, during a pair of subscription concerts at Masonic Hall.

The Orchestra has presented it many times since, at home and on tour, most recently at Severance Hall concerts in January 2010 under the direction of Jaap van Zweden. Andris Nelsons led the most recent Blossom Festival performance, in 2008.

59

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60

The Cleveland Orchestra

11001 Euclid Avenue, Cleveland, Ohio 44106 CLEVELANDORCHESTRA.COM

AT SE V E R A NC E H A LL CONCERT DINING AND CONCESSION SERVICE Severance Restaurant at Severance Hall is open for concert dining. For reservations, call (216) 231-7373, or click on the reservations link at clevelandorchestra.com Concert concession service of beverages and light refreshments is available before most concerts and at intermissions in the Smith Lobby on the street level, in the Bogomolny-Kozerefski Grand Foyer, and in the Dress Circle Lobby.

FREE PUBLIC TOURS Free public tours of Severance Hall are offered on select Sundays during the year. Free public tours of Severance Hall are being offered this fall on October 10 and November 28. For additional information or to book for one of these tours, please call the Cleveland Orchestra Ticket Office at (216) 231-1111. Private tours can be arranged for a fee by calling (216) 231-7421.

THE CLEVELAND ORCHESTRA STORE A wide variety of items relating to The Cleveland Orchestra — including logo apparel, compact disc recordings, and gifts — are available for purchase at the Cleveland Orchestra Store before and after concerts and during intermission. The Store is also open Tuesday through Friday from 11 a.m. to 6 p.m. Cleveland Orchestra subscribers receive a 10% discount on most items purchased. Call (216) 231-7478 for more information, or visit the Store online at clevelandorchestra.com

RENTAL OPPORTUNITIES Severance Hall, a Cleveland landmark and home of the world-renowned Cleveland Orchestra, is the perfect location for business meetings and conferences, pre- or post-concert dinners and receptions, weddings, and social events. Exclusive catering provided by Sammy’s. Premium dates are available.

Call the Facility Sales Office at (216) 231-7420 or email to hallrental@clevelandorchestra.com

BE FO R E T H E CO NC E R T GARAGE PARKING AND PATRON ACCESS Parking can be purchased for $10 per vehicle when space in the Campus Center Garage permits.

However, the garage often fills up well before concert time; only ticket holders who purchase prepaid parking passes are ensured a parking space.

Overflow parking is available in CWRU Lot 1 off Euclid Avenue, across from Severance Hall; University Circle Lot 13A on Adelbert Road; and the Cleveland Botanical Garden.

Pre-paid parking for the Campus Center Garage can be purchased in advance through the Ticket Office for $14 per concert. This pre-paid parking ensures you a parking space, but availability of prepaid parking passes is limited. To order pre-paid parking, call the Cleveland Orchestra Ticket Office at (216) 231-1111.

FRIDAY MATINEE PARKING

For our patrons’ convenience, an ATM is located in the Lerner Lobby of Severance Hall, on the ground floor across from the Cleveland Orchestra Store.

Due to limited parking availability for Friday Matinee performances, patrons are strongly encouraged to take advantage of convenient off-site parking and round-trip shuttle services available from the Cedar Hill Baptist Church (12601 Cedar Road). The fee for this service is $10.

QUESTIONS

CONCERT PREVIEWS

ATM — Automated Teller Machine

If you have any questions, please ask an usher or a staff member, or call (216) 231-7300 during regular weekday business hours, or email to info@clevelandorchestra.com

Severance Hall 2011-12

Guest Information

Concert Previews at Severance Hall are presented in Reinberger Chamber Hall on the ground floor, except when noted, beginning one hour before the start of most subscription concerts.

61

AT T H E CO NC E R T COAT CHECK Complimentary coat check is available for concertgoers. The main coat check is located on the street level midway along each gallery on the ground floor.

PHOTOGRAPHY, VIDEO, AND AUDIO RECORDING For the safety of guests and performers, photography and videography are strictly prohibited during performances at Severance Hall.

REMINDERS Please disarm electronic watch alarms and turn off all pagers, cell phones, and mechanical devices before entering the concert hall. Patrons with hearing aids are asked to be attentive to the sound level of their hearing devices and adjust them accordingly. To ensure the listening pleasure of all patrons, please note that anyone creating a disturbance of any kind may be asked to leave the concert hall.

LATE SEATING Performances at Severance Hall start at the time designated on the ticket. In deference to the comfort and listening pleasure of the audience, 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.

SERVICES FOR PERSONS WITH DISABILITIES Severance Hall staff are experienced in assisting patrons to find seats that meet their needs.

Wheelchair seating is available on the Orchestra Level, Box Level, and Dress Circle, and in Reinberger Chamber Hall at a variety of prices. For patrons who prefer to transfer from a wheelchair, seats with removable arms are available on the Orchestra Level in the Concert Hall. ADA seats are held for those with special needs until 48 hours prior to the performance, unless sell-out conditions exist before that time.

Severance Hall features seating locations for people with mobility impairments and offers wheelchair transport for all performances. To discuss your seating requirements, please call the Ticket Office at (216) 231-1111.

TTY line access is available at the public pay telephone located in the Security Office. Infrared Assistive Listening Devices are available from a

62

Head Usher or the House Manager for all performances. If you need assistance, please contact the House Manager at (216) 231-7425 in advance if possible.

Service animals are welcome at Severance Hall.

Please notify the Ticket Office when purchasing tickets.

IN THE EVENT OF AN EMERGENCY Contact an usher or a member of the house staff if you require medical assistance. Emergency exits are clearly marked throughout the building.

Ushers and house staff will provide instructions in the event of an emergency.

SECURITY For security reasons, backpacks, musical instrument cases, and large bags are prohibited in the concert halls. These items must be checked at coat check and may be subject to search.

Severance Hall is a firearms-free facility. No person may possess a firearm on the premises.

CHILDREN Regardless of age, each person must have a ticket and be able to sit quietly in a seat throughout the performance. Season subscription concerts are not recommended for children under the age of eight. However, Family Concerts and Musical Rainbow programs are designed for families with young children. Cleveland Orchestra Youth Orchestra performances are recommended for older children.

T IC K ET SE RV IC ES 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 will be no service charge for the five-day advance ticket exchanges.

If a ticket exchange is requested within 5 days of the performance, there is a $10 service charge per concert. Visit clevelandorchestra.com for details and blackout dates.

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 2 hours before the concert, the value of each ticket can be used as a tax-deductible contribution. Patrons who turn back tickets receive a cumulative donation acknowledgement at the end of each calendar year.

