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WEEK 7 WEEK 8 9 About the Orchestra Arts Association . . . . . . . . . . . . . . . . . . . . . . 9 About the Orchestra 9 Musical Music Director. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Musical Artsand Association . . . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .17 9 Conductors Musicians Music Director. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Guest Information . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 The Cleveland 18 Severance Hall.Orchestra . . . . . . . . . . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 91 Guest Information . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . 92 Severance Hall. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 About The Cleveland Orchestra . . . . . . . . . . . . . . 92



In the News

Copyright © 2012 by The Cleveland Orchestra and the Musical Arts Association

Perspectives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Orchestra News . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 In Focus: A Look Back . . . . . . . . . . . . . . . . . . . . . . . 93

Eric Sellen, Program Book Editor E-MAIL:

Concert — Week 8 Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Introducing the Program: Classical & Romantic Brahms . . . . . . . . . . . . . . 36 BRAHMS

Violin Concerto . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 SAARIAHO

Program books for Cleveland Orchestra concerts are produced by The Cleveland Orchestra and are distributed free to attending audience members. Program book advertising is sold through Live Publishing Company at (216) 721-1800 The Musical Arts Association is grateful to the following organizations for their ongoing generous support of The Cleveland Orchestra: National Endowment for the Arts, the State of Ohio and Ohio Arts Council, and to the residents of Cuyahoga County through Cuyahoga Arts and Culture.

Orion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 SMETANA

Má Vlast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 Conductor: Franz Welser-Möst . . . . . . . . . . . . . . . . 13 Soloist: Julian Rachlin . . . . . . . . . . . . . . . . . . . . . . . 53


Future Concerts Concert Calendar . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 Upcoming Concerts . . . . . . . . . . . . . . . . . . . . . . . . 94


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

Support Endowment Funds . . . . . . . . . . . . . . . . . . . . . . . . . . Education and Community . . . . . . . . . . . . . . . . . . Corporate Honor Roll . . . . . . . . . . . . . . . . . . . . . . . . Foundation / Government Honor Roll . . . . . . . . Patron Listings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .


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.

66 69 77 79 80

This program book is printed on paper that includes 10% recycled post-consumer content. All unused books are recycled as part of the Orchestra’s regular business recycling program.

Table of Contents

The Cleveland Orchestra

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The Cleveland Orchestra in helping to build audiences for the future through an annual series of Baker Hostetler Guest Artists




T H E M U SI C AL AR TS AS SOCIATION operating The Cleveland Orchestra, Severance Hall, and Blossom Festival OFFICERS AND EXECUTIVE COMMITTEE Dennis W. LaBarre, President Richard J. Bogomolny, Chairman The Honorable John D. Ong, Vice President

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

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

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

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

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

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

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

NON-RESIDENT TRUS TEES Virginia Nord Barbato (NY) Wolfgang C. Berndt (Austria) Laurel Blossom (SC)

Richard C. Gridley (SC) George Gund III (CA) Loren W. Hershey (DC)

Mrs. Gilbert W. Humphrey (FL) Herbert Kloiber (Germany) Ludwig Scharinger (Austria)

TRUS TEES EX-OFFICIO Iris Harvie, President, Volunteer Council of The Cleveland Orchestra Beth Schreibman Gehring, President, Women’s Committee of The Cleveland Orchestra Ruth Ann Krutz, State Chair, Blossom Women’s Committee TRUS TEES EMERITI Clifford J. Isroff Samuel H. Miller David L. Simon PA S T P R E S I D E N T 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 Dr. Lester Lefton, President, Kent State University Barbara R. Snyder, President, Case Western Reserve University

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

THE CLEVELAND ORCHESTRA Franz Welser-Möst, Music Director

Severance Hall 2011-12

Gary Hanson, Executive Director

Musical Arts Association




The Cleveland Orchestra’s catalog of recordings continues to grow. The newest DVD features Bruckner’s Eighth Symphony recorded live at Severance Hall under the direction of Music Director Franz Welser-Möst in 2010 and released in May 2011. And, just released, Dvořák’s opera Rusalka on CD, recorded live at the Salzburg Festival. Writing of the Rusalka performances, the reviewer for London’s Sunday Times praised the performance as “the most spellbinding account of Dvořák’s miraculous score I have ever heard, either in the theatre or on record. . . . I doubt this music can be better played than by the Clevelanders, the most ‘European’ of the American orchestras, with wind and brass soloists to die for and a string sound of superlative warmth and sensitivity.” Other recordings released in the past year include two under the baton of Pierre Boulez and a second album of Mozart piano concertos with Mitsuko Uchida, whose first Cleveland Orchestra Mozart album won a Grammy Award this past year. Visit the Cleveland Orchestra Store for the latest and best Cleveland Orchestra recordings and DVDs. New!

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

marks Franz Welser-Möst’s tenth year as Music Director of The Cleveland Orchestra, with a long-term commitment extending to the Orchestra’s centennial in 2018. Under his direction, the Orchestra is acclaimed for its continuing artistic excellence, is enlarging and enhancing its community programming at home, is presented in a series of ongoing residencies in the United States and Europe, continues its historic championship of new composers through commissions and premieres, and has re-established itself as an important operatic ensemble. Concurrently with his post in Cleveland, Mr. Welser-Möst became General Music Director of the Vienna State Opera in September 2010. With a committed focus on music education in Northeast Ohio, Franz Welser-Möst has taken The Cleveland Orchestra back into public schools with performances in collaboration with the Cleveland Metropolitan School District. The initiative continues and expands upon Mr. Welser-Möst’s active participation in community concerts and educational programs, including the Cleveland Orchestra Youth Orchestra and partnerships with music conservatories and universities across Northeast Ohio. Under Mr. Welser-Möst’s leadership, The Cleveland Orchestra has established an ongoing biennial residency in Vienna at the famed Musikverein concert hall and at the Lucerne Festival in Switzerland. Together, they have appeared in residence at Suntory Hall in Tokyo, Japan, and at the Salzburg Festival, where a 2008 residency included five sold-out performances of a staged production of Dvořák’s opera Rusalka. In the United States, Mr. Welser-Möst has established an annual multi-week Cleveland Orchestra Miami Residency in Florida and launched a new biennial residency at New York’s Lincoln Center Festival in 2011. Under Franz Welser-Möst’s direction, The Cleveland Orchestra has performed thirteen world and fifteen United States premieres. Through the Roche Commissions project, he and the Orchestra have premiered works by Harrison Birtwistle, Chen Yi, Hanspeter Kyburz, George Benjamin, and Toshio Hosokawa in partnership with the Lucerne Festival and Carnegie Hall. In addition, the Daniel R. Lewis Young Composer Fellow program has brought new voices to the repertoire, including Marc-André Dalbavie, Matthias Pintscher, Susan Botti, Julian Anderson, Johannes Maria Staud, Jörg Widmann, and Sean Shepherd. Franz Welser-Möst has led opera performances each season during his P H OTO BY D O N S N Y D E R

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

Severance Hall 2011-12

Music Director



tenure in Cleveland, re-establishing the Orchestra as an important operatic ensemble. Following six opera-in-concert presentations, he brought fully staged opera back to Severance Hall with a three-season cycle of Zurich Opera productions of the Mozart-Da Ponte operas. He leads concert performances of Strauss’s Salome at Severance Hall and at Carnegie Hall during the 2011-12 season. Franz Welser-Möst became General Music Director of the Vienna State Opera with the 2010-11 season. His long partnership with the company has included acclaimed performances of Tristan and Isolde, a new production of Wagner’s Ring cycle with stage director Sven-Eric Bechtolf, and, in his first season in the post, critically praised new productions of Hindemith’s Cardillac and Janáček’s Katya Kabanova. During the 2011-12 season, he continues his survey of the operas of Janáček with a new production of From the House of the Dead and also leads a new production of Verdi’s Don Carlo. Mr. Welser-Möst also maintains an ongoing relationship with the Vienna Philharmonic. Recent performances with the Philharmonic include appearances at the Lucerne Festival and Salzburg Festival, in Tokyo, and in concert at La Scala Milan, as well as leading the Philharmonic’s 2011 New Year’s Day concert, viewed by telecast in seventy countries worldwide. Across a decade-long tenure with the Zurich Opera, culminating in three seasons as General Music Director (2005-08), Mr. Welser-Möst led the company in more than 40 new productions and numerous revivals. Franz Welser-Möst’s recordings and videos have won major awards, including the Gramophone Award, Diapason d’Or, Japanese Record Academy Award, and two Grammy nominations. With The Cleveland Orchestra, he has created DVD recordings of live performances of four Bruckner symphonies, presented in three accoustically distinctive venues: Symphony No. 5 in the Abbey of St. Florian in Austria, Symphony No. 9 in Vienna’s Musikverein, and Symphonies Nos. 7 and 8 at Severance Hall. With Cleveland, he has also released a recording of Beethoven’s Ninth Symphony as well as an all-Wagner album featuring soprano Measha Brueggergosman. DVD releases on the EMI label have included Mr. Welser-Möst leading Zurich Opera productions of The Marriage of Figaro, Così fan tutte, Don Giovanni, Der Rosenkavalier, La Bohème, Fierrabras, and Peter Grimes. For his talents and dedication, Mr. Welser-Möst has received honors that include recognition from the Western Law Center for Disability Rights, honorary membership in the Vienna Singverein, appointment as an Academician of the European Academy of Yuste, a Gold Medal from the Upper Austrian government for his work as a cultural ambassador, and the Kilenyi Medal from the Bruckner Society of America. He is the co-author of Cadences: Observations and Conversations, published in a German edition in 2007.


