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ummers S 2O18@Severance


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Proud to Support Those That Bring the Arts to Life

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Welcome . . .

Dear Friends, We are delighted to welcome you to The Cleveland Orchestra’s fifth season of Summers@Severance concerts here at Severance Hall in the heart of University Circle — the center of Cleveland’s cultural and intellectual life. As urban counterpoint to Blossom’s bucolic performances, Summers@Severance, sponsored by Thompson Hine, celebrates the year-round vitality of The Cleveland Orchestra and our home neighborhood. During the past year, we have been celebrating The Cleveland Orchestra’s 1OOth anniversary and the start of our Second Century. This milestone is not just about the Orchestra itself but about the community that created it. A hundred years of hard work has fostered a century of excellence — connecting all of us together through extraordinary musical experiences. A handful of shared values and promises are central to serving this great city: Believing in the Value of Excellence: Everything we do is built on the idea of doing it well. The Cleveland Orchestra’s reputation for excellence is a direct reflection of the values of this community, built on the firm belief that there is a difference between good, better, and best. We employ and expect the best in order to present the highest quality musical experiences, leading by example — for young and old alike. Sharing the Power and Passion of Music: The Cleveland Orchestra’s fundamental mission is to share great musical experiences. We are striving to play more music for more people, because we believe that music enriches lives, augments learning, and inspires creativity and understanding. Inspiring Future Generations: Education has been at the forefront of The Cleveland Orchestra’s mission since the very beginning, by teaching music and helping students learn life skills through music. Today, we are redoubling our efforts — to touch the lives of young people throughout the region through powerful performances, free tickets, and compelling education initiatives. Celebrating Community: Each and every year, we work to fulfill the promise of those who created The Cleveland Orchestra — through quality, sharing, education, and celebration. Our greatest strength is the people of Northeast Ohio, who created this Orchestra and continue to expect and demand great things from us. We believe in the power of music because you do. Your support and belief in us carries us forward. Music is about sharing and joining together. This summer, let us revel together in the great music-making onstage, in the enthusiasm we share, in the power of music to make the world a better place!

Richard K. Smucker President Summers@Severance

André Gremillet Executive Director Welcome: Summers@Severance


Your Role . . . in The Cleveland Orchestra’s Future Generations of Clevelanders have supported the Orchestra and enjoyed its concerts. Tens of thousands have learned to love music through its education programs, celebrated important events with the power of its music, and shared in its musicmaking — at school, at Severance Hall, at Blossom, in downtown Cleveland, on the radio, and with family and friends. As Ohio’s most visible international ambassador, The Cleveland Orchestra proudly carries the name of our great city everywhere we go. Here at home, we are committed to serving all of Northeast Ohio with vital education and community programs, presented alongside wide-ranging musical performances. Ticket sales cover less than half the cost of presenting the Orchestra’s season each year. By making a donation, you can make a crucial difference in helping to ensure our work going forward. To make a gift to The Cleveland Orchestra, please visit us online, or call 216-231-1545.

7 p.m.

Summers @Severance FRIDAY NIGHTS at


Table of Contents 3

Copyright Š 2018 by The Cleveland Orchestra Eric Sellen, Program Book Editor e-mail:






The Cleveland Orchestra is proud to have its home, Severance Hall, located on the campus of Case Western Reserve University, with whom it has a long history of collaboration and partnership.


Concert Program: August 10 . . . . . . . . . . . . . . Introducing the Concert . . . . . . . . . . . . . . . . . . . . About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . Conductor: Vasily Petrenko . . . . . . . . . . . . . . . . .

Concert Program: August 24 . . . . . . . . . . . . . . Introducing the Concert . . . . . . . . . . . . . . . . . . . . About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . Conductor: Jonathan Cohen . . . . . . . . . . . . . . . Soloist: Kristian Bezuidenhout . . . . . . . . . . . . . .

Program Book Wayfinding

17 19 21 24 20

31 33 34 32

43 45 46 44 49

AUG 24

The Cleveland Orchestra is proud of its long-term partnership with Kent State University, made possible in part through generous funding from the State of Ohio.

Concert Program: July 27 . . . . . . . . . . . . . . . . . Introducing the Concert . . . . . . . . . . . . . . . . . . . . About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . More About Brahms . . . . . . . . . . . . . . . . . . . . . . . . Conductor: Herbert Blomstedt . . . . . . . . . . . . . .

AUG 10


Program book advertising is sold through Live Publishing Company at 216-721-1800.

The Cleveland Orchestra is grateful to the following organizations for their ongoing generous support of The Cleveland Orchestra: National Endowment for the Arts, the State of Ohio and Ohio Arts Council, and to the residents of Cuyahoga County through Cuyahoga Arts and Culture.

Welcome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 About the Orchestra . . . . . . . . . . . . . . . . . . . . . . . . . 9 The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . 12 About Summers@Severance . . . . . . . . . . . . . . . . 15 By the Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Severance Society . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Musical Arts Association . . . . . . . . . . . . . . . . . . . . . 52 Get Involved — Volunteering, Make Music, and More . . . . . . . . . . . . . . . . . . . . 53 Annual Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 Guest Information . . . . . . . . . . . . . . . . . . . . . . . . . . 69


Program books for Cleveland Orchestra concerts are produced by The Cleveland Orchestra and are distributed free to attending audience members.



Cuyahoga County

Together We Thrive Office of County Executive Armond Budish

Dear Friends, As the world has changed in remarkable ways over the past 100 years, The Cleveland Orchestra has grown in stature to become one of the world’s most-renowned and lauded musical organizations. The Cleveland Orchestra attracts the finest orchestral players from around the globe. Orchestra musicians have made Northeast Ohio their home, where they raise their families, and enjoy the quality of life that Cuyahoga County has to offer. Arts and culture are key to our quality of life in the region. Cuyahoga County is a place bursting at the seams with arts, music, sports, great food, festivals, waterfront recreation, unique neighborhoods, distinctive places — all converging in one vibrant, dynamic, diverse community. Music plays a critical role in achieving a well-balanced life in Northeast Ohio and beyond. The Orchestra’s greatest strength is the community and people of Northeast Ohio, who support and believe in the Orchestra as one of the area’s finest examples of quality, creativity, and inspiration — for students, children, families, and adults. The Cleveland Orchestra enriches lives by creating extraordinary musical experiences for all. We can all proudly support what The Cleveland Orchestra has achieved in its first hundred years — and we look forward to even more memorable music-making in the future. Bravo Cleveland Orchestra!! My best always,

Armond Budish Cuyahoga County Executive


From the County Executive: 1OOth Anniversary


Dear Fellow Citizens: I am pleased and proud to congratulate The Cleveland Orchestra on their 100th Anniversary season. This orchestra was created here in Cleveland 100 years ago by local citizens who insisted on the very best for our city. Quality is one of Cleveland’s trademarks and The Cleveland Orchestra is one of our city’s greatest success stories. Conceived with trust and support, built on ambition and drive, focused on quality and service to the community, The Cleveland Orchestra is a cultural anchor of this great city. Music touches people of all ages, races, lifestyles, and backgrounds. And there are significant developmental, academic, and social benefits for young people who study music, especially from an early age. The Orchestra’s concerts and education programs, which have introduced over 4 million young people to symphonic music, are often the first chapter in a lifelong passion. The Cleveland Orchestra proudly carries the name of Cleveland while touring internationally and domestically, shining a positive light on Cleveland around the world. But no matter where they perform each week, The Cleveland Orchestra is and always will be Cleveland’s Orchestra. Throughout this season, please join me in celebrating The Cleveland Orchestra and all of its accomplishments, today and tomorrow. Sincerely,

Mayor Frank G. Jackson

The Cleveland Orchestra

From the Mayor: 1OOth Anniversary


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Second Century Celebration We are deeply grateful to the visionary philanthropy of those listed here who have given generously toward The Cleveland Orchestra’s 1OOth birthday celebrations in support of bringing to life a bold vision for an extraordinary Second Century — to inspire and transform lives through the power of music.

Presenting Sponsors

Leadership Sponsors Ruth McCormick Tankersley Charitable Trust


Calfee, Halter & Griswold LLP National Endowment for the Arts The Sherwin-Williams Company

Westfield Insurance KPMG LLP PwC

Global Media Sponsor


Mr. Allen Benjamin Laurel Blossom Mr. Allen H. Ford

Robin Hitchcock Hatch Elizabeth F. McBride John C. Morley

Series and Concert Sponsors We also extend thanks to our ongoing concert and series sponsors, who make each season of concerts possible: American Greetings Corporation BakerHostetler Buyers Products Company Dollar Bank Foundation Eaton Ernst & Young LLP Forest City Frantz Ward LLP The Goodyear Tire & Rubber Company Great Lakes Brewing Company Hahn Loeser & Parks LLP Hyster-Yale Materials Handling, Inc. NACCO Industries, Inc. The Lincoln Electric Foundation Litigation Management, Inc. The Lubrizol Corporation Jones Day KeyBank Materion Corporation Medical Mutual MTD Products, Inc. North Coast Container Corp. Ohio Savings Bank Olympic Steel, Inc. Parker Hannifin Foundation PNC Bank Quality Electrodynamics (QED) RPM International Inc. The J. M. Smucker Company Squire Patton Boggs (US) LLP The Sherwin-Williams Company Thompson Hine LLP Tucker Ellis LLP


Second Century Sponsors

The Cleveland Orchestra



its Centennial Season in 2017-18 and across 2018, The Cleveland Orchestra begins its Second Century hailed as one of the very best orchestras on the planet, noted for its musical excellence and for its devotion and service to the community it calls home. The coming season will mark the ensemble’s seventeenth year under the direction of Franz Welser-Möst, one of today’s most acclaimed musical leaders. Working together, the Orchestra and its board of trustees, staff, volunteers, and hometown have affirmed a set of community-inspired goals for the 21st century — to continue the Orchestra’s legendary command of musical excellence while focusing new efforts and resources toward fully serving its hometown community throughout Northeast Ohio. The promise of continuing extraordinary concert experiences, engaging music education programs, and innovative technologies offers future generations dynamic access to the best symphonic entertainment possible anywhere. The Cleveland Orchestra divides its time across concert seasons at home — in Cleveland’s Severance Hall and each summer at Blossom Music Center. Additional portions of the year are devoted to touring and intensive performance residencies. These include a recurring residency at Vienna’s Musikverein, and regular appearances at Switzerland’s Lucerne Festival, in New York, at Indiana University, and in Miami, Florida. Musical Excellence. The Cleveland Orchestra has long been committed to the pursuit of musical excellence in everything that it does. The Orchestra’s ongoing collaboration with Welser-Möst is widely-acknowledged among the best orchestraconductor partnerships of today. Performances of standard repertoire and new works are unrivalled at home and on tour across the globe, and through recordings and broadcasts. Its longstanding chamEach year since 1989, The Cleveland Orchespionship of new composers and commissioning of tra has presented a free concert in downtown Cleveland, with this summer’s on July 6 as new works helps audiences experience music as a the ensemble’s official 100th Birthday bash. living language that grows with each new generaNearly 3 million people have experienced the tion. Fruitful re-examinations and juxtapositions of Orchestra through these free performances. traditional repertoire, recording projects and tours of varying repertoire and in different locations, and acclaimed collaborations in 20th- and 21st-century masterworks together enable The Cleveland Orchestra the ability to give musical performances second to none in the world. Serving the Community. Programs for students and engaging musical exPHOTO BY ROGER MASTROIANNI



The Cleveland Orchestra




plorations for the community at large have long been part of the Orchestra’s commitment to serving Cleveland and surrounding communities. All are being created to connect people to music in the concert hall, in classrooms, and in everyday lives. Recent seasons have seen the launch of a unique series of neighborhood residencies and visits, designed to bring the Orchestra and the citizens of Northeast Ohio together in new ways. Active performance ensembles and programs provide proof of the benefits of direct participation in making music for people of all ages. Future Audiences. Standing on the shoulders of more than nine decades of presenting quality music education programs, the Orchestra made national and international headlines through the creation of its Center for Future Audiences in 2010. Established with a significant endowment gift from the Maltz Family Foundation, the Center is designed to provide ongoing funding for the Orchestra’s continuing work to develop interest in classical music among young people and to develop the youngest audience of any orchestra. The flagship “Under 18s Free” program has seen unparalleled success in increasing attendance and interest — with 20% of attendees now comprised of concertgoers age 25 and under — as the Orchestra now boasts one of the youngest audiences attending regular symphonic concerts anywhere. Innovative Programming. The Cleveland Orchestra was among the first American orchestras heard on a regular series of radio broadcasts, and its Severance Hall home was one of the first concert halls in the world built with recording and

Franz Welser-Möst

broadcasting capabilities. Today, Cleveland Orchestra concerts are presented in a variety of formats for a variety of audiences — including casual Friday night concerts, film scores performed live by the Orchestra, collaborations with pop and jazz singers, ballet and opera presentations, and standard repertoire juxtaposed in meaningful contexts with new and older works. Franz Welser-Möst’s creative vision has given the Orchestra an unequaled opportunity to explore music as a universal language of communication and understanding. An Enduring Tradition of Community Support. The Cleveland Orchestra was born in Cleveland, created by a group of visionary citizens who believed in the power of music and aspired to having the best performances of great orchestral music possible anywhere. Generations of Clevelanders have supported this vision and enjoyed the Orchestra’s performances as some of the best such concert experiences available in the world. Hundreds of thousands have learned to love music through its education programs and have celebrated important events with its music. While strong ticket sales cover just under half of each season’s costs, it is the generosity of thousands each year that drives the Orchestra forward and sustains its extraor-

About the Orchestra

The Cleveland Orchestra

dinary tradition of excellence onstage, in the classroom, and for the community. Evolving Greatness. The Cleveland Orchestra was founded in 1918. Over the ensuing decades, the ensemble quickly grew from a fine regional organization to being one of the most admired symphony orchestras in the world. Seven music directors have guided and shaped the ensemble’s growth and sound: Nikolai Sokoloff, 1918-33; Artur Rodzinski, 193343; Erich Leinsdorf, 1943-46; George Szell, 1946-70; Lorin Maazel, 1972-82; Christoph von Dohnányi, 1984-2002; and Franz Welser-Möst, from 2002 forward. The opening in 1931 of Severance Hall as the Orchestra’s permanent home brought a special pride to the ensemble and its hometown. With acoustic refinements under Szell’s guidance and a build-

ing-wide restoration and expansion in 1998-2000, Severance Hall continues to provide the Orchestra an enviable and intimate acoustic environment in which to perfect the ensemble’s artistry. Touring performances throughout the United States and, beginning in 1957, to Europe and across the globe have confirmed Cleveland’s place among the world’s top orchestras. Year-round performances became a reality in 1968 with the opening of Blossom Music Center, one of the most beautiful and acoustically admired outdoor concert facilities in the United States. Today, concert performances, community presentations, touring residencies, broadcasts, and recordings provide access to the Orchestra’s acclaimed artistry to an enthusiastic, generous, and broad constituency around the world.

