Spotlight Magazine - 2.1 Fall 2021 - The Cleveland Orchestra by The Cleveland Orchestra

SPOTLIGHT SPOT LIGHT

WELCOME BACK! including A Look Ahead at the New Season! plus Retirements and New Faces, the Perfect Quiche Recipe and More!

PHOTO: JOHN HOUGH

PHOTO: ROGER MASTROIANNI

SPOTLIGHT SPOT

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Volume 2, Issue 1

TA B L E O F CO N T E N T S Welcome: André Gremillet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Preparing for Returning Audiences . . . . . . . . . . . . . . . . . . . . . . . . .

A New Season: A Look at 2021-22 . . . . . . . . . . . . . . . . . . . . . . . . .

Joan Tower: Uncommon Composer . . . . . . . . . . . . . . . . . . . . . .

Joela Jones: Distinguished Cleveland Artist . . . . . . . . . . . . . . .

Recipe: Perfect Anytime Quiche . . . . . . . . . . . . . . . . . . . . . . . . . .

A Temple to Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Sonic Symphonic Partner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Health & Safety and Tickets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

News & Briefs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Musical Introductions: Advice and Resources . . . . . . . . . . . . .

Cleveland Orchestra Donors and Sponsors . . . . . . . . . . . . . . . . Individual, Corporate, Foundations, and Government

A Summer of Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Back Page: Six Horns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

From Silence: Franz Welser-Möst’s New Book . . . . . . . . . . . . . .

ng Spotlight Magazine is a quarterly publication for subscribers and donors of The Cleveland Orchestra. Copyright © 2021. All rights reserved. Amanda Angel, Managing Editor of Content Eric Sellen, Editor Emeritus Justin Holden, Vice President, Communications Ross Binnie, Chief Brand Officer

The Cleveland Orchestra is grateful to these government agencies for ongoing and special project support:

Cover photograph © Roger Mastroianni

4 PHOTO: ROGER MASTROIANNI

WELCOME

building on tradition, innovation, and community Dear Friends, As I write this, The Cleveland Orchestra is completing a successful 2021 Blossom Music Festival season, and preparations are in full swing for a safe return to our first public concerts at Severance Hall in over eighteen months. We are doing our utmost to continue navigating through the most challenging circumstances in the Orchestra’s history, motivated by the promise of a monumental 2021-22 season — Franz Welser-Möst’s twentieth as music director — filled with beauty, contemplation, reflection, and celebration of the human spirit. We cannot wait to share our musical offerings with you. For more than a century, The Cleveland Orchestra has grown and evolved, facing

ANDRÉ GREMILLET President & CEO

challenges large and small, and working through change as a necessary part of moving ahead each year. But the last year and a half has forced us to adapt as quickly as possible, and across all areas — performances and presentations, preparation and planning. This was no small feat, yet it also brought out the best in The Cleveland Orchestra as a resourceful, creative, and forward-looking institution, where all stakeholders were united behind a common purpose: the preservation of one of the world’s great orchestras for a community that deeply loves and values it. These efforts are just beginning. As we return to our storied home this fall and open its doors again to you, our remarkable community, we continue to reevaluate everything we do. How do we best translate our historic traditions and the hand-crafted art made each week onstage with new ideas, repertoire, and technology to propel us forward while protecting the health and well-being of staff, musicians, volunteers, and audiences? How best to engage our audiences both inside and outside of the concert hall? How do we continue bringing the transformative power of music to the world — across economic, social, age, and societal divides? The past year and a half has seen the development of an array of new and evolving initiatives including our inaugural season of In Focus streamed broadcasts, a steady stream of recording projects, education programs, and community engagement. The pandemic has further opened our eyes and minds to changing ourselves from the inside out, to meet and welcome tomorrow’s audiences today. Our repertoire continues to expand, including a more diverse range of voices than at any other point in our history. In a word, what we are striving to do and be is to become more curious — about music, about our audiences, about the world around us. About everything. This curiosity includes constantly questioning how we — together and individually — interact with the power of music to touch the lives of everyone around us, to activate our souls and hearts and minds. The future begins today, every day. In closing, I must add a special acknowledgement regarding collaboration. We are doing this together, all of us — the musicians, the staff, the board of trustees, the volunteers and technicians, our fans and donors, audiences and contributors. Throughout the past two years, everyone who followed and supported and encouraged us amid the pandemic’s uncertainty, all of you are helping ensure that The Cleveland Orchestra endures and grows, shines and evolves not just now, but long into the future. Let the music continue!

WELCOME HOME

We’re working hard to get Severance Hall ready for you! PHOTO: HILLARY BOVAY

F O R M O R E T H A N ninety years, Severance Hall has welcomed music lovers and the culturally curious from Northeast Ohio and across the globe. This October, after an eighteen-month hiatus, public performances by The Cleveland Orchestra resume on the concert stage.

No one is anticipating this return more than Severance Hall’s dedicated corps of volunteer ushers. This group has helped welcome tens of thousands of concertgoers to the Orchestra and its cherished home. In anticipation of the upcoming season, a number of ushers shared what they are most looking forward to, along with treasured memories from past seasons.

Also in anticipation and preparation for this return, the summer months have seen Severance Hall bustling with maintenance activity, including physical upgrades to the landmark building’s façade stonework, installation of energy-graded and sound deadening windows throughout, new roofing for better waterproofing, and a brand-new HVAC (heating, ventilation, and air conditioning) system for both the Concert Hall and Reinberger Chamber Hall, with improved air filtration and quieter operation.

Usher Susan Burke at Severance Hall

During my twenty-two seasons of ushering, it’s been my pleasure to welcome first-timers. Whether they are locals or out-of-towners, the smiles on their faces as they look around the Hall remind me yet again what a treasure we have. I encourage them to explore each floor and the Green Room and to notice the many designs of lotus flowers, reportedly Mrs. Severance’s favorite. In seasons to come, I look forward to telling guests that the architect of the Hall was also involved in the design of the city’s Hope Memorial Bridge, which supports Cleveland’s ‘original’ Guardians. —Dolores Brown, usher since 1999

At every concert, we see at least one or two people hunched over by the east staircase of the Grand Foyer, and I’ll go up to them and say ‘I’ll bet you’re looking for the screw in the floor.’ And, of course, they are. It’s quite difficult to find because it blends into the terrazzo floor. How did it get there? The story is that the screw fell in by accident during the laying of the floor and the workers decided to leave it there to get up the nose of John Severance, who was a perfectionist. I have a little laser pointer on hand just for this purpose. —Susan Burke, usher since 2011

I love talking to first-time visitors to the Hall. They come upstairs and are amazed at the beauty of it, and many ask permission to walk around and take pictures. That’s before they hear the Orchestra play! A year ago, when only a few guests could come during sociallydistanced filming sessions, I ran into an old colleague. He was alone because his wife was suffering from a rapidly progressive illness, and they were both exhausted. After the concert, he came out with a huge smile on his face, reenergized and feeling he could push on for another week and do what had to be done. —Joan Delahay, usher since 2013

One of my fondest memories is from an Education concert performed for elementary school children, ages 8-10 years old. We ushered a group of girls to the balcony and, as soon as they sat down, their eyes opened wide when they viewed the fabulous Concert Hall. One young lady exclaimed, “This is like a place for a queen!” The expression on her face was priceless. —Marlene Dirksen, usher since 2009 7

A New Season . . . Discoveries, Favorites, Premieres Planning a new season is “a constant state of exploration,” says Franz Welser-Möst. In addition to audience-favorite symphonies and concertos, The Cleveland Orchestra’s 2021-22 season features four new commissions (see below) and thirteen other works by living composers. Also on offer, a variety of rediscovered or overlooked works by composers from the past — including Erich Korngold’s Symphony in F sharp (1952), Lili Boulanger’s D’un matin de printemps [A Spring Morning] (1918), Samuel ColeridgeTaylor’s Ballade in A minor (1898), and F. Joseph Haydn’s Symphony No. 70 (1779). COMMISSIONS PHOTO BY JULIA WESELY

JOAN TOWER A New Day (for cello and orchestra) — CLEV ORCH PREMIERE October 14-17 (Cleveland) Joan Tower, the “dean” of today’s American composers, has created a new cello for Cleveland-raised international star Alisa Weilerstein — commissioned jointly by The Cleveland Orchestra with three other ensembles. Read more about the piece and its artistry on pages 12-13. HANS ABRAHAMSEN Vers le silence — WORLD PREMIERE January 6-8 (Cleveland) This is the acclaimed Danish composer’s first work for stand-alone orchestra since 1981. Translated as “towards silence,” the piece explores the border between music and quiet, as sound edges toward the ethereal. BERND RICHARD DEUTSCH Intensity — WORLD PREMIERE January 13-15 (Cleveland) Created during Deutsch’s tenure as Lewis Fellow composer-in-residence with The Cleveland Orchestra, this new work receives its debut, rescheduled from canceled concerts in the spring of 2020.

FRANZ WELSER-MÖST MUSIC DIRECTOR C E L E B R AT I N G 2 0 Y E A R S

THOMAS ADÈS The Exterminating Angel Symphony — U.S. PREMIERE March 10-12 (Cleveland) This new symphony is based on the composer’s acclaimed opera of the same name, inspired by Luis Buñuel’s 1962 cinematic masterpiece.

Oct to June

3O weeks of music OCT 2021

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October 28 Brahms Requiem Special Presentation Cleveland Orchestra Chorus NOV

HRŮŠA

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George Walker

GLOVER

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Franz Welser-Möst conducts three of Walker’s compositions this season. “Walker is an intellectual and emotional composer,” he says. “And while I’ve known of his music, I am eager to further my understanding of the depth and complexities of his musical language.”

29 soloists, 15 conductors (as of Sep 2021)

After performing George Walker’s Antifonys for string orchestra for Season One of In Focus a year ago, The Cleveland Orchestra takes a deep dive this season into more of the composer’s output. The son of a physician from Jamaica and a mother who worked for the government, Walker (1922-2018) learned to play piano at age 5 and gave his first public recital at 14 at Howard University. He was soon admitted to Oberlin and graduated at age 18 with degrees in piano and organ. From there, he attended Philadelphia’s Curtis Institute of Music, followed by study in Paris with Nadia Boulanger, who considered Walker among her most talented pupils — a group that included Aaron Copland, Leonard Bernstein, and Quincy Jones.

RED = Cleveland Orchestra debut

SINFONIA NO. 5: VISIONS October 21-23 (Cleveland) Completed in 2016, this was Walker’s final completed composition, created as a reaction to the 2015 shooting that killed nine black parishioners at a Charleston church.

Piano

Violin

DEC HOLI DAY CO NCE RTS

Walker won the 1996 Pulitzer Prize for music for this poignant four-part song cycle, a setting of Walt Whitman’s elegiac poem “When Lilacs Last In The Dooryard Bloom’d,” reflecting on the death of Abraham Lincoln.

Saxophone

SINFONIA NO. 4: STRANDS May 28 (Cleveland)

O AN PR SO

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Premiered in 2012, Sinfonia No. 4 was named after the way its distinct musical themes intertwine. Here, Walker’s two main strands reference African American spirituals, woven in the composer’s distinct musical language.

O N TE BA

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LILACS (for voice and orchestra) January 28-29 (Miami) May 27 (Cleveland)

January 16 MLK Celebration Concert JAN 2022

February In Focus: Season 2 debuts (details to be announced)

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> MITCHELL

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The spring includes two psalm settings by Alexander Zemlinsky before the annual opera festival. This year’s in-concert presentation features Giuseppe Verdi’s dramatic Otello, adapted from Shakespeare’s classic tragedy. Franz Welser-Möst leads three performances with a cast of international singers. Two additional programs explore themes inherent in Verdi’s masterpiece to create a mini-festival of music and humanity, passion and wonderment.

In its first century, The Cleveland Orchestra introduced more than 4 million schoolchildren to classical music concerts through its annual series of Education Concerts and other presentations. Now offered for free to area schools, this year’s season features two weeks devoted to Education Concerts for schools, one in March for grades 3-5 and another in May for grades 6-8. The first offers a program titled “Music’s Many Voices,” featuring music by composers from around the world representing a variety of cultures, genders, and races. The set of May concerts is called “The Chevalier” and focuses on one incredible composer, Joseph Bologne, the Chevalier de Saint-Georges. This presentation explores the life and work of Bologne, a son of a slave who became an admired musician and teacher to French queen Marie Antoinette.

March 6 Mark Padmore Recital MAR

SAID

The autumn features a special performance of Brahms’s German Requiem, as warm-up and showcase for the singers of the Cleveland Orchestra Chorus after an 18-month hiatus, with guest soloists and two pianos under the baton of chorus director Lisa Wong.

This coming spring, budding music fans — and teachers and parents — can join in the return of education and family concerts to Severance Hall. Tailored to younger age groups, these captivating programs showcase music’s transporting qualities while featuring the diverse voices behind these powerful works.

Recitals & More A recital by renowned tenor Mark Padmore with pianist Mitsuko Uchida offers the opportunity to catch this legendary vocalist in a program of Schubert and Beethoven on March 6 in the intimacy of Reinberger Chamber Hall. And . . . look for announcements of added recitals or presentations in the year ahead.

PADMORE

For more than half a century, the Orchestra’s Family Concerts have introduced kids seven and older to the wonders of the symphony. This season’s series opens on Sunday, March 13, with Magic Circle Mime Company and a program featuring Benjamin Britten’s iconic Young Person’s Guide to the Orchestra among other favorites. On Saturday, May 7, “The Chevalier” will be presented about French composer Joseph Bologne.

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February 20 Youth Orchestra and Youth Chorus

MALTMAN

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JOHNSON CANO

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ing r i p s n i e Th sic! u m f o r powe

Overall, the 2021-22 season features more than 100 concerts and presentations.

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On the Road MIAMI AND CARNEGIE HALL The Cleveland Orchestra has been on the road since the very beginning, travelling across America and beyond. The 2021-22 season marks the 15th season the Orchestra has taken part in a multi-week residency in Miami with the Adrienne Arsht Center for the Performing Arts of Miami-Dade County. In addition to two weeks of evening concerts — including the first Cleveland Orchestra performances of George Walker’s moving song cycle Lilacs for voice and orchestra — the Orchestra’s Miami visit in January 2022 features daytime Education Concerts in partnership with the Miami Dade Schools.

Special Occasions Each season features moments to celebrate special occasions with the community — whether it’s your own wedding anniversary (or first date!), or the annual music associated with holidays throughout the year.

And in May, the ensemble returns to Carnegie Hall in New York, where The Cleveland Orchestra has logged over 220 performances since 1922.