Guest Information

The Cleveland Orchestra

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1112 clevelandorchestra.com

marks Franz Welser-Möst’s tenth year as music director of The Cleveland Orchestra. Highlights of the season include opera-in-concert performances of Strauss’s Salome starring Nina Stemme at Severance Hall and Carnegie Hall, a season opening gala featuring Ravel’s Boléro, and a three-week winter festival featuring three Brahms masterworks, Piano Concertos Nos. 1 and 2 and the Violin Concerto. A family of guest conductors and artists who appear regularly with the Orchestra returns for concert weekends, including Pierre Boulez, Mitsuko Uchida, and artistin-residence Ton Koopman.

Within a full schedule of traditional subscription concerts, the Severance Hall season continues the popular new series introduced two years ago — including the Fridays@7 and the Celebrity Series — alongside twenty weekends of Classics Series concerts.

Subscription packages for the 201112 season are now available for purchase.

Series packages are offered for music lovers of all types, beginning with full-season series and ranging across a variety of smaller series. Complete musical details of the 2011-12 season are available by calling the Orchestra’s Subscription Office at (216) 2311111 or 800-686-1141, or by visiting clevelandorchestra.com online. Make sure that you are a part of the new season’s musical adventures by calling today.

T H E 2 011 -12 S E A S O N

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64

The Cleveland Orchestra

Be a part of one of Northeast Ohioâ&#x20AC;&#x2122;s favorite holiday traditions.

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The Cleveland Orchestra

CUYAHOGA ARTS & CULTURE IS PROUD TO SUPPORT APOLLO'S FIRE BAYARTS BECK CENTER FOR THE ARTS CLEVELAND BOTANICAL GARDEN CLEVELAND INTERNATIONAL FILM FESTIVAL CLEVELAND MUSEUM OF ART CLEVELAND MUSEUM OF NATURAL HISTORY THE CLEVELAND ORCHESTRA CLEVELAND PLAY HOUSE CLEVELAND PUBLIC THEATRE DANCECLEVELAND GREAT LAKES SCIENCE CENTER GREAT LAKES THEATER FESTIVAL

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The Cleveland Orchestra

THE CLEVELAND ORCHESTRA

Corporate Honor Roll

gifts of $2,500 and more as of September 20, 2011

The Cleveland Orchestra and Musical Arts Association gratefully acknowledge and salute the members of the Corporate Honor Roll for their annual support of The Cleveland Orchestra.

For further information about joining the Honor Roll, please contact Anizia Karmazyn, Director of Development at 216-231-7551.

PARTNERS IN EXCELLENCE $300,000 AND MORE

KeyBank The Lubrizol Foundation NACCO Industries, Inc.

PNC Raiffeisenlandesbank Oberösterreich (Europe) PARTNERS IN EXCELLENCE $200,000 TO $299,999

Baker Hostetler Eaton Corporation Forest City Enterprises, Inc. The Plain Dealer PARTNERS IN EXCELLENCE $100,000 TO $199,999

The J. M. Smucker Company Medical Mutual of Ohio

$50,000

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$99,999

FirstMerit Bank The Goodyear Tire & Rubber Company Jones Day Parker Hannifin Corporation The Sage Cleveland Foundation TeleMünchen Group (Europe) $25,000 TO $49,999

Giant Eagle JPMorgan Chase Foundation Northern Trust Bank of Florida (Miami) Quality Electrodynamics (QED) Richard L. Bowen & Associates, Inc. Squire, Sanders & Dempsey (US) LLP Thompson Hine LLP $2,500 TO $24,999

Recognizing those companies with annual contributions totaling $100,000 and more, Partners in Excellence exemplify leadership and commitment to artistic excellence at the highest level. We are very grateful for their commitment to the Orchestra and the northeast Ohio community.

Severance Hall 2011-12

Akron Tool & Die Company American Fireworks, Inc. American Greetings Corporation Arnstein & Lehr LLP (Miami) Bank of America BDI Brouse McDowell Eileen M. Burkhart & Co. LLC Buyers Products Company Calfee, Halter & Griswold LLP The Cliffs Foundation Community Behavioral Health Center Conn-Selmer, Inc. Consolidated Graphics Group, Inc. Dealer Tire LLC Dollar Bank Dominion Foundation Ernst & Young LLP Evarts-Tremaine-Flicker Company Feldman Gale, P.A. (Miami) Ferro Corporation Fifth Third Bank Frantz Ward LLP Gallagher Benefit Services Genovese Vanderhoof & Associates

Institutional Support

Great Lakes Brewing Company Gross Builders Hahn Loeser + Parks LLP Higer Lichter & Givner LLP (Miami) Houck Anderson P.A. (Miami) Hyland Software, Inc. Keithley Foundation The Lincoln Electric Foundation C. A. Litzler Co., Inc. LNE Group / Lee Weingart (Europe) LPC Publishing Company Macy’s Miba AG (Europe) MindCrafted Systems MTD Products, Inc. Nordson Corporation North Coast Container Corp.

Northern Haserot Oatey Co. Octavia Press Ohio CAT Ohio Savings Bank, A Division of New York Community Bank Olympic Steel, Inc. Park-Ohio Holdings Corp.

PolyOne Corporation The Prince & Izant Company Richey Industries, Inc. RPM International Inc. SEMAG Holding GmbH (Europe) The Sherwin-Williams Company Stearns Weaver Miller Weissler Alha (Miami) Stern Advertising Agency Summa Health System Swagelok Company Towers Watson TriMark S.S. Kemp Trionix Research Laboratory, Inc. Tucker Ellis & West LLP Ulmer & Berne LLP Ver Ploeg & Lumpkin, P.A. Westlake Reed Leskosky Anonymous (3)

69

An Evening with

Garrison 10-27-11

Keillor still open for business.â&#x20AC;?

Time Magazine

(7:30 p.m.)