Franz Welser-Möst leads a concert at John Adams High School. Through such In-School Performances and Education Concerts at Severance Hall, The Cleveland Orchestra has introduced more than 4 million young people to symphonic music over the past nine decades. Summers@Severance

About the Orchestra




Franz Welser-Möst M U S I C D I R E C TO R

CELLOS Mark Kosower*

Kelvin Smith Family Chair

SECOND VIOLINS Stephen Rose * FIRST VIOLINS William Preucil

Charles Bernard 2

James and Donna Reid Chair

Bryan Dumm

Patricia M. Kozerefski and Richard J. Bogomolny Chair

Tanya Ell

Emilio Llinás 2

Jung-Min Amy Lee

Eli Matthews 1


Gretchen D. and Ward Smith Chair

Peter Otto


Jessica Lee


Clara G. and George P. Bickford Chair

Takako Masame

Paul and Lucille Jones Chair

Wei-Fang Gu

Drs. Paul M. and Renate H. Duchesneau Chair

Kim Gomez

Elizabeth and Leslie Kondorossy Chair

Chul-In Park

Harriet T. and David L. Simon Chair

Miho Hashizume

Theodore Rautenberg Chair

Jeanne Preucil Rose

Dr. Larry J.B. and Barbara S. Robinson Chair

Sonja Braaten Molloy Carolyn Gadiel Warner Elayna Duitman Ioana Missits Jeffrey Zehngut Vladimir Deninzon Sae Shiragami Scott Weber Kathleen Collins Beth Woodside Emma Shook

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

Yun-Ting Lee Jiah Chung Chapdelaine VIOLAS Wesley Collins*

Chaillé H. and Richard B. Tullis Chair

Trevor and Jennie Jones Chair Gladys B. Goetz Chair

Katherine Bormann Analisé Denise Kukelhan

Arthur Klima Richard Waugh Lisa Boyko

Richard and Nancy Sneed Chair

Lembi Veskimets

The Morgan Sisters Chair

Eliesha Nelson Joanna Patterson Zakany Patrick Connolly


Ralph Curry Brian Thornton

William P. Blair III Chair

David Alan Harrell Martha Baldwin Dane Johansen Paul Kushious BASSES Maximilian Dimoff *

Clarence T. Reinberger Chair

Kevin Switalski 2 Scott Haigh 1

Mary E. and F. Joseph Callahan Chair

Mark Atherton Thomas Sperl Henry Peyrebrune

Charles Barr Memorial Chair

HARP Trina Struble *

Stanley Konopka 2 Mark Jackobs

Mark Dumm

Thomas J. and Judith Fay Gruber Chair

Jean Wall Bennett Chair

Yu Yuan

Isabel Trautwein

Muriel and Noah Butkin Chair

Charles M. and Janet G. Kimball Chair

Lynne Ramsey 1

Patty and John Collinson Chair

Helen Weil Ross Chair

Charles Carleton Scott Dixon Derek Zadinsky

Alicia Koelz

Oswald and Phyllis Lerner Gilroy Chair

The GAR Foundation Chair

Alfred M. and Clara T. Rankin Chair


Blossom-Lee Chair

Louis D. Beaumont Chair

Richard Weiss 1

The Musicians

Alice Chalifoux Chair

This roster lists the fulltime members of The Cleveland Orchestra. The number and seating of musicians onstage varies depending on the piece being performed.

The Cleveland Orchestra

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O R C H E S T R A FLUTES Joshua Smith *

Elizabeth M. and William C. Treuhaft Chair

Saeran St. Christopher Marisela Sager 2

Austin B. and Ellen W. Chinn Chair

Mary Kay Fink PICCOLO Mary Kay Fink

Anne M. and M. Roger Clapp Chair

OBOES Frank Rosenwein * Edith S. Taplin Chair

Corbin Stair Jeffrey Rathbun 2

Everett D. and Eugenia S. McCurdy Chair

Robert Walters ENGLISH HORN Robert Walters

Samuel C. and Bernette K. Jaffe Chair

CLARINETS Afendi Yusuf *

Robert Marcellus Chair

Robert Woolfrey

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

Daniel McKelway 2

Robert R. and Vilma L. Kohn Chair

Yann Ghiro E-FLAT CLARINET Daniel McKelway

Stanley L. and Eloise M. Morgan Chair

BASS CLARINET Yann Ghiro BASSOONS John Clouser *

Louise Harkness Ingalls Chair

Gareth Thomas Barrick Stees 2

Sandra L. Haslinger Chair

Jonathan Sherwin CONTRABASSOON Jonathan Sherwin


HORNS Michael Mayhew §

Knight Foundation Chair

Jesse McCormick

Robert B. Benyo Chair

Hans Clebsch Richard King Alan DeMattia TRUMPETS Michael Sachs *

Robert and Eunice Podis Weiskopf Chair

Jack Sutte Lyle Steelman 2

James P. and Dolores D. Storer Chair

Michael Miller

PERCUSSION Marc Damoulakis*

Margaret Allen Ireland Chair

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

Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair


Joe and Marlene Toot Chair

CORNETS Michael Sachs *

Donald Miller

Michael Miller

Sidney and Doris Dworkin Chair Sunshine Chair George Szell Memorial Chair

Mary Elizabeth and G. Robert Klein Chair

TROMBONES Massimo La Rosa *

Gilbert W. and Louise I. Humphrey Chair

Richard Stout

Alexander and Marianna C. McAfee Chair

Shachar Israel 2



* Principal §

1 2

Associate Principal First Assistant Principal Assistant Principal



TUBA Yasuhito Sugiyama* Nathalie C. Spence and Nathalie S. Boswell Chair

TIMPANI Paul Yancich *

Elizabeth Ring and William Gwinn Mather Chair

Lisa Wong


Frances P. and Chester C. Bolton Chair

Otto G. and Corinne T. Voss Chair

Tom Freer 2

Mr. and Mrs. Richard K. Smucker Chair

The Musicians



s r e m e c n Sum a r e @Sev

7 p.m.

Summers @Severance FRIDAY NIGHTS at


Abou t Th e E vening THE BEFORE Happy Hour 5:30 p.m. to 6:30 p.m. Socializing with drink specials and special drinks THE CONCERT The Cleveland Orchestra 7 p.m. THE AFTER Terrace at Sunset beginning immediately after the concert — music, drinks, and chatting with friends (new and old) MORE MUSIC Before and After NPi Entertainment DJs (


A gentle and warm summer evening . . . a sublime night of music hand-selected just for you . . . great drinks and conversation on the beautiful Front Terrace of Severance Hall. Join The Cleveland Orchestra for a special summertime experience hand-crafted for the enjoyment of all the senses. A casual comeas-you-are atmosphere surrounded by the stunning visual charm of “America’s most beautiful concert hall.” The evening starts early (if you wish) with a special Happy Hour — meet your friends or family before the concert to relax and start to unwind. Then feel the inspiration of great music performed by the incomparable Cleveland Orchestra in the perfect intimacy of Severance Hall. Afterwards, the Front Terrace beckons with a one-of-a-kind sunset, along with drink and dessert options, plus cooler evening breezes and DJ’d musical offerings. The perfect ending for a great evening. Set amidst the growing excitement of University Circle, the best “new” neighborhood in Northeast Ohio!

What It’s All About


May 8, 1930

June 5, 1930


The Cleveland Orchestra

Summer Brahms

Summers @Severance Severance Hall — Cleveland, Ohio Friday evening, July 27, 2018, at 7:00 p.m.


johannes brahms (1833-1897)

Symphony No. 4 in E minor, Opus 98 1. 2. 3. 4.

Allegro non troppo Andante moderato Allegro giocoso Allegro energico e passionato

The concert is performed without intermission and will end at approximately 7:45 p.m.


The Cleveland Orchestra’s Summers@Severance series is sponsored by Thompson Hine LLP, a Cleveland Orchestra Partner in Excellence.


July 27: Summer Brahms


Brahms in 1889, from a series of photographs by C. Brasch

It is not in fact so hard to compose. But what is fabulously difficult is to leave the superfluous notes under the table. —Johannes Brahms


The Cleveland Orchestra

July 27


Brahms: Sound & Color T H E I D E A T H A T B R A H M S ’ S M U S I C is filled with nothing but sad and au-

tumnal melancholy is too often and too easily embraced, while the full depth and breadth of his musical creations is equally too often forgotten and ignored. His glowing orchestral writing — in symphonies, concertos, and other works — is, in fact, filled with colors and feelings from across the emotional spectrum. Yes, this composer’s own curmudgeonly personality did tend to drive his music toward the bittersweet (not forgetting his fondness for playing practical jokes on friends and an intense interest in puns). But his moments of happiest musicmaking are undeniably irresistible, and the joyfilled measures of certain passages (even the melancholic ones) are equally uplifting. Brahms was the last great symphonist for whom the music was the subject itself. His symphonies were music pure and simple, told without an underlying story. The form and format, and his creativity in completing the ideas, were his forte and prize. Like a master solver of puzzles, his skill was in the doing, and not in creating extra layers of meaning, nor in using his own life story as basecamp for retelling. His melodies are just that, his harmonies chosen for contrast and beauty. Of course, his personality comes through, but . . . his musical ideas are, ultimately, more like balanced equations of mathematics than chapters of biography. For tonight’s opening concert of this summer’s Summers@Severance series, guest conductor Herbert Blomstedt offers us Brahms’s late great Symphony No. 4. Here Brahms, ever the musical magician, writes a magnificent ediface of pure art. The anxieties and psychological tensions of later symphonies, by Gustav Mahler and Dmitri Shostakovich, are left for the future; the heart-on-your-sleeves emotions of Tchaikovsky are something else entirely. Here, Brahms, with age and grace, wrote a symphony of music. Yes, he may dare to cross a few lines — musically, not in meaning. He touches toward some “modern” dissonance, but with ease and aplomb. We are comfortable in his vocabulary, cozy, warm, yet alive with subtle spices. —Eric Sellen Summers@Severance

Introducing the Music: July 27


July 27

Herbert Blomstedt Swedish-American conductor Herbert Blomstedt has been leading orchestras for more than half a century. His leadership and artistry are especially associated with the San Francisco Symphony, Leipzig Gewandhaus Orchestra, and Dresden Staatskapelle. Mr. Blomstedt first conducted The Cleveland Orchestra in April 2006. His most recent concerts with the Orchestra, prior to this weekend, were in 2016. Born in Springfield, Massachusetts in 1927 to Swedish parents, Herbert Blomstedt began his musical education at the Royal Academy of Music in Stockholm and at the University of Uppsala. He later studied conducting at the Juilliard School, contemporary music in Darmstadt, and renaissance and baroque music at the Schola Cantorum Basiliensis. He also worked with Igor Markevich in Salzburg and Leonard Bernstein at Tanglewood. In 1954, Mr. Blomstedt made his conducting debut with the Stockholm Philharmonic Orchestra. He subsequently served as music director of the Danish Radio Symphony Orchestra, Oslo Philharmonic, Dresden Staatskapelle, and the Swedish Radio Symphony Orchestra. He is conductor laureate of the San Francisco Symphony, which he served as music


director from 1985 to 1995. Subsequently, he was music director of Hamburg’s NDR Symphony Orchestra, and in 1998, became music director of Leipzig’s Gewandhaus Orchestra, serving through the 2004-05 season. In recent years, Herbert Blomstedt has been named honorary conductor of the Bamberg Symphony Orchestra, Leipzig Gewandhaus Orchestra, NHK Symphony, and the Danish and Swedish radio symphony orchestras. In addition to these, he has guest conducted many of the world’s greatest orchestras, including the Berlin Philharmonic, London Philharmonic, Royal Concertgebouw Orchestra, and Vienna Philharmonic, as well as those of Boston, Chicago, Los Angeles, Montreal, New York, and Philadelphia. Herbert Blomstedt’s extensive discography includes over 130 works with the Dresden Staatskapelle, and the complete works of Carl Nielsen with the Danish Radio Symphony. His award-winning recordings with the San Francisco Symphony are on Decca/London. His collaborations with other ensembles, including the Leipzig Gewandhaus Orchestra, can be heard on Decca, Deutsche Grammophon, and RCA Red Seal. He has recorded the complete Bruckner symphonies with the Gewandhaus Orchestra for the German label Querstand. Among Mr. Blomstedt’s honors are several doctorate degrees and membership in the Royal Swedish Music Academy. In 2003 he received the German Federal Cross of Merit.

Conductor: July 27

The Cleveland Orchestra

July 27

Symphony No. 4 in E minor, Opus 98 composed 1884-85



BRAHMS born May 7, 1833 Hamburg died April 3, 1897 Vienna


I T I S U S U A L LY S A I D of Brahms that he delayed composing a symphony until after he was forty out of respect for Beethoven’s great set of nine — and from a fear of being found wanting in comparison with his mighty predecessor. There is much truth in this. Indeed, Brahms acknowledged it himself. Brahms’s rapid rise, at the age of twenty, into the circle of leading composers was set in motion by Robert Schumann, who declared publicly that Brahms was destined for a great future in the pedigree of German music. In the company of Schumann and his wife Clara, Brahms had played almost exclusively chamber music — which for them represented the real Beethoven legacy, especially the violin sonatas and late quartets, with the unspoken understanding that the Ninth Symphony was not necessarily the center of the Beethoven universe. Not coincidentally, at the same time, the Ninth (and its “Ode to Joy”) was being elevated by Liszt and Wagner and their followers as a pointer to a future in symphonic poem and music drama, two territories in which Brahms never set foot. When he finally resolved to write a symphony, Brahms had Schumann’s symphonies sounding in his ears as strongly as Beethoven’s — which is why a similarity can be heard between the opening of Schumann’s Fourth and the way in which Brahms began his First. When we reach the finale of Brahms’s First, though, we do unmistakably encounter an echo of the choral finale of Beethoven’s Ninth. “Any fool can see that,” was Brahms’s dismissive comment. Once he had given one symphony to the world, it was easier for Brahms to embark on its successors. The rest followed more rapidly, within nine years. The Second followed very soon after the First, and the Fourth appeared within two years of the Third. Self-critical to the point where he destroyed an unknown number of works that did not satisfy his exacting standards, Brahms always regarded symphonic writing as a tough proposition, to the point where we should be thankful that he gave us as many as four — just as we should be always grateful for the opportunity to hear each of them. If Brahms had written a fifth symphony toward the end of his life, one might imagine something gloriously mellow, like the late clarinet music or the Four Serious Songs. But that is not the July 27: About the Music


At a Glance Brahms wrote his Fourth Symphony in Mürzzuschlag (Styria, Austria) during the summers of 1884 and 1885. He conducted the first performance on October 25, 1885, in Meiningen, Germany, where Hans von Bülow was the music director. The United States premiere took place on December 11, 1886, with Walter Damrosch conducting the New York Symphony. This symphony runs about 40 minutes in performance. Brahms scored it for 2 flutes (one doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, timpani, triangle, and strings. (Piccolo and triangle appear in the third movement only, contrabassoon in the third and fourth movements only, and trombones only in the finale.) The Cleveland Orchestra first performed the Brahms Fourth in April 1925, led by music director Nikolai Sokoloff. It has been presented by the Orchestra frequently since then, most recently — prior to this weekend — at Severance Hall in 2016 under the baton of Jakub Hrůša and at Blossom in 2014 conducted by Franz WelserMöst.


direction in which the Fourth Symphony pointed. This work is, in fact, the least comfortable of his four symphonies in terms of musical language and sonority. Brahms was aiming a little bit more modern than we sometimes give him credit. (We find it hard to imagine, similarly, that such a beautiful work as the Violin Concerto struck some of its original hearers as uncouth, but . . . history tells us otherwise.) There is a higher level of dissonance and tension in the Fourth Symphony than in most of Brahms’s music — but as always with this composer, it is perfectly judged, and balanced by faultless craft and an abundant melodic gift. The symphony was first performed in Meiningen, a small town in central Germany that was briefly of great importance in the musical world thanks to the leadership of younger musicians like Hans von Bülow and Richard Strauss, who strongly encouraged Brahms and persuaded him in 1885 to grant them the first performance of his latest symphony, which would be a safer haven from the fickle audiences of hometown Vienna, especially as Wagner-mania was sweeping across Europe. THE MUSIC

In general outline, Brahms does not deviate from his classical inheritance — a broad, substantial first movement, a lyrical slow movement, a jocular scherzo, and a strong, assertive finale. As usual, Brahms shows little interest in the more colorful instruments that most composers were delighting in at that time — no english horn, no bass clarinet, no tuba, no harp. He does, however, ask for a contrabassoon in the last two movements to enrich the bass, and a piccolo for the third movement, where he also ventures into the percussion section with a very un-Brahmsian triangle. And, although he clung to the old-fashioned hand-horns, not the valved variety then in universal use, he writes for the horns with infinite mastery. After the First Symphony, whose opening Allegro is preceded by a slow introduction like a number of Beethoven’s symphonies (and Schumann’s Fourth), Brahms’s remaining symphonies adopt the maxim he always preferred — state your first theme clearly and firmly at the very outset. In this case, the first movement’s graceful opening theme, with its drooping thirds, is woven into the texture of the whole movement. And his writing for strings had never been so rich as here. The main contrast in this movement is rhythmic, for triplet figures keep intruding. At the end July 27: About the Music

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of the movement, however, the powerful drive of the original four-four pulse is unstoppable. A pair of horns declare the slow second movement opening with a misleadingly forceful gesture. For this is the tenderest of slow movements, rich in complex harmony and smooth melody. The clarinet is especially favored, and the second subject (first heard in the cellos) is one of Brahms’s greatest inspirations, intensified each time it comes back. The scherzo third movement brings out the hearty hill-walker in Brahms, and the triangle signals a breeziness that we rarely find in his music. The slower middle section is all too brief, as if Brahms was in a hurry to get back to his vigorous exercise, energetic enough to wonder what kind of finale could be sufficiently different to follow it. For the last movement, Brahms did break with convention and composed a passacaglia (although he did not call it that), a baroque form grandly exhibited by Bach in which a short harmonic sequence is many times repeated in elaborate variation. This is the moment the trombones have been waiting for (a discipline mirrored from Beethoven’s Fifth), and they lay down the eight firm chords that define the sequence. The challenge for Brahms — as it was for Bach, too — is not to have the music seem to be stuck in the home key. His eight-bar outline is heard thirty times in wonderfully inventive variation, but it escapes from E minor only to taste, briefly, the nectar of E major following a desolate flute solo. The return to E minor sounds like a formal recapitulation of the beginning, with strong wind chords, but it simply heralds a stirring continuation of the variations, until, following one tremendous sequence after another, the symphony, in Sir Donald Tovey’s memorable words, “storms to its tragic close.”