The Cleveland Orchestra’s concerts of Christmas music will sound again, December 9 -19. Returning guest conductor Brett Mitchell says: “This year’s holiday concerts are all about coming home. It’ll have been two years since we were all together celebrating the holidays at Severance Hall, and it’s such a cherished tradition — not just for those in the audience, but for all of us onstage, too. I think it will finally feel like the holidays again when we’re all back under the same roof sharing this glorious music.” The Cleveland Orchestra honors the legacy of Dr. Martin Luther King Jr. on Sunday, January 16, 2022, with its annual concert and community chorus, along with the presentation of the MLK Community Service Awards, jointly given each year by the Orchestra in partnership with the City of Cleveland. The full program will be announced later in the fall.

MAY EDUCATION

MÄKELÄ

June 1 Carnegie Hall

May 8 Youth Orchestra Spring Concert

TILSON THOMAS

OTELLO OPERA FESTIVAL

WELSER-MÖST FA M I LY CO N C E R T

May 7

Verdi’s Otello May 21, 26, 29 11

JOAN TOWER Uncommon Composer by Lara Pellegrinelli

JOAN TOWE R , one of America’s most celebrated living compos-

ers, is known for what The New York Times aptly describes as works that are “expertly wrought, full of character, and instantly communicative.” In many ways, they mirror the voice of their creator. Tower herself is undeniably gregarious and opinionated, not to mention downright funny. So it’s a bit surprising to discover that the 83-year-old espouses a minimalist philosophy when introducing audiences to her new pieces. TOWER

“The less I say the better,” she states with perfect seriousness.

After its world premiere in July, a brand-new cello concerto gets its first Cleveland Orchestra performances as part of the season’s opening weekend. Crafted by composer Joan Tower especially for cellist Alisa Weilerstein, A New Day reflects the dynamics of Tower’s own life.

When asked what if anything she would like people to know before they hear The Cleveland Orchestra’s first performances of A New Day (2021) on October 14 and 17, a cello concerto commissioned jointly for Alisa Weilerstein by Cleveland and three other orchestras, Tower refers to the note prefacing its score: “I wrote the music with love to Jeff, my partner for 48 years, who turned 94 in April of 2021. While composing this piece, I realized that our long time together was getting shorter, becoming more and more precious with each new day.” The dedication is both tender and weighty in its brevity. It reveals Tower’s own emotional vulnerability, which the concerto expresses perhaps more keenly than any of her previous works. It seems to wear its heart on its sleeve.

WEILERSTEIN

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Yet, if awards offer some measure of Tower’s ability to connect with listeners, she can rest assured that her music — with its rhythmic tenacity and assertive orchestration — speaks for itself. The first woman composer to win a Grawemeyer Award (a $100,000 cash prize), Tower recently received the League of American Orchestra’s Gold Baton, its highest honor, and was named Musical America’s Composer of the Year in 2020.

The Jeff of whom she writes is Jeff Litfin, a spouse who prefers to remain out of the public eye. She dedicated one previous work to him, Island Rhapsody (1989), “for something with love and sensuousness.” Tower shares only that he is a photographer, writer, and businessman,

describing him as something of an artistic polyglot. “He knows about art, photography, music,” she says. “I have a doctorate in music, and he knows more about it than I do. He remembers everything.” (Tower can also be frustratingly modest.) Their life together is the concerto’s point of departure. It cycles through a typical day, using broadly descriptive titles for its four movements: “Daybreak,” “Working Out,” “Mostly Alone,” and “Into the Night.” Carefully chosen, they offer windows into the composition, though Tower is quick to point out that A New Day isn’t programmatic. “This piece is about him and about us — sort of,” she clarifies. “I say that hesitantly because I don’t want to make too much of these connections. And because the piece has a lot of drama. I don’t want people to assume that we have a volatile relationship!” Of course, the concerto is a dramatic musical form, a cousin of opera with a long history of serving as a metaphor for human relationships. True, concertos can be spectacular vehicles for virtuosity, created by composers such as Mozart and Liszt for their personal use, but the repertoire also symbolizes the role of the individual in society. As conductor and scholar Leon Botstein writes, “mood, expression, the stirrings of the soul and even a sense of melancholy could be realized as a solo instrument worked against, resisted, displaced, led and triumphed over orchestral sound.” The narratives spun in concertos could also be freer and more poetic. For example, Robert Schumann’s only piano concerto explores a duality of being. Written to be performed by his beloved wife Clara, he selected pitches that represent her name in the score literally, an idealized love object encoded into the work. In A New Day, Tower’s musical protagonist, the solo cello, relates to its orchestral counterpart in ways that are neither heroic nor particularly romantic, communicating instead a fundamentally feminist perspective. “It is like a marriage between two strong personalities, who have had to learn how to be with each other,” says Weilerstein. “Any good relationship has to have plenty of give. It’s foundational.” “I think the successful relationship is like a string quartet,” says Tower. “You learn how to bicker and not internalize it, and then bounce back. It took me a few years because I’m extremely feisty — and stubborn, too.” Tower, born in 1938, learned to bounce back early in life when she was uprooted from her home in Larch-

mont, New York, for her father’s job as a mining engineer in La Paz, Bolivia. A precociously gifted pianist, she attended Bennington College, where a first attempt at composition left her both wholly unsatisfied with her efforts and eager to try again. She eventually earned both a master’s degree and doctor of musical arts from Columbia University. It took a decade for her to reject serialism, the dominant academic style in mid-20th-century America, in favor of a more visceral language informed by her continued activity as a performer. In 1969, Tower cofounded the Naumburg Award-winning Da Capo Chamber Players. Sequoia (1981), a work inspired by towering redwoods, established her reputation as an orchestral composer. She has achieved remarkable popularity in that domain with works including her five Fanfares for the Uncommon Woman and the Grammy Award-winning Made in America (2004). A New Day joins a dozen other concertos by Tower, pieces driven by the character of the instruments — and performers — for whom they were written. “When you commission a new work, even by someone as well-known as Joan Tower,” says Weilerstein, “you never know what you’re going to get. That’s the thrill and the risk. Joan is the most wonderful human being. She’s very pure. That’s something I notice in her music: it’s upfront, honest, and intelligent.” Weilerstein, a 2011 MacArthur Fellow, is both a leading exponent of Bach’s solo cello suites and an enthusiastic advocate for new music; she worked with Osvaldo Golijov on his revision of the concerto Azul (2007) and gave the New York premiere of Matthias Pintscher’s Reflections on Narcissus (2014). A Cleveland native, she made her professional debut performing Tchaikovsky’s Variations on a Rococo Theme with The Cleveland Orchestra at the age of 13. Following the world premiere of A New Day in July under Peter Oudjian’s direction, the Severance Hall performances mark her first time working with Franz Welser-Möst. “Alisa has this unbelievable power as a player,” says Tower. “When the orchestra is heavy, she can answer them. This piece is high intensity; she plays it with ferocious energy and virtuosity. The cello is the most beautiful singing instrument and, boy, this girl can sing.” Lara Pellegrinelli is an arts journalist and scholar. She received her PhD in ethnomusicology from Harvard University and is a contributor to National Public Radio.

PHOTO BY HILARY BOVAY

Closing out a half-century career as The Cleveland Orchestra’s longest-serving principal player, Joela Jones talks about her passions for music and music-making — and the extraordinary people she’s worked with onstage and off.

OPPOSITE PAGE:

Joela Jones with Richard Weiss and (top) their son Justin.

Distinguished Artist

JOELA JONES merely about playing notes for Joela Jones. Growing up in Miami, Florida, she first learned to play piano from her mother, Inez Alma Jordan Jones. Though young Joela showed immediate promise at the keyboard, her mother wanted her to delve deeper. Having majored in English literature, Mrs. Jones introduced Joela to the poetry she loved: Keats, Shelley, Browning, and Tennyson. U S I C WA S N E V E R

by Amanda Angel

“She shaped me in so many ways musically, and intellectually and emotionally,” Jones recalls. “Even when I was seven, eight, nine years old, while I would be playing a slow movement of something beautiful, at home learning and practicing, she would be sitting beside me reciting the saddest, the most grief stricken, or most beautiful poems of these English poets because she wanted me to go beyond the notes. She wanted me to be sure and have

feelings for things.”

G R OW I N G U P

Joela Jones’s singular career with The Cleveland Orchestra — across 54 seasons, more than 250 concerto performances, plus thousands of other unforgettable concerts — stands out as extraordinary. But her contributions go well beyond the countless notes played on stage. These were decades filled with Monday night rehearsals, accompanying the remarkable volunteers of the Cleveland Orchestra Chorus, afternoons or mornings in coaching sessions interacting with conductors and guest vocalists, added chamber music rehearsals, and many Orchestra committee meetings she sat through, working tirelessly for the sake of her fellow musicians and the ensemble.

The daughter of two teachers, Jones along with her older sister Jenna (her eldest sister Julia died before Joela was born) were encouraged to try new hobbies and skills. “Our parents, being educators, wanted to expose us to as many different aspects and possibilities,” she says. “My sister and I used to say, ‘Don’t tell mom or dad that we like something, or they’ll have us take lessons in it’.”

When the 2021-22 season opens on October 14, Joela will receive the Orchestra’s Distinguished Service Award, “recognizing her extraordinary artistic achievements and dedicated service to music and to the Greater Cleveland community.” Three days later, she will play her final concert as principal keyboard as she retires from the Orchestra. She stands as the ensemble’s longest-serving principal player of any section.

Both of her parents recognized that Joela had a special gift for music. But perhaps when a salesman came to the Jones house, drawn by the sound of the piano, they realized her talent was truly exceptional. “He asked to see me. His mother was a professional pianist, and he couldn’t believe that an eight-year-old was playing,” Joela says.

“She has always had the interest of the Orchestra at her heart, the center of her heart,” says music director Franz Welser-Möst. “It didn’t matter if she was on stage or off stage, she would really thrive on quality. The artistic quality was priority number one for her, period. And everything else didn’t matter.”

Along with piano, Joela learned ice skating and baton twirling. Taking on an additional instrument — the accordion, which her father Stefan Luther Jones played — took some negotiating. She offered to replace her free playtime with accordion practice, and quickly fell in love with the instrument.

Seeking to further their daughter’s musical training, the Joneses wrote to one of the most acclaimed musicians in Florida, Ernst von Dohnányi. The eminent Austro-Hungarian pianist and composer (and grandfather of Christoph von Dohnányi, who later became music director in Cleveland) had been teaching at Florida State University in Tallahassee since immigrating to the

United States in 1949. Ten-year-old Joela played a Chopin ballade for him and his response was unequivocal — she was a prodigy. He also recommended that the promising young musician leave Florida and continue her musical instruction at one of the northern conservatories. The Eastman School of Music in Rochester, New York, soon awarded her a full scholarship. Yet, the move meant that Joela had to leave an instrument behind. “When Ernst von Dohnányi told my parents that I was a piano prodigy, they took away my accordion, and sold it for $75,” she recalls. “I even remember the amount because it broke my heart. It was a beautiful white accordion with little gold keys and gold buttons.” At Eastman, Jones studied from the age of 12 to 15 under Cuban pianist José Echániz. She was also taken under the wing of conductor and composer Paul White, who ran the Rochester Civic Orchestra and taught at the conservatory. The Civic Orchestra performed at local high schools, and White felt that featuring a teenage piano soloist — who was the same age as his target audience — would be a winning combination. “He asked me if I would like to start playing concertos with his orchestra. And it was wonderful,” Jones says. “I received a special education from this wonderful conductor and musician who taught me basically how to play as a soloist with an orchestra.” A C H A N G E O F CO U R S E

At that point, Jones’s career as a soloist seemed all but certain. Famed Boston Pops conductor Arthur Fiedler came to conduct the Rochester Philharmonic, and the director of the Eastman School recommended Jones over one of the college-aged musicians. Fieldler was so impressed that he extended invitations for her to perform with him at orchestras around the country. After completing high school in Rochester while attending Eastman, Jones’s studies brought her to the Cleveland Institute of Music to study with Victor Babin. It wasn’t long before Fiedler also came to town to conduct members of The Cleveland Orchestra in one of their annual Summer Pops concerts at Public Auditorium. Naturally, Fielder reached out to Jones to perform the solo part in Edward MacDowell’s Piano Concerto No. 2. The performance in July 1966 so impressed Cleveland associate conductor Louis Lane (who conducted many of the Summer Pops presentation and also doubled as the Orchestra’s keyboardist) that he mentioned Jones to music director George Szell. The following spring, Szell was to conduct a piano concerto by the Orchestra’s composerin-residence, Russell Smith, as part of a new music festival 16

MORE ONLINE . . . Watch a documentary about Joela and listen to a musical playlist highlighting a selection of performances that have significance to her. Visit: clevelandorchestra.com/joela

underwritten by the Rockefeller Foundation. The scheduled soloist had cancelled on relatively short notice and Jones’s name came up. She recalls: “I learned it in three weeks. It was about a 40-minute concerto, a very long piece. I learned it, and Szell was very, very pleased with my playing.” He was so pleased that after the three scheduled performances of the Smith Concerto, Szell invited Jones to join the Orchestra. Until that point, Jones had been focusing on a career as a soloist. From before the age of 12, she had been performing concertos and playing recitals, developing her own interpretations and feelings beyond the score. “It entered my mind that perhaps I was making a mistake. That I was, to quote my mother, ‘Giving up a fulltime solo career.’ I think it’s the first time in my

Joela Jones talks about a half century of Cleveland’s musical leaders . . . George Szell would always find something new to discuss or recreate. I remember sitting in one rehearsal of the famous Mozart G-minor Symphony. And it was a Thursday morning before the performance that night and most conductors would just run through the piece. He said, ‘Do you know, we don't have too much to talk about with this because we've played it so much. But there's this one spot.’ And he worked on, I think it was about 12 measures. And 45 minutes later, he was still working with the strings’ bowing to get a particular sound.” Lorin Maazel was a genius. He spoke seven languages, memorized all his scores at the drop of a hat. He was a beautiful conductor, you didn't even need to listen to the orchestra, just watch him conduct. He looked like a ballet dancer. He was only here 10 years, and I played 12 different concertos with him over that time. He inspired confidence in me. Because he was confident about my playing, it made me confident.” I love Pierre Boulez. With all my heart. He was maybe the biggest influence on my entire life and music. He had the most delightful sense of humor. He had this very infectious chuckle. And it was just delightful and you couldn't help but join in whatever he was feeling. I learned to love Messiaen because of him. Because of him, I was exposed to much more contemporary music that I hadn't been before.” Christoph von Dohnányi would end Thursday morning rehearsals usually by saying, 'Yes, yes, something like that, but tonight, a little bit of magic, yes.' That was his way of saying, we haven't quite gotten there yet. Let's see if we can get even further. And so it kept all of us from being too satisfied, and relaxed. No, we can strive for more, we can get even better, we can achieve something more.” Franz Welser-Möst is so brilliant. He is so cerebral, and yet he can be so friendly and nice. He's almost a dichotomy. When he gets into his music, though he’s very serious, very dedicated, very honest and genuine. When he looks at a score, he's not thinking about himself, or you, or your instrument, or anything. He's only thinking about what the composer wanted. And he will go to any lengths to achieve that.” Joela Jones with (top to bottom) George Szell, Pierre Boulez, Christoph von Dohnányi, and Franz Welser-Möst. PHOTOS FROM CLEVELAND ORCHESTRA ARCHIVES AND THE PERSONAL COLLECTION OF JOELA JONES.

life that I made a decision different from my mother’s,” she admits. However, she also saw many aspiring solo pianists living from hand to mouth, enduring grueling schedules, and suffering fallow periods. Many were struggling both artistically and financially. A position with The Cleveland Orchestra offered security on both ends, along with a cadre of talented musicians to collaborate with on a daily basis. It also helped that Szell assured Jones that she would perform many concertos as a member of the ensemble, a promise that was realized even though Szell died three years later, in 1970.

