Fall 2020 Broadcast Guide: The Cleveland Orchestra by The Cleveland Orchestra

PHOTO BY ROGER MASTROIANNI

THE CLEVELAND ORCHESTRA

DIGITAL STREAMING BROADCASTS

FALL 2020 GUIDE

The show is about to begin! Intro ducing . . .

In Focus The Cleveland Orchestraâ&#x20AC;&#x2122;s new premium series of broadcast concert episodes, premiering October 15 available exclusively on our new digital app

Adella Your all-new online digital home to watch streaming music entertainment from The Cleveland Orchestra 1

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Throughout the pandemic, the musicians of The Cleveland Orchestra have been involved in sharing music and learning opportunities across the community â&#x20AC;&#x201D; online and in person.

WELCOME

to a season of extraordinary music in extraordinary times Dear Friends, Welcome to the opening weeks of our 2020-21 season. Despite the challenges and unexpected surprises this year has visited upon us, Franz Welser-Möst and I are delighted and proud to welcome you to a new season. We are also certain that, however different from what was ﬁrst announced in the spring, this will be a truly inspiring and memorable year — as we once more share the incredible artistry of The Cleveland Orchestra with our hometown and with fans around the world. Extraordinary Times: 2020 has brought with it a clear moment of change in many aspects of life, for each of us individually, for our collective institutions, and

ANDRÉ GREMILLET

for humanity as a whole. Yet, despite an unprecedented health crisis and cascading economic hardship, we know that the resiliency of the human spirit can move forward with all of us working together. An Extraordinary Season, 2020-21: Plans for this year’s concerts have been turned upside down and sideways. Nevertheless, with the tireless efforts of Franz, combined together with focused, hard work by the Board of Trustees and the Orchestra’s musicians and staff, we now have a plan to return music and then audiences to Severance Hall in the coming months. In this Fall Broadcast Guide you can learn about the process, our concert broadcast schedule for the fall, and how you can experience The Cleveland Orchestra’s performances from the comfort of your home. All of our plans and planning have focused ﬁrst and foremost on ensuring the health and safety of everyone involved, while continuing to share our music-making with hometown audiences this season and in the future. A Commitment to Access: Our new series of In Focus broadcasts will premiere in October and features ﬁve episodes this fall — recorded live at Severance Hall. The

See pages 6-13

full musical programs can be viewed on pages 9-13 of this guide. The series will con-

for detailed listings

tinue in January, with programming to be announced in the coming weeks along with

and information

the schedule of subscription concerts for subscribers to attend from January through May. By presenting these concerts in digital broadcast, with features on the music and

about our new

the musicians, it will be possible for all of you to experience our concerts this season,

In Focus telecasts, available through

whether or not you come to Severance Hall, through our premium In Focus series. A Community Like No Other: None of this would be possible without you and

our own Adella

everyone here in Northeast Ohio (and beyond!) who supports The Cleveland Or-

digital broadcast

chestra and believes in the vital importance of music, not just in good times but for

streaming service.

its healing and energizing power in times of trouble and uncertainty. Yet, ﬁnancially, the Orchestra is facing its most perilous crisis. Combined with ongoing cost-cutting measures, a strong and continued outpouring of support from music-lovers like you is critical to ensuring that The Cleveland Orchestra can fulﬁll its mission of sharing

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extraordinary musical experiences this season — and for the decades to come.

André Gremillet President & CEO The Cleveland Orchestra

Acclaim for A New Century Released June 2020 “This orchestra has never sounded ﬁner on disc.”

—Gramophone Magazine “These recordings . . . capture the true sound of Severance better than any previous recordings ever have. . . . .This lovingly crafted box set is a treasure, and a welcome return to what is promised to be a regular schedule of releases. As Franz Welser-Möst says, music tells us who we are, and because of that, we need to hear the discoveries and breakthroughs being made in Cleveland. They don’t just entertain there. They ﬁnd new worlds.”

—MusicWeb International

$65

three discs, deluxe box and 150-page book clevelandorchestra.com/store

Schubert / Křenek

New Release: Available October 2, 2020

The Cleveland Orchestra’s second recording on its own new label is being released worldwide on October 2. The new album, available on CD (Hybrid SACD) or digitally via online streaming or download purchase, features Schubert’s greatest symphonic masterpiece, the “Great” C-major Symphony (D.944) paired with a uniquely modern work by 20th-century composer Ernst Křenek, Static and Ecstatic. Both pieces were recorded live at Severance Hall with Music Director Franz Welser-Möst in March 2020, and mark The Cleveland Orchestra’s ﬁnal performances prior to arts and entertainment being shuttered around the world due to the coronavirus — offering uniquely heartfelt and dynamic performances.

$25 4

one disc, deluxe album clevelandorchestra.com/store

Special Note: This Deluxe CD album is being sent to all current Cleveland Orchestra subscribers and to donors of $2500 or more as a special thank you gift.

PHOTO BY DUSTIN FRANZ

Q&A Franz Welser-Möst Q: Please tell us about your summer in Austria and the concerts you led there.