A photograph of Brahms near the end of his life, circa 1895.

—Hugh Macdonald © 2018 Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music at Washington University in Saint Louis. He has written books on Beethoven, Berlioz, Bizet, and Scriabin.

A silhouette of Brahms out walking, by Otto Böhler.


July 27: About the Music



Johannes Brahms Purely Classical & Clearly Romantic Brahms scholar Jan Swafford discusses the composer’s place and artistry in history and musical modernism. I N H I S L I F E T I M E , the image of Johannes Brahms, for both his admirers and his enemies, was as a backward-looking musician who upheld the old Viennese-Classical forms as a bastion against the aesthetic and social agenda of progressive composers. How one felt about Brahms in the later 19th century had much to do with how one felt about those progressives, whose most celebrated figures and leading propagandists were Richard Wagner and Franz Liszt. Under the banner “Music of the Future,” they wrote works based on stories, literature, ideas — Wagner’s music dramas (operas), Liszt’s tone poems. Brahms belonged to “the posthumous party” in music, declared Liszt. When Brahms died, Wagnerite critics dismissed him as an artist who lacked a “world-historical” vision. His music, said one critic, amounted to nothing more than “the private thoughts and private meanings of a clever man.” Not all these attitudes toward Brahms were wrong. But none of them encompassed the overall truth. One reality was that in his art Brahms was neither revolutionary nor conservative; he belonged to no party at all. “I must go my own way and in peace,” Brahms said. He refrained from public politicking or polemics. In private, he expressed great admiration for Wagner’s music, as distinct from Wagner the polemicist and the man. (For his part, Wagner had nothing but contempt for Brahms.) Like all geniuses, Brahms was not a simple artist or person. His work


About the Music

The Cleveland Orchestra

encompasses large, paradoxical territories. He was trained in Hamburg and imbued with the doctrine of Haydn, Mozart, and Beethoven. His mentors taught him that the forms of music used by those giants — sonata form, above all — were eternal and incorruptible models. Along with that doctrine came a sense of awe. “As much as we men are above the creeping things of the earth,” Brahms told his disciple Georg Henschel (later the first conductor of the Boston Symphony), “so these gods are above us.” When he said that, Brahms meant it quite literally. He predicated his career on working in the shadow of giants. As far as Brahms was concerned, the job of a composer was to master the forms and genres of the past. So he did master them, patiently and painstakingly, one after another — piano sonata, theme and variations, scherzo, concerto, piano trio and quartet, string quintet and sextet, string quartet, and finally symphony. (Despite years of trying, he produced no opera.) Of course, it was exactly those genres, in their traditional forms, that Wagner and Liszt had declared dead and buried. En route, Brahms destroyed more music than he released. He claimed that, before publishing his First String Quartet, he threw out twenty quartets. He spent over fifteen years working, off and on, at his First Symphony (then wrote the next two in a summer each). The world never saw a second violin concerto or second double concerto, and who knows how many other works he drafted and destroyed. He liked to tear up the pages of rejected pieces and throw them in the nearest river, so he could watch them disappear downstream. Summers@Severance

Johannes Brahms

But if Brahms was the hero of musical conservatives in the 19th century, that was not his doing. He took it for granted that he would bring something new and personal to the tradition he worshipped. That, too, was part of how he conceived his job. He was one of the few composers of his time who understood how freely the old masters handled their forms; he handled them more freely still. Some of his restless harmonies were shocking to the ears of his day. His innovations in rhythm in some ways anticipated jazz and Stravinsky. His involvement with popular music, especially what was called “Hungarian” (a.k.a. “Gypsy”) style, gave some of his work an exotic and popularistic cast. Brahms invented unprecedented kinds of pieces. His German Requiem is not a cantata or an oratorio but something unique and in-between, and one of the few large choral works of the time not dominated by echoes of Handel. The Haydn Variations are the first freestanding variations for orchestra. For the end of the Fourth Symphony, he made the old Baroque idea of a chaconne, a piece based on a repeating bass line, into a singular and searing finale. There, in a nutshell, is Brahms’s highly personal melding of tradition and innovation. From his own time to the present, it has been said of Brahms that he joined the Classical forms of the 18th century to Romantic emotionalism. That is true as far as it goes, but it does not go far enough. He fashioned his music from influences stretching back through Schubert, Schumann, and the Viennese Classicists, through Bach, Handel, and


beyond, all the way back to the Renaissance contrapuntalists. In other words, Brahms was an utter eclectic. At the same time, no composer ever had a more individual voice. From early on, he wrote few if any pages that could be mistaken for anybody else. And it remained for one of his greatest admirers of the 20th century, Arnold Schoenberg, to remake Brahms’s reputation. In a famous article called “Brahms the Progressive,” Schoenberg showed how much of Brahms’s singular handling of musical material (such as saturating the music with continuously-evolving motifs) prophesied Modernism.

Johannes Brahms, 1874 and 1891

Scholar Malcolm MacDonald compares Brahms to the ancient twofaced god Janus, a figure who looks backward and forward at once. Brahms was an artist filled with the past who helped inspire the future. In temperament, he was in many ways a pedant, but he was a pedant of genius who never took up a rule or a genre without making it his own. His admirers proclaimed his work as the epitome of “abstract,” “pure” instrumental music, free of programmatic or autobiographi-


cal elements. But Brahms himself never proclaimed any such ideal. In private he made it clear that his music came from his life and his heart. After a bitter romantic disappointment, he called the threatening despair of the Alto Rhapsody his “bridal song.” In relation to his C-minor Piano Quartet, he compared himself to Goethe’s tragic hero Werther, who killed himself over love of another man’s betrothed. In the notes of a lilting and lovely theme, the G-major String Sextet names a woman Brahms loved and left. The German Requiem and the Four Serious Songs rose from deep-lying losses — his mother, and Robert and Clara Schumann. One of the signs of genius in a creator is one who succeeds in putting together things assumed to be antithetical — such as Classic and Romantic. Brahms’s fascinating paradoxes are very much on display in his two Piano Concertos and the Violin Concerto. Written for himself in his twenties, the First Piano Concerto in D minor was a fiasco in its second performance because it contradicted nearly everything the time thought a concerto should be: relatively light and lively, popularistic, virtuosic. Nevertheless, the next two concertos followed suit. The overriding idea is that Brahms’s conception of a concerto was symphonic, on the grandest of scales. All the pieces are supremely demanding on the soloist, but the piano concertos have little conventional virtuosic showing-off. Nor is the soloist always the center of attention. Asked why he had never played the Brahms, virtuoso Pablo de Sarasate said, “Does anyone imagine that I’m goAbout the Music

The Cleveland Orchestra

ing to stand, violin in hand, and listen to the oboe play the only tune in the adagio?” In fact, the soloist never does get to play that tune, and that’s not the only such instance in the concertos. Instead, in Brahms’s concertos the soloist is a participant in a dialogue — a spotlighted and nearly nonstop participant, but still part of a dialogue that is fundamentally symphonic. In the two piano concertos, the keyboard style is grand and two-fisted, orchestral in itself. This approach is set in the first pages of the First Concerto. It is massive, dramatic, its sound and its juxtaposition of D minor and B-flat major echoing Beethoven’s Ninth. The First Concerto amounts to the First Symphony that Brahms wanted to write, but could not pull together for another eighteen years. Here is a final paradox: As man and musician, Brahms was at once a loner and absolutely part of the musical mainstream. As far as he was concerned, his work was directed primarily to the music-loving middle class; if that class rejected his work, then he was a failure and deserved to be. At the same time, as the concertos show, he was fearless in issuing challenges to his public and his performers. His independence is shown in the fact that he never accepted a commission for a work, something that would have been incomprehensible to most earlier composers. He emulated and worshipped the past, but in the end he recognized only one way to do things — his way. And unlike Wagner, he did not consider it the artist’s job to save the world, no matter how much the Germanic world around him, with its mounting militarism and anti-semitism, needed to be saved. Summers@Severance

Johannes Brahms

Brahms playing the piano, in a sketch from 1896 by his friend Willy von Beckerath.

So his critics were again partly right; Brahms had no world-historical agenda. For him, music was a language spoken from the heart that goes to the heart of each listener. It is in those terms that this intensely private man, who loved few and was himself hard to love, is entering his second century as one of the most beloved of composers.

—Jan Swafford © 2018 Jan Swafford is an award-winning composer and author whose books include biographies of Brahms, Beethoven, and Charles Ives, and “The Vintage Guide to Classical Music.”



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

16 17th

1l1l 11l1 l1l1 1 1

The The2017-18 2018-19season seasonwill marks mark Franz Welser-Möst’s 16th 17th year as music director.

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


each year

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52 53%

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

The Cleveland Orchestra performs over




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 joins a long tradition of communitywide 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 June 2018

Gay Cull Addicott American Greetings Corporation Art of Beauty Company, Inc. BakerHostetler Bank of America The William Bingham Foundation Mr. William P. Blair III Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Irma and Norman Braman Jeanette Grasselli Brown and Glenn R. Brown The Cleveland Foundation The George W. Codrington Charitable Foundation Robert and Jean* Conrad Mr. and Mrs. Alexander M. Cutler Cuyahoga County residents through Cuyahoga Arts and Culture Eaton FirstEnergy Foundation Forest City GAR Foundation Mr. and Mrs. Richard T. Garrett The Gerhard Foundation, Inc. Ann and Gordon Getty Foundation The Goodyear Tire & Rubber Company The George Gund Foundation Francie and David Horvitz Mr. and Mrs. Michael J. Horvitz Hyster-Yale Materials Handling, Inc. NACCO Industries, Inc. The Louise H. and David S. Ingalls Foundation Martha Holden Jennings Foundation Jones Day The Walter and Jean Kalberer Foundation


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Concerto for Orchestra

Summers @Severance

Severance Hall — Cleveland, Ohio Friday evening, August 10, 2018, at 7:00 p.m.


edward elgar (1857-1934)

béla bartók


In the South, Opus 50

(inspired by the town of Alassio, Italy)

Concerto for Orchestra 1. 2. 3. 4. 5.

Introduzione: Andante non troppo — Allegro vivace Giuoco delle coppie: Allegro scherzando Elegia: Andante non troppo Intermezzo interrotto: Allegretto Finale: Pesante — Presto

The concert is performed without intermission and will end at approximately 8:00 p.m.

AUG 10

The Cleveland Orchestra’s Summers@Severance series is sponsored by Thompson Hine LLP, a Cleveland Orchestra Partner in Excellence.


August 10: Concerto for Orchestra


August 10

Vasily Petrenko Russian conductor Vasily Petrenko is chief conductor of the Royal Liverpool Philharmonic Orchestra, Oslo Philharmonic Orchestra, and the European Union Youth Orchestra, and principal guest conductor of the State Academic Symphony Orchestra of Russia. He made his Cleveland Orchestra debut in July 2017 at Blossom. Mr. Petrenko began his education at the St. Petersburg Capella Boys Music School. He subsequently studied at the St. Petersburg Conservatory and participated in masterclasses with Mariss Jansons, Ilya Musin, and Yuri Temirkanov. Following recognition in several international conducting competitions, in 2004 Mr. Petrenko was appointed chief conductor of the St. Petersburg State Academic Symphony Orchestra, serving for three seasons. He has also served as principal conductor of the National Youth Orchestra of Great Britain (2009-2013), and as a principal guest conductor with the Mikhailovsky Theatre, where he began his career as resident conductor (1994-1997). As a guest conductor, Vasily Petrenko has appeared with a variety of orchestras across Europe and North America, and been featured in engagements with the


Aspen, BBC Proms, Edinburgh, Grafenegg, and Ravinia festivals. He has also led performances with many well-known European opera companies, including the Bavarian State Opera, Glyndebourne Festival Opera, Hamburg State Opera, Mikhailovsky Theatre, Opéra de Paris, and Zurich Opera. Mr. Petrenko’s discography is available through the Lawo, Naxos, Ondine, Onyx, and Orfeo labels. He has established a strongly defined profile as a recording artist. His Shostakovich symphony cycle for Naxos Records with the Royal Liverpool Philharmonic Orchestra (brought together as a boxset in the autumn of 2015) has received widespread praise. Other recordings with Liverpool include Rachmaninoff’s symphonies, orchestral works, and complete piano concertos (with pianist Simon Trpčeski), as well as orchestral music and symphonies by Elgar, and Tchaikovsky’s complete symphonies and piano concertos. With the Oslo Philharmonic Orchestra, his albums include the Shostakovich cello concertos with Truls Mørk (Ondine), Szymanowski’s violin concertos with Baiba Skride (Orfeo), and Prokofiev’s complete Romeo and Juliet ballet. Recent recording projects include cycles of Scriabin symphonies and tone poems by Richard Strauss. In September 2017, Mr. Petrenko was honored with the Artist of the Year award at the prestigious annual Gramophone Awards, one decade after receiving their Young Artist of the Year award in 2007.

August 10: Conductor

The Cleveland Orchestra

August 10


Romans,Friends, Virtuosity T H I S C O N C E R T offers two works from the 20th century, created on

request. Together they show the power of a commission to inspire ideas and creativity — and how valuable requests for “something” can be for an artist. Each composer, Edward Elgar and Béla Bartók, had something else in mind at the time, but shifted and adapted and modified their plan to fit the modest requirements specified to them. Elgar wrote his concert overture In the South, during the winter of 1903-04 while on an extended working vacation in Italy (a.k.a. “the south,” for England’s wellto-do). After first settling in near Monaco, where the quiet and reserved composer found his more outgoing expatriots a bit rowdier than he wished, Elgar and his wife, Alice, soon moved to the quieter town of Alassio. Here, he was inspired by Roman ruins and legends. In his own mind, he was trying to write a symphony, but progress was slow. However, with a commission for a new work for the coming spring, he diverted some of his “symphonic thoughts” to create this sun-filled overture, complete with undertones of ancient Roman grandeur. Guest conductor Vasily Petrenko concludes tonight’s concert with a masterful showpiece, Béla Bartók’s big-hearted, big-sounding Concerto for Orchestra. Written in 1943 as a special commission, Bartók managed to combine his own leanings toward writing a concerto with conductor Serge Koussevitzky’s request for an orchestral work. Here, Bartók showcases the many individual and section talents of the modern symphony orchestra — exuberantly, tenderly, lingeringly, and with not-to-be-missed gusto. —Eric Sellen above

A postcard of the beaches of Alassio, Italy, inspiration for Elgar’s In the South. Conductor Serge Koussevitzky, who commissioned Bartók’s Concerto for Orchestra.