One day, while playing Dvořák’s Piano Quintet, she was caught off guard by “the most beautiful cello playing I had ever heard. I looked over, and Richard Weiss was playing the cello. And I immediately knew that I was in love with his playing,” she says. Weiss had joined the Orchestra that 1974-75 season, fresh out of Rochester’s Eastman School. The two quickly found they had much more in common than their love of music. They began dating in May, were engaged by August, and got married in December 1975. Jones calls their son, Justin, now a lawyer outside of Washington D.C., their greatest accomplishment.

When she began in 1968, Szell and Lane also mentioned that Jones would be able to become the Orchestra’s first true principal keyboardist if she added the organ to her portfolio of instruments. Jones had already studied harpsichord in college, and she began studying organ under Warren Barryman of Baldwin Wallace College, practicing six hours per day. In 1972, Joela was officially given the title and contract as Principal Keyboard.

In 1979, another musical love came back into her life: “I heard Lorin Maazel talking backstage one day with David Zauder, our personnel manager, about how they needed an accordion player for Del Tredici’s Final Alice. When I heard that, I said, ‘Could I see the part? If somebody could find an accordion for me, I think I can play it.’ They were delighted. Zauder went to a music store here in Cleveland and got me an accordion. And that was a delight to be reconnected to the accordion.”

D E D I C AT E D TO M U S I C O N S TAG E A N D O F F

Jones was asked to reprise her accordion-playing role for a 1995 concert version of Alban Berg’s opera Wozzeck. This time The Cleveland Orchestra gave her a blank check, but asked her to keep the cost at no more than $2,400. She found one at that price, but bargained it down to $2,100, along with a $50 case. This past August, she says, when she packed up the accordion and returned it to Severance Hall, “I told the stagehands to take good care of it.”

At The Cleveland Orchestra, Jones almost immediately felt “fully satisfied and fulfilled.” At the same time, she was finding a welcoming family of musicians on the Severance Hall stage. Every day seemed to expand her musical horizons, sight-reading orchestra reductions for chorus rehearsals, coaching sessions with vocal soloists, or playing chamber music with fellow Orchestra musicians.

Hail & Farewell In addition to Joela Jones, these three Cleveland Orchestra musicians are retiring with the start of this season. Together, these four represent 148 seasons of service with the Orchestra. Please join in wishing them every happiness in the next stages of their lives.

Arthur Klima — 44 years

Mark Dumm — 36 years

Robert O’Brien — 14 years

Art joined The Cleveland Orchestra during the 1977-78 season, after schooling at the University of Illinois and Yale University, and following five seasons with the Baltimore Symphony.

Mark studied at Indiana University with former Cleveland concertmaster Josef Gingold, joining The Cleveland Orchestra in 1985. He served as assistant principal second violin 1993-2008.

Bob joined The Cleveland Orchestra in 2007, became head librarian in 2008, and retires in December. He was previously principal librarian with the Atlanta Symphony Orchestra.

THE CLEVEL AND ORCHESTR A

DISTINGUISHED SERVICE AWARD To be presented at the concert on Thursday, October 14, at Severance Hall J O E L A J O N E S first appeared as a concerto soloist with

Another instrument she leaves behind as part of her legacy is the Norton Memorial Organ. Jones had played the 1930 E. M. Skinner instrument in her early years at the Orchestra, but it had been hidden above the stage and heard only through electronic amplification since the late 1950s (for more information about this and the history of Severance Hall’s acoustics, see pages 24-27). From 1976 forward, she usually played an onstage electronic instrument when a score called for organ. As plans for the 2000 renovations were drawn up, a decision had to be made: whether to install a new organ or renovate the existing one. Jones strongly advocated for the renovation. “Severance Hall has a unique sound, and the Skinner organ suits that sound. A newer one would have been brighter, which wouldn’t have been right for the hall,” she explains. The original Skinner organ and its 6,025 pipes were given new life with a restoration overseen by the Schantz Organ Company based in Orrville, Ohio. Jones helped inaugurate the organ in January 2001, performing the refurbished “king of instruments” for the first time in Saint-Saëns’s Organ Symphony. She’s since played it in works by Charles Ives to spooky Halloween performances of Bach’s Toccata in D minor — complete with a cape and phantom-of-the-opera mask. As she steps away from her fulltime job with the Orchestra this year, Jones is reluctant to consider her legacy. Having spent more than a half-century of making music in Cleveland, she has seen colleagues retire or join other orchestras, and watched their seats be filled by younger, equally talented musicians. Yet in retrospect, she confesses: “They left a legacy through what they passed on to the people who were still there, who are still here — their dedication to this orchestra and dedication to music.” Amanda Angel serves as managing editor of content for The Cleveland Orchestra.

musicians of The Cleveland Orchestra for a Summer Pops concert in 1966. The world premiere of a new concerto with George Szell came the following year, after which he asked her to join his world-renowned group as keyboardist. Her name first appeared on the ensemble’s printed roster with Blossom Music Center’s inaugural seson in 1968, and in 1972 she was officially designated as the Orchestra’s Principal Keyboard player. She has held the Rudolf Serkin Endowed Chair since its creation in 1977. This fall, after more than a half-century of service, Joela retires as The Cleveland Orchestra’s longest-serving principal player of any section. Her versatility, musicality, and artistry — not just on piano, but including organ, celesta, synthesizer, and her personal favorite, accordion — have been demonstrated in over 250 performances of more than 50 concertos or works featuring a solo keyboard role. In addition, she has played thousands of further performances — of prominent (and challenging) keyboard parts from across the orchestral repertoire, as well as playing in countless education programs and ably performing many chamber music pieces with colleagues. Born in Florida, Joela was encouraged to pursue varied interests by her educator parents. She explored the skills given her and a wide range of subjects, but piano was always at the forefront, with music in the center. She was declared a prodigy by age 10. Told to pursue her dreams, she did. Her mother moved to Rochester for Joela to study at Eastman School of Music while still in high school. Further studies brought her Cleveland, where she found her musical home. Here, she also found love, creating her own family while at the same time becoming an indispensable member of Cleveland’s Orchestra family. Across 54 years as a member, Joela has worked under five of The Cleveland Orchestra’s musical leaders, along with countless guest conductors and assistants. Her musicality has been tested and featured across music of many different genres, styles, and eras — from Baroque to Modern, Mozart to MacDowell, Beethoven to Boulez, and Tchaikovsky to Contemporary. Throughout, she has always exemplified the unique collaborative traits and mindset for which The Cleveland Orchestra is acclaimed around the world, blending a keen sense of artistry with an understanding of ensemblework and balance — to shine as an individual when her role requires, or to humbly blend together in service to each composer’s soundworld. In recognition of her many contributions and talents, the Musical Arts Association is pleased to recognize her extraordinary artistic achievements and dedicated service to music, to The Cleveland Orchestra, and to the Greater Cleveland community by bestowing on Joela Jones our highest award for distinguished service.

J o s h u a S m i t h flute L U N C H, B R U N C H, O R A N Y T I M E

Perfect Anytime Quiche Directions During the past year, one of my lockdown creature comforts was playing with dough. And when I learned this quiche crust and its ability to transform leftovers in creative and delicious ways, I knew I had my daily lunch ritual in place for a long time. It’s a deep dish quiche, optimized for use in a 9-inch springform pan.

Ingredients FOR THE CRUST:

272 grams (approx. 2 cups) all-purpose flour or bread flour — I like bread flour here because it feels easy to work with, but any flour will work 6-7 grams (1 tsp) salt 65 grams (approx. ¼ cup) olive oil — again, any oil is fine, depending on flavor you’d like 110 grams (½ cup) cold water FOR THE FILLING:

½ cup cheese ½ cup beans 2-3 cups leftovers or vegetables FOR THE CUSTARD:

7 eggs ¼ cup milk (or tahini) salt and pepper to taste

First, make the crust. Combine the flour and salt in a mixing bowl. Separately, shake the oil and water together in a jar to emulsify. Add the liquids in a ring around flour/salt mixture. Using your fingers as prongs, swirl the liquids into the mixture until it comes together in a ball, squeeze with your hands to blend, and you’re done. At this point, I roll it out on a floured surface so that it’s large enough to drape over the sides of the springform pan. Press it into the pan and crimp. I’m by no means a crimping master yet, but the goal is to line the pan with the dough and, especially, to keep it against the sides and top edge. If at any point the dough becomes annoying, pop it into the refrigerator to cool it and then continue. In fact, my favorite hack, once I’ve created (and fork-tined) the crust in the pan, is to pop the whole thing into the freezer for a while before the par bake (baking the empty crust) — this seems to minimize any shrinkage and avoids having to weigh the crust down. Then, shift it directly from the freezer to par bake at 370°F for 25 minutes. Remove and let cool before adding the filling. The filling is totally riff-able. I always start with a layer of grated cheese, and I often then put a layer of cooked beans, then a “salad” of vegetables marinated in oil and garlic, or beans and chilis for a “nacho quiche.” But I’ve also used leftovers — from Thai to Indian to Lebanese or Greek. Any idea is a good one. Next, prepare the custard. Whip the eggs and your preferred type of milk (or tahini) until frothy, pour over vegetable and cheese layers in pan. Bake at 370°F until internal temp reaches 165°F, usually about an hour in my kitchen. Once pan is cool to touch, remove quiche from pan and continue cooling on rack until completely set and cool, at least a few hours.

RECIPE — Autumn 2021

A new season . . .

all thanks to you This fall, The Cleveland Orchestra returns to Severance Hall to perform live for our community. To the thousands of music-lovers who have stood up for music during the pandemic, thank you for bringing your hometown orchestra back to the stage.

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CLEVELAND’S CONCERT HALL

A TEMPLE TO MUSIC HAILED AMONG THE WORLD’S most beautiful and best-sounding concert halls, Severance Hall has been home to The Cleveland Orchestra since the building’s opening on February 5, 1931. After the 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 the Orchestra’s governing board (1921-1936), donated most of the funds for this magnificent structure. His wife, Elisabeth, died unexpectedly a short time after the new hall was announced, and Severance poured additional money and resources toward its completion as a personal memorial to her. When selecting a site for the new hall, the Orchestra chose a location in the heart of Cleveland’s “University Circle” area, an idyllic setting on the city’s east side that serves as home to an unrivaled concentration of major cultural, educational, and medical institutions — including the Cleveland Museum of Art, Cleveland Institute of Music, and what is today Case Western Reserve University. Designed by the Cleveland firm Walker & Weeks, Severance Hall’s elegant 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. From the day it opened, Severance Hall helped to shape The Cleveland Orchestra into the ensemble

it has become — enabling the Orchestra to rehearse and perform in a single acoustic environment. The landmark building was one of the most modern, upto-date concert facilities in America when it opened in 1931 as The Cleveland Orchestra’s permanent home. Among the first concert halls designed and built with radio broadcasting capability, it helped carry the name of Cleveland across the country and into Canada through weekly and special broadcasts. Three generations later, a program for a largescale restoration, renovation, and expansion of Severance Hall was undertaken in the late 1990s. Plans called for adding new space to the building while carefully preserving the historical integrity of the original Walker & Weeks design and restoring faded finishes to their original luster. Severance Hall reopened on January 8, 2000, as a long-beloved concert hall returned to the service of its world-class resident orchestra. The New York Times said that the renovated concert hall “sounds as seductive as it looks.” And The Cincinnati Enquirer commented that “Severance Hall is now the most visually stunning setting for an orchestra this side of Vienna’s Musikverein. Even better, its pristine acoustics . . . have been preserved and even enhanced.”