Severance Hall | 11001 Euclid Avenue

Tickets: $45/$55/$65 800-686-1141 or tricpresents.com

70

The Cleveland Orchestra

THE CLEVELAND ORCHESTRA

Foundation and Government Honor Roll

gifts of $2,000 or more during the past year, as of September 20, 2011

The Cleveland Orchestra and Musical Arts Association gratefully acknowledge and salute the members of the Foundation and Government Honor Roll for their annual support of The Cleveland Orchestra. For further information about joining the Honor Roll, please contact Bridget Mundy, Grants Manager, at 216-231-8006. $1 MILLION AND MORE

The Cleveland Foundation Cuyahoga County residents through Cuyahoga Arts and Culture Maltz Family Foundation The Kelvin and Eleanor Smith Foundation $250,000 TO $500,000

Andrew W. Mellon Foundation David and Inez Myers Foundation Ohio Arts Council The Skirball Foundation $100,000 TO $249,999

Sidney E. Frank Foundation The GAR Foundation The George Gund Foundation Martha Holden Jennings Foundation Kulas Foundation The Mandel Foundation The Miami Foundation, from a fund established by the John S. and James L. Knight Foundation (Miami) John P. Murphy Foundation Surdna Foundation

Severance Hall 2011-12

$50,000 TO $99,999

The George W. Codrington Charitable Foundation The Louise H. and David S. Ingalls Foundation Myra Tuteur Kahn Memorial Fund of The Cleveland Foundation National Endowment for the Arts The Payne Fund The Reinberger Foundation $20,000

TO

$49,999

The Abington Foundation Akron Community Foundation The Helen C. Cole Charitable Trust The Mary S. and David C. Corbin Foundation The Gerhard Foundation, Inc. Ann and Gordon Getty Foundation Elizabeth Ring Mather and William Gwinn Mather Fund The Nonneman Family Foundation The Esther and Hyman Rapport Philanthropic Trust The Sisler McFawn Foundation $2,000 TO $19,999 Ayco Charitable Foundation The Ruth and Elmer Babin Foundation Bicknell Fund The Eva L. and Joseph M. Bruening Foundation The Collacott Foundation The Frances G. and Lewis Allen Davies Endowment Fund Mary and Dr. George L. Demetros Charitable Trust Elisha-Bolton Foundation Fisher-Renkert Foundation The Harry K. Fox and Emma R. Fox Charitable Foundation Funding Arts Network (Miami)

Institutional Support

The Helen Wade Greene Charitable Trust The Hankins Foundation Muna & Basem Hishmeh Foundation Richard H. Holzer Memorial Foundation The Kangesser Foundation The Laub Foundation Victor C. Laughlin, M.D. Memorial Foundation Trust The G. R. Lincoln Family Foundation Margaret Clark Morgan Foundation Miami-Dade County Department of Cultural Affairs (Miami) Laura R. & Lucian Q. Moffitt Foundation The Nord Family Foundation Paintstone Foundation The Charles E. & Mabel M. Ritchie Memorial Foundation The Leighton A. Rosenthal Family Foundation SCH Foundation Albert G. & Olive H. Schlink Foundation The Sherwick Fund Lloyd L. and Louise K. Smith Memorial Foundation The South Waite Foundation Jean C. Shroeder Foundation The Taylor-Winfield Foundation The George Garretson Wade Charitable Trust The S. K. Wellman Foundation The Wells Family Foundation, Inc. Thomas H. White Foundation, a KeyBank Trust The Edward & Ruth Wilkof Foundation Wright Foundation The Wuliger Foundation Anonymous (2)

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THE CLEVELAND ORCHESTRA

Generous Individual

Donors

gifts as of September 20, 2011

The Cleveland Orchestra and Musical Arts Association gratefully recognize the individuals listed here, who have provided generous gifts of cash or pledges of $2,500 or more in annual operating, endowment, special project, or benefit event support.

INDIVIDUAL GIFTS OF $500,000 AND MORE

Mr. and Mrs. Alexander M. Cutler Daniel R. and Jan R. Lewis (Miami)

Crescendo

INDIVIDUAL GIFTS OF $200,000 TO $499,999

Annual Fund Patrons Barbara Robinson, chair Robert Gudbranson, vice chair Gay Cull Addicott William W. Baker Ronald H. Bell Henry C. Doll Judy Ernest Nicki Gudbranson Jack Harley

Iris Harvie Brinton L. Hyde Randall N. Huff Elizabeth Kelley David C. Lamb Raymond T. Sawyer

Ongoing annual support gifts are a critical component toward sustaining The Cleveland Orchestra’s economic health. Ticket revenues provide only a small portion of the funding needed to support the Orchestra’s outstanding performances, educational activities, and community projects.

The Crescendo Patron Program recognizes generous donors of $2,500 or more to the Orchestra’s Annual Fund. For more information on the benefits of playing a supporting role each year, please contact Hayden Howland, Manager of Leadership Giving, by calling (216) 231-7545.

Irma and Norman Braman (Miami) The Walter and Jean Kalberer Foundation Susan Miller (Miami) Mr. and Mrs. Albert B. Ratner James and Donna Reid INDIVIDUAL GIFTS OF $100,000 TO $199,999

Ben and Ingrid Bowman Francie and David Horvitz (Miami) Mr. and Mrs. Joseph P. Keithley Dr. and Mrs. Herbert Kloiber (Europe) Mrs. Norma Lerner Mr. and Mrs. Herbert McBride Sally S. and John C. Morley Ms. Ginger Warner (Cleveland, Miami) Janet and Richard Yulman (Miami) INDIVIDUAL GIFTS OF $75,000 TO $99,999

Robert and Jean Conrad Trevor and Jennie Jones Mr. and Mrs. Douglas A. Kern Mr. and Mrs. Dennis W. LaBarre The Honorable and Mrs. John Doyle Ong Julia and Larry Pollock Barbara S. Robinson INDIVIDUAL GIFTS OF $50,000 TO $74,999

Leadership Council The Leadership Council salutes those extraordinary donors who have pledged to sustain their annual giving at the highest level for three years or more. Leadership Council donors are recognized in the Crescendo listings with the Leadership Council symbol next to their name:

72

John P. Bergren* and Sarah M. Evans Mr. William P. Blair III Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. and Mrs. Charles P. Bolton Hector D. Fortun (Miami) James D. Ireland III R. Kirk Landon and Pamela Garrison (Miami) Peter B. Lewis and Janet Rosel (Miami) Toby Devan Lewis Ms. Nancy W. McCann

Generous Individual Donors

The Cleveland Orchestra

THE CLEVELAND ORCHESTRA

Mr. and Mrs. Alfred M. Rankin, Jr. Mr. and Mrs. Richard K. Smucker David A. and Barbara Wolfort Anonymous INDIVIDUAL GIFTS OF $30,000 TO $49,999