Introducing the Music: August 10


August 10

In the South, Opus 50 composed 1903-04

I N T H E F I R S T D E C A D E of the 20th century, in what came to



ELGAR born June 2, 1857 Broadheath, England died February 23, 1934 Worcester, England


be called Edwardian England, prosperous English families liked to spend their winters on the French riviera, or in Nice (along the “Boulevard des Anglais”), or on the adjacent Italian coast. One side of Elgar's somewhat reserved personality was delighted in the trappings of fame and success — the knighthood, the large house in London, the popular acclaim, and the freedom to escape the cold and damp of an English winter. The explosive success of Elgar’s music after the appearance of the Enigma Variations in 1899 allowed him to join the ranks of the well-to-do and head for Bordighera in November 1903 in the hope of recovering his shaky health and being able to compose in peace. This resort town, located a few miles across the Italian border from Monaco, proved to be “full of English nurserymaids & old English women & children,” so the Elgars moved up the coast to Alassio, where the English were fewer, and where despite heavy rain he was happy. “Who cares for gales?” he wrote, “Tramontana! We have such meals! such wine! Gosh! We are at last living a life. The mosquitoes are a trial & I am stung because I refused to believe in ’em & wd not pull down the mosquito curtains at night round my bed." Eventually the bad weather got to him. “This visit has been, is, artistically a complete failure & I can do nothing. We have been perished with cold, rain & gales. The wind is no bearable, kindly east wind of England — but a tearing, piercing, lacerating devil of a wind: one step outside the door & I am cut in two numbed and speechless: I have never regretted anything more than this horribly disappointing journey: wasting time, money & temper.” Another letter said, “Poor Tom’s a-cold, frozen, and it will take months of sunshiny England to unfreeze ’im.” Artistically, though, the trip was not a failure, because he went home with the best part of a new work, the overture he called In the South. Following the success of the Enigma Variations in 1899, Elgar had set his sights on a symphony, an idea first mentioned in October 1901. A year later, he agreed to write a symphony for the Leeds Festival for a fee of £100. This arrangement fell apart, but when an Elgar Festival was being planned for March 1904, it was assumed that a symphony would be the centerpiece, and August 10: About the Music

The Cleveland Orchestra

it was undoubtedly to meet this challenge that Elgar made the trip to Italy. But by January of that winter, he knew that no symphony would be ready, so the piece he had made some progress on was transformed into a concert overture instead. For this purpose, the first movement of the planned symphony was extended with some diversionary interludes, and although the name Alassio is attached to the title, it was evidently not the town itself that is evoked, but rather the spirit of ancient Rome and of later Italian glory. This is clear from a quotation from Tennyson on the manuscript: What hours were thine and mine In lands of palm and southern pine In lands of palm, of orange-blossom Of olive, aloe, and maize and vine. He also quoted Byron: . . . a land Which was the mightiest in its old commande And is the loveliest . . . Wherein were cast . . . . . . the men of Rome! Thou art the garden of the world. The opening section of the music suggests something closer to Strauss’s tone poem Don Juan than Italy, and a glorious Elgarian exuberance sustains the music through the exposition. The interludes, probably not part of the original symphonic plan, are, first, a grandioso section, with grim and forbidding sounds from the lower brass and bass drum. This, said Elgar, was an attempt to “give a sound-picture of the strife and wars” of Roman history. Later on, in complete contrast, is a gentle scene led by a solo viola, echoed by a horn (with a soft ting of the glockenspiel setting this section off). Here at least we are reminded that behind Elgar as a public figure, so grandly celebrated in the March 1904 Festival when the overture received its first performance, there was another Elgar — private, introverted, and melancholy — who longed to escape to his quiet home in the west country hills. The English landscape meant much more to him than any part of Italy. —Hugh Macdonald © 2018


August 10: About the Music

At a Glance Elgar wrote his overture In the South during the winter between December 1903 and March 1904 while vacationing in Alassio, Italy, near Monaco. Although he was hoping to write a symphony there, a commission for an upcoming festival caused him to divert some of that music into a concert overture for the occasion. The overture was first performed on March 16, 1904, at London’s Royal Opera House in Covent Garden by the Hallé Orchestra conducted by the composer. This overture runs just over 20 minutes in performance. Elgar scored it for 3 flutes (third doubling piccolo), 2 oboes, english horn, 2 clarinets, bass clarinet, 2 bassoons, contrabasson, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, cymbals, snare drum, triangle, glockenspiel), 2 harps, and strings. The Cleveland Orchestra first performed this work at a weekend of concerts led by Andrew Davis at Severance Hall in March 1974. It has been programmed only one time since then, in August 2008, conducted at Blossom by James Feddeck.




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August 10

Concerto for Orchestra composed 1943



BARTÓK born March 25, 1881 Nagyszentmiklós, Hungary died September 26, 1945 New York


LI K E M O S T O F U S , Béla Bartók’s life was a mixture of good and bad fortune, adversity, rejection, acceptance, and success. Perhaps he had more than his fair share of setbacks and detractors, but he squarely played the cards that life and circumstances dealt him. And his music, which some people find difficult and others relish joyfully, has come to be considered among the most exciting and enduring from the 20th century’s many edge-cutting musical pioneers. His Concerto for Orchestra, dating from the final years of his life, is an unquestioned masterpiece — full of tunes, bursting with excitement and suspense, and a splendid showpiece for the talents of any symphony orchestra. Bartók was born in Hungary, in a town now in Ukraine but which then belonged to the large Austro-Hungarian Empire of Central Europe. He inherited musical talent from both parents, although his father died when Béla was still a boy. He took his first piano lessons from his mother, who kept moving her young family (there were two children, Béla and his younger sister, Erzébet) from town to town as varying means of support changed. Béla’s abilities as a pianist soon overtook his mother’s, so that, when money afforded it, he studied with several other teachers, intent on a keyboard career. He eventually moved to Budapest to complete his education, and was then appointed to a position on the piano faculty of the Budapest Conservatory. With this, he had a steady income, and was able to spend more time composing and pursuing his interest in Hungarian and Eastern European folk music. Bartók’s research and cataloging of folksongs and melodies — and his many trips into the countryside to discover “new” folk music — became a central influence on his own work as a composer. His music often features powerful, irregular folk rhythms, melodies based on folk-music scales (rather than traditional classical keys), and writing that mixes together unusual combinations of notes and instruments. Bartók’s style softened somewhat as he aged, and the extreme dissonance and clashing harmonies that caused controversy for his earliest successes evolved into a core musical language that is both original and still very modern. Yet it is also clearly in the classical tradition — and he wrote in many traditional forms, including string quartets, sonatas, rhapsodies, concertos, and operas. August 10: About the Music


of music that expresses

absolutely nothing.

—Béla Bartók

About the Music

Portrait of Bartók by Geoffrey Landesmann, Cleveland, December 1940 — Cleveland Orchestra Archives

I cannot conceive

Bartók and his wife immigrated to the United States in 1940, after years of unhappiness in Hungary over Nazi Germany’s step-by-step subjugation of Central Europe. With his mother’s death in 1939, the composer finally felt willing to leave his native land. He had been to the United States on several previous occasions, performing as conductor and piano soloist in a number of his works, but his musical reception here had been decidedly mixed. So that he arrived in New York knowing few friends and having just a partial list of musical acquaintances. He was able to continue his folk-music research, bringing in a meager income by working on a large project cataloging SerboCroatian folk tunes at Columbia University. But Bartók’s health was increasingly problematic, and he often found himself inexplicably exhausted. At times he was hospitalized, where a diagnosis was not immediately forthcoming (he was eventually found to have leukemia). He was frequently unable to work, and with few new performances of any of his works, the Bartóks’ finances became increasingly precarious. Into this situation in 1943 walked — quite literally, into Bartók’s hospital room — the conductor of the Boston Symphony Orchestra, Serge Koussevitzky, with a commission for a brand-new orchestral work, including a down payment of half the money! The idea for the commission was really from two of Bartók’s friends, but Koussevitzky was careful not to mention this. How, exactly, any of them expected the enfeebled composer to gather himself together to write new music is unclear. But having a task to fulfill sometimes focuses one’s energies, and in little more than three months Bartók had completed his Concerto for Orchestra, which one early critic applauded as “a virtuoso piece for a virtuoso orchestra.” For his new work, Bartók chose to continue the pattern of many of his previous works, which had featured prominent solo parts. The commission, however, was for an orchestral work only, so he chose to spotlight different soloists throughout the piece by writing virtuoso moments for the principal players of many of the Boston Symphony’s instrument sections, or for entire sections at once. THE MUSIC

At a Glance Bartók wrote his Concerto for Orchestra in 1943, on commission from the Koussevitzky Foundation. It was first performed on December 1, 1944, by the Boston Symphony Orchestra under Serge Koussevitzky’s direction at New York’s Carnegie Hall. This work runs about 40 minutes in performance. Bartók scored it for 3 flutes (third doubling piccolo), 3 oboes (third doubling english horn), 3 clarinets (third doubling bass clarinet), 3 bassoons (third doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (side drum, bass drum, tamtam, cymbals, triangle), 2 harps, and strings. Bartók’s Concerto for Orchestra was introduced to The Cleveland Orchestra’s repertoire at concerts in January 1946 by George Szell, then a guest conductor. It has been programmed somewhat frequently since then, most recently in January 2017 at Severance Hall. The Cleveland Orchestra recorded Bartók’s Concerto for Orchestra in 1965 with George Szell and in 1988 with Christoph von Dohnányi.

The Concerto for Orchestra is divided into five sections, beginning and ending with a large-scale movement surrounding a central, mournful elegy. Summers@Severance

August 10: About the Music


The long opening movement introduces several musical themes that reappear later. It begins quietly and then journeys through a wide range of dynamics and instrumentations, continually highlighting a variety of musical sounds, pleasing melodies, and raucous ideas, before dashing toward a glorious — and then sudden — finish. The second movement, “Game of Pairs,” works through a changing series of pairs of wind instruments — bassoons, oboes, clarinets, and then flutes — each with their own tune, and each paired against their mate at a different harmonic interval. A chorale for brass pauses this procession, which then continues with a third bassoon and then with the oboes and clarinets arguing together as a quartet. Eventually all the solo instruments arrange themselves together for a “family photo” moment in sound. The third movement is an Elegy, at first quiet and sad, but increasingly anguished and agitated in its emotional despair. Echoes from the opening movement bring a sense of time and depth to this mournful thrashing. At one moment, Bartók builds upon a musical phrasing from his opera Bluebeard’s Castle, in which the heroine, Judith, discovers the truth within a “Lake of Tears,” filled with the

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August 10: About the Music

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unhappiness of those who have ventured before her. But the intent of the elegy is clear even without understanding this musical reference. The fourth movement is titled “Interrupted Intermezzo” and begins as a mostly tender meeting between a pair of lovers, represented by woodwinds (initially by a solo oboe) and by the violas as a section (accompanied in their ardent love song by harp). Suddenly, something goes awry, and some belches from the rest of the orchestra interrupt the reverie. Bartók suggested to a student that this was “like a group of drunken villagers who come upon and interrupt the lover’s serenade.” But, whatever the interruption’s cause, the mood settles again for more quiet cooing. The expansive fifth movement is a large tour de force for the orchestra and its many players. The movement’s central structure involves the creation of a fugue surrounded by a whirling and fiery dance. Some introspective moments, when the action almost seems to have moved offstage somewhere, lend variety and also provide moments of rest (for some of the players) as the piece winds itself to a successful finish. —Eric Sellen © 2018

Béla Bartók, dressed for hiking through Transylvania in 1907, to record and research local indigenous folk music.

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August 10: About the Music



Handel, Haydn, & Mozart

Summers @Severance

Severance Hall — Cleveland, Ohio Friday evening, August 24, 2018, at 7:00 p.m.


george frederick handel (1685-1759)

f. joseph haydn


Overture from An Occasional Oratorio Piano Concerto No. 11 in D major 1. Vivace 2. Un poco adagio 3. Rondo all'Ungarese: Allegro assai KRISTIAN BEZUIDENHOUT, piano

wolfgang amadè mozart


Symphony No. 25 in G minor, K183 1. 2. 3. 4.

Allegro con brio Andante Menuetto — Trio Allegro

The concert is performed without intermission and will end at approximately 8:00 p.m.


August 24: Handel, Haydn, & Mozart

AUG 24

The Cleveland Orchestra’s Summers@Severance series is sponsored by Thompson Hine LLP, a Cleveland Orchestra Partner in Excellence.


August 24

Jonathan Cohen British musician Jonathan Cohen has forged a unique career as a conductor, cellist, and keyboardist. He currently serves as artistic director of the early music ensemble Arcangelo, as associate conductor of Les Arts Florissants, and artistic director of the Tetbury Festival. He also is an artistic partner with the Saint Paul Chamber Orchestra and, with the upcoming 2018-19 season, becomes music director of the French-Canadian chamber ensemble Les Violons du Roy. He is making his Cleveland Orchestra debut with this evening’s concert. Well known for his passion and commitment to chamber music, Mr. Cohen is equally at home in baroque opera and the classical symphonic repertoire. After finishing studies at Clare College, Cambridge, he began his career as a cellist. He performed as guest principal with many of the United Kingdom’s foremost period and symphonic orchestras and ensembles. During this time, he developed unique crossover credentials in the field of early music and an interest in period instruments. He was a founding member of the London Haydn Quartet, and continues to


perform chamber music with friends and colleagues. In recent seasons, Jonathan Cohen has conducted the Budapest Festival Orchestra, Konzerthaus Orchester Berlin, Iceland Symphony Orchestra, Orchestre Philharmonique de Liège, and the Scottish Chamber Orchestra. He led Handel’s Giulio Cesare at Glyndebourne Opera, and made a European tour with violinist Vilde Frang for concerts at Oslo Opera House and Tonhalle Zurich. Jonathan Cohen founded the early music ensemble Arcangelo in 2010 and has performed with them on both sides of the Atlantic, including engagements at Carnegie Hall, Philharmonie Berlin, Cologne Philharmonie, Vienna’s Musikverein, and the Salzburg Festival. For the 2016-17 season, they were the first ensemble-in-residence at London’s famed Wigmore Hall. In 2016, Mr. Cohen conducted Arcangelo’s BBC Proms debut at the Sam Wanamaker Playhouse. Arcangelo’s discography features the album Arias for Guadagni with Iestyn Davies for Hyperion, which was awarded top honors in the recital category at the 2012 Gramophone Awards, and Arias for Benucci with Matthew Rose, which was nominated for a 2016 International Opera Award. Arcangelo topped the BBC Music Magazine Awards’ Concerto category in 2017 for their recording of C.P.E. Bach’s Cello Concertos with Nicolas Altstaedt.