PHOTO BY HEDRICK BLESSING

welcome there.” John Long Severance, president of

PHOTO BY ROGER MASTROIANNI

T H E C L E V E L A N D O R C H E S T R A’ S

SONIC PARTNER by Eric Sellen

This article originally appeared in The Cleveland Orchestra’s “A New Century” recording release, 2020. R O M T H E D A Y IT OPENED in 1931,

Severance Hall has played a major role in shaping The Cleveland Orchestra into the ensemble it is today. Indeed, The Cleveland Orchestra’s rise in stature — from a solid regional ensemble to standing alongside the world’s very best — has paralleled a series of acoustical changes and enhancements to its home concert hall, where it rehearses each week and presents a majority of its concerts. Today, Severance Hall continues to play a crucial role in perfecting the Orchestra’s legendary sound. The hall’s newest sonic manifestation, which debuted in 2000, coincided with Franz Welser-Möst’s appointment in 1999 and his taking the artistic helm in 2002, and has enabled him to build on decades of work by his predecessors to further refine The Cleveland Orchestra’s legendary sound for a new century. Severance Hall was conceived in the late 1920s and purposefully designed with a relatively dry, nonreverberant acoustic, so that it could be used for a variety of purposes. The planned non-symphonic uses included unamplified lectures and opera performances, both of which benefit from clear articulation and require less reverberation than is ideal for a symphony orchestra. That original dry sound — later measured at under 1.5 seconds of reverb/decay time — has also 24

been traced by some to the needs of early radio broadcasts, which also called for clarity over overall reverberant warmth. (In fact, the Orchestra made radio broadcasts from more than one location in the building, from a special studio built into an upper floor of Severance Hall as well as from the Concert Hall itself; the recording studio was later used for chorus rehearsals and today houses the organization’s fundraising staff.) When George Szell arrived as music director in 1946, his chosen mandate was to raise the level of the Orchestra’s playing and profile — and he early on identified the dry acoustics of the hall as a challenge to overcome. In 1949, the board commissioned a study of the auditorium’s acoustics by Clifford M. Swan, who had consulted on other concert halls across the United States. “Your auditorium is beautiful and luxurious,” Swan wrote to the board, “but it is also ‘dead’.” He suggested removing carpeting and box curtains, but time and budgetary priorities left these ideas undone. Four years later, in 1953, a new study was undertaken by Robert S. Shankland, a physicist at Case Institute of Technology (a forerunner of today’s Case Western Reserve University), who had watched Severance Hall’s construction as a graduate student at

Case. Shankland’s analysis confirmed the less-than-desirable short reverberation time and presented a number of recommendations, including, once more, the removal of carpeting and curtains on the box seating level (implemented soon thereafter), as well as the proposed outlines for the building of a substantial and fundamentally different stage enclosure. Since Severance Hall’s debut in 1931, the Orchestra had gone through a progression of lightweight stage “sets,” each designed and built to connect visually with the concert auditorium. By necessity, however, in order to maintain the hall’s use for varying kinds of events (including lectures, opera, and dance presentations), these panels and ceiling flats were removable and portable — and did not reflect the richness of the Orchestra’s sound onstage or into the auditorium. Those concert stage sets were placed in front of a permanent plaster cyclorama, sometimes called an “infinity” wall. It occupied the back of the entire stage and was part of the building’s original design for the purpose of what were then technically-advanced performance lighting effects. When left exposed to the auditorium, this large curved wall reflected and focused some sound, but very unevenly and to different parts of the space, both onstage and in the concert hall. For the Orchestra, the movable panels in front of it successfully eliminated the negative acoustic effects of the cyclorama — but added nothing more. Following Shankland’s study, a new concert set was built in the summer of 1953, with heavier wooden materials (plywood, covered in muslin cloth). But the acoustic effect still fell far short of the ideal warmth that a longer reverberation time would offer.

BUILDING A NEW SOUND As Szell worked with his Cleveland musicians each year, he was increasingly pleased with the progress he’d made in honing and developing the ensemble’s playing. And, as the relationship matured in the mid-1950s, he came to understand that Cleveland could become his life’s work. The board and community seemed to fully support his efforts, and so Szell set out to prove to the world how much could be accomplished in a smaller city in the American heartland. What was to become a legendary reputation was pursued through radio broadcasts and recordings, through an annual series of concerts at Carnegie Hall,

1931

1956 and finally, from 1957 onward, through international touring. In fact, Szell’s “Clevelanders” caught many of Europe’s musical kingpins and press off guard, who were quite surprised to experience such polish and finesse from an American orchestra — especially a largely unknown one. “They play with the loving spontaneity of a fine European orchestra,” wrote one London paper in 1957, “as well as with the discipline, blend, and unanimity characteristic of America.” All the while, Szell was redoubling his pressure on the Orchestra’s board and management to finally and fully tackle the stage-shell acoustic challenges at Severance Hall. In the summer of 1958, with money approved, the construction and installation began. Szell was fully engaged in the project and sought assistance from Heinrich Keilholz, who had designed the acoustic improvements achieved in the 1955 re-building of the Vienna State Opera. Both Keilholz and Shankland were involved in creating 25

1931

a new permanent shell for Severance Hall — a massive, immovable steel and wood construction, famously filled with tons of sand to ensure it would reflect as much of the Orchestra’s sound as possible into the hall.

1958

When first tried out in rehearsal in September 1958, the change in acoustics was dramatic —immediately requiring the musicians to adjust their playing. The ensemble’s location onstage was also shifted, moving the entire Orchestra forward, so that the percussion and brass could be positioned away from the shell’s back wall (which was suddenly fully projecting their sound). The new, reflective shell greatly boosted the volume and presence of the Orchestra’s overall sound, while requiring the musicians to concentrate more keenly on the smallest details and to listen more intently to one another. This helped them focus on achieving some extraordinary refinement in balance and dynamics, including learning how to play, at times, extremely softly as a group, especially for the strings. All of this allowed Szell to continue sharpening the Orchestra’s ensemblework and sound, reinforcing their international reputation for clarity infused with a strong sense of European musical panache. In some ways, the 1958 renovation overshot the need, from overly dry to overly reflective. And in truth, in terms of sound aesthetics, the characteristics of the 1958 shell prioritized the need for orchestral precision and, while not precluding warmth, helped make clarity — for which The Cleveland Orchestra had become renowned — as the first requirement for a balanced sound in the hall. Interestingly, and in a way perhaps even more true today, the skills for listening and the need for clarity also assisted The Cleveland Orchestra to always sound like themselves on tour, regardless of the differing characteristics of the many halls they play in when not at home. From the early 1960s onward, with just a short rehearsal in a new hall, Szell (and his successors) could almost always quickly help the musicians fine tune the Orches26

2000

At the behest of George Szell, a new permanent stageshell was installed in 1958 (top left), its wooden walls filled with sand to ensure a reflective surface while bringing a new sense of liveliness to the hall’s intimate acoustics. Its simple and clean lines, however, conflicted with the auditorium’s opulent visual splendor. A new permanent shell (opposite page top), built in 1998-2000, finally combined both needs, matching the auditorium’s beauty with modern acoustic surfaces that reflect and enable The Cleveland Orchestra’s consummate artistry.

tra’s playing to replicate the accuracy and focus that was produced back home at Severance Hall. Thus, the 1958 stageshell carried its imprint forward — through the clarity of Szell, notably extended in newer music by Pierre Boulez (principal guest conductor under Szell, and later a regular guest conductor up until two years before he died in 2016), and on through the daring brashness of Lorin Maazel, up to the well-oiled and disciplined sound honed during Christoph von Dohnányi’s tenure in the 1980s and ’90s. Throughout, the hall intimately involved in refining and evolving the Orchestra’s playing.

A MARRIAGE OF ACOUSTICS AND ARCHITECTURE The third, and current, manifestation of Severance Hall’s acoustics was put into action as part of a buildingwide restoration and renovation undertaken across three seasons, 1998-2000. Inside the auditorium, the project focused on restoring aesthetic beauty, including replacing the stageshell with one designed not only to work acoustically, but to blend visually with the auditorium’s magnificent mixture of French Art Deco detailing. The acoustic goals of the project, articulated by the institution’s leaders, especially by Christoph von Dohnányi (music director, 1984-2002) were to retain the important qualities of clarity and presence while further increasing the warmth of the sound. Design plans to achieve those results fell to David M. Schwarz Architects Inc. and the acousticians of Jaffe Holden Scarbrough. The new shell design duplicated almost exactly the dimensions and position of the 1958 shell, while calling for major changes to the wall and ceiling surfaces. The smooth, highly reflective plywood facade from 1958 was abandoned, replaced by complex and intricate surfaces that diffuse the reflected sound. Most importantly, a precisely measured proportion of the new shell surface is “acoustically transparent,” allowing the Orchestra’s sound to enliven new reverberation chambers surrounding the shell, including both the former organ loft above the stage and the newly-built organ space behind the stage. These added reverberation areas give the conductor and musicians the ability to adjust, blend, and color their collective sound as they play, and to do so with almost infinite confidence and control.

Today, the hall’s reverb/decay time measures almost 2 seconds, retaining its intimate immediacy — seating just over 1,900 — while offering a balanced resonance across the sound spectrum. Just as the 1958 stage construction helped Szell magnify and hone The Cleveland Orchestra’s developing sound, the 2000 renovation of the Severance Hall stage began refining the ensemble’s trademark musicality. From 2002 forward, the group’s new music director, Franz Welser-Möst, has been able to initiate and sustain an ongoing evolution in the Orchestra’s sound. His priorities for musical warmth, rhythmic flexibility, and wide-ranging orchestral color take full and complete advantage of the acoustic properties of the shell, stage, reverberation chambers, and the auditorium itself. Thus, as The Cleveland Orchestra embarks on its second hundred years, Franz Welser-Möst’s focus on collaboration, his encouragement of the players’ expressive range, and his trust in their collective sense of musicality, are continuing to evolve standards recognized around the world. And the acoustics and visual charm of Severance Hall are important touchstones in offering audiences — and everyone onstage — a uniquely warm and clarifying sound that is The Cleveland Orchestra. Eric Sellen served as program book editor for The Cleveland Orchestra for 28 season before retiring in September 2021.

Our Health and Safety Commitment to You . . . Proof of Vaccination or Negative Test

s audiences return to Severance Hall, our first priority is to ensure the health and safety of everyone — guests, musicians, staff, and volunteers. In partnership with Cleveland Clinic, we are implementing protocols and procedures to make sure that your concert experience is safe and enjoyable. Thank you for your cooperation and understanding.

The following requirements will be in place on an ongoing basis, subject to regular review and re-evaluation as the situation continues to evolve. Please visit us online at the address below for the most up-to-date and current health and safety information. From September 15, 2021, forward, everyone who enters Severance Hall for concerts and events is required to wear a mask and show proof of full Covid-19 vaccination or, should they be unable to be vaccinated, provide a negative Covid-19 PCR test that has been taken within 72 hours prior to entering. These requirements were developed in response to the rise in the number of Covid-19 cases due to the highly contagious Delta variant. Guests who are unable to provide verification of vaccination or who choose not to provide a negative Covid-19 test may request a full refund of their purchase. Any guests who are feeling ill or experiencing symptoms related to a cold or infectious disease are asked to stay home. To ensure your experience with The Cleveland Orchestra is as safe as possible, we continue to consult with Cleveland Clinic and local public health authorities for health and safety guidelines. These include, but are not limited to, meeting HVAC air filtration and circulation system requirements, enhanced cleaning procedures, and providing hand sanitizer throughout the venue. The safety of our audiences, musicians, staff, and volunteers remains our top priority.

Patrons, artists, and event staff will be required to show proof of full Covid-19 vaccination of a World Health Organization (WHO) or U.S. Food and Drug Administration (FDA) approved or authorized vaccine, with vaccination completed at least two weeks prior to the performance date. Guests who are unable to be vaccinated may provide proof of a negative PCR test that has been completed within 72 hours of performance date. Ticketholders will receive specific instructions on how to provide this information for entry in advance of the performance or event. Proof of vaccination or negative test must be presented through the following methods every time when entering Severance Hall: — touchless verification using the CLEAR app on your mobile phone or other device. — by showing original vaccination card or a photograph of it on a cellphone, along with a valid driver’s license or other government-issued photo ID. Please note that masks will be required for all audience members inside Severance Hall, regardless of vaccination status or a negative Covid-19 test. Face Mask Requirement Everyone is required to wear a face covering at all times and in all areas of Severance Hall, including while seated during the performance. Face coverings should be worn for effective protection, covering the nose and mouth, and should meet Centers for Disease Control and Prevention (CDC) standards. Neck gaiters and bandanas are not permitted. Patrons arriving without appropriate face coverings will be provided a disposable face mask upon entry to Severance Hall. Children under the age of 12 Children under 12 who cannot be vaccinated must provide proof of a negative PCR test that has been completed within 72 hours of performance date and wear a mask at all times at concerts and events at Severance Hall.

For more details and the most up-to-date health and safety information, please visit

CLEVELANDORCHESTRA.COM/HEALTHINFO 28

IN BRIEF

Steps we are taking to ensure your visits to Severance Hall are safe and inspiring . . . PROOF OF VACCINATION Everyone who enters Severance Hall for concerts and events will be required to show proof of full Covid-19 vaccination. Guests who are unable to be vaccinated or are ineligible (including children under the age of 12) will be required to provide proof of a negative Covid PCR test taken within 72 hours of entry.

Buying Tickets . . . IN PERSON AND ONLINE For more information about upcoming Cleveland Orchestra performances and to purchase tickets, visit us online. (Our website also features a trove of resources, including information about the Orchestra and its musicians, educational lesson plans and videos for parents and teachers, community partnerships and events, streaming and broadcasts, and archival photographs and documents.) ONLINE CLEVELANDORCHESTRA.COM 24 / 7, from your phone, tablet, or desktop.

BY PHONE 216-231-1111 or 800-686-1141 Monday thru Friday 9 a.m. to 6 p.m.

Proof of vaccination or negative test must be presented when entering Severance Hall through either touchless verification using the CLEAR app (please visit clearme.com — you must register your vaccination through the app), or by showing an original vaccination card along with a valid government-issued ID. FACE MASKS REQUIRED Approved face masks are required at all times in Severance Hall, including while seated during performances. ENHANCED CLEANING We will continue comprehensive and consistent cleaning procedures and provide hand sanitizer stations throughout Severance Hall. ENHANCED VENTILATION Severance Hall has updated its HVAC filtration and circulation system to meet the guidelines of local public health authorities and recommendations from Cleveland Clinic. The Cleveland Orchestra extends special thanks to Cleveland Clinic for their ongoing expertise and guidance throughout the past year in helping to ensure the health and safety of the musicians onstage, our staff and volunteers, and all audience members and guests.

YOUR SAFETY

IN PERSON SEVERANCE HALL Monday thru Friday 9 a.m. to 6 p.m. Saturdays, open 10 a.m. thru intermission on concert dates. Sundays, open 3 hours before curtain thru intermission on concert dates.

Ticket Wallet . . . DIGITAL TICKET WALLET = Tickets On Your Phone! The Cleveland Orchestra’s brand-new Ticket Wallet app was launched this past summer. Available free for Apple, Google, and Android devices, the Ticket Wallet is the easiest, safest, and most convenient way to access paperless tickets to performances of The Cleveland Orchestra at Severance Hall and Blossom Music Center. Plus, your tickets will always be with you, avoiding the need to replace or reprint lost tickets. When you purchase tickets on our website, simply click the option “Send to my Ticket Wallet,” and your tickets will automatically download to the app to be scanned as you arrive for each the concert. If you are a subscriber, your tickets will be in the Ticket Wallet as soon as you download the app and log in. You can find links to the Ticket Wallet at our website: clevelandorchestra.com/ticketwallet. If you already have an online account with us, use the same email and password that is already associated with your clevelandorchestra.com account in order to log into the Ticket Wallet app for your tickets. 29

THECLEVELAND ORCHESTRA

FRANZ WELSER-MÖST

New recording coming November 5th . . .