Music Director

The Cleveland Orchestra

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contact Tom Anderson at 877-478-2495.






Franz Welser-Möst MUSIC DIREC TOR Kelvin Smith Family Chair

Christoph von Dohnányi MUSIC DIRECTOR LAUREATE


James Feddeck ASSISTANT CONDUCTOR Elizabeth Ring and William Gwinn Mather Chair


Sasha Mäkilä ASSISTANT CONDUCTOR Sidney and Doris Dworkin Chair

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






It’s time to start building towards an economic crescendo.

Like a world-class orchestra, business in Cleveland works best when it’s well conducted. And with its convenient proximity to downtown, Burke Lakefront Airport is a vital destination for the corporations, executives, and health care systems that are growing their business here. Which should be music to all of our ears.



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


Blossom-Lee Chair

Yoko Moore


Clara G. and George P. Bickford Chair

Peter Otto


Jung-Min Amy Lee


Gretchen D. and Ward Smith Chair

Lev Polyakin


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

Takako Masame Paul and Lucille Jones Chair

Wei-Fang Gu Drs. Paul M. and Renate H. Duchesneau Chair

Kim Gomez Elizabeth and Leslie Kondorossy Chair

Chul-In Park Harriet T. and David L. Simon Chair

Miho Hashizume Theodore Rautenberg Chair

Jeanne Preucil Rose Dr. Larry J.B. and Barbara S. Robinson Chair

Alicia Koelz Oswald and Phyllis Lerner Gilroy Chair

Yu Yuan Patty and John Collinson Chair

Isabel Trautwein Trevor and Jennie Jones Chair

Mark Dumm Gladys B. Goetz Chair

Alexandra Preucil Katherine Bormann Ying Fu

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

Emilio Llinas


James and Donna Reid Chair

Eli Matthews


Patricia M. Kozerefski and Richard J. Bogomolny Chair

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

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

Stanley Konopka 2 Mark Jackobs Jean Wall Bennett Chair

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

CELLOS Mark Kosower* Louis D. Beaumont Chair

Richard Weiss 1 The GAR Foundation Chair

Charles Bernard 2 Helen Weil Ross Chair

Bryan Dumm Muriel and Noah Butkin Chair

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

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

Mark Atherton Thomas Sperl Henry Peyrebrune Charles Barr Memorial Chair

Charles Carleton Scott Dixon HARP Trina Struble * Alice Chalifoux Chair

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

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

Mary Kay Fink


The Orchestra

The Cleveland Orchestra



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

HORNS Richard King *

TIMPANI Paul Yancich *

George Szell Memorial Chair

Michael Mayhew §

Otto G. and Corinne T. Voss Chair

Tom Freer 2

Knight Foundation Chair

OBOES Frank Rosenwein * Edith S. Taplin Chair

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

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

CLARINETS Franklin Cohen * Robert Marcellus Chair

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

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

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

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

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

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

Richard Stout

BASSOONS John Clouser *

Shachar Israel 2

Louise Harkness Ingalls Chair Sandra L. Haslinger Chair

Jonathan Sherwin CONTRABASSOON Jonathan Sherwin

Margaret Allen Ireland Chair

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

Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair

Michael Miller


Barrick Stees 2

PERCUSSION Jacob Nissly *

Alexander and Marianna C. McAfee Chair

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


Rebecca Vineyard MANAGER


Sunshine Chair

* Principal § 1 2

Associate Principal First Assistant Principal Assistant Principal

Nathalie C. Spence and Nathalie S. Boswell Chair

Severance Hall 2011-12

The Orchestra



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Perspectivesfrom the Executive Director Happy New Year and welcome to the opening weeks in our winter season of concerts here at Severance Hall. Late last year, at the Annual Meeting of the Musical Arts Association, Board President Dennis LaBarre and I reported on The Cleveland Orchestra’s 2010/11 activities and finances. Dennis captured the glories of the season in his remarks, including: “This year has demonstrated the extraordinary global artistic preeminence of our Orchestra. From New York’s Lincoln Center Festival to Tokyo’s Suntory Hall and the Musikverein in Vienna, the Orchestra has received critical and public praise. I’ve had the pleasure and privilege to hear patrons everywhere expressing their astonishment at The Cleveland Orchestra sound. “The Orchestra carries the name of Cleveland and raises Cleveland’s stature around the world with its excellence. Our greatest passion remains our steadfast commitment to preserving the Orchestra’s place as an essential community asset here in Northeast Ohio.“ The Cleveland Orchestra’s artistic success in 2011 stands in stark contrast to the bad news that reached us from orchestras in other cities around the country last year. In my remarks at the Annual Meeting, I acknowledged the situation and its impact on finances. “Why do orchestras from Philadelphia to Honolulu find themselves on varying degrees of life support? Because changes in American society have eroded the value proposition of orchestras’ traditional business model. And for us in Cleveland, the regional economy increases the challenge. “But we in Cleveland have done more than any other orchestra in the country toward overcoming the external pressures. We’re fighting back with orchestral excellence that has no equal. We’re fighting back with successful innovation and a greater commitment to education and the community. And we are fighting back with increased financial rigor and ongoing, prudent cost control.” If you are an Annual Fund donor of $2500 or more, you will receive a copy of the Annual Report in the mail. Others can access the Report on our website beginning January 12. I hope you will take a moment to review the state of the institution we all care so deeply about. You will see in the Annual Report that our year-end Endowment value was $130 million. As Dennis noted at the meeting, for us to be financially healthy today would require a $300 million endowment. Without it, we have an unsustainable structural deficit that threatens the Orchestra’s survival. Building The Cleveland Orchestra’s endowment to that level will require nothing less than extraordinary philanthropy. We are in the quiet phase of a major endowment campaign and we are committed to being worthy of your generosity. Thank you for your patronage.

Severance Hall 2011-12

Gary Hanson





     Doors open at 11:30 a.m.

All artists and performances are subject to change.



Cleveland Orchestra Youth Chorus Frank Bianchi, director 12:15-1:00 pm

The Youth Chorus will perform music from a variety of musical traditions, including French, African-American, Haitian, and Spanish, as well as a preview of their March 11 performance of Poulencâ&#x20AC;&#x2122;s Gloria. The Youth Chorus is supported by the Edward and Ruth Wilkof Foundation.

1:15-1:45 pm

African Soul International

2:00-2:30 pm

The Oberlin Ebony Connection

2:45-3:15 pm



3:30-4:00 pm

Sista Jewel Jackson, artistic director

Dianna White-Gould (piano), Norris Kelly (tenor), Lisa Whitfield (viola)

Roots of American Music: â&#x20AC;&#x153;Freedom Callingâ&#x20AC;? El Sistema@Rainy Symphony with Cleveland Orchestra Musicians and Friends Raphael Jimenez, conductor

Cleveland Orchestra Youth Orchestra James Feddeck, conductor 4:15-5:15 pm

The Youth Orchestra will perform works by Elgar and William Grant Still, as well as a movement from DvoĹ?ĂĄkâ&#x20AC;&#x2122;s Cello Concerto with Youth Orchestra member Hannah Moses as soloist. The Youth Orchestra is supported by a generous grant from the Martha Holden Jennings Foundation and Surdna Foundation, and by many other donors. Endowment support is provided by The George Gund Foundation, Jules and Ruth Vinney, and Christine Gitlin Miles.

ONGOING ACTIVITIES â&#x20AC;&#x153;I Have a Dreamâ&#x20AC;? Wall and â&#x20AC;&#x153;Picture Yourself at Severance Hallâ&#x20AC;? Smith Lobby on Ground Floor between concert hall performances and throughout the day:

â&#x20AC;&#x153;Terry Macklin Sounds of Entertainmentâ&#x20AC;? DJ and Line Dancing Bogomolny-Kozerefski Grand Foyer The Cleveland Orchestra Store is open from 11:30 a.m. to 6:00 p.m. Light refreshments are available for purchase in the Smith Lobby. Community Open House Sponsor:

With additional support from The Call & Post, Macyâ&#x20AC;&#x2122;s and:

the exclusive health insurer of The Cleveland Orchestra


Cleveland Orchestra News

The Cleveland Orchestra

OrchestraNews Martin Luther King Jr. Day Community Open House at Severance Hall features free performances and activities

Severance Hall is committed to making performances and facilities accessible to all patrons. For information about accessibility or for assistance, call the House Manager at (216) 231-7425.