August 24: Conductor

The Cleveland Orchestra

August 24


Occasion, Keyboard, & Classical Form

V E R Y B A R O Q U E , N E A R LY C L A S S I C A L . This final Summers@Severance

concert of the season takes us on a journey back to the 18th century — and samplings from three of the era’s bigname composers: Handel, Haydn, and Mozart. This is well-proportioned music, delineated and constructed with art and inspiration, built on ideas of clear style and graceful will. Tonight is also a journey of betweens — of how music was evolving from the early to the later 18th century, between the ornamentation of the Baroque era toward the linear shaping of the Classical era. And, in the case of tonight’s concerto, of a time when keyboards were evolving, too, from the uniform sounding of a harpsichord to the dynamic possibilities inherent in the pianoforte (what we know simply as the piano). Haydn’s concerto, written around 1780 and performed in in the middle of this evening’s concert, was created for . . . well, whatever keyboard might be available, either the kind of harpsichord that had been master of music for more than a century, or . . . the new-fangled piano, which would soon drive the older instrument to near extinction. The contours of this concerto reveal technology and ideas in transition, between old-style and new capability. We hear it with a modern piano, played by guest soloist Kristian Bezuidenhout. To open the evening, conductor Jonathan Cohen leads The Cleveland Orchestra in an overture from an oratorio written for an “occasion” in 1746. This rather oddly-named work was intended to foster and rally patriotic feelings (Britishness) when King George II faced an uprising from the north (Scotland). It is a solidly splendid work of pomp and pleasure. The evening concludes with Mozart’s Symphony No. 25, from 1773. The composer was just 17 years old, but, we surmise from the “25,” was already a master of symphonic form. Here, his artistry is just beginning to shift forward into full Classical mode. It is a work of youth and vitality — and the impending greatness of one of music’s most imaginative and fertile minds. above

King George II of England, suitably dressed in armour on the “occasion” of the battles against the Scottish uprising of 1745-46. Summers@Severance

Introducing the Music: August 24

—Eric Sellen


August 24

Overture from An Occasional Oratorio composed 1745-46

T H E “ O C C A S I O N A L O R A T O R I O ” was composed, as its


George Frederick


born February 23, 1685 Halle, Prussia died April 14, 1759 London

At a Glance Handel wrote his “Occasional Oratorio” in the winter of 1745-46, hoping to boost patriotic sentiments among the royal-loyalists in London. It was first performed on February 14, 1746, at London’s Royal Theatre under the composer’s direction The overture runs nearly 10 minutes in performance. Handel scored it for 2 oboes, 3 trumpets, timpani, strings, and continuo. The Cleveland Orchestra is presenting this work for the first time with tonight’s concert.

name implies, for an occasion, but that occasion was more what we would call an emergency. In the summer of 1745, Handel went north from London to Yorkshire to the spa town of Scarborough, where he hoped to restore his uncertain health and re-group after an oratorio season that had not done well. (Scarborough’s acidic waters were discovered in 1626, making it England’s first seaside resort. The first bathing machines were recorded there in 1735, and it became a popular destination for wealthy Londoners.) In 1745, however, health cures were cut short by the news that Bonnie Prince Charlie’s Scottish hordes had defeated an English army near Edinburgh and were marching south. Their aim was to oust the usurping Hanoverian king and claim the throne for the Stuarts. Panic spread across the capital. By December, the Scots had reached Derby (125 miles north of London) while King George II mustered his forces, but the weakness of the Pretender’s cause soon led to their withdrawal north and eventual defeat at the Battle of Culloden in April 1746. Handel’s loyalty to the House of Hanover was never in doubt, having served both George I and George II in Hanover and in London, and he judged the moment to be good for some patriotic music. With his friend and neighbor Newburgh Hamilton as librettist he quickly put together an oratorio taking texts from Spenser, Milton, and the Bible, which amounted to an exhortation to put your trust in God to ensure victory. Handel recycled a good many pieces from earlier works, including parts of Israel in Egypt. The full-length Occasional Oratorio was premiered in February, after the danger had passed. The Overture was new music, not recycled. It is in four sections, the first two comprising what was generally known as a French overture: a pompous opening followed by a quasifugal Allegro section (the violins are kept busy). The third section features an affecting oboe solo, and the final march closes the Overture with a suitable display of optimistic celebration. (In the opening lines of the oratorio, Handel puts a strong stress on the second syllable of “tumult,” not the first, betraying his German heritage, like his king’s. Still, England forged ahead.)

—Hugh Macdonald © 2018


August 24: About the Music

The Cleveland Orchestra

August 24

Piano Concerto No. 11 in D major, Hob.XVIII:11 composed circa 1779-83

T H I S C O N C E R T O was among Haydn’s most popular works


F. Joseph


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

during his lifetime, although today it is inevitably overshadowed by Mozart’s great keyboard concertos. Haydn’s work was published in Vienna in 1784, followed immediately by editions in London, Paris, Berlin, Amsterdam, and Mainz — an unmistakable mark of public success. Perhaps the secret lay in its finale, in which Haydn evokes the colorful dances of Hungarian gypsies. At the time, such music had not been heard outside its own land before. From this, we understand that Haydn relished gypsy folk music as much as Hungarian cuisine, of which he was quite fond. For both, he was very well located at Esterháza (which, though close to Vienna, is in Hungary, not Austria) to see and hear gypsies (or Romas) who provided regular entertainment for all levels of society, including, on occasion, at the invitation of Haydn’s employer, Prince Esterházy, at the palace itself. Haydn had put some gypsy music, a “Menuet alla Zingarese,” into his String Quartet Opus 20 No. 4 in 1772, and he later composed the “Gypsy Rondo” Piano Trio. Like other “exotic” imports — such as Chinese porcelain or Turkish percussion — this fascinating music was to grab the public imagination, especially in England and France. (It is a challenge today to decide what word/s to use in this discussion. The word gypsy was accepted and embraced and understood in Haydn’s time, and for many years thereafter. Only more recently, as our worldview has enlarged, has there been a rightful questioning as to whether this term is derogatory and/or appropriate recognition of the particular culture of a disparate peoples. A similar, ongoing discussion continues over the New World’s population of . . . Indians, Native Americans, First Nations, etc.) THE MUSIC

The concerto’s first two movements display the purest classical content — clearly stated themes (usually soft at first, then loud), brisk orchestration, conscientious working out, and balanced form. The interplay between soloist and orchestra is exemplary, and the sense of orderly music-making is especially evident in the opening movement. The start of the slow movement is unusually forthright, Summers@Severance

August 24: About the Music


but the appearance of triplet figurations and the entry of the soloist quickly soften the tone. It develops into a superbly wrought movement with a cadenza before the chirruping repeated triplets bring the movement to a close. Trills, grace notes, runs, angular leaps, drones, and a lively dance pace define the finale’s gypsy style, put together with unmistakable delight. By slipping into the minor for a middle musical episode, Haydn seems to be parodying himself. It may not have been his music, strictly speaking, but he composes it as if it were. —Hugh Macdonald © 2018

At a Glance Haydn’s authorship of this Concerto in D major, cataloged as No. 11 of his keyboard concertos, was disputed for a time. Recent scholarship, however, has confirmed that Haydn wrote it, most likely in the early 1780s (possibly as early as 1779). Documentation about when it was first performed is ambiguous; one theory holds that it may have been introduced in Vienna as

early as 1780. It was published in 1784 in Paris. Haydn marked the score as being suitable for either the older harpsichord or the newer fortepiano (forerunner of the modern piano). This concerto runs about 20 minutes in performance. In addition to solo keyboard, Haydn scored it for an orchestral ensemble of 2 oboes, 2 horns, and strings.

The Cleveland Orchestra first performed this Haydn Piano Concerto in October 1965, with Louis Lane conducting and Armenta Adams as soloist. It has been programmed on only a few further occasions, most recently in the spring of 2015 with soloist Marc-André Hamelin, conducted by Matthew Halls.

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August 24: About the Music

The Cleveland Orchestra

August 24

Kristian Bezuidenhout South African keyboardist Kristian Bezuidenhout is equally at home playing a harpsichord, early fortepiano, or modern piano. Since 2017, he has served as an artistic director of the Freiburg Baroque Orchestra and a principal guest director with the English Concert. He is making his Cleveland Orchestra debut with this evening’s concert. Kristian Bezuidenhout began his studies in Australia, completed them at the Eastman School of Music in Rochester, New York, and now lives in London. He studied piano with Rebecca Penneys, harpsichord with Arthur Haas, fortepiano with Malcolm Bilson, and continuo playing and performance practice with Paul O’Dette. Mr. Bezuidenhout gained international recognition at age 21 after winning both first prize and audience prize in the Bruges Fortepiano Competition in 2001. Mr. Bezuidenhout often conducts from the keyboard, leading as a soloist with ensembles including the English Concert,


Freiburg Baroque Orchestra, Camerata Salzburg, Tafelmusik Baroque Orchestra, and Zürcher Kammerorchester. In recent seasons, he has also appeared as soloist with Le Concert Olympique, Orchestre des Champs Élysées, Chicago Symphony Orchestra, Leipzig Gewandhaus Orchestra, Les Arts Florissants, Les Violons du Roy, and the Orchestra of the Age of Enlightenment. In recital and chamber music performances, recent engagements included appearances in Amsterdam, Berlin, Cologne, London, Munich, Rome, and Stuttgart, as well as in Japan and the United States. Mr. Bezuidenhout’s discography on Harmonia Mundi features the complete keyboard music of Mozart, which received the Diapason d’Or de l’Année, Preis der Deutschen Schallplattenkritik, and Caecilia Prize. His album of piano concertos by Mendelssohn and Mozart with the Freiburg Baroque Orchestra was awarded an Echo Klassik designation, and his recording of songs with Mark Padmore was honored with an Edison Award. In 2013, Kristian Bezuidenhout was among nominees for Gramophone Magazine’s Artist of the Year. For additional information, please visit

August 24: Soloist


August 24

Symphony No. 25 in G minor, K183 composed 1773

A T Y P I C A L 1 8 T H - C E N T U R Y concert program did not identify


Wolfgang Amadè 1

MOZART born January 27, 1756 Salzburg died December 5, 1791 Vienna

the works performed with anything resembling the specificity we are accustomed to nowadays. Usually, only the genre (symphony, concerto, etc.) and maybe the key signature (C major, D major, etc.) were listed. Because composers rarely, if ever, numbered their own works, but could (and often did) write several symphonies and concertos in the same key, printed records from the 18th century are relatively imprecise in what they tell us. When we read about a “symphony by Herr Mozart in D major” performed at a certain time, we are somewhat in the dark as to exactly what the audience actually heard. The possibilities are narrowed, but we can never be certain. But then, the 18th century did not feel a need to distinguish among different symphonies by the same author nearly as much as we do today. The notion that every symphony must have an unmistakable personality of its own did not become prevalent until Beethoven’s time. Previously, symphonies were similar enough in scope and intent to seem almost interchangeable to audiences (if not to the composers). This situation began to change gradually around the 1770s, when Haydn and Mozart (as well as others) started to write symphonies that were increasingly differentiated in tone. Mozart’s early Symphony in G minor (he wrote two in this key), now known as Symphony No. 25, was written when Mozart was 17 years old. It stands out among his works as an early example of how symphonies were becoming individualized. It is also one of the earliest of Mozart’s works to show complete artistic maturity. Its exceptional nature is signalled by its very tonality, as it is one of only two Mozart symphonies in a minor key — the other being No. 40, also in G minor. Along with the choice of the minor key came a whole array of special and distinguishing stylistic traits, such as excited syncopations, harder1 Mozart

was baptized as Johannes Chrysostomus Wolfgangus Theophilus Mozart. His first two baptismal names, Johannes Chrysostomus, represent his saint’s name, following the custom of the Roman Catholic Church at the time. In practice, his family called him Wolfgang. His third name, Theophilus, comes from Greek and can be rendered as “lover of God” or “loved by God.” Amadeus is a Latin version of this same name, while Amadè is a more modern rendition. Mozart most often signed his name as “Wolfgang Amadè Mozart,” saving Amadeus only as an occasional joke. However, after his death,19th-century scholars in all fields of learning were completely enamored of Latin naming and conventions (this is the period of the classification and cataloging of life on earth into kingdom, phylum, class, order, family, genus, species, etc.) and successfully “changed” his name to Amadeus. Only in recent years have we started remembering the Amadè name he preferred.


August 24: About the Music

The Cleveland Orchestra

than-usual dissonances, and a variety of other features creating an increased level of dramatic tension. The work might have been Mozart’s response to several Haydn symphonies from the early 1770s that exhibit some of the same characteristics. These symphonies are often described as products of Haydn’s Sturm und Drang (“storm and stress”) period. The group includes such works as No. 44 in E minor (“Mourning”), No. 45 (“Farewell”), and No. 52 in C minor. At the time, Mozart had not yet met Joseph Haydn in person, but he knew Joseph’s younger brother Michael, a noted composer in his own right, who was living and working in Salzburg, Mozart’s hometown. There are numerous references to both Haydn brothers in the correspondence of Wolfgang’s father, Leopold Mozart, himself an outstanding musician. And although this is challenging to document, it seems certain that, in his teens, Wolfgang already knew quite a few works by Joseph Haydn, who would later become a close friend. THE MUSIC

The opening unison melody of the symphony, featuring a bold descending diminished-seventh interval, introduces a movement that is relentlessly passionate throughout. The gentle, second-movement Andante offers temporary respite, but the third movement is one of Mozart’s darkest minuets (despite a tender, lyrical, major-mode Trio section, played by winds alone). Contrary to most symphonies in minor keys, which resolve the inherent tension by modulating to the major mode in the finale, there is no such relief here. The tension of the minor key and the storm-and-stress atmosphere prevail to the very end.

At a Glance Mozart wrote this symphony in 1773 at the age of 17. It is often referred to as the “Little G-minor” Symphony, to distinguish it from the “Great G-minor” written fifteen years later among his trio of final symphonies (best known today as his Symphony No. 40). This symphony runs about 20 minutes in performance. Mozart scored it for 2 oboes, 2 bassoons, 4 horns, and strings. The Cleveland Orchestra first performed Mozart’s Symphony No. 25 in December 1962 under the direction of Louis Lane. The most recent performances were led by Nicholas McGegan at Blossom in August 2011 and by Franz Welser-Möst at Severance Hall in February 2009.

—Peter Laki

Copyright © Musical Arts Association

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


August 24: About the Music



as of May 2018

operating The Cleveland Orchestra, Severance Hall, and Blossom Music Festival

OFFICERS AND EXECUTIVE COMMITTEE Richard K. Smucker, President Dennis W. LaBarre, Chairman Richard J. Bogomolny, Chairman Emeritus Alexander M. Cutler Hiroyuki Fujita David J. Hooker Michael J. Horvitz Douglas A. Kern

Norma Lerner, Honorary Chair Hewitt B. Shaw, Secretary Beth E. Mooney, Treasurer

Virginia M. Lindseth Nancy W. McCann Larry Pollock Alfred M. Rankin, Jr. Audrey Gilbert Ratner

Barbara S. Robinson Jeffery J. Weaver Meredith Smith Weil Paul E. Westlake Jr.