Franz: After a very quiet and unexpected two months staying locked at home, spending my days, as were so many others, in general isolation, I was quite honored and excited when the Vienna Philharmonic asked me to conduct two live concerts at the end of June. The orchestra’s musicians were very eager to perform together again, if also a little anxious from so many months apart. The audiences at the Musikverein were limited to just 100 at each performance, so it felt more like an open rehearsal. But it was absolutely fantastic to be involved in making music again! Immediately after that, I began rehearsals with a cast of singers and the Vienna Philharmonic for one of just two operas that the Salzburg Festival presented this summer, in a shortened version of the annual festival. Everything went well, from all perspectives. Protocols and procedures were in place to make things as risk-free as possible, with testing all performers, and we each kept a diary of everyone we came in contact with daily. So that on August 1, we opened a new production of Richard Strauss’s Elektra. For the entire Festival, 76,000 people attended without a single case of Covid-19. Of the Festival’s artists and staff, some 3,000 people, there was just one isolated case. It showed that music is possible again — and worth the effort. However uncertain things may feel, together we can move forward.

music so that those limitations weren’t dictating what we wanted to do. I love a challenge, and we were intent on keeping The Cleveland Orchestra and the abilities of this incredible group of musicians as our focus. Not to do a piece simply because it met the criteria of how many players are allowed onstage, but because it is a great piece that highlights this Orchestra’s artistry. Some of the pieces have never been been done before at Severance Hall, but they are exactly the kinds of works that offer The Cleveland Orchestra the chance to be themselves, to collaborate together and share their extraordinary music-making.

Q: How are you handling so much uncertainty this year? Franz: First of all, my wife and I, we have each other, and we know so many wonderful people. We also realize how fortunate we are in life and in our circumstances, compared with so many who have lost so much this year — jobs, opportunities, friends, family, lives. It has been a difficult summer, but I am an optimistic person. And I truly believe that, while remembering all who have suffered this year, it is important to look to the future. And to build that future together, with hope and joy — and with the special understanding that the arts provide. Music, theater, visual art — the arts provide all of us the chance to look at the world in different ways, and to understand the world and how lucky we are to be alive. Let’s focus on the good, and not on disappointment.

Q: How did you go about planning new concert programs for The Cleveland Orchestra’s 2020-21 season at Severance Hall?

Franz: Much of the summer was spent going through a process of rethinking and rebuilding our plans for the season. First, to understand what limitations we are required to work within, which kept changing. And then, to try to create programs of

Q: Any special words for the people of Cleveland? Franz: I’m not sure I can say in words how much I have missed everyone in Cleveland — the musicians, the audiences, everyone. It will be a unique season, but a very good one. I am counting not just the days, but the hours until I am in Cleveland again, to collaborate once more on our musical adventures together.

In October 2020, The Cleveland Orchestra is launching two new media products: Adella and In Focus. Adella is our new online streaming service, offering you a variety of free and premium presentations. In Focus is a newly produced, premium series of concert broadcasts being created from our 2020-21 live concert performances. Developed especially for viewing by subscribers and donors at home, In Focus episodes are being recorded live at Severance Hall and will be available to view exclusively through Adella (named after the ensemble’s founder, Adella Prentiss Hughes). Each one-hour In Focus broadcast features full concert performances together with a close-in backstage look at the Orchestra’s musicians and music-making. In Focus will continue throughout the 2020-21 concert season, showcasing The Cleveland Orchestra’s weekly performances through May. Following the initial weeks in the fall of 2020, episodes will be filmed in front of audiences of subscribers, with admission to Severance Hall limited to social-distancing guidelines under a revised subscription package schedule (with details to be announced in October and November). Adella is available through most internet-enabled devices, either directly via an internet browser or as an app. You can access Adella — and, thus, In Focus — through a wide variety of online platforms, including your favorite media streaming players and devices. These include Amazon Fire, Roku, Xbox, Apple, and Android, along with laptop computers and tablets, smart TVs and smartphones.

How to Watch — see page 8 In Focus Programs — see pages 9-13

For more details about accessing both Adella and In Focus, see page 8 of this guide.

Premiering October 15, 2020

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A new way to experience The Cleveland Orchestra from your home, or anywhere, via Adella: — Created especially for subscribers and donors (but access can be purchased by anyone). — Watch at home on your television, computer, tablet, or mobile phone. — Watch anytime. Each episode is available to you for three months following its premiere. — Programs include behind-the-scenes features about the music and musicians. — Episodes continue throughout the 2020-21 season, through May 2021. — Future episodes will be filmed in front of live audiences, as ticketed subscribers return to Severance Hall beginning in January.

Question: What’s the difference betweeen Adella and In Focus? Answer: The Cleveland Orchestra is launching two related media products in October 2020. First, we’re introducing Adella, which is our new online streaming service (available on most internetenabled devices), where you’ll be able to watch or listen to a variety of Cleveland Orchestra recorded presentations, including a number of free performances and related videos available to everyone. We’re also premiering In Focus, a new series of premium concert broadcasts being recorded during live Severance Hall performances across the 2020-21 season. In Focus was developed for subscribers and donors as part of this season, when opportunities to experience The Cleveland Orchestra in person are more limited than usual. Subscribers and donors can watch In Focus for free. In addition, anyone who’s not already a donor or subscriber can purchase direct access to In Focus and all Adella Premium programming. Question: Can I watch an In Focus episode more than once? Answer: Yes. You can watch whenever you want to, beginning at the premiere and continuing for three months thereafter. In Focus is offered “on demand,” to fit your schedule. Question: When will subscribers learn about their subscription tickets for attending concerts later in the season? Answer: Subscribers will receive information and scheduling for your concert package dates in November. The entire spring schedule is being reconfigured, from January through May, to accommodate subscribers in socially-distanced seating at Severance Hall. Please note that some concerts will be on different days or times (weekend matinees) than your original package, but all of this will be laid out for you in November. More Question? Visit clevelandorchestra.com/adella

Online Access for Students

Frequent 2O2O 2O21

FAN

via Frequent FanCard Access for students to The Cleveland Orchestra’s concerts continues during the 2020-21 season, with our premium In Focus online broadcasts available to Frequent FanCard holders. Student Advantage members (with free sign-up) can purchase a Frequent FanCard for just $50 to gain access for the entire season. To learn more, please visit clevelandorchestra.com/fancard.