Severance Hall 2011-12


Silence is golden As a courtesy to the performers on-stage and the audience around you, all patrons are reminded to turn off cell phones and to disengage electronic watch alarms prior to each concert.

Cleveland Orchestra News



Committed to Accessibility

The Cleveland Orchestra is holding a food drive January 14-16 to collect goods to be donated to the Cleveland Foodbank. The event is part of Orchestras Feeding America, a national food drive held by America’s symphony orchestras. Last season, over 250 orchestras representing all 50 states collected more than 300,000 pounds of food for their communities. The project was the single largest orchestra project organized at a national level, uniting musicians, staff, volunteers, and audiences to help alleviate hunger. Unexpired food donations will be collected surrounding performances during the Martin Luther King weekend, Saturday through Monday, January 14-16, at Severance Hall. Food items will be collected at Cleveland Orchestra concerts on Saturday and Sunday evenings, and throughout the Martin Luther King Jr. Community Open House on Monday afternoon, January 16. Marked bins will be available in the lobby to collect donations before each concert and throughout the open house (12 noon to 5 p.m.). For this food drive, the most wanted items include: beef stew, canned soups, canned vegetables, cereal, peanut butter, and tuna fish. All items must be unopened and non-perishible in a box, can, or plastic container. Glass jars or bottles and homemade items cannot be accepted.


Severance Hall holds its twelfth annual Martin Luther King Jr. Day Community Open House on Monday, January 16, from 12 noon to 5 p.m. The day of free activities and performances celebrates the legacy of Dr. King and features performances by a variety of Northeast Ohio community performing arts groups, including the Cleveland Orchestra Youth Orchestra and the Cleveland Orchestra Youth Chorus, as well as African Soul International, Oberlin Ebony Connection, El Sistema@ Rainey Symphony, and Roots of American Music. (A complete schedule can be found at or on the page opposite.) The 2012 Community Open House is sponsored by Medical Mutual of Ohio, with additional support from Macy’s, Cuyahoga Arts & Culture, and the Ohio Arts Council. Family activities throughout the afternoon include the “I Have a Dream” Wall where children and adults can post their dreams for our community, the “Picture Yourself at Severance Hall” photo activity, and popular DJ Terry Macklin’s Sounds of Entertainment.

Cleveland Orchestra joins in national food drive January 14-16





OrchestraNews Chamber music recital on February 5 features Yefim Bronfman and Orchestra principals in works by Brahms Pianist Yefim Bronfman appears in a special all-Brahms program of chamber music in Severance Hall’s Reinberger Chamber Hall on Sunday, February 5, at 2 p.m. The program features four principal string players of The Cleveland Orchestra performing with Bronfman. The recital opens with Brahms’s Piano Sonata No. 3 in F minor, Opus 5, followed by the Violin Sonata No. 3 in D minor, Opus 108, performed by Bronfman and concertmaster William Preucil. After intermission, the afternoon presentation concludes with Brahms’s Piano Quintet in F minor, Opus 34, in which Bronfman will be joined by Preucil, principal second violin Stephen Rose, principal viola Robert Vernon, and principal cello Mark Kosower. The February 5 concert concludes a three-week series of Cleveland Orchestra concerts conducted by Franz Welser-Möst featuring the three solo concertos of Brahms, with Bronfman as soloist in both piano concertos. Bronfman is devoting four weeks to performances with The Cleveland Orchestra between January and May, including the two weeks in Cleveland, plus a week in January in Miami and a performance of the Brahms Second Concerto in May at Carnegie Hall.


Cleveland Orchestra and partner Conn-Selmer provide violins to El Sistema@Rainey

Comings and goings As a courtesy to the performers on stage and the entire audience, latearriving patrons cannot be seated until the first break in the musical program.


Thirty very excited students received brand-new violins at a special event in October as part of the inaugural year of El Sistema@Rainey, a comprehensive afterschool orchestral music program launched by the Rainey Institute and Cleveland Orchestra violinist Isabel Trautwein with the 2011-12 school year. The Cleveland Orchestra with its partner Conn-Selmer are the official providers of Scherl & Roth violins for the El Sistema@Rainey program. In its first year, El Sistema@ Rainey is providing ten hours of weekly group violin instruction and educational support to 30 children in Cleveland in grades 1-4, with plans to expand to more students in future years. Young musicians will also have opportunities to perform onstage at Severance Hall and participate in masterclasses with Cleveland Orchestra musicians. Isabel Trautwein, who serves as the artistic director of El Sistema@Rainey, was granted a year-long leave of absence from The Cleveland Orchestra last season to participate in a formal training program to study the methods of El Sistema (“the system”) in Venezuela and Boston, with the goal of building an El Sistema “nucleo” in Cleveland. El Sistema was founded more than 35 years ago in Venezuela by economist, musician, and social reformer Dr. José Antonio Abreu. Today, the program serves more than 350,000 children through neighborhood-based daily music instruction. El Sistema@Rainey joins El Sistema programs worldwide, including those based in Atlanta, Baltimore, Boston, Chicago, Los Angeles, and Philadelphia.

Cleveland Orchestra News

The Cleveland Orchestra

OrchestraNews Youth Orchestra announces plans for first international tour to Europe this summer with help from new Touring Fund

Upcoming performances by members of The Cleveland Orchestra in Northeast Ohio include: A unique world-wide performance event is being held on Saturday, January 14, with local participation involving a “Percussion Beat-Down” at 3 p.m. at the Cleveland Institute of Music. Simultaneous performances are being presented in locations around the globe to focus attention and encourage people to take action to help alleviate world hunger. Led locally by Cleveland Orchestra musicians Richard Weiner (percussion, retired) and Paul Yancich (timpani), co-chairs of CIM’s percussion department, the event will feature over 25 performers, including CIM students and other faculty members including percussionist Jamey Haddad, who curates the world music performances surrounding The Cleveland Orchestra’s KeyBank Fridays@7 concerts. This Cleveland performance at CIM’s Kulas Hall is free and open to the public.


Cleveland Orchestra musician Carolyn Gadiel Warner (violin, keyboard) celebrates her 25th year as a faculty member at the Cleveland Insitute of Music with a special recital event on Sunday afternoon, January 22 titled “Carolyn Warner and Friends.” The free performance at 4 p.m. at CIM features Cleveland Orchestra colleagues Steven Warner (violin) and Mark Kosower (cello), as well as CIM students. Music selections include works by Milhaud, Martinů, Piazzolla, and Brahms. For more information, visit

Cleveland Orchestra News



Severance Hall 2011-12

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


Plans have been announced for the Cleveland Orchestra Youth Orchestra to make its first international tour in 2012. The tour to Europe June 13-21 includes concerts in Prague, Vienna, and Salzburg. The Youth Orchestra will be conducted by its music director, James Feddeck, who is in his third and final season with the Youth Orchestra and as assistant conductor of The Cleveland Orchestra. The repertoire includes Dvořák’s Symphony No. 8, Elgar’s “Enigma” Variations, and music from Wagner’s Tristan and Isolde. In addition to concerts, tour activities for the Youth Orchestra members include guided historic sightseeing tours featuring visits to the Vienna Musikverein and Vienna’s Zentralfriedhof (Central Cemetery, where many famous composers are buried, including Beethoven, Brahms, Schubert, and Johann Strauss Jr.). The Cleveland Orchestra Youth Orchestra tour is made possible in part through the generosity of the Vinney family. In April 2011 the Jules and Ruth Vinney Cleveland Orchestra Youth Orchestra Touring Fund was established to help cover costs of the Youth Orchestra tour and to provide scholarships to eligible Youth Orchestra members. An endowment gift from the Jules and Ruth Vinney Philanthropic Fund, advised by their children Les Vinney, Margo Vinney, and Karen Jacobs, established this generous Touring Fund, which will provide perpetual support for the Youth Orchestra’s touring program. Members of the Youth Orchestra are also participating in fundraisers throughout the 2011-12 season to help cover the cost of the tour. They are also available for solo and chamber music performances, in order to earn funds to support their trip. Contact the Youth Orchestra manager at 216-231-7352 for more details.