RESIDENT TRUS TEES Richard J. Bogomolny Yuval Brisker Jeanette Grasselli Brown Helen Rankin Butler Irad Carmi Paul G. Clark Robert D. Conrad Matthew V. Crawford Alexander M. Cutler Hiroyuki Fujita Robert K. Gudbranson Iris Harvie Jeffrey A. Healy Stephen H. Hoffman David J. Hooker Michael J. Horvitz Marguerite B. Humphrey Betsy Juliano Jean C. Kalberer Nancy F. Keithley

Christopher M. Kelly Douglas A. Kern John D. Koch Dennis W. LaBarre Norma Lerner Virginia M. Lindseth Milton S. Maltz Nancy W. McCann Stephen McHale Thomas F. McKee Loretta J. Mester Beth E. Mooney John C. Morley Meg Fulton Mueller Katherine T. O’Neill Rich Paul Larry Pollock Alfred M. Rankin, Jr. Clara T. Rankin Audrey Gilbert Ratner

Charles A. Ratner Zoya Reyzis Barbara S. Robinson Steven M. Ross Luci Schey Spring Hewitt B. Shaw Richard K. Smucker James C. Spira R. Thomas Stanton Russell Trusso Daniel P. Walsh Thomas A. Waltermire Geraldine B. Warner Jeffery J. Weaver Meredith Smith Weil Jeffrey M. Weiss Norman E. Wells Paul E. Westlake Jr. David A. Wolfort

NON-RESIDENT TRUS TEES Virginia Nord Barbato (New York) Wolfgang C. Berndt (Austria)

Laurel Blossom (California) Richard C. Gridley (South Carolina)

Herbert Kloiber (Germany) Paul Rose (Mexico)

TRUS TEES EX-OFFICIO Faye A. Heston, President, Volunteer Council of The Cleveland Orchestra Patricia Sommer, President, Friends of The Cleveland Orchestra Elizabeth McCormick, President, Blossom Friends of The Cleveland Orchestra TRUS TEES EMERITI George N. Aronoff Dr. Ronald H. Bell David P. Hunt S. Lee Kohrman Charlotte R. Kramer Donald W. Morrison Gary A. Oatey Raymond T. Sawyer PAS T PRESIDENT S D. Z. Norton 1915-21 John L. Severance 1921-36 Dudley S. Blossom 1936-38 Thomas L. Sidlo 1939-53

Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee Beverly J. Warren, President, Kent State University Barbara R. Snyder, President, Case Western Reserve University

HONORARY TRUS TEES FOR LIFE Robert P. Madison Gay Cull Addicott Robert F. Meyerson* Charles P. Bolton The Honorable John D. Ong Allen H. Ford James S. Reid, Jr. Robert W. Gillespie Dorothy Humel Hovorka* * deceased Alex Machaskee

Percy W. Brown 1953-55 Frank E. Taplin, Jr. 1955-57 Frank E. Joseph 1957-68 Alfred M. Rankin 1968-83

Ward Smith 1983-95 Richard J. Bogomolny 1995-2002, 2008-09 James D. Ireland III 2002-08 Dennis W. LaBarre 2009-17

THE CLEVEL AND ORCHESTR A Franz Welser-Möst, Music Director


André Gremillet, Executive Director

Musical Arts Association

The Cleveland Orchestra



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Celebrating Life & Music The Cleveland Orchestra performs all varieties of music, gathering family and friends together in celebration of the power of music. The Orchestra’s music marks major milestones and honors special moments, helping to provide the soundtrack to each day and bringing your hopes and joys to life. From free community concerts at Severance Hall and in downtown Cleveland . . . to picnics on warm summer evenings at Blossom Music Center . . . From performances for crowds of students, in classrooms and auditoriums . . . to opera and ballet with the world’s best singers and dancers . . . From holiday gatherings with favorite songs . . . to the wonder of new compositions performed by music’s rising stars . . . Music inspires. It fortifies minds and electrifies spirits. It brings people together in mind, body, and soul.




Ambassador to the World


Changing Lives The Cleveland Orchestra is building the youngest orchestra audience in the country. In recent years, the number of young people attending Cleveland Orchestra concerts at Blossom and Sever­ ance Hall has more than doubled, and now makes up 20% of the audience! • Under 18s Free, the flagship program of the Orchestra’s Center for Future Audiences (created with a lead endowment gift from the Maltz Family Foundation), makes attending Orchestra concerts affordable for families. • Student Advantage and Frequent FanCard programs offer great deals for students.

The Cleveland Orchestra is one of the world’s most-acclaimed and sought-after performing arts ensembles. Whether performing at home or around the world, the musicians carry Northeast Ohio’s commitment to excellence and strong sense of community with them everywhere the Orchestra performs. The ensemble’s ties to this region run deep and strong: • Two acoustically-renowned venues — Severance Hall and Blossom — anchor the Orchestra’s performance calendar and continue to shape the artistic style of the ensemble. • More than 60,000 local students participate in the Orchestra’s education programs each year. • Over 350,000 people attend Orchestra concerts in Northeast Ohio annually. • The Cleveland Orchestra serves as Cleveland’s ambassador to the world — through concerts, recordings, and broadcasts — proudly bearing the name of its hometown across the globe.

• The Circle, our membership program for ages 21 to 40, enables young professionals to enjoy Orchestra concerts and social and networking events. • The Orchestra’s casual Friday evening concert series (Fridays@7 and Summers @Severance) draw new crowds to Severance Hall to experience the Orch­ estra in a context of friends and musical explorations.


Get Involved

The Cleveland Orchestra



Building Community The Cleveland Orchestra exists for and because of the vision, generosity, and dreams of the Northeast Ohio community. Each year, we seek new ways to meaningfully impact lives.


Inspiring Minds Education has been at the heart of The Cleveland Orchestra’s community offerings since the ensemble’s founding in 1918. The arts are a core subject of school learning, vital to realizing each child’s full potential. A child’s education is incomplete unless it includes the arts, and students of all ages can experience the joy of music through the Orchestra’s varied education programs. The Orchestra’s offerings impact . . . . . . the very young, with programs including PNC Musical Rainbows and PNC Grow Up Great. . . . grade school and high school students, with programs including Learning Through Music, Family Concerts, Education Concerts, and In-School Performances.

• Convening people at free community concerts each year in celebration of our country, our city, our culture, and our shared love of music. • Immersing the Orchestra in local communities with special performances in local businesses and hotspots through neighborhood residencies and other initiatives. • Collaborating with celebrated arts institutions — from the Cleveland Museum of Art and Playhouse Square to Chicago’s Joffrey Ballet — to bring inspirational performances to the people of Northeast Ohio. • Actively partnering with local schools, neighborhoods, businesses, and state and local government to engage and serve new corners of the community through residencies, education offerings, learning initiatives, and free public events.

. . . college students and beyond, with programs including musician-led masterclasses, in-depth explorations of musical repertoire, pre-concert musician interviews, and public discussion groups.


Get Involved




Supporting Excellence

Financial support and contributions from thousands of people, corporations, and foundations across Northeast Ohio help sus­ tain the extraordinary musical experiences and community engagement that sets The Cleveland Orchestra apart from other orch­ estral ensembles around the world.


Get Involved

The Cleveland Orchestra has been supported by many dedicated volunteers since its founding in 1918. You can make an immediate impact by getting involved. • Over 100,000 people learn about and follow The Cleveland Orchestra’s activities online through Facebook, Twitter, and Instagram.

• Two active volunteer groups — Friends of The Cleveland Orchestra and the Blossom Friends of The Cleveland Orchestra — support the Orchestra through service and fundraising. To learn more, please call 216-231-7557.

Ticket sales cover less than half the cost of The Cleveland Orchestra’s concerts, education presentations, and community programs. Each year, thousands of generous people make donations large and small to sustain the Orchestra for today and for future generations. Every dollar donated enables The Cleveland Orchestra to play the world’s finest music, bringing extraordinary experiences to people throughout our community — and acclaim and admiration to Northeast Ohio. To learn more, visit

• Over 400 volunteers assist concertgoers each season, as Ushers for Orchestra concerts at Severance Hall, or as Tour Guides and as Store Volunteers. For more info, please call 216-231-7425. • 300 professional and amateur vocalists volunteer their time and artistry as part of the professionally-trained Cleveland Orchestra Chorus and Blossom Festival Chorus each year. To learn more, please call 216-231-7372.


Get Involved

The Cleveland Orchestra



Learn More To learn more about how you can play an active role as a member of The Cleveland Orchestra family, visit us at Blossom or Severance Hall, attend a musical performance, or contact a member of our staff.



Making Music The Cleveland Orchestra passionately believes in the value of active musicmaking, which teaches life lessons in teamwork, listening, collaboration, and self expression. Music is an activity to participate in directly, with your hands, voice, and spirit. • You can participate in ensembles for musicians of all ages — including the Cleveland Orchestra Chorus, Children’s Chorus, Youth Chorus, and Blossom Festival Chorus, and the Cleveland Orchestra Youth Orchestra. • Each year, the Orchestra brings people together in celebration of music and events, giving voice to music at community singalongs and during holiday performances. • We partner with local schools and businesses to teach and perform, in ensembles and as soloists, encouraging music-making across Northeast Ohio. Music has the power to inspire, to transform, to change lives. Make music part of your life, and support your school’s music programs.


Get Involved

Severance Hall

 11001 Euclid Avenue  Cleveland, OH 44106

Blossom Music Center

 1145 West Steels Corners Road  Cuyahoga Falls, OH 44223


Administrative Offices: 216-231-7300 Ticket Services: 216-231-1111 or 800-686-1141 or Group Sales: 216-231-7493  email Education & Community Programs:  phone 216-231-7355  email Orchestra Archives: 216-231-7382  email Choruses: 216-231-7372  email Volunteers: 216-231-7557  email Individual Giving: 216-231-1545  email Legacy Giving: 216-231-8006  email Corporate & Foundation Giving:  phone 216-231-7551  email Severance Hall Rental Office:  phone 216-231-7421  email



Individual Annual Support The Cleveland Orchestra is sustained through the annual support of thousands of generous patrons. The leadership of those listed on these pages (with gifts of $2,000 and more) shows an extraordinary depth of support for the Orchestra’s music-making, education presentations, and community initiatives.

Giving Societies gifts in the past year, as of June 1, 2018 Adella Prentiss Hughes Society

gifts of $50,000 to $99,999

gifts of $100,000 and more Musicians of The Cleveland Orchestra+ (in-kind support for community programs and opportunities to secure new funding) Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski+ Mary Alice Cannon Rebecca Dunn Mr. Allen H. Ford Dr. and Mrs. Hiroyuki Fujita+ Mr. and Mrs. James A. Haslam III Mr. and Mrs. Michael J. Horvitz+ James D. Ireland IV The Walter and Jean Kalberer Foundation+ Dr. and Mrs. Herbert Kloiber (Europe) Mr. and Mrs. Dennis W. LaBarre+ Mrs. Norma Lerner and The Lerner Foundation+ Mrs. Emma S. Lincoln+ Milton and Tamar Maltz John C. Morley+ Mr. and Mrs. Albert B. Ratner James and Donna Reid Mr. and Mrs. Richard K. Smucker+ Mr. and Mrs. Franz Welser-Möst+

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

92 58

George Szell Society Dr. and Mrs. Wolfgang Berndt (Europe) Mr. William P. Blair III+ Blossom Friends of The Cleveland Orchestra The Brown and Kunze Foundation Mr. and Mrs. Alexander M. Cutler+ Mr. and Mrs. John E. Guinness Mrs. John A Hadden Jr. T. K.* and Faye A. Heston Mr. and Mrs. Donald M. Jack, Jr. Elizabeth B. Juliano Mr. and Mrs. Douglas A. Kern Giuliana C. and John D. Koch+ Toby Devan Lewis Virginia M. and Jon A. Lindseth Mr. and Mrs. Alex Machaskee+ Ms. Nancy W. McCann+ Ms. Beth E. Mooney+ Rosanne and Gary Oatey (Cleveland, Miami)+ William J. and Katherine T. O’Neill The Honorable and Mrs. John Doyle Ong+ Mr. and Mrs. Alfred M. Rankin, Jr. Mrs. Alfred M. Rankin, Sr. Charles and Ilana Horowitz Ratner+ Barbara S. Robinson (Cleveland, Miami)+ Sally and Larry Sears+ Mary M. Spencer (Miami)+ Mrs. Jean H. Taber* Dr. Russell A. Trusso Ms. Ginger Warner (Cleveland, Miami) Barbara and David Wolfort (Cleveland, Miami)+ Janet* and Richard Yulman (Miami) Anonymous+

+ Multiyear Pledges Multiyear pledges support the Orchestra’s artistry while helping to ensure a sustained level of funding. We salute those extraordinary donors who have signed pledge commitments to continue their annual giving for three years or more. These donors are recognized with this symbol next to their name: +

Individual Annual Support

The Cleveland Orchestra

Dudley S. Blossom Society Elisabeth DeWitt Severance Society gifts of $25,000 to $49,999 Gay Cull Addicott+ Mr. and Mrs. William W. Baker Randall and Virginia Barbato Mr. and Mrs. Charles P. Bolton+ Irma and Norman Braman (Miami)+ Mr. Yuval Brisker Jeanette Grasselli Brown and Glenn R. Brown+ Mr. and Mrs. David J. Carpenter+ Jill and Paul Clark Robert and Jean* Conrad+ Judith and George W. Diehl Friends of The Cleveland Orchestra (formerly WCCO) JoAnn and Robert Glick+ Mr. and Mrs. Geoffrey Gund Mr. and Mrs. Jeffrey Healy+ Mary and Jon Heider (Cleveland, Miami) Mrs. Marguerite B. Humphrey+ Mr. and Mrs. Joseph P. Keithley Milton A. & Charlotte R. Kramer Charitable Foundation Daniel R. Lewis (Miami) Mr. Stephen McHale Margaret Fulton-Mueller+ Mrs. Jane B. Nord Julia and Larry Pollock+ Mr. and Mrs. James A. Ratner Mr. and Mrs. David A. Ruckman Marc and Rennie Saltzberg Larry J. Santon and Lorraine S. Szabo+ The Ralph and Luci Schey Foundation+ Rachel R. Schneider+ Donna E. Shalala (Miami) Hewitt and Paula Shaw Marjorie B. Shorrock+ Richard and Nancy Sneed+ Jim and Myrna Spira R. Thomas and Meg Harris Stanton+ Paul and Suzanne Westlake Tony and Diane Wynshaw-Boris+ Anonymous (2)

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

gifts of $15,000 to $24,999 Mr. and Mrs. Dean Barry Dr. Christopher P. Brandt and Dr. Beth Sersig+ Dr. Ben H. and Julia Brouhard Irad and Rebecca Carmi Mr. and Mrs. William E. Conway Mrs. Barbara Cook Dr. and Mrs. Robert Ehrlich (Europe) Ms. Dawn M. Full Mr. and Mrs. Robert W. Gillespie Drs. Erik and Ellen Gregorie Richard and Ann Gridley+ Robert K. Gudbranson and Joon-Li Kim+ Kathleen E. Hancock Sondra and Steve Hardis Jack Harley and Judy Ernest David and Nancy Hooker+ Joan and Leonard Horvitz Richard and Erica Horvitz (Cleveland, Miami) Allan V. Johnson Junior Committee of The Cleveland Orchestra Jonathan and Tina Kislak (Miami) Mr. Jeff Litwiller+ Mr. and Mrs. Thomas B. McGowan Mr. Thomas F. McKee Mr. and Mrs. Stanley A. Meisel The Miller Family+ Sydell Miller Lauren and Steve Spilman Stacie and Jeff Halpern Edith and Ted* Miller+ Mr. Donald W. Morrison+ Dr. Anne and Mr. Peter Neff Mr. and Mrs. James A. Saks Patricia J. Sawvel Mrs. David Seidenfeld+ Meredith and Oliver Seikel Seven Five Fund Kim Sherwin+ Mr. and Mrs. Alfred Umdasch (Europe) Tom and Shirley Waltermire+ Dr. Beverly J. Warren Mr. and Mrs. Fred A. Watkins+ Mr. and Mrs. Jeffery J. Weaver Meredith and Michael Weil Mr. and Mrs. Jeffrey M. Weiss Denise G. and Norman E. Wells, Jr. Max and Beverly Zupon Anonymous listings continue

Summers@Severance The Cleveland Orchestra

Individual Annual Support

59 93

Frank H. Ginn Society gifts of $10,000 to $14,999 Fred G. and Mary W. Behm Mr. and Mrs. Jules Belkin Mr. David Bialosky and Ms. Carolyn Christian+ Laurel Blossom Mr. D. McGregor Brandt, Jr. Mr. and Mrs. Marshall Brown J. C. and Helen Rankin Butler+ Richard J. and Joanne Clark Dr. and Mrs. Delos M. Cosgrove III Mrs. Barbara Ann Davis+ Dr. M. Meredith Dobyns Henry and Mary* Doll+ Nancy and Richard Dotson+ Mr. and Mrs. Robert P. Duvin Mary Jo Eaton (Miami) Dr. and Mrs. Lloyd H. Ellis Jr. Mr. Brian L. Ewart and Mr. William McHenry Carl Falb+ Bob and Linnet Fritz Dr. and Mrs. Adi Gazdar Albert I. and Norma C. Geller Dr. Edward S. Godleski

Linda and Lawrence D. Goodman (Miami) Patti Gordon (Miami) Harry and Joyce Graham Amy and Stephen Hoffman Thomas H. and Virginia J.* Horner Fund+ Mr. and Mrs. Brinton L. Hyde Mrs. Elizabeth R. Koch Rob and Laura Kochis Stewart and Donna Kohl Mr. James Krohngold+ Dr. Edith Lerner Dr. David and Janice Leshner Mr. Lawrence B. and Christine H. Levey+ Don H. McClung Dr. and Mrs. Tom McLaughlin Mr. John Mueller Joy P. and Thomas G. Murdough, Jr. (Miami)+ Brian and Cindy Murphy+ Mr. Raymond M. Murphy+ Mr. J. William and Dr. Suzanne Palmer Douglas and Noreen Powers Audra* and George Rose+