Dr. and Mrs. Wolfgang Berndt (Europe) Blossom Women’s Committee The Brown and Kunze Foundation Jeanette Grasselli Brown and Glenn R. Brown Mrs. Gerald N. Cannon Mr. and Mrs. Matthew V. Crawford Mr. and Mrs. Geoffrey Gund George Gund Mrs. Marguerite B. Humphrey Giuliana C. and John D. Koch Foundation (Cleveland, Miami) Dr. Vilma L. Kohn Charlotte R. Kramer Mr. and Mrs. Jon A. Lindseth Ms. Beth E. Mooney Mrs. Alfred M. Rankin, Sr. Brian and Patricia Ratner Charles and Ilana Horowitz Ratner Luci and Ralph* Schey Mr. and Mrs. Franz Welser-Möst Women’s Committee of The Cleveland Orchestra Anonymous INDIVIDUAL GIFTS OF $25,000 TO $29,999

Sheldon and Florence Anderson (Miami) Mr. and Mrs. Gerald A. Conway Tati and Ezra Katz (Miami) Mr. and Mrs. S. Lee Kohrman Dr. and Mrs. David Leshner Mr. and Mrs. Alex Machaskee Mrs. Jane B. Nord Mr. and Mrs. James A. Ratner Hewitt and Paula Shaw Richard and Nancy Sneed R. Thomas and Meg Harris Stanton Rick, Margarita and Steven Tonkinson (Miami) Judy and Sherwood Weiser (Miami)

Margaret Fulton-Mueller and Scott Mueller William J. and Katherine T. O’Neill Dr. and Mrs. Ronald J. Ross Rennie and Marc Saltzberg Dr. and Mrs. Neil Sethi Paul and Suzanne Westlake Anonymous gift from Switzerland (Europe) Anonymous INDIVIDUAL GIFTS OF $15,000 TO $19,999

Mr. and Mrs. William W. Baker Randall and Virginia Barbato Jayusia and Alan Bernstein (Miami) Scott Chaikin and Mary Beth Cooper Do Unto Others Trust (Miami) Colleen and Richard Fain (Miami) Mr. Allen H. Ford Richard and Ann Gridley Mrs. John A Hadden Jr. Gary Hanson and Barbara Klante Jack Harley and Judy Ernest Iris and Tom Harvie Joan and Leonard Horvitz Richard and Erica Horvitz (Cleveland, Miami) Elizabeth B. Juliano Mr. Thomas F. McKee Mrs. Stanley L. Morgan* Lucia S. Nash Mr. Gary A. Oatey Mr. and Mrs. James A. Saks Raymond T. and Katherine S. Sawyer Nancy and Neil Schaffel (Miami) David and Harriet Simon Mary M. Spencer (Miami) Dr. and Mrs. William P. Steffee Dr. Kenneth F. Swanson Mr. Joseph F. Tetlak INDIVIDUAL GIFTS OF $12,500 TO $14,999

Mr. and Mrs. George M. Aronoff Mr. and Mrs. David J. Carpenter George* and Becky Dunn Robert M. Maloney and Laura Goyanes Mrs. David Seidenfeld Mrs. Jean H. Taber Mr. and Mrs. Alfred Umdasch (Europe)

INDIVIDUAL GIFTS OF $20,000 TO $24,999

INDIVIDUAL GIFTS OF $10,000 TO $12,499

Gay Cull Addicott Mr. and Mrs. Daniel M. Bell (Miami) Martha and Bruce Clinton (Miami) Bruce and Beth Dyer Albert I. and Norma C. Geller Dr. Edward S. Godleski Andrew and Judy Green

Fred G. and Mary W. Behm Marsha and Brian Bilzin (Miami) Dr. Christopher P. Brandt and Dr. Beth Sersig Mr. D. McGregor Brandt, Jr. Mr. and Mrs. Eugene A. Buehler J. C. and Helen Rankin Butler Augustine* and Grace Caliguire

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THE CLEVELAND ORCHESTRA

INDIVIDUAL GIFTS OF $10,000 TO $12,499

CONTINUED

Richard J. and Joanne Clark Mr. Bruce Coppock (Miami) Judith and George W. Diehl Mr. and Mrs. Robert P. Duvin Mike S. and Margaret Eidson (Miami) Dr. and Mrs. Lloyd H. Ellis Jr. Mr. and Mrs.* David K. Ford Ms. Dawn M. Full Mr. Francisco A. Garcia (Miami) Mr. and Mrs. Richard T. Garrett Mr. and Mrs. Robert W. Gillespie Sondra and Steve Hardis Henry R. Hatch and Robin Hitchcock Hatch Mr. and Mrs. Jeffrey Healy Mary and Jon Heider (Cleveland, Miami) David and Nancy Hooker Mr. and Mrs. Richard A. Janus Mr. and Mrs. Ferdinand Jereb Janet and Gerald Kelfer (Miami) Jonathan and Tina Kislak (Miami) Mrs. Elizabeth R. Koch Tim and Linda Koelz Mr. and Mrs. Edward A. Lozick Mr. and Mrs. Richard A. Manuel Mrs. Robert H. Martindale Mr. and Mrs. Arch J. McCartney William and Eleanor McCoy Mr. and Mrs. Stanley A. Meisel Mr. Walter N. Mirapaul Elisabeth and Karlheinz Muhr (Europe) Brian and Cindy Murphy Claudia and Steven Perles (Miami) Mr. and Mrs. George M. Rose Mr. and Mrs. David A. Ruckman David M. and Betty Schneider Rachel R. Schneider, PhD Mr. and Mrs. Oliver E. Seikel Kim Sherwin Lois and Tom Stauffer Mrs. Blythe Sundberg Dr. Russell A. Trusso Clara and David Williams INDIVIDUAL GIFTS OF $7,500 TO $9,999

Mr. William Berger Laurel Blossom Dr. and Mrs. Jerald S. Brodkey Dr. Ben H. and Julia Brouhard Dr. Thomas Brugger and Dr. Sandra Russ Ellen E. & Victor J. Cohn Supporting Foundation Mr. Owen Colligan Mr. and Mrs. William E. Conway Mr. and Mrs. Edward B. Davis Henry and Mary Doll Nancy and Richard Dotson Mr. and Mrs. Terry C. Z. Egger Mr. David J. Golden Robert K. Gudbranson and Joon-Li Kim Kathleen E. Hancock