OrchestraNews Franz Welser-Möst and Orchestra receive accolades throughout European Tour and Vienna Residency




Music Director Franz Welser-Möst and The Cleveland Orchestra returned home on November 6 from their eleventh international tour together, including the Orchestra’s fifth biennial residency at Vienna’s historic Musikverein concert hall. Throughout the tour, press reviews — excerpted on these pages — extended praise and accolades to the Orchestra for its precision and musicality. In addition to the Vienna Musikverein Residency, the tour featured two concerts in Madrid, Paris, and Luxembourg, and single concerts in Valencia, Cologne, and Linz. During the four-concert Musikverein Residency, the Orchestra gave two performances of Mozart’s “Great” Mass in C minor, featuring soprano Malin Hartelius, soprano Juliane Banse, tenor Martin Mitterrutzner, baritone Ruben Drole, and the Vienna Singverein. Cellist Truls Mørk was soloist with the Orchestra in Luxembourg. The thirteen-concert, seven-city tour began with performances in Madrid, Spain, on October 20 and 21 and ended in Vienna on November 5. Tour sponsors included Raiffeisenlandesbank Oberösterreich, Tele München Group, Jones Day, LNE Group / Lee Weingart, Miba AG, and SEMAG GmbH, with additional support from a group of generous individuals. “And in fact, the music sounded fabulous — with the weapons that Welser-Möst handles so scrupulously: precision, rhythmic control, a certain highly effective minimalism. All that, plus the assurance of having an orchestra like Cleveland at his command: compact, secure, even luminous.” —El Pais, October 22, 2011 “Welser-Möst was restrained in Mendelssohn, dominating in Stravinsky, and brilliant in Ravel. His gestures are sober, his movements a bit mechanical; his image ranges from timid to robot-like, from subtle to introverted. The analytic part takes precedence over the expressive. The artistic results are overwhelmingly effective. It is the art of perfection, pure and simple. No excessive emphases, no special effects, none of those ‘strokes of genius’ that are so often arbitrary. He even smiled in the Ravel, completely won over by the work’s rhythmic and timbral richness. All sections of the orchestra responded homogeneously and with great class.” —El Pais, October 22, 2011 “We were immediately won over by the agility of the strings, the warmly streaming sound of the woodwind, the unshakable security of the brass. The true miracle, then, occurred in the two major works on the program, Tchaikovsky’s Fourth Symphony and, before intermission, the Doctor Atomic Symphony by John Adams.” —, October 30, 2011


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“Franz Welser-Möst navigated his orchestra, which cannot be called anything but fantastic, with a secure sense of control and great restraint. At no time did he give in to sensationalism in this music, which is so rich in contrasts between pandemonic eruptions and soothing major-mode consonance. Some members of the orchestra distinguished themselves with impressive solos; above all, trumpeter Michael Sachs knocked our socks off with his sovereign technique.” —, October 30, 2011 “In concerts Tuesday and Wednesday at Salle Pleyel, an historic hall near L’Arc de Triomphe, the orchestra and music director Franz Welser-Möst more than proved themselves worthy of a long-term presence here, dazzling two nearly sold-out crowds and leaving audiences eager for more. Both nights, in fact, they were regaled with multiple rounds of synchronized clapping.”


—Zachary Lewis, The Plain Dealer, October 27, 2011 “This pure-bred elegance is transmitted to all sections; the brilliance of the winds is inspired by the transparencey of the strings, though their sound is never overpowering. Are American orchestras too flashy, too thundering? Cleveland is the dream antidote to this persistent cliché. Here is the most refined of orchestras, where the supernatural cohesion of the attacks never turns into a power show by an advancing army.” —Le Figaro, October 28, 2011 “The triumph of the evening, marked by a prolonged acclaim, was due to Mozart’s great C-minor Mass (K. 427). Here Welser-Möst gradually unveiled an overall plan that was as comprehensive as it was successful, dashing and radiant, expressive and stylish.” —Vienna Kurier, November 2, 2011

—Die Presse, November 1, 2011

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“Yet for all the technical craftsmanship, one can also bring out the eloquence of this music, if one lets true emotions resonate. Franz Welser-Möst has succeeded in doing just that, since he has the finest string playing to build upon and is thus able to turn a breathtakingly beautiful study in sound into a moving, expressive musical statement without forcing the interpretation in the least.”


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Franz Welser-Möst and Cleveland Orchestra to continue recording Bruckner with Sym. No. 4

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The Cleveland Orchestra and Music Director Franz WelserMöst have announced that they will record performances of Bruckner’s Symphony No. 4 at the Abbey of St. Florian near Linz, Austria, in August 2012. The recording will be released on DVD and adds to the Orchestra’s series of four Bruckner symphonies (Nos. 5, 7, 8, and 9) already recorded with generous support from Raiffeisenlandesbank Oberösterreich and Clasart production company. Welser-Möst and the Orchestra Symphony No. 8 was released last year. are presenting the Fourth Symphony in performances at Severance Hall later this spring, April 26-28. In announcing the next recording, Dr. Ludwig Scharinger, CEO of Raiffeisenlandesbank Oberösterreich, commented, “We are proud to support Franz Welser-Möst and The Cleveland Orchestra in their deep commitment to recording Bruckner’s masterpiece symphonies and sharing them with the world.” Raiffeisenlandesbank Oberösterreich has sponsored Cleveland Orchestra performances in both Austria and Germany, and supported the 2011 Cleveland Orchestra Residency at the Musikverein in Vienna. In addition, Raiffeisenlandesbank Oberösterreich has organized Cleveland Orchestra performances at the Brucknerhaus in Linz as well as at the Abbey of St. Florian, the church where Bruckner is entombed. The bank is committed to enriching Austria’s culture through the arts. Dr. Herbert Kloiber, chairman of The Cleveland Orchestra’s European Advisory Board, said, “Franz Welser-Möst and The Cleveland Orchestra’s recordings of Bruckner’s symphonies create a legacy and a benchmark for years to come. It is incredible to witness these historic recordings come to life in the remarkable venues at St. Florian, the Musikverein, and at Severance Hall in Cleveland.”


The Cleveland Orchestra has performed concerts in two area high schools this season. Franz Welser-Möst led the Orchestra in a presentation at Saint Ignatius High School (left) that featured John Adams’s “Doctor Atomic Symphony” on October 14, and Sasha Mäkilä led a performance at the Cleveland School of the Arts titled “American Journey” on November 16. These performances marked the Orchestra’s third season of Cleveland Orchestra concerts in high schools, launched in 2009 by Welser-Möst.










New Cleveland Orchestra recording features live performance of “Rusalka” from Salzburg Festival The Cleveland Orchestra’s newest recording is a live audio recording of Dvořák’s opera Rusalka, performed under Franz Welser-Möst’s direction as part of the 2008 Salzburg Festival. The album on the Orfeo label was released at the end of September and New! comes in CD format or as a music download. The August 2008 performances of Rusalka marked the first time that The Cleveland Orchestra played from the orchestra pit for an opera production at the Salzburg Festival. The five sold-out Rusalka performances were part of a Festival Residency that also included Welser-Möst conducting the Orchestra in three different concert programs. Prior to the staged Salzburg performances, Welser-Möst and the Orchestra presented in-concert performances of Rusalka in Cleveland.

Martin Luther King Jr. Celebration Concert on January 15 broadcast live on local radio The Cleveland Orchestra performs its 32nd annual concert on Sunday evening, January 15, celebrating the spirit of Dr. King’s life, leadership, and vision in music, song, and community recognition. Tickets to this free event were sold out within an hour after going on sale on January 3. The performance, led by guest conductor Chelsea Tipton II and featuring the specially assembled volunteer Martin Luther King Jr. Celebration Chorus, is being broadcast live locally on radio stations WCLV (104.9 FM) and WCPN (90.3 FM).


Cleveland Orchestra now available as an app for mobile phones The Cleveland Orchestra’s website is now available in a streamlined format as an application for cell phones. The “app” can be downloaded in versions for iPhone or Android phones, and many of its features also display on other webready mobile phones. The new app offers fans a convenient and streamlined way to purchase tickets, listen to Cleveland Orchestra radio broadcasts, and connect to the Orchestra’s social media. Created in partnership with, a leading performing arts digital platform, the app connects fans to The Cleveland Orchestra Blog, Facebook, YouTube, and information about the Orchestra (including musicians’ photos and biographies) and venues. The app also allows on-demand, streaming broadcasts from WCLV of performances by The Cleveland Orchestra and Cleveland Orchestra Youth Orchestra. This latest tech innovation is an addition to the Orchestra’s ongoing social media platforms and website, including The Cleveland Orchestra Blog (viewed by readers in all 50 states and more than 100 countries), Facebook, Twitter, Flickr, and YouTube. The Cleveland Orchestra’s website offers convenient online seat selection and print-at-home ticketing. Additional features to the mobile app will be added in the coming months. The app can be downloaded free from the iTunes Stores or Android Marketplace. Links for downloading can also be found on the Orchestra’s homepage.

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Concert Previews The Cleveland Orchestra offers a variety of options for learning more about the music before each concert begins. For each concert, the program book includes program notes commenting on and providing background about the composer and his or her work being performed that week, along with biographies of the guest artists and other information. You can read these before the concert, at intermission, or afterward. (Program notes are also posted ahead of time online at, usually by the Monday directly preceding the concert.) The Orchestra’s Music Study Groups also provide a way of exploring the music in more depth. These classes, professionally led by Dr. Rose Breckenridge, meet weekly in locations around Cleveland to explore the music being played each week and the stories behind the composers’ lives. Free Concert Previews are presented one hour before most subscription concerts throughout the season at Severance Hall. The previews (see listing at right) feature a variety of speakers and guest artists speaking or conversing about that weekend’s program, and often include the opportunity for audience members to ask questions.