Paul A. and Anastacia L. Rose Steven and Ellen Ross Dr. Isobel Rutherford Mrs. Florence Brewster Rutter+ Dr. and Mrs.* Martin I. Saltzman+ David M. and Betty Schneider Carol* and Albert Schupp Mrs. Gretchen D. Smith+ The Stair Family Charitable Foundation, Inc. Lois and Tom Stauffer Mr. and Mrs. Jonathan M. Steingass Bruce and Virginia Taylor+ Mr. Joseph F. Tetlak Rick, Margarita, and Steven Tonkinson (Miami)+ Pysht Fund Robert C. Weppler Sandy and Ted Wiese Sandy Wile and Joanne Avenmarg Dr. and Mr. Ann Williams+ Anonymous (7)

Joseph Z. and Betty Fleming (Miami) Scott A. Foerster Joan Alice Ford Mr. Paul C. Forsgren Michael Frank and Patricia A. Snyder Barbara and Peter Galvin Joy E. Garapic Brenda and David Goldberg Mr. and Mrs. Randall J. Gordon+ Angela and Jeffrey Gotthardt Mr. and Mrs. James C. Gowe Mr. Paul Greig AndrĂŠ and Ginette Gremillet Mr. and Mrs. Stephen Griebling Nancy Hancock Griffith+ The Thomas J. and Judith Fay Gruber Charitable Foundation Robert N. and Nicki N. Gudbranson+ David and Robin Gunning Alfredo and Luz Gutierrez (Miami) Gary Hanson and Barbara Klante Mr. Robert D. Hart Clark Harvey and Holly Selvaggi+ Iris and Tom Harvie+ Henry R. Hatch Robin Hitchcock Hatch Dr. Robert T. Heath and Dr. Elizabeth L. Buchanan+ Janet D. Heil* Anita and William Heller+ Mr. Loren W. Hershey Dr. Fred A. Heupler

Jean M. Holden Mary and Steve Hosier Elisabeth Hugh+ David and Dianne Hunt Pamela and Scott Isquick+ Donna L. and Robert H. Jackson Mr. and Mrs. Richard A. Janus Robert and Linda Jenkins Richard and Michelle Jeschelnig Joela Jones and Richard Weiss Barbara and Michael J. Kaplan Andrew and Katherine Kartalis Milton and Donna* Katz Dr. Richard and Roberta Katzman Dr. and Mrs. Richard S. Kaufman Mr. and Mrs. Christopher Kelly Mrs. Natalie D. Kittredge Dr. Gilles* and Mrs. Malvina Klopman+ Tim and Linda Koelz+ Mr. and Mrs.* S. Lee Kohrman Cindy L. and Timothy J. Konich Mr. Clayton R. Koppes Mr. and Mrs. Peter A. Kuhn+ Mr. and Mrs. Arthur J. Lafave, Jr. David C. Lamb+ 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+ Dr. Alan and Mrs. Joni Lichtin+ Mr. Rudolf and Mrs. Eva Linnebach+

The 1929 Society gifts of $5,000 to $9,999 Dr. and Mrs. D. P. Agamanolis Susan S. Angell Mr. William App William Appert and Christopher Wallace (Miami) Robert and Dalia Baker Daniel and Trish Bell (Miami) Mr. William Berger Howard Bernick and Judy Bronfman Dr. and Mrs. Eugene H. Blackstone Suzanne and Jim Blaser Mr. and Mrs. Richard H. Bole Robert and Alyssa Lenhoff-Briggs Dr.* and Mrs. Jerald S. Brodkey Frank and Leslie Buck+ Mr. and Mrs. Timothy J. Callahan Ms. Maria Cashy+ Drs. Wuu-Shung and Amy Chuang+ Ellen E. & Victor J. Cohn+ Kathleen A. Coleman+ Diane Lynn Collier and Robert J. Gura+ Marjorie Dickard Comella The Sam J. Frankino Foundation Mr. and Mrs. Matthew V. Crawford Mr. and Mrs. Ralph Daugstrup Thomas S. and Jane R. Davis Pete and Margaret Dobbins+ Carl Dodge Mr. and Mrs. Paul Doman Mary and Oliver* Emerson Dr. D. Roy and Diane A. Ferguson William R. and Karen W. Feth+

94 60

Individual Annual Support

listings continue

The Cleveland Orchestra

A portrait of Wolfgang Amadè Mozart, painted in 1819 by Barbara Kraft, based on paintings created during the composer’s lifetime.

I cannot write in verse, for I am no poet. I cannot arrange the parts of speech with such art as to produce effects of light and shade, for I am no painter. Even by signs and gestures I cannot express my thoughts and feelings, for I am no dancer. But I can do so by means of sound, for I am a musician. —W. A. Mozart, November 1777

Anne R. and Kenneth E. Love Robert Lugibihl Mrs. Idarose S. Luntz Elsie and Byron Lutman Ms. Jennifer R. Malkin Mr. and Mrs. Morton L. Mandel Alan Markowitz M.D. and Cathy Pollard Mr. and Mrs. E. Timothy McDonel James and Virginia Meil Dr. Susan M. Merzweiler Loretta J. Mester and George J. Mailath Cluadia Metz and Thomas Woodworth+ Lynn and Mike Miller+ Drs. Terry E. and Sara S. Miller Curt and Sara Moll Ann Jones Morgan+ Randy and Christine Myeroff Lucia S. Nash* Georgia and Carlos Noble (Miami)+ Richard and Kathleen Nord Thury O’Connor Dr. and Mrs. Paul T. Omelsky Mr. and Mrs. Peter R. Osenar Mr. Henry Ott-Hansen Pannonius Foundation+ Robert S. Perry Dr. and Mrs. Gosta Pettersson Nan and Bob Pfeifer+ Mr. and Mrs. Richard W. Pogue In memory of Henry Pollak

Dr. and Mrs. John N. Posch+ Ms. Rosella Puskas Mr. and Mrs. Ben Pyne Mr. and Mrs. Thomas A. Quintrell* Mr. and Mrs. Roger F. Rankin Brian and Patricia Ratner Ms. C. A. Reagan Amy and Ken Rogat Carol Rolf and Steven Adler Dick A. Rose Dr. and Mrs. Michael Rosenberg (Miami) Dr. and Mrs. Ronald J. Ross Rosskamm Family Trust Robert and Margo Roth+ Dr. and Mrs. Robert C. Ruhl Fred Rzepka and Anne Rzepka Family Foundation Drs. Michael and Judith Samuels (Miami) Raymond T. and Katherine S. Sawyer Linda B. Schneider Dr. and Mrs. James L. Sechler Mr. Eric Sellen and Mr. Ron Seidman Drs. Daniel and Ximena Sessler+ Vivian L. Sharp Mr. James E. Simler and Ms. Amy Zhang Naomi G. and Edwin Z. Singer+ The Shari Bierman Singer Family Drs. Charles Kent Smith and Patricia Moore Smith+ Roy Smith

Mr. Eugene Smolik Dr. Marvin and Mimi Sobel*+ Mr. and Mrs. William E. Spatz+ George and Mary Stark+ Mr. and Mrs. Donald W. Strang, Jr. Stroud Family Trust Frederick and Elizabeth Stueber Holly and Peter Sullivan Dr. Elizabeth Swenson+ Mr. Taras G. Szmagala, Jr. Robert and Carol Taller+ Kathy* and Sidney Taurel (Miami)+ Ms. Emily Taylor Bill and Jacky Thornton Mr.* and Mrs. Robert N. Trombly Robert and Marti Vagi+ Robert A. Valente and Joan A. Morgensten+ Dr. Gregory Videtic and Rev. Christopher McCann Walt and Karen Walburn Mr. and Mrs. Daniel P. Walsh Gary L. Wasserman and Charles A. Kashner (Miami) Mr. and Mars. Mark Allen Weigand+ Dr. Edward L. and Mrs. Suzanne Westbrook Tom and Betsy Wheeler Richard Wiedemer, Jr.+ Bob and Kat Wollyung Anonymous (6)

Lisa and Ronald Boyko+ Ms. Barbara E. Boyle Mr. and Mrs. David Briggs Mr. and Mrs. Henry G. Brownell Mrs. Frances Buchholzer Mr. Gregory and Mrs. Susan Bulone J. C. Burkhardt Mr. and Mrs. Robert G. Busha Ms. Mary R. Bynum and Mr. J. Philip Calabrese Rev. Dr. Joan Brown Campbell and Rev. Dr. Albert Pennybacker Dr. and Mrs. William E. Cappaert John and Christine Carleton (Miami) Mrs. Millie L. Carlson+ Mr. and Mrs. John J. Carney Mr. and Mrs. Frank H. Carpenter James Carpenter 2 seats (In memory of Christina) (Miami) Dr. Victor A. Ceicys Mr. and Mrs. James B. Chaney Dr. Ronald* and Mrs. Sonia Chapnick Mr. Gregory R. Chemnitz Mr. John C. Chipka and Dr. Kathleen S. Grieser Mr. and Mrs. Homer D. W. Chisholm Dr. William and Dottie Clark Drs. John and Mary Clough Drs. Mark Cohen and Miriam Vishny Mr. and Mrs. Stanley Cohen (Miami)

Mr. and Mrs. Mark Corrado Douglas S. Cramer / Hubert S. Bush III (Miami) Mr. and Mrs. Manohar Daga+ Karen and Jim Dakin Dr. and Mrs. Thomas M. Daniel Mrs. Frederick F. Dannemiller Mr. Kamal-Neil Dass and Mrs. Teresa Larsen+ Dr. Eleanor Davidson Mrs. Lois Joan Davis Carol Dennison and Jacques Girouard Michael and Amy Diamant Dr. and Mrs. Howard Dickey-White+ Dr. and Mrs. Richard C. Distad Maureen Doerner & Geoffrey White Carolyn J. Buller and William M. Doll Mr. George and Mrs. Beth Downes+ Jack and Elaine Drage Mr. Barry Dunaway and Mr. Peter McDermott Mr. Patrick Dunster Ms. Mary Lynn Durham Mr. and Mrs. Ronald E. Dziedzicki Mr.* and Mrs. Bernard H. Eckstein Esther L. and Alfred M. Eich, Jr.+ Erich Eichhorn and Ursel Dougherty Mr. S. Stuart Eilers Peter and Kathryn Eloff+ Harry and Ann Farmer

Composer’s Circle gifts of $2,000 to $4,999 Mr. and Mrs. Charles Abookire, Jr. Ms. Nancy A. Adams Mr. Francis Amato Mr. and Mrs.* Robert J. Amsdell Mr. and Mrs. Jeffrey R. Appelbaum+ Applied Industrial Technologies Mr. and Mrs. James B. Aronoff+ Art of Beauty Company, Inc. Ms. Patricia Ashton Steven Michael Auvil and Elise Hara Auvil Mr. and Mrs. Eugene J. Beer Mr. and Mrs. Belkin Ms. Pamela D. Belknap Mr. and Mrs. James R. Bell III Dr. Ronald and Diane Bell Drs. Nathan A. and Sosamma J. Berger Mr. Roger G. Berk Barbara and Sheldon Berns Jayusia and Alan Bernstein (Miami) Margo and Tom Bertin John and Laura Bertsch Howard R. and Barbara Kaye Besser Ms. Deborah A. Blades Mitch and Liz Blair Bill* and Zeda Blau Doug and Barbara Bletcher Georgette and Dick Bohr Irving and Joan M. Bolotin (Miami) Jeff and Elaine Bomberger Mrs. Loretta Borstein*

96 62

Individual Annual Support

The Cleveland Orchestra

Dr. and Mrs. J. Peter Fegen Mr. William and Dr. Elizabeth Fesler Carol A. Frankel Richard J. Frey Mr. and Ms. Dale Freygang Peggy A. Fullmer Jeanne Gallagher Dr. Marilee Gallagher Mr. William Gaskill and Ms. Kathleen Burke Mr. Wilbert C. Geiss, Sr. Ms. Suzanne Gilliland Anne and Walter Ginn Holly and Fred Glock Dr.* and Mrs. Victor M. Goldberg Mr. and Mrs. David A. Goldfinger Dr. and Mrs. Ronald L. Gould Dr. Robert T. Graf Nancy F. Green (Miami) Donna Lane Greene Ms. Anna Z. Greenfield+ Dr. and Mrs. Franklin W. Griff Candy and Brent Grover Nancy and James Grunzweig+ Mr. Scott R. Gunselman Mr. Davin and Mrs. Jo Ann Gustafson Scott and Margi Haigh Mark E. and Paula N. Halford Dr. James O. Hall Dr. Phillip M. and Mrs. Mary Hall Douglas M. and Amy Halsey (Miami) Mr. and Mrs. David P. Handke, Jr. Elaine Harris Green + Lilli and Seth Harris Barbara L. Hawley and David S. Goodman Matthew D. Healy and Richard S. Agnes In Memory of Hazel Helgesen Jay L. and Cynthia P. Henderson Charitable Fund Mr. and Mrs. Jerry Herschman The Morton and Mathile Stone Philanthropic Fund Mr. Robert T. Hexter Dr. and Mrs. Robert L. Hinnes Mr. and Mrs. Stephen J. Holler Thomas and Mary Holmes Gail Hoover and Bob Safarz+ Dr. Keith A. and Mrs. Kathleen M. Hoover+ Ms. Sharon J. Hoppens Xavier-Nichols Foundation / Robert and Karen Hostoffer Dr. Randal N. Huff and Ms. Paulette Beech+ Ms. Laura Hunsicker Gretchen Hyland and Edward Stephens Jr. Ruth F. Ihde Dr. and Mrs. Scott R. Inkley Bruce and Nancy Jackson William W. Jacobs Mr. and Mrs. Bruce D. Jarosz Jaime and Joseph Jozic Dr. and Mrs. Donald W. Junglas David and Gloria Kahan Mr. Jack E. Kapalka Mr. Donald J. Katt and Mrs. Maribeth Filipic-Katt Ms. Deborah Kaye The Kendis Family Trust: Hilary & Robert Kendis and Susan and James Kendis Bruce and Eleanor Kendrick

Summers@Severance The Cleveland Orchestra

Howard and Mara Kinstlinger Dr. and Mrs. William S. Kiser James and Gay* Kitson+ Fred* and Judith Klotzman Cynthia Knight (Miami) Drs. Raymond and Katharine Kolcaba+ Marion Konstantynovich Mrs. Ursula Korneitchouk Jacqueline and Irwin* Kott (Miami) Dr. Ronald H. Krasney and Vicki Kennedy+ Mr. Donald N. Krosin Stephen A. Kushnick, Ph.D. Lakewood Supply Co. Alfred and Carol Lambo Mr. and Mrs. John J. Lane, Jr.+ Mrs. Sandra S. Laurenson Mr. and Mrs. Michael Lavelle Dr. and Mrs. Arthur Lavin Charles and Josephine Robson Leamy * Michael Lederman and Sharmon Sollitto Ronald and Barbara Leirvik Ivonete Leite (Miami) Mr. and Dr. Ernest C. Lemmerman+ Michael and Lois Lemr Irvin and Elin Leonard+ Mr. Alan R. Lepene Robert G. Levy+ Matthew and Stacey Litzler Drs. Todd and Susan Locke Mary Lohman Ms. Mary Beth Loud Damond and Lori Mace Ms. Linda Macklin Mr. and Mrs.* Robert P. Madison Robert M. Maloney and Laura Goyanes David Mann and Bernadette Pudis Janet A. Mann Herbert L. and Ronda Marcus Martin and Lois Marcus Mr. and Mrs. Raul Marmol (Miami) Dr. and Mrs. Sanford E. Marovitz+ Ms. Dorene Marsh Dr. Ernest and Mrs. Marian Marsolais Mr. Fredrick W. Martin+ Ms. Amanda Martinsek Dr. and Mrs. William A. Mast Mr. Julien L. McCall Ms. Charlotte V. McCoy William C. McCoy Mr. and Mrs. Christopher J. McKenna Ms. Nancy L. Meacham Mr. and Mrs. James E. Menger Ruth and John Mercer Mr. Glenn A. Metzdorf Mr. and Mrs. Trent Meyerhoefer Ms. Betteann Meyerson+ Beth M. Mikes Osborne Mills, Jr. and Loren E. Bendall David and Leslee Miraldi Ioana Missits Abby and Jake Mitchell Mr. and Mrs.* William A. Mitchell+ Mr. and Mrs. Thomas W. Morris Mr. Ronald Morrow III Eudice M. Morse Bert and Marjorie Moyar+ Susan B. Murphy Steven and Kimberly Myers+