SCHNITTKE ANDPROKOFIEV

The Prokofiev was recorded in January 2020, on tour in Miami in Knight Concert Hall at the Adrienne Arsht Center for the Performing Arts of Miami-Dade County. It features a pre-pandemic full orchestra ensemble in this work inspired by the early 20th century’s fascina on with mechanics and industry.

Concerto for Piano YEFIM BRONFMAN

PROKOFIEV

The third release for The Cleveland Orchestra’s own recording label will again showcase the pairing of an older and newer work led by Music Director Franz Welser-Möst. This album, available worldwide in November 2021 on disc (Hybrid SACD) or digitally via online streaming or download purchase, features Alfred Schni ke’s Concerto for Piano and Strings (1979) along with Prokofiev’s Second Symphony (1925). The Schni ke was recorded in October 2020 at Cleveland’s Severance Hall during the Covid-19 pandemic. It features pianist Yefim Bronfman with the Orchestra’s strings and was part of The Cleveland Orchestra’s new In Focus digital broadcast series.

SCHNITTKE

Symphony No. 2

The deluxe album disc release features a 40-page booklet featuring an essay by Franz Welser-Möst about musical discovery along with program notes about each piece and an overview by André Gremillet, the Orchestra’s President & CEO, about using lessons learned during the pandemic to con nue char ng an ambi ous course forward.

$25

one disc, deluxe album clevelandorchestra.com/store

Also available from our growing catalog . . . SCHUBERT ANDKŘENEK

A NEWCENTURY Catalog Number: TCO-0001

Catalog Number: TCO-0002

ORCHESTRA

3-DISC DELUXE BOX SET

THE CLEVELAND

Released June 2O2O

Released October 2O2O

NEWS Briefs & Updates

150-PAGE BOOK

FREE HD DOWNLOAD Musical selections by Beethoven, Strauss, Varèse, Prokoﬁev, Staud, and Deutsch

1-DISC DELUXE ALBUM SCH UBE RT

Symphony in C major (“The

Great”)

KŘE NEK

Static and Ecstatic

32-PAGE BOOKLET FREE HD DOWNLOAD Musical selections by Křenek and Schubert

WE LCOM E 2021-22 brings two new faces onstage. Please join in welcoming these new members of The Cleveland Orchestra to Northeast Ohio.

CLEVELAND ARTS PRIZE HONORS TWO CLEVELAND ORCHESTRA LEADERS

Two Cleveland Orchestra leaders, music director Franz Welser Möst and trustee Clara Rankin, are honored among this year’s Cleveland Arts Prize recipients. Announced in August, the annual awards presentation has recognized achievements and advocacy across the arts in Northeast Ohio, naming over 200 award recipients since 1960. This year’s honors will be bestowed at an event on Wednesday, October 13. Franz Welser-Möst is receiving a Special Citation Prize for “his extraordinary contribution to the arts and culture in Northeast Ohio” throughout his long tenure as music director. Currently beginning his 20th season, he is slated to become the Orchestra’s longestserving musical leader in 2026. The Arts Prize jury noted that under Welser-Möst, The Cleveland Orchestra has been praised not just for its virtuosity, but also for its

inventive programming, ongoing efforts in building young audiences, and recent success in launching its own recording label and online streaming service and series. Clara Rankin is receiving the Barbara S. Robinson Prize, awarded each year to an arts advocate working in the Greater Cleveland area. She has been connected with The Cleveland Orchestra throughout her long life and has been an active supporter of community programs and the arts across many decades. In addition to her work as a Cleveland Orchestra trustee, she has served on the boards of other prominent area institutions and also founded the nonprofit Hopewell, a residential therapeutic farm community for adults.

Amy Zoloto joins The Cleveland Orchestra’s clarinet section as bass clarinet. She comes to Cleveland after five years with the New York Philharmonic, following tenures with the orchestras of Toronto and Jacksonville. An accomplished chamber musician, she was a member of Sylvan Winds and toured with the Jeunesse Musicale Wind Quintet. A native of Chicago, Ms. Zoloto attended DePaul University, studying with former Chicago Symphony Orchestra principal clarinet Larry Combs.

Both Welser-Möst and Rankin were previously honored with the Orchestra’s own Distinguished Service Award in 2018 and 2011, respectively.

PHOTO BY ROGER MASTROIANNI

Michael Ferraguto joins The Cleveland Orchestra as head librarian. He arrives from Maryland, where he was principal librarian of the Baltimore Symphony Orchestra for six seasons. He has also held positions with the Alabama Symphony Orchestra, Cabrillo Festival of Contemporary Music, and the Britt Classical Festival. Mr. Ferraguto attended the College of the Holy Cross, studying music and French, as well as serving as concertmaster for the college’s orchestra. Franz Welser-Möst and The Cleveland Orchestra welcomed Clara Rankin onstage at Severance Hall in May 2018 to commemorate her 100th birthday.

NEWS Briefs & Updates

MINDFUL MUSIC MOMENTS NOW FREE FOR ALL NORTHEAST OHIO SCHOOLS

NEWS Briefs & Updates

In August, The Cleveland Orchestra announced that its Mindful Music Moments program will be available to all Northeast Ohio schools (pre-K through grade 12) for free during the 2021-22 academic year. This innovative musical tool for social-emotional well-being was created through a partnership with Cincinnati-based The Well and provides students with a fourminute daily dose of classical music — recorded by The Cleveland Orchestra — coupled with mindfulness techniques delivered through participating schools’ morning announcements or in virtual learning class sessions.

The program is designed to help create a calm and focused start to each school day — endeavoring to reduce anxiety, foster a beneficial learning environment, and nurture a positive association with classical music. Currently, more than 50,000 students in over 50 schools across Northeast Ohio experience The Cleveland Orchestra’s Mindful Music Moments every school day. This fall, the program will also be available for young people at the Boys & Girls Club of Northeast Ohio. Examples of Mindful Music Moments are available on the Orchestra’s YouTube channel.

IN FOCUS CONTINUES WITH SEASON 2 BEGINNING IN 2022

BOOK AND PHOTOGRAPHY EXHIBIT SHINE NEW LIGHT ON VIOLINS OF HOPE

Get ready for Season 2 of In Focus, The Cleveland Orchestra’s concert broadcast series filmed live at Severance Hall. In preparation, new high-resolution video cameras are being installed throughout the concert hall this fall to streamline logistics and extend new capabilities for filming the Orchestra’s live performances each concert season. In addition, a new recording control room is being created in the building to integrate ongoing filming and program creation work.

In November, a special photography exhibition will open in Beachwood to revisit the story of Violins of Hope, a years-long project by violin maker Amnon Weinstein that made a powerful impact in Cleveland in 2015, including performances with The Cleveland Orchestra and the Israel Philharmonic. The exhibit is being held in conjuntion with the release of a new book, Violins and Hope: From the Holocaust to Symphony Hall, which features a personal forward written by Franz Welser-Möst.

Season 2 of In Focus will feature select performances and musical works from the Orchestra’s 2021-22 concert season, with Franz Welser-Möst and visiting guest artists. Exclusive interviews and behind-the-scenes features will also continue as part of the series. In Focus Season 2 will launch in 2022, with details and dates to be announced in the coming months. In the meanwhile, select episodes from the acclaimed Season 1 are currently available (plus a soonto-be-announced special bonus episode) to stream at adella.live or via the Adella app. HONORING THE LEGACY OF MARTIN LUTHER KING JR.

Nominations are now open for Martin Luther King Jr. Community Service Awards. Presented annually by The Cleveland Orchestra in partnership with the City of Cleveland, the awards recognize individuals and organizations for their extraordinary service to the Northeast Ohio community, reflecting the spirit, example, and teachings of Dr. King. To learn more or to submit a nomination, visit clevelandorchestra.com/mlk-awards.

The book and exhibit feature photographs by Daniel Levin taken in Weinstein’s workshop, showing violins (and cellos) that survived the Holocaust. Weinstein worked for many years to restore the stringed instruments and bring them back to life in a project that has now been taken up in dozens of cities and reached hundreds of thousands of people worldwide. In 2015, Violins of Hope Cleveland was one of the largest, most extensive, and earliest local projects built around the story of these instruments. The effort included playing a number of the violins in concert, giving voice and renewed hope to their tragic and violent pasts. The photography exhibit will open on Friday, November 12, at The Temple–Tifereth Israel (26000 Shaker Boulevard, Beachwood). A chamber ensemble of Cleveland Orchestra musicians is scheduled to perform at the opening. Reservations are required to view the exhibit. Additional information can be found at ttti.org/violins-and-hope.

With your support, a new beginning for America’s ﬁnest orchestra The generosity of music-lovers like you brought your orchestra back to the Severance Hall stage. And today, your gift will provide crucial support as we embark on a new season together. Make your donation for the music you love today: • Online at clevelandorchestra.com/give • By phone at 216-456-8400 • Scan QR code below with your mobile phone

I F YO U ’ R E LO O K I N G TO

O H I O C I T Y S T R E E T F E S T I VA L

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ClevelandArtsEvents.com connects you to the region’s vibrant arts and culture scene.

Ohio hio City ity Inc. nc.

N L I N E

With just a few clicks, discover hundreds of events made possible in part with public funding from Cuyahoga Arts & Culture.

Musical Introductions ... We talked to Cleveland Orchestra musicians, chorus members, and teachers seeking tips for students choosing an instrument for the first time or just beginning to learn about how to practice and learn how to perform or sing music. Here’s what we discovered. Many people make the mistake of thinking the more hours devoted to practicing, the better. But I believe that consistent and focused work is more fruitful in the long run. Quality over quantity. Consistent effort day-in and day-out offers a path to progress and success. 1. FOCUS on one thing to improve each day. If you can improve, even slightly, one aspect of your playing each day, that progress will build up over the weeks and months ahead. 2. PLAN what and how you are going to practice each day. Think of it almost like a checklist, and then execute your plan and be done. Practicing consistently is far more effective, satisfying, and effective than practicing without a clear objective. Give yourself a goal each day, and then do it again tomorrow.

to enhanced social skills, learning how to read and perform music is a lifelong skill that continually gives back.

FROM BOOSTED BRAIN POWER

As the new school year begins — and with it the opportunity of learning to play a new instrument or joining a chorus — we reached out to some of our music educators in The Cleveland Orchestra and Cleveland Orchestra Chorus as well as partners at area schools for sound advice on taking the first steps. The takeaways include: patience, diligence, having fun, and, most importantly, consistency! Don’t expect too much too soon. Keep practicing, improve your skills day by day.

—Martha Baldwin Cello, The Cleveland Orchestra

I believe that everyone — students and professionals alike — should try to find joy and inspiration every time you play your instrument. Starting out, learning an instrument requires new discipline and daily practice, but these are good skills you will learn to do. Through the ups and downs, the joy of music will help carry you forward. One other idea that can help: always remember the joy and excitement you had when you picked up your instrument for the first time. And work to find or create that excitement again. —Vinay Parameswaran

PHOTO BY HILARY BOVAY

Associate Conductor, The Cleveland Orchestra Music Director, Cleveland Orchestra Youth Orchestra

Above and opposite: students in Cleveland Orchestra-affiliated school and community programs working on musical skills prior to the pandemic.

Trust the process. Progress is not always linear, and hard work is what makes you a stronger musician. Accept the humility to learn from your mistakes and to always strive for the best version of your musical self. —Mary Krason Wiker Voice Teacher and member of Blossom Festival Chorus

THIS FALL ONLINE

PHOTO BY HILARY BOVAY

Learn More . . . Looking for a place to start a child’s (or your own!) musical journey? Discover The Cleveland Orchestra’s educational online resources and engaging video series, including:

Music Explorers Ages 3-6

I advise beginning band members to be PATIENT! Your instrument may sound awful at first, and you may even be tempted to purchase ear plugs for your family. But PRACTICE, and across time you will get better and better. Ultimately, you will reach the level to become a member of your high school band or orchestra. And some of you will go even further, because music speaks to you. In addition to all the hard work, having fun with your instrument and keeping a sense of humor are useful and super important, too! —Diane Tizzano Director of Bands, Beachwood City Schools

Keep practicing and don’t give up. Almost anything new is tough when you first try it. But, just like you practiced to write your name, or riding a bike, and it was hard to do at first, yet you accomplished it. Keep at it. You can accomplish success with your instrument, too. —Josue Perez Music Teacher, Leighton Elementary School

Advice for parents (and grandparents): There’s often an expectation that students will sound good right away. And when they don’t, many students get discouraged. Too many parents respond with, ‘If you don’t like it, don’t practice.’ Sometimes we need to encourage new students instead. I tell parents to listen for improvement, even just small successes. And never, ever, say that the sound of the practicing is annoying or driving the neighbors crazy! At that first band concert, which can be painful to listen to, I ask parents to remember back to the first day their child picked up the instrument. They didn’t know which end was up! And now look, they can play Twinkle Twinkle Little Star! It only gets better!

Major Scale and Ranger Rhythm lead adventures through the world of music, uncovering tuneful pleasures, concepts, and fun!

What Is An Orchestra? Grades 4-8 This five-part video series hosted by associate conductor Vinay Parameswaran, explores the orchestra’s four instrument families, with performances, student and parent guides, and more.

Choose Your Instrument! Ages 8-13

ng an n choosi

ment. D al instru orchestr

Sixteen musicians of The Cleveland Orchestra demonstrate their instruments, share how they started, and offer er, advice, tips, and encouragement for students just starting out.

Mindful Music Moments Pre-K to 12th Grade Now free for all schools, Mindful Music Moments — created in partnership with The Well — combines mindfulness prompts with classical music to provide a daily period of calm, focus, and well-being, creating a positive environment for learning.