Monthly Access via Members Club The Cleveland Orchestra’s innovative Members Club subscription plan continues in 2020-21, with benefits including access to our In Focus broadcasts. For just $35 a month, Club members will be eligible for the Club’s usual $10 tickets starting in January for attending concerts in-person, subject to seating availability and socialdistancing policies and protocol. Currently a member? — your membership, paused over the summer, will be reactivated beginning from October onward. CLEVELAND ORCHESTRA

To learn more, please visit clevelandorchestra.com/club.

AND

TOGETHER BRINGING YOU SOMETHING EXTRAORDINARY!

How To Watch We set out to build Adella in order to share Cleveland Orchestra concert broadcasts and other digital offerings with you. We’ve created it to work across a wide variety of internet platforms and devices. So that you can experience your favorite orchestra at home or on the road — from the smartphone in your pocket to that bigger-than-life television (with big-sound soundbar) on your family room wall. To watch In Focus, The Cleveland Orchestra’s new premium concert series, first you’ll need an account/login for access to Adella, the Orchestra’s own new online digital streaming service. (You can’t watch In Focus without Adella’s helpful service.) How to watch? You can enjoy both Adella and In Focus on most internet-enabled devices — including Amazon Fire, and Roku, along with laptop computers and tablets, smart TVs and smartphones (Apple or Android). On many devices, you’ll download the Adella app, which gives you a convenient and always available interface for watching. On some computers and older

smartTVs, you’ll instead navigate via an internet browser and go to www.Adella.live. Creating an Account: To create an account on Adella, you will need a valid email address and, depending on your access for premium content like In Focus, you may need a credit card. Subscriber/Donor Activation: Cleveland Orchestra subscribers (including Members Club and The Circle) and donors will receive temporary log-in credentials which will give you access to In Focus and Adella Premium as a free benefit of your support. (Please note that the log-in we send you will require you to choose your own password for Adella, with In Focus access included). Feedback: Adella is a brandnew service we’ve built to serve

ADELLA COMPATIBILITY You must have an internetconnected device: Smartphones and Tablets iOS and Android

Computers Apple (with app) Windows and other (with internet browser)

Televisions and Streaming/Gaming Devices Roku, AppleTV, AndroidTV, Chromecast, Amazon Fire and for other smart TVs with internet, via browers directly to Adella.live

Questions? WE’RE READY TO HELP!

Adella Helpline: 216-456-8401

Our front-of-house representatives are ready to help you!

call us: Helpline Hours: Mon-Tue-Wed 9 AM to 6 PM Thu-Fri-Sat noon to 8 PM

We’ve developed a comprehensive set of “how to” steps logging in, pulling up a comfortable chair (or sofa), and

or visit: clevelandorchestra.com/adella for our complete FAQs about watching In Focus and using the Adella app.

experiencing The Cleveland Orchestra online and onscreen.

or email us: adellahelp@clevelandorchestra.com

and FAQs (frequently asked questions) to assist you in

friends and fans of The Cleveland Orchestra. We’d like to hear how well it is meeting your needs. If you are asked to fill out a survey, please participate. If you have specific comments, please write them by email to: mscott@clevelandorchestra.com.

PHOTO BY ROGER MASTROIANNI

EPISODE

Inspirations BROADCAST PREMIERE DATE/TIME

Thursday, October 15, 2020, at 7 p.m.* filmed October 8-9 at Severance Hall The Cleveland Orchestra Franz Welser-Möst, conductor OTTORINO RESPIGHI (1879-1936) Ancient Airs & Dances, Set 3 1. 2. 3. 4.

Italiana (Anonymous: Italiana) Arie di corte (Jean-Baptiste Besard) Siciliana (Anonymous: Siciliana) Passacaglia (Ludovico Roncalli)

GEORGE WALKER (1922-2018) Antifonys (for string orchestra) PYOTR ILYICH TCHAIKOVSKY (1840-1893) Souvenir de Florence (for string orchestra) 1. 2. 3. 4.

Allegro con spirito Adagio cantabile e con moto Allegretto moderato Allegro con brio e vivace

In addition to the concert performances, episodes of In Focus include behind-the-scenes interviews and features about the music and musicmaking.

CO N C E RT OV E RV I E W

This opening performance for our In Focus series brings together inspirations in the form of souvenirs from the past, with three musical works created across history, places, and styles. Italian composer Respighi took his departure from Renaissance lute music, freely adapting works from three centuries earlier for a larger group of instrumentalists, and often with touches of a more modern sound. In his work Antifonys, African American composer George Walker was, in part, inspired by the collision of musical styles he had experienced as a student in Paris — here letting modernism and romanticism happily rub elbows together. For his string sextet, completed in 1890, Tchaikovsky looked back on one of his favorite foreign cities, where he’d composed many different works. Franz Welser-Möst leads the strings of The Cleveland Orchestra in a larger version of this Russian composer’s soundworld.

All musical selections and artists are subject to change.