74

Dr.* and Mrs. Shattuck W. Hartwell, Jr. Mrs. Sandra L. Haslinger In memory of Philip J. Hastings Pamela and Scott Isquick Mr. and Mrs. Donald M. Jack, Jr. Allan V. Johnson Joela Jones and Richard Weiss Judith and Morton Q. Levin Mr. and Mrs. Thomas B. McGowan Mr. Donald W. Morrison Mr. and Mrs. Stephen E. Myers Mr. and Mrs. William M. Osborne, Jr. Pannonius Foundation Rosskamm Family Trust Mr. Larry J. Santon Patricia J. Sawvel Carol and Albert Schupp Naomi G. and Edwin Z. Singer Family Fund Mrs. Gretchen D. Smith Mr. and Mrs. Donald W. Strang, Jr. Bruce and Virginia Taylor Sandy and Ted Wiese Anonymous (2) INDIVIDUAL GIFTS OF $5,000 TO $7,499

Dr. Jacqueline Acho and Mr. John LeMay Mr. and Mrs. Monte Ahuja Susan S. Angell Agnes Armstrong Mr. and Mrs. Albert A. Augustus Ms. Jody Bacon Mr. and Mrs. Dean Barry Mr. Jon Batchelor (Miami) James and Reita Bayman Dr. and Mrs. Nathan A. Berger Dr. and Mrs. Eugene H. Blackstone In memory of Claude M. Blair Mrs. Flora Blumenthal Brennan Family Foundation Mr. Robert W. Briggs Mr. and Mrs. William C. Butler Mr. and Mrs. R. Bruce Campbell Ms. Maria Cashy Drs. Wuu-Shung and Amy Chuang Dr. William & Dottie Clark Mrs. Lester E. Coleman Corinne L. Dodero Trust for the Arts and Sciences Mr. and Mrs. Evan R. Corns Mr. Peter and Mrs. Julie Cummings (Miami) Mrs. Barbara Ann Davis Peter and Kathryn Eloff Dr. and Mrs. Robert Elston Mary and Oliver Emerson Mr. and Mrs. Charles R. Emrick, Jr. Mr. and Mrs. Henry J. Goodman Mr. and Mrs. Randall J. Gordon Harry and Joyce Graham Mr. Paul Greig Mr. and Mrs. David E. Griffiths

Generous Individual Donors

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THE CLEVELAND ORCHESTRA

INDIVIDUAL GIFTS OF

$5,000 TO $7,499

CONTINUED

David and Robin Gunning Clark Harvey and Holly Selvaggi T. K. and Faye A. Heston Mr. Clifford Hill Amy and Stephen Hoffman Mr. and Mrs. Brinton L. Hyde Mr. and Mrs. Christopher Hyland Ms. Martha Ingram (Miami) Judith* and Clifford Isroff Rudolf D. and Joan T. Kamper Andrew and Katherine Kartalis Milton and Donna* Katz Dr. and Mrs. William S. Kiser Cynthia Knight (Miami) Julius and Doris Kramer Mrs. Justin Krent Mr. and Mrs. Peter A. Kuhn Mr. and Mrs. Arthur J. Lafave, Jr. Robert and Judie Lasser Judy and Donald Lefton (Miami) Shirley and William Lehman (Miami) Mr.* and Mrs. Leo Leiden Mr. Jeff Litwiller Mr. and Mrs. Robert P. Madison Ms. Jennifer R. Malkin Mr. and Mrs. Morton L. Mandel Alan Markowitz M.D. and Cathy Pollard Mrs. Kay Marshall Alexander and Marianna C. McAfee Claudia Metz and Thomas Woodworth Edith and Ted* Miller Mr. and Mrs. William A. Mitchell Robert Moss (Miami) Mr. and Mrs. Herbert Newman Richard and Kathleen Nord John and Margi Oâ&#x20AC;&#x2122;Brien Mr. Michael G. Oravecz Mr. Henry Ott-Hansen Mr. J. William and Dr. Suzanne Palmer Nancy and Robert Pfeifer Dr. and Mrs. John N. Posch Douglas and Noreen Powers Lois S.* and Stanley M. Proctor

Drs. Raymond R. Rackley and Carmen M. Fonseca Mr. and Mrs. Roger F. Rankin Mrs. Nancy L. Reymann Mr. and Mrs. James E. Rohr Carol Rolf and Steven Adler Dr. Tom D. Rose Steven and Ellen Ross Mr. Christopher Roy Mr. Klaus G. Roy and Mrs. Gene J. Roy Mr. and Mrs. Robert C. Ruhl Drs. Michael and Judith Samuels (Miami) Larry and Sally Sears Dr. and Mrs. James L. Sechler Mr. Eric Sellen and Mr. Ron Seidman Dr. Gerard and Phyllis Seltzer Mrs. Frances G. Shoolroy Mrs. William I. Shorrock Laura and Alvin A. Siegal David Kane Smith Jim and Myrna Spira George and Mary Stark Mrs. Marie S. Strawbridge Charles B. and Rosalyn Stuzin (Miami) Mr. and Mrs. Paul A. Teel, Jr. Mr. and Mrs. Bill Thornton Mr. Brian Thornton Mr. and Mrs. Lyman H. Treadway Mr.* and Mrs. Robert N. Trombly Robert A. Valente Don and Mary Louise Van Dyke Bill Appert and Chris Wallace (Miami) Tom and Shirley Waltermire Dr. Edward L. and Mrs. Susan Westbrook Tom and Betsy Wheeler Mr. Roy Woda Mrs. Janet A. Wright Mr. David Zauder Anonymous (5) member of the Leadership Council (see page 72)

* deceased

INDIVIDUAL GIFTS OF $3,500 TO $4,999

Dr. and Mrs. D. P. Agamanolis Mr. and Mrs. Quentin Alexander Mr. and Mrs. Robert H. Baker Ms. Delphine Barrett Mr.* and Mrs. Russell Bearss Mr. and Mrs. Jules Belkin Dr. Ronald and Diane Bell Dr. Robert Benyo Suzanne and Jim Blaser Mr. and Mrs. Dennis A. Block Paul and Marilyn* Brentlinger Ms. Elizabeth E. Brumbaugh Frank and Leslie Buck Dr. and Mrs. William E. Cappaert Mrs. Millie L. Carlson

Ms. Mary E. Chilcote Drs. Mark Cohen and Miriam Vishny Diane Lynn Collier Marjorie Dickard Comella Mr. and Mrs. David J. Cook Pete and Margaret Dobbins Mr.* and Mrs. Sidney Dworkin Mr. Brian L. Ewart and Mr. William McHenry Mr. J. Gilbert and Mrs. Eleanor Frey Mrs. Cora C. Gigax Robert N. and Nicki N. Gudbranson John and Virginia Hansen Mr. Robert D. Hart Barbara Hawley and David Goodman

Matthew D. Healy and Richard S. Agnes Ms. Mary Beth Hedlund Hazel Helgesen and Gary D. Helgesen Anita and William Heller Bob and Edith Hudson (Miami) Mr. James J. Hummer Dr. and Mrs. Scott R. Inkley Donna L. and Robert H. Jackson Mrs. Rita G. Kelly Mr. and Mrs. Robert M. Koch Ronald and Barbara Leirvik Mr. and Mrs. Irvin A. Leonard listings continue

76

Generous Individual Donors

Severance Hall 2011-12

The Center for Music & Medicine University Hospitals Center for Music and Medicine is proud to support The Cleveland Orchestra.