—Becky Hall Music Specialist, Center and Gates Mills Elementary Schools and member of Cleveland Orchestra Chorus

For these and other resources, please visit clevelandorchestra.com/learn 35

PHOTO: ROGER MASTROIANNI

GREAT PHOTO

THE CLEVELAND ORCHESTRA THE CLEVELAND ORCHESTRA

JOHN L. SEVERANCE SOCIETY Cumulative Giving The John L. Severance Society is named to honor the philanthropist and business leader who dedicated his life and fortune to creating The Cleveland Orchestra’s home concert hall, which today symbolizes unrivalled quality and enduring community pride. The individuals, corporations, foundations, and government agencies listed here represent today’s visionary leaders, who have each surpassed $1 million in cumulative gifts to The Cleveland Orchestra. Their generosity and support joins a long tradition of community-wide support, helping to ensure The Cleveland Orchestra’s ongoing mission to provide extraordinary musical experiences — today and for future generations. Current donors with lifetime giving surpassing $1 million, as of August 2021

Gay Cull Addicott Art of Beauty Company, Inc. Avient formerly PolyOne BakerHostetler Bank of America The William Bingham Foundation The Seven Five Fund Mr. William P. Blair III Blossom Friends of The Cleveland Orchestra Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Irma and Norman Braman The Brown and Kunze Foundation Jeanette Grasselli Brown and Glenn R. Brown* The Cleveland Foundation The George W. Codrington Charitable Foundation Robert and Jean* Conrad Mr. and Mrs. Alexander M. Cutler Cuyahoga County residents through Cuyahoga Arts and Culture Eaton FirstEnergy Foundation Forest City Friends of The Cleveland Orchestra GAR Foundation The Gerhard Foundation, Inc. Ann and Gordon Getty Foundation Goodrich Corporation The Goodyear Tire & Rubber Company The George Gund Foundation The Haslam 3 Foundation Mr. and Mrs. James A. Haslam III Francie and David Horvitz Mr. and Mrs. Michael J. Horvitz Estate of Dorothy Humel Hovorka Hyster-Yale Materials Handling, Inc. NACCO Industries, Inc. The Louise H. and David S. Ingalls Foundation The Ireland Foundation Martha Holden Jennings Foundation The Jewish Community Federation of Cleveland Jones Day Foundation

Junior Committee of The Cleveland Orchestra Myra Tuteur Kahn Memorial Fund of the Cleveland Foundation The Walter and Jean Kalberer Foundation Joseph and Nancy Keithley Foundation Mr. and Mrs. Joseph P. Keithley Mr. and Mrs. Douglas A. Kern KeyBank Dr. and Mrs. Herbert Kloiber Knight Foundation Milton A. & Charlotte R. Kramer Charitable Foundation Kulas Foundation Mr. and Mrs. Dennis W. LaBarre Nancy F. Lerner Nancy Lerner and Randy Lerner Mrs. Norma Lerner and The Lerner Foundation Daniel R. Lewis Jan R. Lewis Peter B. Lewis* and Janet Rosel Lewis Virginia M. and Jon A. Lindseth The Lubrizol Corporation Maltz Family Foundation The Jack, Joseph, and Morton Mandel Foundation Elizabeth Ring Mather and William Gwinn Mather Fund Elizabeth F. McBride Ms. Nancy W. McCann William C. McCoy The Sisler McFawn Foundation Medical Mutual The Andrew W. Mellon Foundation Merrill Lynch The Miami Foundation, from a fund established by John S. and James L. Knight Foundation The MJH Foundation Ms. Beth E. Mooney The Morgan Sisters: Susan Morgan Martin, Patricia Morgan Kulp, Ann Jones Morgan John C. Morley John P. Murphy Foundation

David and Inez Myers Foundation, Cleveland, OH Estate of Lucia Smith Nash National Endowment for the Arts The Eric & Jane Nord Family Fund Mrs. Jane B. Nord State of Ohio Ohio Arts Council The Honorable John Doyle Ong Parker Hannifin Foundation The Payne Fund PNC Julia and Larry Pollock Raiffeisenlandesbank Oberösterreich Mr. and Mrs. Alfred M. Rankin, Jr. Mrs. Alfred M. Rankin, Sr. Mr. and Mrs. Albert B. Ratner Charles and Ilana Horowitz Ratner The James and Donna Reid Foundation James* and Donna Reid The Reinberger Foundation Barbara S. Robinson The Sage Cleveland Foundation The Ralph and Luci Schey Foundation Estate of Carol and Michael Sherwin Mrs. Gretchen D. Smith The Kelvin and Eleanor Smith Foundation Richard & Emily Smucker Family Foundation The J. M. Smucker Co. Mr. and Mrs. Richard K. Smucker Jenny and Tim Smucker Richard and Nancy Sneed Myrna and James Spira Lois and Tom Stauffer Estate of Richard M. Stofer Mrs. DeDe Storer Estate of Mrs. Jean H. Taber Thelma G. Smith Trust Joe and Marlene Toot UBS Ms. Ginger Warner Robert C. Weppler Janet* and Richard Yulman Anonymous (11)

* deceased

THANK YOU! THE CLEVELAND ORCHESTRA

Individual Support Annual Support

The Cleveland Orchestra extends heartfelt gratitude to all music-lovers who support our endeavors each 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 emerge from the most challenging period in our storied history and return to the stage, we are deeply thankful for the generosity of every member of The Cleveland Orchestra family. To learn more, visit clevelandorchestra.com/support.

gifts listing current as of August 10, 2021

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. Estate of Carol and Michael Sherwin Mr. and Mrs. Richard K. Smucker Estate of Richard M. 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 Mr. and Mrs.* Eugene J. Beer Estate of Dolores B. Comey Mrs. John A Hadden Jr.* Haslam 3 Foundation Milton A. & Charlotte R. Kramer Charitable Foundation Mrs. Norma Lerner and The Lerner Foundation Mr. and Mrs. Abert B. Ratner James* and Donna Reid The Ralph and Luci Schey Foundation Jenny and Tim Smucker Estate of Mr. Nicholas M. Trivisonno* 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 Rebecca Dunn Estate of Dr. Saul M. Genuth JoAnn and Robert Glick Estate of Ms. Mildred L. Hathaway Mr. and Mrs. Michael J. Horvitz James D. Ireland IV The Walter and Jean Kalberer Foundation Dr. and Mrs. Herbert Kloiber (Europe) Richard and Christine Kramer Mr. and Mrs. Dennis W. LaBarre Virginia M. and Jon A. Lindseth The Milton and Tamar Maltz Family Foundation Elizabeth F. McBride Ms. Nancy W. McCann Estate of Robert Messing Ms. Beth E. Mooney Estate of George and Barbara Morisky 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 Charles and Ilana Horowitz Ratner Barbara S. Robinson (Cleveland, Miami) Dr. Russell A. Trusso

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

Mr. and Mrs. William Winfield Baker Mr. William P. Blair III The Brown and Kunze Foundation Brenda and Marshall B. Brown Mr. and Mrs. Donald M. Jack, Jr. Richard and Michelle Jeschelnig Mr. and Mrs. Joseph P. Keithley Mr. and Mrs. Douglas A. Kern Jan R. Lewis Julia and Larry Pollock Mrs. Alfred M. Rankin, Sr. Sandor Foundation Sally and Larry Sears The Seven Five Fund Marjorie B. Shorrock Jim and Myrna Spira Meredith and Michael Weil Paul and Suzanne Westlake Barbara and David Wolfort Tony and Diane Wynshaw-Boris Anonymous

Elisabeth DeWitt Severance Society GIFTS OF $25,000 TO $49,999

Gay Cull Addicott Mr. and Mrs. A. Chace Anderson Mr. and Mrs. Jules Belkin Dr. and Mrs. Wolfgang Berndt (Europe) Dr. Ben H. and Julia Brouhard Jeanette Grasselli Brown and Glenn R. Brown* Dr. Robert Brown and Mrs. Janet Gans Brown Cleveland Orchestra Chorus Estate of Helen C. Cole Judith and George W. Diehl Dr. and Mrs. Robert Ehrlich (Europe) Dr.* and Mrs. Adi Gazdar Mr. and Mrs. Robert W. Gillespie Mr. and Mrs. Geoffrey Gund Iris and Tom Harvie

Mary and Jon Heider (Cleveland, Miami) Mrs. Lynn Heisler David and Nancy Hooker Mrs. Marguerite B. Humphrey Allan V. Johnson Elizabeth B. Juliano Estate of Clara M. Kaiser Dr. Malcolm E. Kenney, Ph.D. Cynthia Knight (Miami) Dr. David and Janice Leshner Mr. Tim Murphy and Mrs. Barbara Lincoln Mr. and Mrs. Alex Machaskee Randy and Christine Myeroff Mr. and Mrs. Benjamin N. Pyne Mr. and Mrs. James A. Ratner Michael and Chandra Rudd (Miami) Mr. and Mrs. James A. Saks Mark and Shelly Saltzman Astri Seidenfeld Hewitt and Paula Shaw Kim Sherwin The Stair Family Charitable Foundation, Inc. R. Thomas and Meg Harris Stanton Bill and Jacky Thornton Mr. and Mrs. Alfred Umdasch (Europe) Tom and Shirley Waltermire Mr. and Mrs. John Warner Sandy and Ted Wiese Anonymous (2)

Dudley S. Blossom Society GIFTS OF $15,000 TO $24,999

Art of Beauty Company, Inc. Mr. Dean Barry Blossom Friends of The Cleveland Orchestra Mr. and Mrs. Charles P. Bolton Dr. Christopher P. Brandt and Dr. Beth Sersig J. C. and Helen Rankin Butler Dr. Gwen Choi Mary and Bill Conway Mr. and Mrs. Matthew V. Crawford Henry and Mary* Doll Nancy and Richard Dotson Mary Jo Eaton (Miami) Dr.* and Mrs. Lloyd H. Ellis Jr. Mr. Brian L. Ewart and Mr. William McHenry William R. and Karen W. Feth Richard and Ann Gridley Kathleen E. Hancock Sondra and Steve Hardis Jack Harley and Judy Ernest Robin Hitchcock Hatch

Amy and Stephen Hoffman Joan and Leonard* Horvitz Mr. and Mrs. Brinton L. Hyde Pamela Jacobson Rob and Laura Kochis Mr. Jeff Litwiller Mr. and Mrs. Robert W. Malone Alan Markowitz M.D. and Cathy Pollard Mr. Thomas F. McKee Edith and Ted* Miller Sally S.* and John C. Morley Mr. Thomas Piraino and Mrs. Barbara McWilliams Douglas and Noreen Powers Mr. and Mrs. Roger F. Rankin Rachel R. Schneider Meredith M. Seikel Estate of Mr. and Mrs. Jeffrey H. Smythe Mr. John R. Stock Mr. and Mrs. Richard P. Stovsky Dr. Elizabeth Swenson Bruce and Virginia Taylor Mr. Daniel & Mrs. Molly Walsh Mr. and Mrs. Fred A. Watkins Mr. and Mrs. Jeffery J. Weaver Denise G. and Norman E. Wells, Jr. Robert C. Weppler Max and Beverly Zupon Anonymous (7)

Frank H. Ginn Society GIFTS OF $10,000 TO $14,999

Mrs. Reita H. Bayman Mr. D. McGregor Brandt, Jr. Martha and Bruce Clinton (Miami) Robert and Jean* Conrad Mrs. Barbara Cook Ms. Margot James Copeland Mrs. Barbara Ann Davis Dr. M. Meredith Dobyns Mr.* and Mrs. Bernard H. Eckstein

“I love The Cleveland Orchestra and believe in supporting the arts!” —Lisa Moghissi

Mr. and Mrs. Richard C. Fedorovich Michael Frank and Patricia A.* Snyder Ms. Marina French Friends of The Cleveland Orchestra The Fung Family Barbara and Peter* Galvin Albert I.* and Norma C. Geller Dr. Edward S. Godleski Harry and Joyce Graham Mr. Michael Gröller (Europe) Dr. Fred A. Heupler Richard Horvitz and Erica Hartman-Horvitz (Cleveland, Miami) Barbara and Michael J. Kaplan Mr. and Mrs. Christopher Kelly Mrs. Elizabeth R. Koch John D. and Giuliana C. Koch Mr. and Mrs. Peter A. Kuhn Mr. and Mrs. S. Ernest Kulp

David C. Lamb John N.* and Edith K. Lauer Dr. Edith Lerner Ms. Cathy Lincoln Mr. David and Dr. Carolyn Lincoln Drs. Todd and Susan Locke Mr.* and Mrs. Arch J. McCartney Drs. Amy and James Merlino Claudia Metz and Thomas Woodworth Dr. Tomislav Mihaljevic MD Dr. Shana Miskovsky Mr. John Mueller Brian and Cindy Murphy Mr. and Mrs. Stephen Myers Mr. J. William and Dr. Suzanne Palmer Dr. Roland S. Philip and Dr. Linda M. Sandhaus Dr. Isobel Rutherford Dr. and Mrs.* Martin I. Saltzman David M. and Betty Schneider Carol* and Albert Schupp Dr. and Mrs. James L. Sechler Donna E. Shalala (Miami) Howard and Beth Simon Mrs. Gretchen D. Smith Sandra and Richey Smith Roy Smith Richard and Nancy Sneed Dr. Veit Sorger (Europe) Mr. Emil F. Sos Jr. Mr. Heinrich Spängler (Europe) Philip and Sarah Taylor Michael and Edith Teufelberger (Europe) Dr. Gregory Videtic and Rev. Christopher McCann Dr. Horst Weitzman Mr. Yoash and Mrs. Sharon Wiener Sandy Wile and Sue Berlin Anonymous (7)

The 1929 Society GIFTS OF $5,000 TO $9,999

Dr. and Mrs. D. P. Agamanolis Robert and Dalia Baker Michael and Karen Baldridge Mr. and Mrs. Thomas Barnard Fred G. and Mary W. Behm Dr. Jodi Berg Mel Berger and Jane Haylor Mr. David Bialosky and Ms. Carolyn Christian Dr. and Mrs. Eugene H. Blackstone Suzanne and Jim Blaser Mr. and Mrs. C. Perry Blossom Mr. and Mrs. Richard H. Bole David and Julie Borsani Stacey and Jonathan Braun Ms. Elizabeth Brinkman Dr. Thomas Brugger and Dr. Sandra Russ Frank and Leslie Buck Mr. and Mrs. Timothy J. Callahan Dr. and Mrs. William E. Cappaert John and Christine Carleton Dr. Victor A. Ceicys Chip and Karen Chaikin Mr. and Mrs. James B. Chaney Mr. and Mrs. Kerry Chelm Drs. Wuu-Shung and Amy Chuang Richard J. and Joanne Clark Drs. Mark Cohen and Miriam Vishny Ellen E. and Victor J. Cohn Kathleen A. Coleman Diane Lynn Collier and Robert J. Gura Marjorie Dickard Comella Mr.* and Mrs. Gerald A. Conway Jim and Mary Conway Mr. John Couriel and Dr. Rebecca Toonkel (Miami)

Mr. and Mrs. Manohar Daga Mr. and Mrs. Ralph Daugstrup Bruce and Jackie Davey Thomas S. and Jane R.* Davis Pete and Margaret Dobbins Maureen Doerner and Geoffrey White Dr. Doris Donnelly Jack and Elaine Drage Elliot and Judith Dworkin Mary and Oliver* Emerson Carl Falb Tim and Diane Fitzpatrick Joseph Z. and Betty Fleming (Miami) Joan Alice Ford Bob and Linnet Fritz Joy E. Garapic Anne and Walter Ginn