* In Focus performances are being recorded live at

Need Help Tuning In? clevelandorchestra.com/adella

Digital Program Book Learn more about the music by texting ”TCO” to 216-238-0883

Severance Hall and will be available for subscribers and donors to watch at home via digital streaming. Each broadcast can be viewed any time beginning from the premiere date/time forward for three months. This series is being created in collaboration with Digital River Media and ideastream, with audio production and engineering by Elaine Martone and Gintas Norvillas.

By texting to this number, you may receive messages about The Cleveland Orchestra and its performances; message and data rates may apply. Reply “HELP” for help, “STOP” to cancel.

EPISODE

Bronfman & Beethoven BROADCAST PREMIERE DATE/TIME

Thursday, October 29, 2020, at 7 p.m.* filmed October 15-16 at Severance Hall The Cleveland Orchestra Franz Welser-Möst, conductor Yefim Bronfman, piano ALFRED SCHNITTKE (1934-1998) Concerto for Piano and Strings (in one movement) Moderato — Allegro — Temp di valse — Moderato — Tempo 1

LUDWIG VAN BEETHOVEN (1770-1827) String Quartet No. 10 (“Harp”), Opus 74 (performed by string orchestra) 1. 2. 3. 4.

Poco adagio — Allegro Adagio ma non troppo Scherzo: Presto — Più presto quasi prestissimo Finale: Allegretto von variazoni

CO N C E RT OV E RV I E W

For this program, Franz Welser-Möst has chosen a pair of pieces reflecting the sensibilities of two very different centuries. First comes a work by Soviet-German composer Alfred Schnittke. His virtuosic and bravura piano concerto is performed by Yefim Bronfman, a Cleveland favorite, playing music filled with wry humor, intense beauty, rhythmic drive, and Shostakovich-like sarcasm. Next, Welser-Möst continues his collaboration and exploration with The Cleveland Orchestra’s string section, expanding Beethoven’s “Harp” Quartet to an orchestra of strings. With Cleveland’s famous chamber music approach — of listening and breathing together — this offers to showcase the group’s extraordinary ensemblework and artistry. (The “Harp” nickname comes from plucked pizzicato sections in the first movement, but only hint at the beautiful verse-like melodies throughout this piece.)

Need Help Tuning In? clevelandorchestra.com/adella

Digital Program Book Learn more about the music by texting ”TCO” to 216-238-0883

FRANZ WELSER-MÖST

YEFIM BRONFMAN

* Each In Focus episode will be available to watch for three months from its premiere date.

EPISODE

Ax Plays Haydn BROADCAST PREMIERE DATE/TIME

Thursday, November 12, 2020, at 7 p.m.* filmed October 22-23 at Severance Hall The Cleveland Orchestra Franz Welser-Möst, conductor Emanuel Ax, piano F. JOSEPH HAYDN (1732-1809) Piano Concerto in D major, Hob.XVIII:11 (Keyboard Concerto No. 11) 1. Vivace 2. Un poco adagio 3. Rondo all’Ungarese: Allegro assai

BÉLA BARTÓK (1881-1945) Divertimento for Strings 1. Allegro non troppo 2. Molto adagio 3. Allegro assai

CO N C E RT OV E RV I E W

One of the most beloved concert pianists on the stage today, Emanuel Ax returns to perform a charming concerto by Haydn. This delightful work is paired with a mesmerizingly soulful piece by Béla Bartók from a century and a half later. Haydn’s “Hungarian” concerto was among his most popular works during the composer’s lifetime. It was published in 1784 in Vienna, with editions across Europe issued immediately — a sure sign of success. Like the more famous Music for Strings, Percussion, and Celesta, Bartók’s Divertimento was written as a commission for the Basel Chamber Orchestra and conductor Paul Sacher. Its three movements are strongly in the Bartókian vein, unfolding as a marvelous mixing together of Modern and Romantic, but with an underlying Hungarian spirit — blending chamber-like intimacy with orchestral strength, caustic bite with yearning restraint, lyricism with argumentative thrust.

Need Help Tuning In? clevelandorchestra.com/adella

Digital Program Book Learn more about the music by texting ”TCO” to 216-238-0883 By texting to this number, you may receive messages about The Cleveland Orchestra and its performances; message and data rates may apply. Reply “HELP” for help, “STOP” to cancel.

FRANZ WELSER-MÖST

EMANUEL AX

* Each In Focus episode will be available to watch for three months from its premiere date.

Inventions: Bach to Mendelssohn

PHOTO BY ROGER MASTROIANNI

EPISODE

BROADCAST PREMIERE DATE/TIME

Thursday, December 3, 2020, at 7 p.m.* filmed November 27-28 at Severance Hall The Cleveland Orchestra Nicholas McGegan, conductor and harpsichord GEORGE FRIDERIC HANDEL (1685-1759) Overture and Pifa Pastorale, from Messiah ARCANGELO CORRELLI (1653-1713) Christmas Concerto (Concerto Grosso Opus 6, No. 8) 1. Vivace 2. Allegro 3. Adagio

4. Vivace 5. Allegro 6. Largo: Pastorale

JOHANN SEBASTIAN BACH (1685-1750) Brandenburg Concerto No. 3 in G major 1. Allegro 2. Adagio 3. Allegro

FELIX MENDELSSOHN (1809-1847) String Symphony No. 7 in D minor 1. 2. 3. 4.