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Severance Hall 2011-12

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THE CLEVELAND ORCHESTRA

INDIVIDUAL GIFTS OF

$3,500 TO $4,999

CONTINUED

Mrs. Emma S. Lincoln Mr. and Mrs. Robert C. Loesch Anne R. and Kenneth E. Love Robert and LaVerne Lugibihl Elsie and Byron Lutman Joel and Mary Ann Makee Martin and Lois Marcus Dr. Susan M. Merzweiler Drs. Terry E. and Sara S. Miller Ann Jones Morgan Dr. Joan R. Mortimer Mr. and Mrs. Peter R. Osenar Mrs. Ingrid Petrus Mr. and Mrs. John S. Piety In memory of Henry Pollak

Dr. Laurine Purola Dr. Robert W. Reynolds Amy and Ken Rogat Bob and Ellie Scheuer Ms. Freda Seavert Ginger and Larry Shane Dr. Marvin and Mimi Sobel Mr. and Mrs. William E. Spatz Dr. Elizabeth Swenson Ms. Lorraine S. Szabo Mr. and Mrs. Leonard K. Tower Robert J. and Marti J. Vagi Mr. and Mrs. Fred A. Watkins Mr. and Mrs. Mark Allen Weigand Mr. Peter and Mrs. Laurie Weinberger

Robert C. Weppler Nancy V. and Robert L. Wilcox Ms. Judith H. Wright Anonymous (3)

Dr. and Mrs. Richard C. Distad Ms. Maureen A. Doerner and Mr. Geoffrey T. White Mr. George and Mrs. Beth Downes David Jack and Elaine Drage Mrs. Mary S. Eaton Esther L. and Alfred M. Eich, Jr. Erich Eichhorn and Ursel Dougherty Mrs. Margaret Estill David and Margaret Ewart Harry and Ann Farmer Scott Foerster, Forester and Bohnert Joan Alice Ford Mrs. Mary Elizabeth Ford Mr. Randall and Mrs. Patrice Fortin Mr. Monte Friedkin (Miami) Marvin Ross Friedman and Adrienne bon Haes (Miami) Peggy and David* Fullmer Richard L. Furry Marilee L. Gallagher Barbara and Peter Galvin Joy E. Garapic Mrs. Georgia T. Garner Mr. Wilbert C. Geiss, Sr. Mrs. Joan Getz (Miami) Mr. Herman Gilbert Anne and Walter Ginn Joyce and Ab* Glickman Mr. and Mrs. David A. Goldfinger Dr. and Mrs. Ronald L. Gould Cynthia and David Greenberg Mr. and Mrs. Brent R. Grover The Thomas J. and Judith Fay Gruber Charitable Foundation Nancy and James Grunzweig Dr. Phillip M. and Mrs. Mary Hall Ronald M. and Sallie M. Hall (Miami) Mr. Holsey G. Handyside Mr. George P. Haskell Virginia and George Havens Oliver and Sally Henkel Mr. and Mrs. Jerry Herschman Mr. Robert T. Hexter Dr. and Mrs. John D. Hines Dr. and Mrs. Robert L. Hinnes

Dr. Feite F. Hofman Mr. and Mrs. Edmond H. Hohertz Peter A. and Judith Holmes Thomas and Mary Holmes Dr. Keith A. and Mrs. Kathleen M. Hoover Xavier-Nichols Foundation Robert and Karen Hostoffer Mr. and Mrs. Mark Houck Dr. Randal N. Huff and Ms. Paulette Beech Ms. Charlotte L. Hughes Ms. Luan K. Hutchinson Mr. and Ms. Charles S. Hyle Ruth F. Ihde Carol Lee and James Iott Helen and Erik Jensen Mr. Peter and Mrs. Mary Joyce Mr. Daniel Kamionkowski Mr. William and Mrs. Mary Jo Kannen Barbara and Michael J. Kaplan Rev. William C. Keene Elizabeth Kelley Ms. Angela Kelsey (Miami) The Kendis Family Trust: Hilary & Robert Kendis and Susan & James Kendis Bruce and Eleanor Kendrick Mr. James Kish Fred and Judith Klotzman Jacqueline and Irwin Kott (Miami) Dr. Ronald H. Krasney and Ms. Sherry Latimer* Dr. James and Mrs. Margaret Kreiner Mr. James and Mrs. Patricia Krohngold Mr. Donald N. Krosin David C. Lamb Mrs. Carolyn Lampl Kenneth M. Lapine Anthony T. and Patricia A. Lauria Mr. and Mrs. Leon Lazarev Jeffrey and Ellen Leavitt Dr. Hasoon Lee Dr. and Mrs. Jai H. Lee Michael and Lois A. Lemr

INDIVIDUAL GIFTS OF $2,500 TO $3,499

Stanley I. and Hope S. Adelstein Norman and Rosalyn Adler Family Philanthropic Fund Mr. Gerald O. Allen Norman and Helen Allison Mr. and Mrs. Robert J. Amsdell Rev. Dr. and Mrs. Kenneth J. Anderson Mr. and Mrs. Jeffrey R. Appelbaum Mr. and Mrs. Stanley H. Arkin (Miami) Geraldine and Joseph Babin Mr. William Baldwin Reverend Thomas and Dr. Joan Baumgardner Mr. and Mrs. Mike Belkin Ms. Pamela D. Belknap Mr. Roger G. Berk Kerrin and Peter Bermont (Miami) Barbara and Sheldon Berns Julia & David Bianchi (Cleveland, Miami) John A. Biek and Christina J. Norton Carmen and Karl Bishopric (Miami) Bill and Zeda Blau Mr. Doug Bletcher Mrs. Mary Wick Bole John and Anne Bourassa Ms. Barbara E. Boyle Betty Madigan Brandt David M. and Carol M. Briggs Ms. Mary R. Bynum and Mr. J. Philip Calabrese Mr. and Mrs. Frank H. Carpenter Leigh and Mary Carter Mr. and Mrs. James B. Chaney Dr. and Mrs. Ronald Chapnick Dr. Christopher and Mrs. Maryann Chengelis Mr. and Mrs. Homer D. W. Chisholm Mr. and Mrs. Robert A. Clark Dr. Dale and Susan Cowan Mrs. Frederick F. Dannemiller Charles and Fanny Dascal (Miami) Jeffrey and Eileen Davis Mrs. Lois Joan Davis Ms. Nancy J. Davis (Miami) Scott and Laura Desmond