“Summer nights at Blossom have become an important part of our lives, and, as a donor, anything I can do to continue this tradition for my family and others is a small price to pay.” —Carole Brown

Brenda and David Goldberg Barbara H. Gordon Drs. Erik and Ellen Gregorie André and Ginette Gremillet Mr. Calvin Griffith Nancy Hancock Griffith Candy and Brent Grover The Thomas J. and Judith Fay Gruber Charitable Foundation Nancy and James Grunzweig Robert N. and Nicki N. Gudbranson David and Robin Gunning Mr. Davin and Mrs. Jo Ann Gustafson Alfredo and Luz Gutierrez (Miami) Dr. Phillip M. and Mrs. Mary Hall Mr. Newman T. Halvorson Gary Hanson and Barbara Klante Clark Harvey and Holly Selvaggi Matthew D. Healy and Richard S. Agnes Dr. Robert T. Heath and Dr. Elizabeth L. Buchanan Anita and William Heller Mr. and Mrs. Jerry Herschman T. K.* and Faye A. Heston Dr. Keith A. and Mrs. Kathleen M. Hoover James and Claudia Hower Elisabeth Hugh David and Dianne Hunt Mr. and Mrs. Richard A. Janus Andrew and Katherine Kartalis Milton and Donna* Katz listings continue

Dr. Richard* and Roberta Katzman Rod Keen and Denise Horstman Ms. Joanne Kim Dr. and Mrs. William S. Kiser Mr. and Mrs. Jon A. Knight Mr. and Mrs.* S. Lee Kohrman Mr. and Mrs. Arthur J. Lafave, Jr. Dr. and Mrs. John R. Lane Kenneth M. Lapine and Rose E. Mills Anthony T. and Patricia A. Lauria Judith and Morton Q. Levin Dr. Stephen B. and Mrs. Lillian S. Levine Eva and Rudolf Linnebach David and Janice* Logsdon Anne R. and Kenneth E. Love David Mann and Bernadette Pudis Ms. Amanda Martinsek Dr. and Mrs. William A. Mast James and Virginia Meil Dr. Susan M. Merzweiler Lynn and Mike Miller Drs. Terry E. and Sara S. Miller Curt and Sara Moll Mr. Ronald Morrow III Bert and Marjorie Moyar Mr. and Mrs. William C. Mulligan Mr. Raymond M. Murphy Richard B. and Jane E. Nash Deborah L. Neale Richard and Kathleen Nord Mr. and Mrs. Forrest A. Norman III Thury O’Connor Mr. and Mrs. Peter R. Osenar Mr. Henry Ott-Hansen Dr. Marc A. and Mrs. Carol Pohl Dr. and Mrs. John N. Posch Sylvia Profenna Ms. Rosella Puskas Pysht Fund Mr. Winthrop Quigley and Ms. Bonnie Crusalis Lute and Lynn Quintrell Brian and Patricia Ratner Nancy Raybin Mr. and Mrs. Robert J. Reid Mrs. Vicki Ann Resnick Amy and Ken Rogat Muriel Salovon Drs. Michael and Judith Samuels (Miami) Patricia J. Sawvel Bob and Ellie Scheuer The Estate of Audrey Schregardus Drs. Daniel and Ximena Sessler Kenneth Shafer Mr. Alan I. Silver Esq. Jim Simler and Doctor Amy Zhang Drs. Charles Kent Smith and Patricia Moore Smith Mr. and Mrs. William E. Spatz George and Mary Stark Sue Starrett and Jerry Smith Lois and Tom Stauffer Edward R. & Jean Geis Stell Foundation Ms. Lorraine S. Szabo Taras Szmagala and Helen Jarem Robert and Carol Taller Mr. and Mrs. John Taylor Mr. Joseph F. Tetlak Mr.* and Mrs. Robert N. Trombly Steve and Christa Turnbull Robert and Marti* Vagi Bobbi and Peter* van Dijk Mr. and Mrs. Les C. Vinney George and Barbara von Mehren Mr. Randall Wagner Dr. and Mrs. H. Reid Wagstaff Walt and Karen Walburn Greg and Lynn Weekley Mr. and Mrs. Mark Allen Weigand

Dr. Edward L. and Mrs. Suzanne Westbrook Tom and Betsy Wheeler Mr. Peter White Dr. Paul R. and Catherine Williams Bob and Kat Wollyung Estate of Shirley Zook Anonymous (2)

Composer’s Circle GIFTS OF $2,500 TO $4,999

Mr. and Mrs. Paul R. Abbey Ms. Nancy A. Adams Sarah May Anderson Susan S. Angell Mr. James Babcock Don and Karen Beal Mrs. Lois Robinson Beck Ms. Viia R. Beechler Mr. Jeffrey and Dr. Sheila Berlin Margo and Tom Bertin John and Laura Bertsch Karl and Lisa Beus Mitch and Liz Blair Zeda W. Blau Mr. Lawrence A. Blaustein Doug and Barbara Bletcher Lisa and Ronald Boyko Adam and Vikki Briggs Mr. and Mrs. David* Briggs Mr. and Mrs. Dale R. Brogan Dale and Wendy Brott Dr. Todd A. Brown Mr. Gregory and Mrs. Susan Bulone Brian and Cyndee Burke Rev. Dr. Joan Brown Campbell and Rev. Dr. Albert Pennybacker Mr. and Mrs. John J. Carney William and Barbara Carson Dr. Ronald Chapnick* and Mrs. Sonia Chapnick Mr. and Mrs. Homer D. W. Chisholm Mr. and Mrs. David Clark Dr. William and Dottie Clark Drs. John and Mary Clough James Collins and Patricia Brownwell Mr. and Mrs. Christopher M. Connor Craig Cook Mr.* and Mrs. David J. Cook Dr. Dale and Susan Cowan Mr. and Mrs. David B. Crawford William* and Anna Jean Cushwa Dr. Lucy Ann Dahlberg Karen and Jim Dakin Mrs. Lois Joan Davis Dr. Todd Diacon Michael and Amy Diamant Dr. and Mrs. Howard Dickey-White Carl Dodge Mr. and Mrs. Robert Dreshfield Ms. Mary Lynn Durham Mr. and Mrs. Robert P. Duvin Mr. S. Stuart Eilers Mr. Tim Eippert Andy and Leigh Fabens Harry and Ann Farmer Ms. Barbara J. Feldmann Mr. and Mrs. Frederick A. Fellowes Anne Ferguson and Peter Drench Mr. William and Dr. Elizabeth Fesler Nancy M. Fischer Mr. Dean Fisher Scott A. Foerster Mr. Paul C. Forsgren Mr. and Mrs. Christopher W. Foster Richard J. Frey Dr. r. Marilee Gallagher Mr. James S. Gascoigne and Ms. Cynthia Prior

Mr. William Gaskill and Ms. Kathleen Burke Mr. Wilbert C. Geiss, Sr. Mr. and Mrs. M. Lee Gibson Holly and Fred Glock Dr.* and Mrs. Victor M. Goldberg Pamela G. Goodell Mr. Robert Goss Dr. and Mrs. Ronald L. Gould Mr. James Graham and Mr. David Dusek Jane Haag Dr. James O. Hall Mr. and Mrs. David P. Handke, Jr. Jane Hargraft and Elly Winer Lilli and Seth Harris Mr. and Mrs. Jonathan Hatch Barbara L. Hawley and David S. Goodman

“As with most firsttime visitors to Severance Hall, I was in awe of its beauty. . . . Some years later, now as an usher, I am fortunate to both welcome our visitors and continue enjoying the excellent artistry of The Cleveland Orchestra.” —Sally Miller

In Memory of Hazel Helgesen Mr. and Mrs. Arnold Hirshon Mr. H. Edmund Hohertz Gail Hoover and Bob Safarz Mr. Charles Hoppel Lois Krejci-Hornbostel and Roland Hornbostel Dr. Diane Huey Dr. Randal N. Huff and Ms. Paulette Beech Mr. Brooks G. Hull and Mr. Terry Gimmellie Ms. Laura Hunsicker Ruth F. Ihde Ms. Melanie Ingalls Ms. Kimberly R. Irish Dr. and Mrs. Paul C. Janicki Robert and Linda Jenkins Mr. David and Mrs. Cheryl Jerome Joela Jones and Richard Weiss Mr. Dieter and Mrs. Susan Kaesgen Dr. and Mrs. Sheldon Kaffen Mr. Jack E. Kapalka Mr. Donald J. Katt and Mrs. Maribeth Filipic-Katt Kim and Nora Katzenberger Mr. Alfred Kelley The Kendis Family Trust: Hilary & Robert Kendis and Susan & James Kendis Bruce and Eleanor Kendrick

listings continue

Ms. Sawssan Khoury Mr. and Mrs. Raymond M. Kinat James and Gay* Kitson Fred* and Judith Klotzman Mr. Ronald and Mrs. Kimberly Kolz Mr. Clayton R. Koppes Drs. Jill Korbin and Lawrence Greksa Ursula Korneitchouk Jacqueline and Irwin* Kott (Miami) Dr. Ronald H. Krasney and Vicki Kennedy* Dr. and Mrs. John P. Kristofco Dr. Jeanne Lackamp Alfred and Carol Lambo Mr. and Mrs. John J. Lane, Jr. Mr. and Mrs. Richard L. Larrabee Mrs. Sandra S. Laurenson Charles and Josephine Robson Leamy* Michael Lederman and Sharmon Sollitto Michael and Lois Lemr Robert G. Levy Leda Linderman Frank and Jocelyne Linsalata Mr. Henry Lipian Mary Lohman Joan C. Long Janet A. Mann Herbert L. and Ronda Marcus Martin and Lois Marcus Dr. and Mrs. Sanford E. Marovitz Ms. Dorene Marsh Marshall Commercial Machine Service Dr. Ernest and Mrs. Marian Marsolais Edward Martin Mr. and Mrs. Ben Mathews Mr. Julien L. McCall William C. McCoy Ms. Nancy L. Meacham Mr. James E. Menger Loretta J. Mester and George J. Mailath Mr. Glenn A. Metzdorf Mr. and Mrs. Trent Meyerhoefer Beth M. Mikes Janet L. Miller Amy and Marc Morgenstern Patti and Hadley Morgenstern-Clarren Mr. and Mrs. Thomas W. Morris Eudice M. Morse Susan B. Murphy Joan Katz Napoli and August Napoli Andrea Nobil (Miami) Dorothy Noyes and Michael Krippendorf Richard and Jolene O’Callaghan Mr. and Mrs. Irving Oleinick Dr. and Mrs. Paul T. Omelsky Mr. Robert Paddock Mr. John D. Papp* George Parras Drs. James and Marian Patterson Dr. Lewis E. and Janice B. Patterson David Pavlich and Cherie Arnold Robert S. Perry Henry Peyrebrune and Tracy Rowell Dale and Susan Phillip Mr. and Mrs. Richard W. Pogue Peter Politzer and Jane S. Murray Mr. Robert and Mrs. Susan Price Drs. Raymond R. Rackley and Carmen M. Fonseca Dr. James and Lynne Rambasek Mr. and Mrs. Robert S. Reitman Dr. Robert W. Reynolds David and Gloria Richards Mr. D. Keith* and Mrs. Margaret Robinson Mr. Timothy D. Robson Mr. and Mrs. Jay F. Rockman Steven and Ellen Ross Mr. and Mrs. Joseph Rushton Dr. Harry S. and Rita K. Rzepka

Peter and Aliki Rzepka Dr. Vernon E. Sackman and Ms. Marguerite* Patton Anne Sagsveen Michael Salkind and Carol Gill Richard and Mary Lou Sanders Mr. and Mrs. Saul I. Sanders Fr. Robert J. Sanson Ms. Patricia E. Say Bryan and Jenna Scafidi Mr. Paul H. Scarbrough

Mr. Joseph Weaver Mr. Peter and Mrs. Laurie Weinberger Dr. Julia Whiteside de Vos Mr. Mark Williams and Joseph Castellano Jean Wingate Ms. Jennifer Wynn Rad and Patty Yates Mr. Walter Zaremba Mr. Kal Zucker and Dr. Mary Frances Haerr mous (4) Anonymous * deceased

“The arts are critically important to our society, and having the opportunity to support a world-class orchestra here in Cleveland is a pleasure.” —James Zuehlke

Ms. Beverly J. Schneider Mitchell and Kyla Schneider John and Barbara Schubert Mr. James Schutte Mr. and Mrs. Thomas W. Seabright Dr. John Sedor and Ms. Geralyn Presti Ms. Kathryn Seider Mr. Eric Sellen and Mr. Ron Seidman Ginger and Larry Shane Harry and Ilene Shapiro Ms. Frances L. Sharp Mr. Philip and Mrs. Michelle Sharp Larry Oscar & Jeanne Shatten Charitable Fund of the Jewish Federation Dr. and Mrs. William C. Sheldon Terrence and Judith Sheridan Philip A. Shultz The Shari Bierman Singer Family Mr. Christopher and Mrs. Michelle Smith David Kane Smith Ms. Janice A. Smith Mr. Eugene Smolik Mrs. Virginia Snapp Drs. Nancy and Ronald Sobecks Diane M. Stack Mr. and Mrs. Jeffrey C. Stanley The Morton and Mathile Stone Philanthropic Fund Mr. and Mrs. Stavrinides Mr.* and Mrs. Donald W. Strang, Jr. Frederick and Elizabeth Stueber Ms. Nancy Sullivan Michael and Wendy Summers Mr. Karl and Mrs. Carol Theil Dr. and Mrs. Thomas A. Timko Drs. Anna* and Gilbert True Dr. and Mrs. Wulf H. Utian Mr. and Mrs. Clark G. Waite Sam and Mary Walker Sprunt Dr. Mark Warren and Dr. Lisa Lystad Ms. Patricia Watson Margaret and Eric* Wayne

The Cleveland Orchestra is grateful to every member of our donor family, who help bring our music to life. To learn more, visit clevelandorchestra.com/support

Donor Services Phone: 216-456-84OO Email: donate@clevelandorchestra.com om

WITH THANKS . . . The

Cleveland Orchestra extends heartfelt gratitude and partnership with the corporations, foundations, and government agencies listed on these pages, whose annual support demonstrates their belief in the Orchestra’s music-making, education initiatives, and community presentations.