Cleveland Orchestra Concert Previews are presented before every regular subscription concert, and are free to all ticketholders to that day’s performance. Previews are designed to enrich the concert-going experience for audience members of all levels of musical knowledge through a variety of interviews and through talks by local and national experts. Concert Previews are made possible by a generous endowment gift from Dorothy Humel Hovorka. January 12, 13, and 14 “Beloved Favorites” with Rose Breckenridge, Cleveland Orchestra Music Study Groups administrator and lecturer

January 19, 20, and 21 “A Conversation Between Composers” with composer Sean Shepherd in conversation with Keith Fitch, head of composition at the Cleveland Institute of Music

February 2, 3, and 4 “Back to the Future: Mozart, Brahms, and the Idea of Progress” with speaker Francesca Brittan, assistant professor of music, Case Western Reserve University

February 9, 11, and 12 “Music of the Night” with Rabbi Roger Klein, The Temple – Tifereth Israel

February 16, 17, and 18 “Symphonies of Sounds” with Michael Strasser, professor of musicology, Baldwin-Wallace College Conservatory of Music For future Concert Preview details, visit

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Concert Previews


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Thursday evening, January 12, 2012, at 8:00 p.m. Friday morning, January 13, 2012, at 11:00 a.m. * Saturday evening, January 14, 2012, at 8:00 p.m.



Franz Welser-Möst, conductor JOHANNES BRAHMS (1833-1897)

Violin Concerto in D major, Opus 77 1. Allegro non troppo 2. Adagio 3. Allegro giocoso, ma non troppo vivace JULIAN RACHLIN, violin



Orion 1. Memento mori 2. Winter Sky 3. Hunter

Three Symphonic Poems from Má Vlast [My Country] No. 1: Vyšehrad, The Mighty Fortress No. 2: The Moldau [Vltava] No. 3: Šárka, The Warrior Maid

These concerts are sponsored by Eaton Corporation, a Cleveland Orchestra Partner in Excellence. Julian Rachlin’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from The Eleanore T. and Joseph E. Adams Fund. The Thursday evening concert is dedicated to Mrs. Norma Lerner in recognition of her extraordinary generosity in support of The Cleveland Orchestra’s 2010-11 Annual Fund. The Saturday evening concert is dedicated to Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski in recognition of their extraordinary generosity in support of The Cleveland Orchestra’s 2010-11 Annual Fund. The evening concerts will end at about 9:55 p.m.

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

* The Friday morning concert is performed without intermission

and features Saariaho’s Orion followed by the Brahms concerto. The concert will end at about 12:10 p.m.

Severance Hall 2011-12

Concert Program — Week 8



Johannes Brahms Purely Classical & Clearly Romantic

From now through early February, Franz Welser-Most is leading The Cleveland Orchestra in a mini-festival of performances of the three solo concertos by Johannes Brahms, one concerto per week. The focus on Brahms concludes on Sunday, February 5, with a special chamber music recital featuring pianist Yefim Bronfman (soloist in the two piano concertos) performing with four of the Orchestra’s principal string players. Each week’s concerto is paired with varying music, including three recent works from the past decade. On the following pages, Brahms scholar Jan Swafford discusses the composer’s place in musical history and 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, Liszt’s tone poems. Brahms, declared Liszt, belonged to “the posthumous party” in music. 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 reality. 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 dis-


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tinct 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 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.” He meant this 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.) 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. He liked to tear up the pages of rejected pieces and throw them in the nearest river, so he could watch them disappear downstream. 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. He invented unprecedented kinds of pieces. His German Requiem is not a cantata or an oratorio but something unique, 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 influencSeverance Hall 2011-12

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es 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. 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. Scholar Malcolm MacDonald compares Brahms to the ancient two-faced 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 autobiographical 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 romanJohannes Brahms, 1874. tic 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 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 showingoff. 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 going to stand, violin in hand, and listen to the oboe play the only tune in the Severance Hall 2011-12

Johannes Brahms


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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. 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 Jan Swafford is an award-winning composer and author whose books include biographies of Johannes Brahms and Charles Ives, and “The Vintage Guide to Classical Music.” A graduate of Tanglewood Music Center, where he studied composition, he teaches at the Boston Conservatory and is currently working on a biography of Beethoven for Houghton Mifflin.



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Violin Concerto in D major, Opus 77 composed 1878 IN THE SUMMER



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

Severance Hall 2011-12

of 1878, the great violinist Joseph Joachim received a note from his old friend Johannes Brahms, saying “a few violin passages” would be forthcoming. At the time, it may or may not have occurred to Joachim that Johannes was apt to be most flippant when he was most serious. One can imagine Joachim’s surprise, delight, and trepidation when the mail brought him the solo part of a huge concerto movement in D major, the first of a planned four movements. It was an invitation for a collaboration, and Joachim was ready to oblige. He knew, after all, that this concerto was essentially being written for his violin, his sound, his style. Their collaboration was nothing new. Joachim met Brahms when they were both in their early twenties. Before that, Joachim had been a stupendous prodigy, enjoying his first triumph at age 12 with the Beethoven Violin Concerto, which he helped establish in the repertoire. (Joachim later made a historic revival of the Bach solo suites.) When Brahms emerged from his hometown of Hamburg in 1853 on a small concert tour, Joachim was one of the first important musicians he met, and Joachim was one of the first to be stunned and ravished by the music this youth had written. They quickly became close friends and collaborators. Joachim advised Brahms on the scoring of his first major orchestral work, the D-minor Piano Concerto. Joachim also stood by Johannes in the years of emotional chaos that stretched from his discovery by Robert and Clara Schumann, to Robert’s breakdown and Johannes’s passion for Clara, to the denouement of Robert’s death and Brahms’s flight from Clara. As Brahms reached maturity as a composer, he continued to rely on his friend for advice and criticism; he often sent his chamber music to Joachim to edit the string parts. So by the time of the Violin Concerto, they had a great deal of history between them, both personal and musical. Joachim was also an accomplished composer. His Hungarian Concerto was part of his repertoire and a piece Brahms admired. When they began working on the new concerto, Joachim was determined to help his friend fashion the solo part in a more playable and idiomatic way than Johannes could manage on his own. Brahms, for all his devotion to craftsmanship, had always been impatient with strings and bows and other About the Music


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matters of the musical kitchen. He always said he was never fully comfortable with any instrument outside his own, the piano. So that, in theory, he was all for the idea of working on the solo part with Joachim. The practice was another matter. They set to work, swatches of music going back and forth, sometimes in the mail and sometimes in person, Joachim with violin in hand to try out passages. It was clear that Brahms wanted a solo part much like the one in the First Piano Concerto — continuous, intense, part of a basically orchestral dialogue, but this time including more forthrightly bravura passages. With Brahms’s encouragement, Joachim made extensive suggestions and rewrote pages of virtuoso figuration, only to find Brahms ignoring the suggestions even as he demanded more. Often as not, Brahms would draft a passage, Joachim would revise it, then Brahms would produce a third version, sometimes again awkward to play. The violinist was exasperated, but exasperation was nothing new in their relations (on both sides). Joseph kept at Johannes with dogged patience. Joachim was pressing for the piece to be finished for a gala concert in Leipzig on New Year’s Day 1879, when word came from Brahms that “the middle movements are bust — naturally they were the best ones! I’m writing a wretched adagio instead.” (One of the rejected movements, a massive scherzo, went into the Second Piano Concerto.) When the now three-movement piece was nearly done, Brahms paid Joachim a great and characteristic compliment — for the single cadenza in the piece, he asked the violinist to write his own. (Joachim’s cadenzas for both the Brahms and Beethoven Concertos are still the most familiar ones; Julian Rachlin is performing Joachim’s in this weekend’s performances with The Cleveland Orchestra.) While the manuscript of the concerto still has passages in Joachim’s hand, the final solo part was not as idiomatic as he surely had hoped. Another headache was the problem of balance. Brahms wanted a big, full-throated orchestral sound, as in the First Piano Concerto. But a violin cannot make as much noise as a piano. During the rehearsals for the first performances, Brahms had to spend more time than usual revising the orchestration, paring away at the textures to allow the soloist to be heard. Meanwhile the violinist and composer kept tinkering with the solo part. The premiere actually did take place in Leipzig on New Year’s Day 1879, but Joachim was flummoxed by the last-minSeverance Hall 2011-12

About the Music

At a Glance Brahms composed his Violin Concerto in 1878 and conducted its premiere at the Leipzig Gewandhaus on January 1, 1879, with Joseph Joachim as soloist. The score was published in 1879 with a dedication to Joachim. This concerto runs about 40 minutes in performance. Brahms scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, and strings, plus solo violin. The Cleveland Orchestra first played Brahms’s Violin Concerto in November 1920, at subscription concerts conducted by music director Nikolai Sokoloff, with Efrem Zimbalist as soloist. Since then, the Orchestra has presented the concerto frequently, with many of the world’s greatest violinists. The most recent Severance Hall subscription performances were given in February 2009, with Nikolaj Znaider as soloist under the direction of Pinchas Steinberg, who together also performed the concerto in Miami two months later. Violinist Frank Peter Zimmermann gave the most recent Blossom Festival performance, in 2001 with conductor Jahja Ling.