Individual Annual Support

Ms. Megan Nakashima Joan Katz Napoli and August Napoli Richard B. and Jane E. Nash Deborah L. Neale Robert D. and Janet E. Neary Steve Norris and Emily Gonzales Marshall I. Nurenberg and Joanne Klein Robert and Gail O’Brien Richard and Jolene O’Callaghan+ Mr. and Mrs. John Olejko Harvey and Robin Oppmann Mr. Robert Paddock Ms. Ann Page Mr. John D. Papp George Parras+ Dr. Lewis E. and Janice B. Patterson David Pavlich and Cherie Arnold Matt and Shari Peart Henry Peyrebrune and Tracy Rowell Mr. Charles and Mrs. Mary Pfeiffer Dr. Roland S. Philip and Dr. Linda M. Sandhaus+ Dale and Susan Phillip Ms. Irene Pietrantozzi Maribel A. Piza (Miami)+ Dr. Marc A. and Mrs. Carol Pohl Brad Pohlman and Julie Callsen Peter Politzer Mr. Robert and Mrs. Susan Price Sylvia Profenna Mr. Lute and Mrs. Lynn Quintrell Drs. Raymond R. Rackley and Carmen M. Fonseca+ Mr. Cal Ratcliff Dr. Robert W. Reynolds Ms. Janet Rice David and Gloria Richards Ms. Carole Ann Rieck Mrs. Charles Ritchie Joan and Rick Rivitz Mr. D. Keith and Mrs. Margaret Robinson Mr. Timothy D. Robson+ Ms. Linda M. Rocchi Mr. Kevin Russell (Miami) Mrs. Elisa J. Russo+ Lawrence H. Rustin and Barbara C. Levin (Miami) Dr. Harry S. and Rita K. Rzepka+ Peter and Aliki Rzepka Dr. Vernon E. Sackman and Ms. Marguerite Patton+ Michael Salkind and Carol Gill Fr. Robert J. Sanson Ms. Patricia E. Say+ Mr. Paul H. Scarbrough+ Robert Scarr and Margaret Widmar Mr. Matthew Schenz Bob Scheuer Don Schmitt and Jim Harmon Ms. Beverly J. Schneider Karen Schneider Mr. James Schutte+ Mrs. Cheryl Schweickart Mr. and Mrs. Alexander C. Scovil Dr. John Sedor and Ms. Geralyn Presti Ms. Kathryn Seider Lee and Jane Seidman listings continue

63 97

Charles Seitz (Miami) Rafick-Pierre Sekaly Kenneth Shafer Ginger and Larry Shane Harry and Ilene Shapiro Ms. Frances L. Sharp Larry Oscar and Jeanne Shatten+ Dr. and Mrs. William C. Sheldon+ Terrence and Judith Sheridan Mr. Richard Shirey+ Mr. and Mrs. Reginald Shiverick+ Michael Dylan Short Mrs. Dorothy Shrier Mr. Robert Sieck Laura and Alvin A. Siegal Mr. and Mrs. Bob Sill Howard and Beth Simon Ms. Ellen J. Skinner Robert and Barbara Slanina Ms. Anna D. Smith Bruce L. Smith David Kane Smith Ms. Janice A. Smith Sandra and Richey Smith+ Mr. and Mrs.* Jeffrey H. Smythe Ms. Barbara Snyder Dr. Nancy Sobecks Lucy and Dan Sondles John D. Specht Mr. Michael Sprinker Diane Stack and James Reeves* Mr. Marc Stadiem Ms. Sharon Stahler Dr.* and Mrs. Frank J. Staub Mr. Alan L. Steffen Edward R. & Jean Geiss Stell Foundation Mr. Eduardo Stern (Miami) Michael and Wendy Summers Ken and Martha Taylor Mr. and Mrs. Philip L. Taylor Mr. Karl and Mrs. Carol Theil+ Mr. Robert Thompson Mrs. Jean M. Thorrat Dr. and Mrs. Thomas A. Timko Mr. and Mrs. Jonathan Tisch (Miami) Erik Trimble Drs. Anna* and Gilbert True Dr. Margaret Tsai Steve and Christa Turnbull+ Dr. and Mrs. Wulf H. Utian Mrs. H. Lansing Vail, Jr. Bobbi and Peter van Dijk Mrs. Stasia M. Vavruska Brenton Ver Ploeg (Miami) Teresa Galang-Viñas and Joaquin Vinas (Miami) Mr. and Mrs. Les C. Vinney George and Barbara von Mehren Mr. and Mrs. Reid Wagstaff Mr. Norman Wain Mrs. Carolyn Warner Ms. Laure A. Wasserbauer+ Margaret and Eric* Wayne+ Alice & Leslie T. Webster, Jr. Mr. Peter and Mrs. Laurie Weinberger Michael and Danielle Weiner

98 64

Judge Lesley Wells Dr. Paul R. and Catherine Williams Ms. Claire Wills Richard and Mary Lynn Wills Katie and Donald Woodcock Tanya and Robert Woolfrey Elizabeth B. Wright+ William Ronald and Lois YaDeau Rad and Patty Yates Jeffrey A. Zehngut Ken and Paula Zeisler Dr. William Zelei Mr. Kal Zucker and Dr. Mary Frances Haerr Anonymous (3)+ Anonymous (12)

+ has signed a multiyear

pledge (see information box earlier in this section)

* deceased

Thank You THE


The Cleveland Orchestra is sustained through the support of thousands of generous patrons, including the Leadership donors listed on these pages. Listings of all annual donors of $300 and more each year are published annually, and can be viewed online at clevelandorchestra .com For information about how you can play a supporting role for The Cleveland Orchestra’s ongoing artistic excellence, education programs, and community partnerships, please contact our Philanthropy & Advancement Office by email: or phone: 216-231-7545

Individual Annual Support

The Cleveland Orchestra



“We can’t think of a better way to use our resources than to support an organization that brings us such great pleasure.” Tony and Pat Lauria believe in doing their part to cultivate and celebrate the extraordinary things in life — including wine, food, and music. For today and for future generations.

Great music has always been important to Tony and Pat Lauria. They’ve been avid subscribers and donors to The Cleveland Orchestra for many years, and it has become such a major part of their lives that they plan international travel around the Orchestra’s schedule in order to enjoy more concerts at home and on tour. “It gives us great pleasure to be a part of The Cleveland Orchestra,” Pat says. In addition to regularly attending concerts and giving to the annual fund, Tony and Pat have established several Charitable Gift Annuities through the Orchestra, which now pay them a fixed stream of income in return for their gifts. To anyone who is considering establishing a Charitable Gift Annuity, Tony says, “It’s a great investment — for yourself and the Orchestra!” To receive a confidential, personalized gift annuity illustration and to join the Laurias in their support of The Cleveland Orchestra’s future, contact Dave Stokley, Legacy Giving Officer, at 216-231-8006 or email Blossom Festival 2018



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

Annual Support gifts in the past year, as of June 1, 2018 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 NACCO Industries, Inc. KeyBank The J. M. Smucker Company PARTNERS IN EXCELLENCE $200,000 TO $299,999

BakerHostetler Jones Day Medical Mutual PNC Bank Raiffeisenlandesbank Oberösterreich (Europe) PARTNERS IN EXCELLENCE $100,000 TO $199,999

American Greetings Corporation Eaton Nordson Corporation Foundation Squire Patton Boggs (US) LLP Thompson Hine LLP

88 66

$50,000 TO $99,999

DLR Group | Westlake Reed Leskosky Dollar Bank Foundation Forest City Litigation Management, Inc. Parker Hannifin Foundation Quality Electrodynamics (QED) Anonymous $15,000 TO $49,999

Buyers Products Company Calfee, Halter & Griswold LLP Case Western Reserve University Cuyahoga Community College Foundation Ernst & Young LLP Frantz Ward LLP The Giant Eagle Foundation Great Lakes Brewing Company Hahn Loeser & Parks LLP The Lubrizol Corporation Materion Corporation MTD Products, Inc. North Coast Container Corp. Ohio Savings Bank, A Division of New York Community Bank Olympic Steel, Inc. RPM International Inc. The Sherwin-Williams Company Tucker Ellis LLP United Airlines

Corporate Annual Support

$2,500 TO $14,999 Akron Tool & Die Company American Fireworks, Inc. BDI BestLight LED Brothers Printing Co., Inc. The Cedarwood Companies Cleveland Clinic Cleveland Steel Container Corporation The Cleveland Wire Cloth & Mfg. Co. Cohen & Company, CPAs Community Counselling Services Consolidated Solutions Deloitte & Touche LLP Dominion Energy Charitable Foundation Evarts Tremaine The Ewart-Ohlson Machine Company Arthur J. Gallagher & Co. Glenmede Trust Company Gross Builders Huntington National Bank Johnson Investment Counsel The Lincoln Electric Foundation Littler Mendelson, P.C. Live Publishing Company Macy’s Miba AG (Europe) Northern Haserot Northern Ohio Italian American Foundation Oatey Ohio CAT Oswald Companies PolyOne Corporation Price Waterhouse Coopers LLP RSM US, LLP Southern Wine and Spirits (Miami) Stern Advertising Struktol Company of America University Hospitals Ver Ploeg & Lumpkin (Miami) Anonymous (2)

The Cleveland Orchestra


Foundation/Government Support The Cleveland Orchestra is grateful for the annual support of the foundations and government agencies listed on this page. The generous funding from these institutions (through gifts of $2,500 and more) is a testament of support for the Orchestra’s music-making, education initiatives, and community presentations.

Annual Support gifts in the past year, as of June 1, 2018 $1 MILLION AND MORE

The Cleveland Foundation Cuyahoga County residents through Cuyahoga Arts and Culture $500,000 TO $999,999

The George Gund Foundation Ohio Arts Council $250,000 TO $499,999

The Louise H. and David S. Ingalls Foundation Kulas Foundation John P. Murphy Foundation $100,000 TO $249,999

Paul M. Angell Family Foundation Elizabeth Ring Mather and William Gwinn Mather Fund David and Inez Myers Foundation The Kelvin and Eleanor Smith Foundation $50,000 TO $99,999

The George W. Codrington Charitable Foundation GAR Foundation The Gerhard Foundation, Inc. Ann and Gordon Getty Foundation Martha Holden Jennings Foundation Myra Tuteur Kahn Memorial Fund of The Cleveland Foundation Miami-Dade County Department of Cultural Affairs (Miami) The Frederick and Julia Nonneman Foundation The Nord Family Foundation The Payne Fund

Summers@Severance The Cleveland Orchestra

$15,000 TO $49,999

The Abington Foundation The Batchelor Foundation, Inc. (Miami) Mary E. & F. Joseph Callahan Foundation The Helen C. Cole Charitable Trust The Mary S. and David C. Corbin Foundation Mary and Dr. George L. Demetros Charitable Trust The Char and Chuck Fowler Family Foundation The Helen Wade Greene Charitable Trust National Endowment for the Arts The Reinberger Foundation Sandor Foundation Albert G. & Olive H. Schlink Foundation Jean C. Schroeder Foundation The Sisler McFawn Foundation Dr. Kenneth F. Swanson Fund for the Arts of Akron Community Foundation The Veale Foundation The Edward and Ruth Wilkof Foundation

$2,500 TO $14,999 The Ruth and Elmer Babin Foundation Dr. NE & JZ Berman Foundation The Bernheimer Family Fund of the Cleveland Foundation The Bruening Foundation Cleveland State University Foundation The Cowles Charitable Trust (Miami) Elisha-Bolton Foundation The Harry K. Fox and Emma R. Fox Charitable Foundation The Jean, Harry and Brenda Fuchs Family Foundation, in memory of Harry Fuchs The Hankins Foundation The Muna & Basem Hishmeh Foundation Richard H. Holzer Memorial Foundation The Laub Foundation Victor C. Laughlin, M.D. Memorial Foundation Trust The Lehner Family Foundation The G. R. Lincoln Family Foundation The Jack, Joseph and Morton Mandel Foundation The M. G. O’Neil Foundation Paintstone Foundation Peg’s Foundation Charles E. & Mabel M. Ritchie Memorial Foundation The Leighton A. Rosenthal Family Foundation Miami-Dade County Public Schools (Miami) SCH Foundation Harold C. Schott Foundation Kenneth W. Scott Foundation Lloyd L. and Louise K. Smith Memorial Foundation The South Waite Foundation The O’Neill Brothers Foundation The George Garretson Wade Charitable Trust The S. K. Wellman Foundation The Welty Family Foundation Thomas H. White Foundation, a KeyBank Trust The Wuliger Foundation Anonymous (2)

Foundation/Government Annual Support

67 89

11001 Euclid Avenue, Cleveland, Ohio 44106 SEVERANCEHALL.COM

LATE SEATING As a courtesy to the audience members and musicians in the hall, late-arriving patrons are asked to wait quietly until the first convenient break in the program, when ushers will help you to your seats. These seating breaks are at the discretion of the House Manager in consultation with the performing artists. PAGERS, CELL PHONES, AND WRISTWATCH ALARMS Please silence any alarms or ringers on pagers, mobile phones, or wristwatches prior to the start of the concert.

of the world’s most beautiful concert halls, Severance Hall has been home to The Cleveland Orchestra since its opening on February 5, 1931. After that first concert, a Cleveland newspaper editorial stated: “We believe that Mr. Severance intended to build a temple to music, and not a temple to wealth; and we believe it is his intention that all music lovers should be welcome there.” John Long Severance (president of the Musical Arts Association, 1921-1936) and his wife, Elisabeth, donated the funds necessary to erect this magnificent building. Designed by Walker & Weeks, its 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. An extensive renovation, restoration, and expansion of the facility was completed in January 2000.



Severance Hall

PHOTOGRAPHY, VIDEOGRAPHY, AND RECORDING Audio recording, photography, and videography are prohibited during performances at Severance Hall. Photographs of the hall and selfies to share with others can be taken when the performance is not in progress. As courtesy to others, please turn off any phone of device that makes noise or emits light. IN THE EVENT OF AN EMERGENCY Contact an usher or a member of house staff if you require medical assistance. Emergency exits are clearly marked throughout the building. Ushers and house staff will provide instructions in the event of an emergency. AGE RESTRICTIONS Regardless of age, each person must have a ticket and be able to sit quietly in a seat throughout the performance. Cleveland Orchestra subscription concerts are not recommended for children under the age of 8. However, there are several age-appropriate series designed specifically for children and youth, including: Musical Rainbows, (recommended for children 3 to 6 years old) and Family Concerts (for ages 7 and older). THE CLEVELAND ORCHESTRA STORE A wide variety of items relating to The Cleveland Orchestra — including logo apparel, compact disc recordings, and gifts — are available for purchase at the Cleveland Orchestra Store before and after concerts and at intermission. The Store is also open Tuesday thru Friday from 11 a.m. to 6 p.m. Call 216-231-7478 for more information, or visit


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Your legacy helps create a healthier community. At University Hospitals, science and compassion converge to create new ways to cure and better ways to care. With your support, we’ll continue to make amazing strides toward improving the health and well-being of our community. Join the many who are leaving their legacy – advancing the science of health and the art of compassion for generations to come.

To learn more, contact our Gift Planning Team: | 216-983-2200

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

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