CO N C E RT OV E RV I E W

Guest conductor Nicholas McGegan offers a program filled with musical invention and seasonal abundance — surveying a range of works from the late 17th to early 19th centuries. First comes the popular and wellknown overture and shepherd’s pastorale movements from Handel’s Messiah. Followed by Arcangelo Correlli’s Christmas Concerto, a tuneful work of six varied movements, ending with a finale bearing the inscription “Made for the Night of Christmas.” Continuing in this Baroque vein is Bach’s Third Brandenburg Concerto, showing this master’s invention and ingenuity with string orchestra. The concert concludes with one of Felix Mendelssohn’s youthful string symphonies, from a group of twelve penned when this child-genius of a composer was not yet 14 years old.

Allegro Andante amorevole Menuetto Allegro molto

Need Help Tuning In? clevelandorchestra.com/adella

Digital Program Book Learn more about the music by texting ”TCO” to 216-238-0883

NICHOLAS McGEGAN

* Each In Focus episode will be available to watch for three months from its premiere date.

PHOTO BY MARGARETTA MITCHELL

EPISODE

Musical Patterns: John Adams Conducts BROADCAST PREMIERE DATE/TIME

Thursday, December 10, 2020, at 7 p.m.* filmed December 3-4 at Severance Hall The Cleveland Orchestra John Adams, conductor Jung-Min Amy Lee, violin Víkingur Ólafsson, piano ARVO PÄRT (b. 1935) Fratres (for solo violin, strings, and percussion) PHILIP GLASS (b. 1937) Glassworks: Opening (reworked by Badzura) JOHANN SEBASTIAN BACH (1685-1750) Keyboard Concerto No. 5, BWV1056 1. Allegro moderato 2. Largo 3. Presto

JOHN ADAMS (b. 1947) Shaker Loops (for string orchestra) 1. 2. 3. 4.

Shaking and Trembling Hymning Slews Loops and Verses A Final Shaking

CO N C E RT OV E RV I E W

This concert, led by superstar American composer John Adams, draws connections between old and new, between today’s musical patterns and the timeless, structured elegance of Johann Sebastian Bach. Rhythm, melody, and pattern remain the building blocks of music, here showcased in intriguing modern, minimalist, and Baroque works filled with lush transparency — and enveloping and involving the listener anew. The Estonian Arvo Pärt’s Fratres has been arranged for a multitude of instrumentations, and displays the composer’s “tintinnabulatory” style of writing, reverberant as a bells. Works by Adams and Philip Glass lay stakes to the breadth and depth of Minimalism’s appeal and growth, while a concerto by J.S. Bach reminds us of that inimitable master’s place as forerunner for building elaborate music from basic parts — weaving math and music together, pairing intellect and soul.

Need Help Tuning In? clevelandorchestra.com/adella

JUNG-MIN AMY LEE

VÍKINGUR ÓLAFSSON

* Each In Focus episode will be available to watch for three months from its premiere date.

A series of online offerings providing new or expanded ways for people to connect with The Cleveland Orchestra and each other through experiences that bring music and the Orchestra to you, no matter where you are!

@Home

CONNECT with The Cleveland Orchestra

SHARE via Social Media

EXPLORE

Each week, The Cleveland Orchestra shares postings,

Online Education Resources

videos, and photos thru social media channels to tell the Orchestra’s stories — as an ensemble and as

Whether you’re an educator, a parent, or both, The

individuals. These include From Our Home to Yours

Cleveland Orchestra offers a variety of online resourc-

(featuring musician performances), as well as news

es that provide you musical insight and inspiration.

announcements and stories of interest.

Series and resources include: Music Explorers

Subscribe to our YouTube channel to be notiﬁed

Web Series (see below), along with a Lesson Library,

of new videos, and follow along on our other social

Education Videos, Music in Depth, Mindful Music Mo-

media channels for new content.

ments, and new offerings that will include Choose Your Instrument! videos (featuring individaul musician’s stories) and Virtual Education/Family Concerts.

LISTEN On a Personal Note

Visit clevelandorchestra.com/learn to begin your own musical journey with us.

This past summer, The Cleveland Orchestra launched

Music Explorers

a weekly series of podcasts, titled On a Personal Note.

Enjoy The Cleveland Orchestra’s kid-friendly video

These podcasts feature Orchestra members and oth-

series introducing young children to the instruments

ers talking about their journeys in music, focusing on

of the orchestra, one instrument at a time — hosted

music that has inspired or challenged them. For more

by Major Scale and Ranger Rhythm. Kids will love all

details, visit clevelandorchestra.com/podcast.

sixteen episodes, each under ten minutes long, and will want to watch their favorites again and again!

TCO Classics ON DEMAND

Visit the Orchestra’s YouTube channel.

The Cleveland Orchestra offers past concert broadcasts for listening “on demand” at anytime via several options — including streaming radio broadcasts from radio station WCLV and, in summer 2020, a new series was launched on the Orchestra’s own website titled “TCO Classics,” focusing on performances from the ensemble’s extensive archive of past concerts.

WCLV Radiocasts

EXPERIENCE MORE via our Adella app

Visit our new digital streaming service to experience The Cleveland Orchestra wherever you go — including our new premium In Focus concert broadcast series. You can watch on any internet

Full-length concerts of The Cleveland Orchestra can

device, from the phone in your purse

be heard each Saturday and Sunday on ideastream’s

or pocket to your big-screen television. Read more

WCLV Cleveland Classical (104.9 FM, or via online

about how to watch throughout this Fall Broadcast

streaming of WCLV). These radiocasts have been

Guide.

featured on WCLV since 1965. Beginning this past

Experience the passion and artistry of your fa-

spring, a lunchtime series of select Cleveland Orch-

vorite hometown orchestra from the comfort of your

estra performances is also available weekdays.

home, anytime, anywhere.