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ute revisions and Brahms tense on the podium. The response was chilly. Boston composer George Whitefield Chadwick, studying in Leipzig at the time, reported in a letter that, late at night after the performance, he encountered Brahms, Joachim, and Edvard Grieg tumbling out of a tavern “in an advanced state of merriment.” Their laughter reflected probably more relief than celebration. After revisions, the Vienna premiere was received with great applause. Yet somehow, this manifestly gorgeous work never caught on in Brahms’s lifetime. Incredible as it sounds today, many listeners of the time found his orchestral music dry, intellectual, and unmelodious. THE MUSIC

The Violin Concerto begins soft ly in D major with a theme in winds and low strings that evokes a distant horncall — a high-Romantic musical landscape. An oboe enters on a delicately lyrical theme in a sudden and breathtaking C major, over pulsating strings. The form of the opening movement is nominally the usual concerto pattern going back to Mozart and beyond — an orchestral exposition setting out the main themes, then the entry of the soloist, Johannes Brahms and Joseph who often presents, as here, new material to begin a second Joachim in 1857, early in a long exposition. But if Brahms adhered to traditional forms, he friendship that helped create did not follow them mechanically. The first exposition is Brahms’s Violin Concerto and short and largely gentle. The entrance of the soloist is in Double Concerto. D minor, bold and dramatic, like a furioso cadenza. From the entrance of the solo violin, the first movement becomes a dialectic between peace and fury. Even though the key is D major, the total effect has a darker, more minorish cast. Much of the time the violin plays rippling garlands of notes behind the orchestra’s themes. But none of those themes are very sustained until near the end of the exposition, when a lyric melody of surpassing beauty breaks out in the violin, echoed by the orchestra. Here, as in some other of his works, Brahms departs from tradition in placing his most developed and striking theme toward the end of the exposition. These themes seem to gather up threads from earlier ideas and place them in an unforgettable form. The first movement’s development works up to a new tranquillo idea (laid over a previous theme) in the solo, appropriate because the piece has already been developing its ideas steadily from the beginning. As part of the dialogue between tranquil and intense, this new theme transforms into a passage of searing intensity. (Themes transforming in character is another central idea here, as in much other Brahms.) After the solo cadenza, the orchestra returns Severance Hall 2011-12

About the Music




WINTER SEASON Thursday January 12 at 8:00 p.m. Friday January 13 at 11:00 a.m. Saturday January 14 at 8:00 p.m. THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Julian Rachlin, violin

BRAHMS Violin Concerto SAARIAHO Orion SMETANA from Má Vlast [“My Homeland”] — Vysehrad, The Moldau, and Sárka* *not included on Friday Morning Matinee Concert Sponsor: Eaton Corporation

Sunday January 15 at 7:00 p.m. THE CLEVELAND ORCHESTRA Chelsea Tipton II, conductor Central State University Chorus Martin Luther King Jr. Celebration Chorus

MARTIN LUTHER KING JR. CELEBRATION CONCERT The Cleveland Orchestra’s 32nd annual concert celebrating the spirit of Dr. King’s life, leadership, and vision. Presented in collaboration with the City of Cleveland. SOLDOUT: This concert is sold out. LIVE RADIO BROADCAST: The concert is being broadcast live on radio stations WCLV (104.9 FM) and WCPN (90.3 FM). Concert Sponsor: KeyBank

Monday January 16 noon to 5:00 p.m.

MARTIN LUTHER KING JR. COMMUNITY OPEN HOUSE Severance Hall joins in a city-wide celebration of Martin Luther King Jr’s life and achievements with a free public open house featuring musical performances by the Cleveland Orchestra Youth Orchestra, Cleveland Orchestra Youth Chorus, and more! Watch for complete details. Sponsored by Medical Mutual of Ohio, the exclusive health insurer of The Cleveland Orchestra

Thursday January 19 at 8:00 p.m. Friday January 20 at 8:00 p.m. Saturday January 21 at 8:00 p.m. THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Yefim Bronfman, piano

BRAHMS Piano Concerto No. 2 SHEPHERD Wanderlust SHOSTAKOVICH Symphony No. 6 Concert Sponsor: FirstMerit Bank

Thursday February 2 at 8:00 p.m. Friday February 3 at 8:00 p.m. Saturday February 4 at 8:00 p.m. THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Yefim Bronfman, piano

SAARIAHO Laterna Magica MOZART Symphony No. 39 BRAHMS Piano Concerto No. 1 Sponsor: Baker Hostetler

Sunday February 5 at 2:00 p.m. Yefim Bronfman, piano William Preucil, violin Stephen Rose, piano Robert Vernon, viola Mark Kosower, cello

BRAHMS Piano Sonata No. 3, Opus 5 BRAHMS Violin Sonata No. 3, Opus 108 BRAHMS Piano Quintet, Opus 34 Thursday February 9 at 8:00 p.m. Saturday February 11 at 8:00 p.m. Sunday February 12 at 3:00 p.m. THE CLEVELAND ORCHESTRA Pierre Boulez, conductor Men of the Cleveland Orchestra Chorus

SCHUBERT Hymn to the Holy Spirit SCHUBERT Night Song in the Forest SCHUBERT Song of the Spirits over the Waters MAHLER Symphony No. 7 Concert Sponsor: Baker Hostetler

Friday February 10 at 10:00 a.m. Saturday February 11 at 10:00 a.m. Saturday February 11 at 11:00 a.m. PNC MUSICAL RAINBOW:

Spectacular Strings

30-minute programs for ages 3 to 6.

Thursday February 16 at 8:00 p.m. Friday February 17 at 8:00 p.m. Saturday February 18 at 8:00 p.m. THE CLEVELAND ORCHESTRA Pierre Boulez, conductor Pierre-Laurent Aimard, piano Cleveland Orchestra Chorus

STRAVINSKY Symphonies of Wind Instruments BARTÓK Piano Concerto No. 1 SCHOENBERG Chamber Symphony No. 1 STRAVINSKY Symphony of Psalms Concert Sponsor: Forest City Enterprises


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Thursday February 23 at 8:00 p.m. Friday February 24 at 11:00 a.m. Saturday February 25 at 8:00 p.m. THE CLEVELAND ORCHESTRA Marek Janowski, conductor Arabella Steinbacher, violin

WEBER Overture: The Ruler of the Spirits MENDELSSOHN Violin Concerto* SCHUBERT Symphony in C major (“The Great”) *not included on Friday Morning Matinee Thursday March 8 at 8:00 p.m. Friday March 9 at 8:00 p.m. Saturday March 10 at 8:00 p.m. Sunday March 11 at 3:00 p.m. THE CLEVELAND ORCHESTRA Christoph von Dohnányi, conductor Meagan Miller, soprano Tamara Mumford, mezzo-soprano Eric Cutler, tenor Iain Paterson, bass Cleveland Orchestra Chorus

LIGETI Atmosphères WAGNER Prelude to Act I of Lohengrin BEETHOVEN Symphony No. 9 (“Choral”) Concert Sponsor: KeyBank

Sunday January 15 at 7:00 p.m.

Sunday March 11 at 7:30 p.m. CLEVELAND ORCHESTRA YOUTH ORCHESTRA James Feddeck, conductor CLEVELAND ORCHESTRA YOUTH CHORUS Frank Bianchi, director

LIADOV Ballade ELGAR Enigma Variations FAURÉ Cantique de Jean Racine POULENC Gloria

The Cleveland Orchestra’s 32nd annual concert celebrating the spirit of Dr. King’s life, leadership, and vision. Presented in collaboration with the City of Cleveland. Listen to the live broadcast on radio stations WCLV (104.9 FM) and WCPN (90.3 FM).

The Cool Clarinet

30-minute programs for ages 3 to 6.

For a complete schedule of future events and performances, or to purchase tickets online 24/ 7 for Severance Hall concerts, visit Cleveland Orchestra Radio Broadcasts: Radio broadcasts of current and past concert performances by The Cleveland Orchestra can be heard as part of regular weekly programming on WCLV (104.9 FM), with programs broadcast on Saturday at 8:00 p.m. and Sunday at 4:00 p.m.

Severance Hall 2011-12

THE CLEVELAND ORCHESTRA Chelsea Tipton II, conductor Central State University Chorus Martin Luther King Jr. Celebration Chorus

SOLDOUT: This concert is sold out.