THE CLEVELAND ORCHESTRA

Corporate Support Annual Support gifts listing current as of August 10, 2021

The Partners in Excellence program salutes companies with annual contributions of $100,000 and more, exemplifying leadership and commitment to musical excellence at the highest level. PARTNERS IN EXCELLENCE $300,000 AND MORE

Hyster-Yale Materials Handling, Inc. NACCO Industries, Inc. McKinsey & Company, Inc. ◊ The J. M. Smucker Company PARTNERS IN EXCELLENCE $200,000 TO $299,999

Cleveland Clinic + Jones Day Foundation KeyBank Ohio CAT PARTNERS IN EXCELLENCE $100,000 TO $199,999

The Boston Consulting Group ◊ CIBC The Goodyear Tire & Rubber Co. Medical Mutual ◊ in-kind support + financial and in-kind support

GIFTS OF $1 MILLION AND MORE

THE CLEVELAND ORCHESTRA

Foundation and Government Support Annual Support gifts listing current as of August 10, 2021

The William Bingham Foundation Cuyahoga County residents through Cuyahoga Arts & Culture The Jack, Joseph, and Morton Mandel Foundation Ohio Arts Council Richard & Emily Smucker Family Foundation GIFTS OF $250,000 TO $499,999

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

A G P R Foundation Paul M. Angell Family Foundation Mary E. & F. Joseph Callahan Foundation Goodyear Foundation Haslam 3 Foundation The Louise H. and David S. Ingalls Foundation Kulas Foundation Elizabeth Ring Mather and William Gwinn Mather Fund The MJH Foundation John P. Murphy Foundation David and Inez Myers Foundation, Cleveland, Ohio Bill and Kathy O’Neill Foundation

The Payne Fund Dr. M. Lee Pearce Foundation, Inc. (Miami) The Ralph and Lucille Schey Foundation 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 National Archives & Records Administration National Endowment for the Arts The Nord Family Foundation Wolfort Family Foundation GIFTS OF $15,000 TO $49,999

The Abington Foundation The Batchelor Foundation, Inc. (Miami) The Bruening Foundation The Helen C. Cole Charitable Trust The Mary S. and David C. Corbin Foundation Robert R. and Gay C. Cull Family Foundation Mary and Dr. George L. Demetros Charitable Trust Corinne L. Dodero Foundation for the Arts and Sciences Feth Family Foundation The Gerhard Foundation, Inc.

GIFTS OF $50,000 TO $99,999

GIFTS OF $2,500 TO $14,999

BakerHostetler PNC Quality Electrodynamics

Applied Industrial Technologies BDI Blue Technologies, Inc. Brothers Printing Company Cleveland Steel Container Corporation The Cleveland Wire Cloth & Mfg. Co. The Cleveland-Cliffs Foundation Cohen & Company, CPAs Cuda Booster Club Dominion Energy Charitable Foundation Ernst & Young LLP Evarts Tremaine The Ewart-Ohlson Machine Company Arthur J. Gallagher & Co. Glenmede Trust Company Gross Builders Haak Law LLC Lake Effect Health The Lincoln Electric Foundation Littler Mendelson, P.C. Nordson Corporation Foundation Northern Haserot Oswald Companies Ratner, Miller and Shafran Families RSM US LLP Stern Advertising, Inc. Struktol Company of America Ver Ploeg & Marino (Miami) Vincent Lighting Systems Anonymous

GIFTS OF $15,000 TO $49,999

Buyers Products Company Calfee, Halter & Griswold LLP Case Western Reserve University DLR Group | Westlake Reed Leskosky Eaton Flourish, Inc. Frantz Ward LLP The Giant Eagle Foundation Ideastream Public Media ◊ The Lubrizol Corporation Miba AG (Europe) Northern Trust Olympic Steel, Inc. Park-Ohio Holdings Parker Hannifin Foundation RPM International Inc. The Sherwin-Williams Company Thompson Hine LLP United Airlines ◊ Westfield Insurance Anonymous (3)

The Robert and Ann Gillespie Foundation The Helen Wade Greene Charitable Trust Geoffrey Gund Foundation Richard Horvitz and Erica Hartman-Horvitz Foundation Joseph P. & Nancy F. Keithley Foundation League of American Orchestras: American Orchestras’ Futures Fund supported by the Ann and Gordon Getty Foundation The Catherine L. & Edward A. Lozick Foundation Miami-Dade County Department of Cultural Affairs (Miami) The Esther and Hyman Rapport Philanthropic Trust James and Susan Ratner Family Foundation The Reinberger Foundation Reyzis Family Foundation Michael And Chandra Rudd Foundation Sandor Foundation Albert G. & Olive H. Schlink Foundation The Sisler McFawn Foundation Dr. Kenneth F. Swanson Fund for the Arts of Akron Community Foundation Third Federal Foundation The Veale Foundation The George Garretson Wade Charitable Trust Wesley Family Foundation

The Bernheimer Family Fund of the Cleveland Foundation The Conway Family Foundation The Cowles Charitable Trust (Miami) D’Addario Foundation Davey Family Foundation James Deering Danielson Foundation Dorn Family Foundation The Frederick W. and Janet P. Dorn Foundation Fisher-Renkert Foundation The Harry K. Fox and Emma R. Fox Charitable Foundation Walter Henry Freygang Foundation Ann and Gordon Getty Foundation The Hankins Foundation The Muna & Basem Hishmeh Foundation George M. and Pamela S. Humphrey Fund Anna-Maria and Stephen Kellen Foundation The Charles J. and Elizabeth R. Koch Foundation The Laub Foundation The Lehner Family Foundation The William O. and Gertrude Lewis Frohring Foundation The G. R. Lincoln Family Foundation Julian L McCall Family Foundation The Eric & Jane Nord Family Fund The Norweb Foundation The M. G. O’Neil Foundation The O’Neill Brothers Foundation Paintstone Foundation

To learn more about how your corporation or foundation can make a difference or raise your profile by supporting The Cleveland Orchestra’s musical work each year, please contact Mark Litzler, Director of Institutional Giving. Corporate Giving, Foundations, and Government Support Phone: 216-231-7518 Email: mlitzler@clevelandorchestra.com

Pysht Fund The Albert B. & Audrey G. Ratner Family Foundation The Brian Ratner Foundation Charles E. & Mabel M. Ritchie Memorial Foundation The Leighton A. Rosenthal Family Foundation SCH Foundation The Betty T. and David M. Schneider Foundation Jean C. Schroeder Foundation Kenneth W. Scott Foundation Lloyd L. and Louise K. Smith Memorial Foundation The South Waite Foundation Edward R. & Jean Geis Stell Foundation Stroud Family Trust Tetlak Foundation Uvas Foundation The Welty Family Foundation The Thomas H. White Foundation, a KeyBank Trust The Allayne & Douglas Wick Foundation The Edward and Ruth Wilkof Foundation The Wuliger Foundation Anonymous

GIFTS OF $2,500 TO $14,999

Selma Ankist Family Trust The Ruth and Elmer Babin Foundation Bay Foundation Dr. NE & JZ Berman Foundation

Peg’s Foundation Performing Arts Readiness The Perkins Charitable Foundation Playhouse Square Foundation

2O21

A SUMMER

THIS PAGE, TOP: COUNTERCLOCKWISE FROM UPPER LEFT

Education and community programs continued or resumed in the outdoors across the summer, including: Musicians of The Cleveland Orchestra performed at the La Placita Latino Festival, while audiences enjoyed One World Day festivities in the Cleveland Cultural Gardens. A string trio helped celebrate Cleveland Clinic’s centennial. And, in June the Youth Orchestra met onstage at Blossom for a weekend of music and memories. OPPOSITE PAGE, LOWER:

OF MUSIC

On Sunday, August 15, members of the annual Martin Luther King Community Chorus and their families joined for a reunion at Blossom Music Center, just ahead of an Orchestra performance that evening. THIS PAGE, LOWER:

The Cleveland Orchestra’s first-ever Blossom Summer Soirée was held on August 22 as a new fundraising event to benefit the Orchestra’s summer home. Guests mingled and then enjoyed dinner in the Knight Grove before that evening’s all-Brahms Cleveland Orchestra concert. This memorable event raised over $100,000 toward Blossom’s annual Music Festival, helping to preserve this Northeast Ohio summer tradition for fans from across Ohio and beyond. Photography by Roger Mastroianni, Jane Medoro, Sarah Lamb, Alan Harrell, and Marty Carrick (Cleveland Clinic).

THE BACK PAGE As Cleveland Orchestra musicians prepare their long-awaited return to Severance Hall, we asked the six members of the horn section what it feels like to

H RNS

come together for the first time in

more than a year, what they’re looking forward to, and about their notoriously

Q: What was it like this summer at Blossom to come together

difficult yet rewarding instrument.

as an ensemble for the first time in over a year?

PHOTO BY ROGER MASTROIANNI

Jesse: Having been away for 477 days (I counted), the anticipation had certainly built up. Returning and gathering as an Orchestra again was an amazing feeling, like making a full recovery after a bad injury. It is very nice to feel artistically whole again, and to be sharing our art with our audience. Nathaniel: To say that our first rehearsal back was incredibly special would be the understatement of the century. The rehearsal began with Copland’s Appalachian Spring, which opens with a clarinet solo, played beautifully by Afendi Yusuf. I remember Jesse and me looking at each other and sharing this silent moment that we were just so grateful to be back! Alan: I had actually considered retiring during that sixteen-month ‘Covid hiatus.’ Sitting in the middle of the exquisite beauty of that first piece during the first rehearsal, I was EXTREMELY grateful to be there. Rich: I think we all were very excited to be back at work and playing together. Nervous, as well, at least for me — was wind playing without masks going to be safe? But, after such a long time, it was absolutely wonderful.

Q: What will it be like to return to Severance Hall this fall?

PHOTO BY JANE MEDORO

What are you most looking forward to?

Hans: The start of the first full season in Severance in two years will be incredibly special. I don’t think we realized how much we’ve missed our audience. I was extremely touched when we returned to Blossom on July 3 for the first concert of the summer and the audience — even those seated on the lawn — stood up and gave us a standing ovation. It made my spine tingle. Coming back to our audiences at Severance Hall will be extremely powerful.

Nathaniel Silberschlag

Michael Mayhew

Jesse McCormick

PRINCIPAL George Szell Memorial Chair

ASSOCIATE PRINCIPAL Knight Foundation Chair

Robert B. Benyo Chair

Nathaniel: I am so thrilled to be back at Severance Hall for the upcoming season. It’s a long-awaited return! This is probably not a surprise, but as a horn player I’m so excited to be playing so much Richard Strauss in one season. I’m really looking forward to my first time performing Till Eulenspiegel with Franz conducting. Alan: I had originally planned to retire in January 2022. But in discussions with the Orchestra’s chief artistic officer, Mark Williams, who was a horn player himself, he pointed out some interesting projects with Franz Welser-Möst after January. So together we decided that those Sibelius and Bruckner performances would be meaningful and agreed to delay my retirement. Jesse: Schubert’s Symphony No. 9 was the very last piece the Orchestra performed before the pandemic shutdown in March 2020. Not knowing when we would be able to perform together again, the Orchestra poured every ounce of soul into these performances. For this reason, Schubert Nine will always be special to me, and I look forward to performing it this season at Severance and Carnegie Hall.

Q: What do you love most about the horn?

Hans Clebsch

Richard King

Alan DeMattia

PRINCIPAL EMERITUS

having them rebuilt has been a pleasure. A few of these have seen service at Severance Hall or in chamber music settings!

Q: What is the most challenging aspect of playing the horn? Michael: The horn is known as an instrument on which notes are easily missed or cracked. I think that’s something most horn players would rather not focus on. Jesse: Math: 2+2 = 4 Horn: 2+2 = usually 4, but not always. Good luck! Rich: The horn has a gigantic range. High notes, low notes, and everything in between. This makes it challenging to play the whole range evenly.

Q: What else are you looking forward to this fall? Nathaniel: In all honesty, football season! I won’t divulge my true allegiances, because it would come as an unpopular opinion here in Cleveland, but I will be rooting for the Browns to the best of my ability when I can. I’m all in on the Guardians though!

Hans: The sound. That was the reason why I wanted to play the horn. In fourth grade, we were given a choice of an instrument to play in band, and I thought the sound I was hearing was coming from the trombone. Luckily, I discovered its true source.

Rich: Time with family, time with my Cleveland Institute of Music students, LOTS of cycling.

Michael: The sound of the horn is probably the thing that attracts most of us to this instrument.

Jesse: The cooler weather and everything that comes with it: changing leaves, sweaters and scarves, vibrant coffee shops, backyard fires, soups, stews, and baked goods, etc. The list goes on and on. We all yearn for a new season, a normal kind of fall. Let’s be hopeful, and thankful.

Alan: I love both the physical horn and the sounds that it makes. Over the course of my career, I have had the chance to purchase several old and neglected horns that had once had professional potential. Buying them and

Michael: It will be nice this fall to spend time with family, especially during the holidays.

red

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

nev

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

SEASON

21 22

Now Available Franz Welser-Möst’s new book, From Silence: Finding Calm in a Dissonant World, was released in an English edition over the summer, after first appearing in the spring in its debut German-language edition, Al ich die Stille fand. The 180-page book explores the conductor’s views on music, his own career, and how art and music matter in today’s world.

PHOTO BY DUSTIN FRANZ

FROM SILENCE

After reading the newly released and highly readable English translation of Franz Welser-Möst’s book, From Silence, I have a whole new appreciation for his way of making music, indeed his way of life. . . . I see in focus where he’s coming from. He’s most frank in the beginning, about his young childhood, early experiences as a music student, and the devastating car accident that left a young Franz . . . severely injured and ultimately turned him from a violinist into a conductor. . . . He also invites readers into his rehearsals, in Cleveland and elsewhere, to understand his intellectual approach to making music. Music, he explains, does not exist in a vacuum and cannot be fully appreciated in the abstract.

$30 plus shipping clevelandorchestra.com/store

. . . The audience for From Silence is vast. It has built-in readerships not only in Cleveland, Vienna, and Zurich, but everywhere The Cleveland Orchestra is known. —Zachary Lewis, Cleveland Plain Dealer, August 10, 2021

Spotlight Magazine - 2.1 Fall 2021 - The Cleveland Orchestra

Articles inside

Musical Introductions . . .

From Silence: Franz Welser-Möst’s New Book

Back Page: Six Horns

A Summer of Music

Musical Introductions: Advice and Resources

Sonic Symphonic Partner

Joela Jones: Distinguished Cleveland Artist

Health & Safety and Tickets

A Temple to Music

Recipe: Perfect Anytime Quiche

Joan Tower: Uncommon Composer

Welcome: André Gremillet

Preparing for Returning Audiences