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Q&A Rethinking and Rebuilding a Season Chief Artistic Officer Mark Williams talks about reconﬁguring the season in the midst of uncertainty and changing directions . . . Q: When and how do you first begin planning each Mark: We start working on each season several years beforehand, lining up guest artist availability and plotting out the calendar to account for holidays and all the necessary date configuations. Franz Welser-Möst and I are always in the midst of discussing future seasons — ideas that he’d like to pursue, pieces he wants to explore. In one sense, it’s one big puzzle, which we slowly assemble — with new ideas being added, and confirmed. It’s a big push in the months before we announce, and it’s always a great feeling to have it all set on paper and finalized. Q: But this year was different. You announced the season and then . . .

Mark: As we all know, the world was slowly turning upside down, and the year tumbled along unexpectedly. We had to cancel the closing weeks of last season, and then the entire summer at Blossom. Next, we looked at 2020-21 to work out revised ideas, based on what we thought could happen. I was reading a news report recently, where someone likened planning an arts season this year as “building a sand castle during a hurricane.” And there were moments exactly like that. What we thought could happen kept changing across the summer, and our plans changed and changed again, with uncertainty hanging around every decision.

Q: Nevertheless, a new fall season of live performances has been announced and will begin soon. The Orchestra will be onstage at Severance Hall, but without an audience. How do you feel about it?

Mark: Through all of this, Franz Welser-Möst kept us uniquely focused, saying we shouldn’t look at the crisis as a new set of limitations, but as an opportunity to be creative while staying true to everything that makes The Cleveland Orchestra such an extraordinary en-

PHOTO BY DUSTIN FRANZ

Cleveland Orchestra season?

semble. He repeatedly reminded us not to think small, but to think big. To choose different programming, not because it fit the limitations we now have to work within, but because the programs matched The Cleveland Orchestra’s values and unique ability to play music well. We’ll share with audiences in a new way, with digital streaming. And, yes, in the fall, none of our programs feature the full orchestra, but every concert would fit perfectly into any Cleveland Orchestra season — as musical journeys that will engage audiences in unique ways.

Q: At what point did the idea of filming concerts and broadcasting them digitally enter the picture?

Mark: The Cleveland Orchestra has made television broadcasts and video recordings for many years. But only on an occasional basis. In recent years we’ve been talking more and more about filming performances more regularly. The crisis of this year really forced us to push ideas that were in the planning stages directly out into reality. The kind of broadcasts we’re doing for this season take a lot of planning and work, and involve collaborating across all departments and across a range of talented people involved. But we want to ensure that the music and artistry of these musicians can be shared with audiences who love The Cleveland Orchestra. So we’re forging ahead — and I’m very excited about what we’re going to be able to do, with people watching at home and with audiences returning in person in the coming months.

PHOTO BY ROGER MASTROIANNI

The coronavirus pandemic is, without question, the most signiﬁcant challenge this orchestra has faced in its 100-year plus history. Today, we ask you, someone who cares deeply about music in our community, to consider making a donation to the Cleveland Orchestra Preservation Fund to sustain the Orchestra through this crisis. Since early spring, this community has stood behind our hometown orchestra as we were forced to close our doors. You have carried us through season cancellations, and made a strong statement that Northeast Ohio stands up for music. Thank you. Many difficult months lie ahead, but we know that, with your help, our hometown orchestra can survive — and thrive — for years to come. Gifts of all sizes truly make a difference. To make your donation to the Orchestra Preservation Fund today: Online: clevelandorchestra.com/donate Phone: 216-456-8400. Thank you for standing behind us during this extraordinary time.

THANK YOU!

Since March, more than 4,500 people have come forward to help the Orchestra weather this crisis. You are the reason we can return to the stage, and we are endlessly grateful.

The Cleveland Orchestra extends heartfelt gratitude to all music-lovers who support our endeavors every year. Donations of all sizes sustain the Orchestra, enabling us to share the power of music with friends and neighbors both near and far. As we face the most challenging year in our storied history, we are deeply thankful for the generosity of every member of our Cleveland Orchestra family.

On this page, we recognize those individuals, foundations, corporations, and government agencies who have demonstrated extraordinary leadership with donations of $50,000 and more toward operating support in the past year. Thank you for bringing music into homes, schools, and communities across our region and around the world.

Individual Support Adella Prentiss Hughes Society GIFTS OF $100,000 AND MORE GIFTS OF $500,000 AND MORE

Mrs. Jane B. Nord Mr. and Mrs. Alfred M. Rankin, Jr. Mr. and Mrs. Richard K. Smucker Estate of Richard Stofer* GIFTS OF $200,000 TO $499,999

Musicians of The Cleveland Orchestra+ (in-kind support for community programs and opportunities to secure new funding) Randall and Virginia Barbato Estate of Dean and Beryl Bardy Estate of Dolores Comey Mrs. John A Hadden Jr.* Haslam 3 Foundation Mrs. Norma Lerner and The Lerner Foundation Estate of Laura Messing Mr. and Mrs. Albert B. Ratner James* and Donna Reid The Ralph and Luci Schey Foundation Jenny and Tim Smucker GIFTS OF $100,000 TO $199,999

Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. Yuval Brisker Irad and Rebecca Carmi Mr. and Mrs. Alexander M. Cutler JoAnn and Robert Glick Mr. and Mrs. Michael J. Horvitz James D. Ireland IV The Walter and Jean Kalberer Foundation Dr. and Mrs. Herbert Kloiber (Europe) Mr. and Mrs. Dennis W. LaBarre Virginia M. and Jon A. Lindseth Milton and Tamar Maltz Elizabeth F. McBride Ms. Nancy W. McCann Estate of Robert Messing Ms. Beth E. Mooney The Oatey Foundation (Cleveland, Miami) William J. and Katherine T. O’Neill The Honorable John Doyle Ong Ms. Ginger Warner Mr. and Mrs. Franz Welser-Möst

Lillian Baldwin Society GIFTS OF $75,000 TO $99,999

Dr. and Mrs. Hiroyuki Fujita Toby Devan Lewis Mr. Stephen McHale Estate of George and Barbara Morisky

John C. Morley Charles and Ilana Horowitz Ratner Barbara S. Robinson (Cleveland, Miami) Barbara and David Wolfort

George Szell Society GIFTS OF $50,000 TO $74,999

Mr. William P. Blair III The Brown and Kunze Foundation Mr. and Mrs. Marshall Brown Rebecca Dunn Dr. and Mrs. Robert Ehrlich (Europe) Mr. and Mrs. Donald M. Jack, Jr. Richard and Michelle Jeschelnig Mr. and Mrs. Joseph P. Keithley Mr. and Mrs. Douglas A. Kern Mr. Joseph Milgram Julia and Larry Pollock Mr. and Mrs. Benjamin N. Pyne Mrs. Alfred M. Rankin, Sr. Sandor Foundation Sally and Larry Sears Marjorie B. Shorrock Jim and Myrna Spira Mrs. Jean H. Taber* Dr. Russell A. Trusso Meredith and Michael Weil Paul and Suzanne Westlake Anonymous * deceased

Corporate Partners GIFTS OF $300,000 AND MORE

Hyster-Yale Materials Handling, Inc. NACCO Industries, Inc. McKinsey & Company, Inc. The J. M. Smucker Company

Foundation and Government Support GIFTS OF $1 MILLION AND MORE

The William Bingham Foundation Cuyahoga County residents through Cuyahoga Arts & Culture The Frederick and Julia Nonneman Foundation Richard & Emily Smucker Family Foundation GIFTS OF $500,000 TO $999,999

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

The Cleveland Foundation The Kelvin and Eleanor Smith Foundation GIFTS OF $100,000 TO $249,999

Paul M. Angell Family Foundation The Callahan Foundation The Louise H. and David S. Ingalls Foundation Kulas Foundation Elizabeth Ring Mather and William Gwinn Mather Fund John P. Murphy Foundation David and Inez Myers Foundation The Eric & Jane Nord Family Fund Dr. M. Lee Pearce Foundation, Inc. (Miami) Weiss Family Foundation GIFTS OF $50,000 TO $99,999

The George W. Codrington Charitable Foundation The Jean, Harry and Brenda Fuchs Family Foundation, in memory of Harry Fuchs GAR Foundation Martha Holden Jennings Foundation Myra Tuteur Kahn Memorial Fund of the Cleveland Foundation League of American Orchestras: American Orchestras’ Futures Fund supported by the Ann and Gordon Getty Foundation National Endowment for the Arts The Nord Family Foundation The Payne Fund

GIFTS OF $200,000 TO $299,999

Jones Day KeyBank Ohio CAT GIFTS OF $100,000 TO $199,999

Boston Consulting Group CIBC Cleveland Clinic The Goodyear Tire & Rubber Co. Medical Mutual

Donor Services Phone: 216-456-8400 Email: donate@clevelandorchestra.com

GIFTS OF $50,000 TO $99,999

BakerHostetler PNC

#RedAlertRESTART On the evening of September 1, Severance Hall was lit in red lights, joining with over 1,500 institutions and presenting organizations nationwide to urge the U.S. Congress to include recovery support for live entertainment and the arts as part of ongoing coronavirus relief efforts. Dozens of staff and musicians gathered quietly outside to witness the lighting — with red chosen to symbolize the financial hardships that orchestras, museums, theaters, and other entertainment organizations and performers are going through this year. BLOSSOM MUSIC CENTER PRESERVATION CHALLENGE

This past summer, The William Bingham Foundation issued a call to Northeast Ohio: if the community collectively gave $100,000 to the Blossom Preservation Challenge, the Foundation would unlock an additional $100,000 in matching funds. And you answered the call. In fact, hundreds of Blossom

fans donated for the very first time, and together you surpassed our original goal — giving a combined total of $250,000 to sustain the Orchestra’s beautiful summer home. The Cleveland Orchestra extends sincere gratitude to The William Bingham Foundation and to our generous community who stepped up in a time of great need. Thank you. LEGACY GIVING WINTER CONCERTS AND SUBSCRIBER TICKETS

In early November, subscribers to the 2020-21 season will receive a complete schedule and information about the Winter and Spring concerts planned for January thru May 2021. The season is being reconfigured to accommodate all current subscription ticketholders within socially-distanced seating protocols at Severance Hall across Winter and Spring seasons. Due to capacity and scheduling, subscribers may receive tickets to different day/s and/or time/s than your normal package. Please be assured we are working to ensure seating for all subscribers choosing to attend concerts during this time. Full details will arrive in your mailbox soon.