Friday March 16 at 10:00 a.m. Saturday March 17 at 10:00 a.m. Saturday March 17 at 11:00 a.m. PNC MUSICAL RAINBOW:


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pianissimo, but works up to a full-throated finish. The “wretched adagio” that Brahms inserted in place of the two rejected middle movements is, of course, a lovely outing. It begins with a hymnlike theme scored lushly in the winds. The soloist enters not on the theme plain, but rather a variation of it (the whole concerto varies ideas more than repeating them). In the middle part of a simple A-B-A form, the violin plays elegant garlands of notes that largely continue to the end. The third-movement finale is the most overtly Gypsy/Hungarian of all Brahms concerto finales, starting with a lusty theme presented by the violin. The movement is laid out more or less in the traditional sonata-rondo form. The “B” section strongly recalls one of the furioso themes in the first movement, but now the fury is gone. The finale is largely about delight, all the way to a racing, breathtaking coda. BRAHMS: MUSICIAN AND MAN

Brahms was considered in his time and since an exponent of “pure,” “abstract” form. He never claimed such a thing himself, and in private he made it clear that his music rose from his life, his loves, his feelings. Without reading too much into the Violin Concerto, one notes the almost violent contrasts of material in the first movement, the tenderness of the second movement, the high-Hungarian style of the finale. Joseph Joachim was Hungarian-born, wrote a Hungarian Concerto, and was in personality mercurial, capable of great warmth and wit, but with a dark side. Brilliant, incomparably talented, supremely successful, he was also a troubled man capable of vindictive rage — for example, toward his first wife. (Brahms and his old friend were estranged for some years when Brahms took the side of Joachim’s wife in their divorce.) Perhaps the Violin Concerto reflects not just Joachim’s playing and collaboration but also amounts to a portrait of the man, whom Brahms admired and loved but always kept at a certain cautious distance. On the other hand, Brahms kept everybody at some degree of distance. When he and Joachim first met, Johannes was tiny, blonde, beardless, and delicately handsome, though also strong and athletic. By the time he finished the Violin Concerto at age 45, Brahms was settled into the gruff and sardonic persona behind which he hid his feelings — though he was also exquisitely funny and a practical joker. He had meanwhile developed a middle-aged paunch. Around the time he completed the Violin Concerto in 1878, he completed the picture by growing his third and final beard. It changed his features so much that sometimes friends didn’t recognize him. He was delighted with the effect. He took to changing his voice and introducing himself as “Kapellmeister Müller from Braunschweig,” and seeing how long it took people to catch on. The bearish-old-patriarch disguise was complete at last. —Jan Swafford © 2012 Severance Hall 2011-12

About the Music


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Julian Rachlin Violinist Julian Rachlin has been captivating audiences around the world for more than two decades. Always eager to expand his musical horizons, Mr. Rachlin also performs as a viola player and, most recently, as a conductor. This year marks the eleventh anniversary of the “Julian Rachlin & Friends” festival, a platform for creative projects with today’s leading musicians and actors held annually in Dubrovnik, Croatia. Mr. Rachlin is making his Cleveland Orchestra debut with this weekend’s performances. Highlights of the current season include the opening of the Philadelphia Orchestra’s season, as well as performances with the Israel Philharmonic, Orchestra Filharmonica della Scala and the Gewandhaus Leipzig. Julian will also appear with the Detroit Symphony Orchestra, Orchestre National de France, and the Rotterdam Philharmonic Orchestra. He will play and conduct this season in collaboration with the Camerata Salzburg, Moscow Virtuosi, Taipei Symphony Orchestra, and Deutsche Kammerphilharmonie Bremen. Mr. Rachlin’s recordings can be heard on Sony Classical, Warner Classics, and Deutsche Grammophon — including his recording of the Brahms concerto with Mariss Jansons. Later this year, Julian Rachlin will premiere a new Double Concerto written for him by Krzysztof Penderecki; the premiere at the Vienna Musikverein will feature the Bavarian Radio Symphony Orchestra conducted by Mariss Jansons. Mr. Rachlin is also performing a series of recitals with his regular duo partner, pianist Itamar Golan, including a Brahms Sonatas cycle in New York, Amsterdam, and Vienna. Born in Lithuania, Julian immigrated to Vienna in 1978 at the age of four. He studied with Boris Kuschnir at the Vienna Conservatory and took private lessons with Pinchas Zukerman. He first gained international acclaim in 1988 by winning Eurovision’s “Young Musician of the Year” Award. He then became the youngest soloist ever to play with the Vienna Philharmonic. Since September 1999, Julian Rachlin has been a member of the faculty at the Vienna Conservatory Private University. Beyond his musical performances, he has also received recognition for his charity work as a UNICEF Goodwill Ambassador and through educational outreach activities. Julian Rachlin plays the 1704 “ex Liebig” Stradivari, on loan to him courtesy of the Dkfm. Angelika Prokopp Privatstiftung. For more information, visit Violinist Lisa Batiashvili, who was originally scheduled to perform at this weekend’s concerts, has regretfully been obliged to cancel her Cleveland appearance due to illness. Julian Rachlin has kindly agreed to replace Ms. Batiashvili for these performances. Severance Hall 2011-12

Guest Soloist


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GUYS AND DOLLS (1950) Music & Lyrics by Frank Loesser Book by Abe Burrows and Jo Swerling

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The Cleveland Orchestra

Orion composed 2001-02



SAARIAHO born October 14, 1952 Helsinki living in Paris

Severance Hall 2011-12

W H A T I S M U S I C ? What sounds are musical, and which are just noise? These questions have always caused debate. Yet the role of the composer has always been to create something new. Why limit oneself to the obvious instruments sitting in front of you? Mozart and Beethoven added clarinets and trombones (unheard of!) to their symphonies for impact. Even the tiniest cymbal crash was given thumbs-down by some critics as the 19th-century orchestra took on new voices. First Berlioz and then Richard Strauss added more instruments and arrays of noise-makers — and were decried for the cacophony of percussion and the “howling” sections of brass. And if Beethoven could imitate a birdcall in his Sixth Symphony, why not include actual birds (or recordings of them)? And as technology advanced, why not amplify and manipulate the music (or the instrument) for new sounds that a flute or piano could never make on its own? The 20th century saw a grand experiment in and expansion of what music is — from the mildest idea (Gershwin’s including a taxi-cab horn in An American in Paris) to electronic soundwaves and samplings of sounds reversed, refabricated, and manipulated through tape recordings, to today’s wildest digital mixing. Everybody’s noise is music to someone else’s ears. Someone’s music (even Beethoven) is unlistenable trash to minds raised on differing soundscapes. Kaija Saariaho, born in Finland just past the middle of the last century, grew up amidst and embraced the experimentation. She studied with several of Finland’s leading avant garde composers, eventually landing at IRCAM in Paris, the institute directed for many years by Pierre Boulez as a leading center for modernist music. Saariaho pursued several paths of computer-assisted composition, working both in electronic studios and among those who were working to bring the electronic sounds into direct, live performance. In France, she also became involved with that country’s “spectralist” composers, who use computers to analyze and extend or balance the notes created by individual instruments. Yet Saariaho was not choosing one thing over another, electronic over traditional. Instead, she was looking to expand About the Music


At a Glance Saariaho wrote Orion in 2001-02 on commission from The Cleveland Orchestra. The world premiere performances were given January 23-25, 2003, at Severance Hall under the direction of Franz Welser-Möst. This work runs just over 20 minutes in performance. Saariaho orchestrated it for 4 flutes (third doubling alto flute and piccolo, fourth doubling piccolo), 4 oboes (fourth doubling english horn), 4 clarinets, 4 bassoons (fourth doubling contrabassoon), 6 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion (crotales, glockenspiel, vibraphone, marimba, xylophone, triangle, small bell, tubular bells, shell chimes, bell chimes, glass chimes, tam-tam, 4 tom-toms, bass drum, 2 bowl gongs, suspended cymbals, 2 Chinese cymbals, thunderstick), 2 harps, piano, organ, and strings. After performing the world premiere in January 2003, The Cleveland Orchestra presented Orion in performances later that year on tour to the eastern United States and in Vienna, and on tour in Europe in 2006. Franz Welser-Möst will lead the Orchestra in additional performances this spring during the ensemble’s upcoming West Coast Tour.


her tool box of sounds from which to assemble her own style of music. “I don’t want to write music through negations. Everything is permissible as long as it’s done with good taste,” she has said, particularly of her willingness to embrace melody and harmony, and live performance outside the confines of an electronic studio. All of this was to be in the pursuit of her own focus toward infusing music with a strong set of ideas, emotions, and images. Thus, for those who have wondered what comes after electronic music, Saariaho’s music is part of the answer — the exploration of sound patterns that technology has offered, but with and through and on traditional instruments. Some of Saariaho’s works involve electronic sounds, while others — especially more recently — merely call upon traditional instruments to make sounds that Saariaho heard from (or within) electronic sources. None of this should be surprising. Technology has always cycled back, with invention trying to capture reality. What are motion pictures but projections (literally) of reality? What are 3D movies but a technologically possible version of something everyday and very real? Music and sounds have always been a driving force across the arts and business. The combining together of individual performers (into an orchestra, a theater ensemble, or ballet troupe) is an artificial combination, but one that fascinates us as we watch and listen to synchronized reality. Saariaho’s recreation, really translation, of the larger sound world of electronic and spectralist music into a live performance makes our ears listen with increased interest and sensation. Saariaho’s orchestra does not sound like Beethoven’s, or Mahler’s (each of whom “added” new instruments to the usual symphonic mix). Yet, with the addition of more percussion instruments and with new techniques for playing notes on regular instruments, Saariaho’s scores can be heard very much as descendants from the great names of classical music’s past. In works like Orion — given its world premiere performances by The Cleveland Orchestra and Franz Welser-Möst nearly a decade ago — she explores the areas of our sound world where traditional music touches that created by technology. Here is, perhaps, a cotton candy of sounds, spun out to incredible lengths, or a cyclone of ideas swirling around a harmonic core. Orion was Saariaho’s largest purely orchestral piece up About the Music