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Generous Individual Donors

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THE CLEVELAND ORCHESTRA

INDIVIDUAL GIFTS OF

$2,500 TO $3,499

CONTINUED

Dr. Edith Lerner Mr. Lawrence B. and Christine H. Levey Dr. Stephen B. and Mrs. Lillian S. Levine Robert G. Levy Dr. Alan and Mrs. Joni Lichtin Isabelle and Sidney* Lobe Drs. Alex and Marilyn Lotas Martha Klein Lottman Sandi M. A. Macdonald and Henry J. Grzes (Miami) Herbert L. and Rhonda Marcus Dr. and Mrs. Sanford E. Marovitz Mr. and Mrs.* Duane J. Marsh Dr. Ernest and Mrs. Marian Marsolais Mr. Julien L. McCall Mrs. Alice Mecredy Dr.* and Mrs. Hermann Menges, Jr. Stephen and Barbara Messner Donald D. Miller MindCrafted Systems Bert and Marjorie Moyar Mr. Raymond M. Murphy Richard B. and Jane E. Nash Marshall I. Nurenberg and Joanne Klein Richard and Jolene O’Callaghan Nedra and Mark Oren (Miami) James P. Ostryniec (Miami) Mr. and Mrs. Christopher I. Page Deborah and Zachary Paris Dr. Lewis and Janice B. Patterson Mr. Thomas F. Peterson, Jr. Dr. Roland S. Philip and Dr. Linda M. Sandhaus Dale and Susan Phillip Mr. and Mrs. Richard W. Pogue Dr. Marc and Mrs. Carol Pohl William and Gwen Preucil Mr. Richard and Mrs. Jenny Proeschel Mr. Lute and Mrs. Lynn Quintrell Mr. and Mrs. Thomas A. Quintrell Ms. C. A. Reagan David and Gloria Richards Mrs. Florence Brewster Rutter Fred Rzepka and Anne Rzepka Family Foundation Dr. Harry S. and Rita K. Rzepka Nathan N. and Esther Rzepka Family Philanthropic Fund of the Jewish Co Dr. and Mrs. Martin I. Saltzman Ms. Patricia E. Say Mr. Paul H. Scarbrough Mr. James Schutte

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Dr. John Sedor and Ms. Geralyn Presti Lee G. and Jane Seidman Charles Seitz (Miami) Drs. Daniel and Ximena Sessler Harry and Ilene Shapiro Norine W. Sharp Dr. and Mrs. William C. Sheldon Mr. Richard Shirey Dr. Howard and Mrs. Judith Siegel Donald Singer and Helene Love Mr. and Mrs.* Jeffrey H. Smythe Pete and Linda Smythe Mrs. Virginia Snapp Jay and Ellen Solowksy (Miami) Mr. John C. Soper and Dr. Judith S. Brenneke Mr. John D. Specht Howard Stark M.D. and Rene Rodriguez (Miami) Mr. and Mrs.* Lawrence E. Stewart Mrs. Barbara Stiefel (Miami) Mr. and Mrs. G. W. Stuelpe Mr. and Mrs. Daniel C. Sussen Mr. Nelson S. Talbott Mr. Karl and Mrs. Carol Theil Colin Blades Thomas Dr. and Mrs. Thomas A. Timko Mr. and Mrs. Robert J. Tomsich Mr. Erik Trimble Drs. Anna* and Gilbert True Miss Kathleen Turner Mrs. H. Lansing Vail, Jr. Mr. and Mrs. Joaquin Vinas (Miami) Mr. and Mrs. Les C. Vinney Mr. and Mrs. Joseph F. Wasserbauer Ms. Laure A. Wasserbauer Philip and Peggy Wasserstrom Mr. and Mrs. Jerome A. Weinberger Richard Wiedemer, Jr. Helen Sue* and Meredith Williams Mr. Peter and Mrs. Ann Williams Richard and Mary Lynn Wills Charles Winans Michael H. Wolf and Antonia Rivas-Wolf Drs. Nancy Wolf and Aric Greenfield Mr. Robert Wolff and Dr. Paula Silverman Kay and Rod Woolsey Rad and Patty Yates Fred and Marcia Zakrajsek Mr. Kal Zucker and Mrs. Mary Frances Haerr Anonymous (11)

The Cleveland Orchestra is sustained through the annual support of thousands of generous patrons, including members of the Crescrendo Patron Program listed on these pages. Listings of all donors of $300 and more each year are published in the Orchestra’s Annual Report, which can be viewed online at CLEVELANDORCHESTRA.COM For information about how you can play a supporting role for The Cleveland Orchestra’s artistic excellence and community partnerships, please contact our Philanthropy & Advancement Office by calling (216) 231-7545.

member of the Leadership Council (see page 72)

* deceased

Generous Individual Donors

Severance Hall 2011-12

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81

The Cleveland Orchestra RECORDINGS

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The Cleveland Orchestra’s catalog of recordings continues to grow. The newest CDs include selections by Richard Wagner recorded with Music Director Franz Welser-Möst at Severance Hall last winter and released over the summer. Two additional recordings, under the baton of Pierre Boulez, were released in October. And Mitsuko Uchida’s second album of Mozart piano concertos became available in the United States just as her first album won a Grammy Award! The Boulez recording of Mahler’s Des Knaben Wunderhorn was BBC Music Magazine’s disc of the month for December 2010. And the Wagner album, featuring soprano Measha Brueggergosman singing Wagner’s Wesendonck Songs, continues to garner high praise from the press. Audiophile Audition says: “A grandly moving collaboration. . . . Few orchestras can compete with the gossamer sheen that Cleveland possesses.”

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

Severance Hall 2011-12

Severance Hall

Georgian exterior was constructed to harmonize with the classical architecture of other prominent buildings in the University Circle area. The interior of the building reflects a combination of design styles, including Art Deco, Egyptian Revival, Classicism, and Modernism. An extensive renovation, restoration, and expansion of the facility was completed in January 2000. In addition to serving as the home of The Cleveland Orchestra for concerts and rehearsals, the building is rented by a wide variety of local organizations and private citizens for performances, meetings, and gala events each year.