What is your legacy? At The Cleveland Orchestra, music is our legacy. Musicians honor that legacy with every powerful performance. Audience members uphold that legacy with every concert experience. But it’s you, our passionate, dedicated supporters, who sustain that extraordinary legacy of music for future generations through charitable contributions. Whether you give to the Endowment or include the Orchestra in your estate plans, your gift supports unparalleled musical artistry, strengthens our neighborhood partnerships, and carries a legacy of music for each and every person in our community. Learn how you can leave an enduring, meaningful legacy with America’s finest orchestra by making a thoughtful gift that benefits not only the Orchestra, but you and those you love. Contact Katie Shames, Planned Giving and Major Gift Officer, at 216-231-8006 or email: legacygiving@clevelandorchestra. com.

ORIGINS, GROWTH, AND EVOLUTION OF THE ORCHESTR A

PHOTO: CLEVELAND ORCHESTRA ARCHIVES

T H E B AC K PAG E

BY ERIC SELLEN

THE SYMPHONY ORCHESTRA is a relatively modern phenomenon, which took shape over the course of several centuries, gradually building itself up from earlier, smaller gatherings of musicians. From the table music (tafelmusik) that entertained at German banquets, to the occasional music played by a hired assemblage of musicians for weddings and soirées. And onward to small private orchestras employed by princes and kings. (Of course, itinerant musicians also played solo and in small groups for friends and regular townsfolk — but that family tree leads, centuries later, to garage bands and jazz clubs rather than concert halls and conductors.) The term “orchestra” itself, originally, meant not a group but a place, where musicians played. This explains the many concert halls whose name is the same as the resident ensemble: Amsterdam Concertgebouw, Berlin Philharmonie, Boston Symphony Hall, etc. — as well as the name “Orchestra” for certain sections of audience seating. As an ensemble, the orchestra’s growth also mirrored ongoing developments within various families of instruments, which, over time, became more reliable as to the sounds they made, as well as being louder and able to be heard distinctly — gut strings replaced by steel, valves and keys added to brass and woodwinds. Between 1600 and 1750, the outlines of today’s orchestra became standardized across Europe, creating the Classical orchestra of Mozart and Haydn’s day. This was also reﬂected in musical scores, which more and more speciﬁed which instruments played which lines, whereas, in earlier times, musical performances were closer to improvisation built around a melody and a harmonic bassline. Ultimately, this process established the orchestra’s basic form and mix of instrument families (strings, winds, brass, percussion). Forward into the 19th century, the ensemble grew, both in number and with new instruments, to form the massive

ensembles called for in scores by Wagner, Mahler, and Richard Strauss. Yet underneath, the historic roots are still clearly visible onstage — not unlike relating fossil bones from earlier hominid apes in humanity’s own evolution. Today’s orchestra is still made up of its component family groupings, with actual small-scale chamber ensembles (trios, quartets, etc) often thriving together as chamber groups within every symphony orchestra. (The Cleveland Orchestra has many such active and accomplished chamber groups among its members.) And Cleveland Orchestra concerts have always featured an “orchestra” of different sizes, piece by piece, week to week, year after year. Mahler after intermission will always be a busier stage than the Haydn symphony before it, or the Bach oratorio the week after. This season has undergone a re-programming, speciﬁcally because of coronavirus restrictions on how many musicians can be onstage at once. Yet, while fall programming is offering a number of works never before played by the Orchestra, many pieces have made regular appearances in past seasons — and the number of musicians will still vary, sometimes dramatically, piece to piece. Mammoth Mahler may be out for the moment, but programming smaller works does not have to be less — in sound, texture, or complexity. Here we will sample pieces well beyond the scope of chamber music, and which are instead the province of chamber orchestras and historic-sized groupings for performances of Beethoven, Mozart, Mendelssohn, and Bach. There are modern works, too, written purposefully for smaller ensembles. There will be much to enjoy, in many sizes, at Severance Hall and at home. Read more about symphonic origins in The Birth of the Orchestra: History of an Institution, 1650-1815; by John Spitzer and Neal Zaslaw, Oxford University Press (2005, 610 pages).

The Musical Arts Association operating THE CLEVELAND ORCHESTRA Severance Hall 11001 Euclid Avenue Cleveland, OH 44106-1796

Introducing . . . Your all-new online digital home to watch streaming music entertainment from The Cleveland Orchestra The Cleveland Orchestra is launching two new media products: Adella and In Focus. Adella is our new online streaming service, offering you a variety of free performances and premium presentations (including In Focus). Adella will be available through most internet-enabled devices, so you’ll be able to experience the

artistry of The Cleveland Orchestra anytime, anywhere — on smartphones and smartTVs, computers and tablets (including Apple and Android, Roku, Chromecast, and Amazon Fire). Read more about accessing Adella and our new In Focus premium broadcast series inside this Fall 2020 Broadcast Guide.

Non-Profit Organization U.S. Postage PAID Cleveland, Ohio Permit No. 714

Why is our digital App named Adella? Born in Cleveland, Adella Prentiss Hughes grew up to be a music impresario and community leader. In 1918, after managing a group that brought visiting orchestras to Cleveland, she founded The Cleveland Orchestra, convinced that her hometown deserved a “great orchestra” of its own. She served as the ensemble’s general manager for fifteen seasons, with a clear vision for the institution she had created and for what its future could be. It is for these reasons that we’ve named our new digital streaming service in honor of Adella’s pioneering spirit. We hope that this 21st-century Adella will open a new chapter for The Cleveland Orchestra and carry this world-renowned ensemble further into today’s vibrant and multimediaconnected future.

Premiering OCTOBER 15, 2O2O

The Cleveland Orchestra’s new series of @home telecast concerts