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of Music Director Franz Welser-Möst, The Cleveland Orchestra has become one of the most sought-after performing ensembles in the world. In concerts at its winter home at Severance Hall and at each summer’s Blossom Festival, in residencies from Miami to Vienna, and on tour around the world, The Cleveland Orchestra sets standards of artistic excellence, creative programming, and community engagement.

The partnership with Franz Welser-Möst, now in its tenth season, and with a commitment to the Orchestra’s centennial in 2018, has moved the ensemble forward with a series of new and ongoing initiatives, including: UNDER THE LEADERSHIP

the establishment of residencies around the world, fostering creative artistic growth and an expanded financial base, including an ongoing residency at the Vienna Musikverein (the first of its kind by an American orchestra); an annual Miami Residency involving three weeks of concerts, community activities, and educational presentations and collaborations; concert tours from coast to coast in the United States, including regular appearances at Carnegie Hall; regular concert tours to Europe (including biennial residencies at the Lucerne Festival) and Asia (including a residency at Tokyo’s Suntory Hall in the autumn 2010); ongoing recording activities, including new releases under the direction of Franz Welser-Möst and Pierre Boulez as well as a series of DVD concert presentations of four of Bruckner’s symphonies; additional new residencies at Indiana University and at New York’s Lincoln Center Festival; an expanded offering of education and community programs with a comprehensive approach designed to make music an integral and regular part of everyday life in Northeast Ohio; continuing and expanded educational partnerships with schools, colleges, and universities from across Northeast Ohio and in the Miami-Dade community; creative new artistic collaborations, including staged works and chamber music performances, with arts institutions in Northeast Ohio and across the Miami-Dade community; the return of staged opera to Severance Hall with the presentation of acclaimed Zurich Opera productions of the three Mozart /Da Ponte operas;

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A Remarkable Story

The Cleveland Orchestra

an array of new concert offerings (including Fridays@7 and Celebrity Series at Severance Hall as well as movie, themed, and family presentations at Blossom) to make a wider variety of concerts more available and affordable; the return of ballet to Blossom, with performances by The Joffrey Ballet.

The Cleveland Orchestra was founded in 1918 by a group of local citizens intent on creating an ensemble worthy of joining America’s ranks of major symphony orchestras. Over the ensuing decades, the Orchestra quickly grew from a fine regional organization to being one of the most admired symphony orchestras in the world. The opening of Severance Hall as the Orchestra’s home in 1931 brought a special pride to the ensemble and its hometown, as well as providing an enviable and intimate acoustic environment in which to develop and refine the Orchestra’s artistry. Year-round performances became a reality in 1968 with the opening of Blossom Music Center, one of the most beautiful and acoustically admired outdoor concert facilities in the United States.

CLEVELAND ORCHESTRA ARCHIVES

IN THE SPOTLIGHT

The Cleveland Orchestra Chorus on its way to sing Bach’s St. John Passion at the Casals Festival in Puerto Rico in June 1962.

Severance Hall 2011-12

The Cleveland Orchestra

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THE CLEVELAND ORCHESTRA U P C O M I N G

C O N C E R T S

Thursday October 6 at 8:00 p.m.

Sunday October 9 at 3:00 p.m.

THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Malin Hartelius, soprano Julia Lezhneva, soprano Martin Mitterrutzner, tenor Ruben Drole, baritone Cleveland Orchestra Chorus

Sunday October 30 at 2:00 p.m.

Cleveland Institute of Music Orchestra Carl Topilow, conductor FAMILY CONCERT:

STRAUSS Metamorphosen MOZART Mass in C minor (“The Great”)

Friday November 11 at 8:00 p.m.

Saturday November 12 at 8:00 p.m.

Sunday November 13 at 3:00 p.m.

THE CLEVELAND ORCHESTRA Alan Gilbert, conductor William Preucil, violin

Concert Sponsor: Parker Hannifin Corporation

Saturday October 8 at 8:30 p.m.

THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor

BEETHOVEN Romance No. 2 (for violin) WEBERN Im Sommerwind BRUCH Adagio appassionato (for violin) SCHOENBERG Pelleas and Melisande

STRAVINSKY Concerto in D STRAVINSKY Agon TCHAIKOVSKY Symphony No. 4 Concert Sponsor: Parker Hannifin Corporation

Concert Sponsor: The Lubrizol Foundation

Thursday October 13 at 8:00 p.m.

Saturday October 15 at 8:00 p.m.

THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Nicolaj Znaider, violin

WEBER Overture to Euryanthe MENDELSSOHN Symphony No. 3 (“Scottish”) TCHAIKOVSKY Violin Concerto Concert Sponsor: The Sage Cleveland Foundation

Friday October 14 at 7:00 p.m.

THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Nicolaj Znaider, violin

Halloween Spooktacular!

Back by popular demand! Experience a thrilling chilling afternoon of Halloween fun starting with a pre-concert costume contest followed by a performance of some of the most memorable magical mystical music ever composed.

Concert Sponsor: Giant Eagle

Thursday November 17 at 8:00 p.m.

Friday November 18 at 8:00 p.m.

Saturday November 19 at 8:00 p.m.

THE CLEVELAND ORCHESTRA Ton Koopman, conductor Tersa Wakim, soprano

BACH BACH BACH BACH BACH

Brandenburg Concerto No. 1 Cantata No. 202 (“Wedding”) Sinfonia from Cantata No. 209 Sinfonia from Cantata No. 42 Orchestral Suite No. 3

Concert Sponsor: Jones Day

KeyBank Fridays@7 Concert STRAVINSKY Agon TCHAIKOVSKY Violin Concerto RAVEL Boléro

followed by post-concert music Fridays@7 Dance Party Polka Fest and Hoe Down

CLEVELAND ORCHESTRA TICKETS PHONE

(216) 231-1111 800-686-1141

For a complete schedule of future events and performances, or to purchase tickets online 24/ 7 for Severance Hall concerts, visit www.clevelandorchestra.com Cleveland Orchestra Radio Broadcasts: Radio broadcasts of current and past concert performances

by The Cleveland Orchestra can be heard as part of regular weekly programming on WCLV (104.9 FM), with programs broadcast on Saturday evenings at 8:00 p.m. and Sunday afternoons at 4:00 p.m.

Program Notes for each concert are posted at www.clevelandorchestra.com as galley proofs, which may differ from the final printed program. These are usually posted in advance.

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Upcoming Concerts

The Cleveland Orchestra

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