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to that point. Much of her work in the past decade has been focused on the creation of even larger works, such as three operas (premiered in Santa Fe and Paris) and the oratorio La Passion de Simone. She served as composer-in-residence for New York’s Mostly Mozart Festival in 2008. Her honors include such popular acclaim as a 2011 Grammy Award for her opera L’amour de loin in the best opera recording category. Next month at Severance Hall, Welser-Möst and The Cleveland Orchestra present another of her recent works, Laterna Magica, which brings yet more unexpected sounds and ideas into the everyday concert hall world. ABOUT THE MUSIC

The title Orion was not chosen randomly. From it, we can well believe that, like that mythic hunter of the night sky, Saariaho’s music is hunting across a nocturnal soundscape. Here, her painting through music is, moment by moment, strong, distant, cold, heartfelt, quiet, furious, tinged — caught in a larger universe of today’s musical world . . . somewhere before dawn and tomorrow night. The work’s three movements contrast activity and movement with stillness and quietude, perhaps mirroring Orion’s origins (as an adventurous mortal hunter) with the slowly moving constellation of stars in which Zeus memorialized him upon his death. Listen (and watch) which instruments are “making music” at any given time — where and how the sounds are being created. This visual movement is part of the music’s fabric. After a beginning movement filled with many instruments and lines of music all occurring at once, the second movement is much more subdued and features several lone instrumental voices, with twinkling accents in the percussion. The third movement combines aspects of the first two: many musical lines at once, but they are more distinct from one another (where the opening movement was a haze or blur of related sounds, here the soundscape erupts in energy (like the flares erupting off the engulfing, enflamed surface of the sun). —Eric Sellen © 2012

Severance Hall 2011-12

About the Music





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Jewish Federation  

Three Symphonic Poems from Má Vlast [My Country] composed 1873-1880



SMETANA born March 2, 1824 Litomyšl, Bohemia died May 12, 1884 Prague

S M E T A N A W R O T E the six parts of his symphonic cycle Má Vlast (“My Country” or “My Homeland”) just as he reached the age of fift y, when fame and fortune were knocking regularly on his door. And just when sudden deafness created a nearly irreconcilable gulf between himself and the everyday world around him. These tone poems were, perhaps in part, a way for the composer to recapture and hold onto the sounds of the world around him — encapsulating in music the joy and emotion in life and living. Smetana originally conceived the cycle as a four-part symphony that would extol the glories of his native Bohemia and its Czech people. Only after the initial success of its opening movements, each premiered separately, did he decide to “complete” the work by adding two final sections. The entire series was first performed together as a cycle on November 5, 1882. Since 1952, it has been the traditional opening concert for the “Prague Spring Festival,” performed annually on the anniversary of Smetana’s death each May 12th. Despite being a cycle of connected and intertwined symphonic poems, several of these well-crafted works are frequently performed alone, especially The Moldau. And the opening three movements being presented as a group at The Cleveland Orchestra’s evening concerts this weekend provide a well-focused view of Smetana’s original idea for creating a “symphony” on Czech themes. Part One: V YŠEHRAD, THE MIGHT Y FORTRESS

The site of Vyšehrad overlooks Prague at one of the most picturesque turns of the River Moldau, south of Prague Castle. Today, the ancient hillside includes one of the Czech Republic’s most revered cemeteries (both Smetana and Dvořák were laid to rest there). But over the past millennium, fortress walls have been built and come to ruin on this dramatic outcropping. Fittingly and quite unexpectedly, Smetana opens his symphonic ode with a simple series of harp chords and glissandos (borrowing a castle theme associated with Vyšehrad in his opera Libuše). Here, in an exchange between two harps, the chords Severance Hall 2011-12

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Smetana wrote the beginning movements of Má Vlast just as deafness separated him from the everyday world he had known. And these tone poems were, perhaps in part, a way to recapture and hold onto the sounds of the world around him — encapsulating in music the joy and emotion in life and living.


and glissandos are intended to conjure up the singing narratives of legendary Czech troubadours, who over the centuries had recounted the nation’s stories of glory, conquest, and fate. Smetana explained the cycle’s first symphonic poem in 1879 with these brief words: “The harp of a balladeer begins; the balladeer sings of the events that have taken place on Vyšehrad, of the glory, splendor, tournaments, and battles — and finally its decay and ruin. The composition ends on an elegiac note.” The musical shape (outlined in A-B-A form) of the tone poem is easy to follow, and mirrors the hillside’s own history from natural monument through glorious battles and battlements, through a period of decay and nostalgic neglect that returns it to something like its original natural serenity, layered with memories of the past. Part Two: THE MOLDAU [Vltava]

The main musical theme of The Moldau is today a popular Czech folksong. It was not, however, a Czech song when Smetana borrowed it. Smetana had, in fact, often voiced violent opposition to the idea of adopting true folksong melodies into the national musical language he was trying to create. His borrowing, in this case, reached quite far geographically, when he adapted (perhaps subconsciously) a folk melody he had heard while teaching for a number of years in Sweden as a young man. (Dvořák crossed much the same path and controversy with some of the adapted borrowings within his “New World” Symphony.) Smetana’s words about this tone poem clearly lay out the river’s migration from mountain spring through Bohemia toward the sea: “Two springs pour forth in the shade of the Bohemian Forest, one warm and gushing, the other cold and peaceful. Their waves flow quickly over rocky beds, joining together and glistening in the morning sun. The forest brook, hastening on, becomes the river Moldau. Coursing through Bohemia’s valleys, it grows into a mighty stream. Through thick woods it flows, as the triumphant sounds of the hunt and the notes of hunters’ horns are heard ever nearer. It flows through grass-grown pastures and lowlands where a wedding feast is being celebrated in song and dance. At night, wood and water nymphs revel in its sparkling waves. Reflected on its surface are fortresses and castles — witnesses to bygone days of knightly splendor and the vanished glory of fighting times. At the St. John Rapids, the stream About the Music

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races ahead, winding through the cataracts, hewing out a path with its foaming waves through the rocky chasm into the broad riverbed — finally, flowing on in majestic peace toward Prague and welcomed by the time-honored castle Vyšehrad [Smetana encores the castle’s musical motif from the first tone poem of the cycle]. Then it vanishes beyond our gaze.” A personal note: I have vivid memories from childhood of waking on Sunday mornings to hear the swift-running current of the River Moldau flowing mightily past my bedroom door. It was Smetana’s music, of course, from an oft-played recording (by The Cleveland Orchestra) cherished by my father. He often chose to wake us on Sundays by playing music — of a vastly eclectic range. But the watery sounds of the Moldau were among my favorite, both for the realism of the river itself and for the long, over-arching crescendo that turns little stream (barely awake) into mighty river (time for breakfast). Part Three: ŠÁRKA, THE WARRIOR MAID

Rather than painting another landscape, Smetana took a story from Czech history for the third section of Má Vlast. The composer wrote: “This tone poem does not depict a landscape, but a story — the saga of the maid Šárka. Deceived in love, she swears revenge against all men. From the distance comes the sounds of arms. It is Ctirad with his knights, marching to overcome and chastise the warlike maiden. From afar, he hears the wails of a maid and sees Šárka bound to a tree. He is enflamed with passion and frees her. With a prepared drink, Šárka intoxicates Ctirad and his knights, who then fall into a deep slumber. At a horn signal, repeated from afar, Šárka’s female companions swarm from the forest and a blood bath ensues. The piece is closed by a gruesome slaughter and the blind rage of Šárka slaking her lust for revenge.” The programmatic writing and larger-than-life nature of Šárka’s story make this tone poem feel like ancient Greek drama (or modern-day suspense film). It opens big with overwrought outbursts, then lulls us unsuspectingly with sentimental feelings and lilting dance steps. We are then jolted awake by Šárka’s trickery and the resulting blood-mad slaughter, bringing these three movements to a forceful ending. POSTSCRIPT: A SYMPHONIC CYCLE

Like Verdi and Wagner, Smetana devoted a majority of his creative energies to writing opera. Like them, too, he was pioneering the art form both as music and as an expression of his country’s nationhood. While none of them wrote much in the way of purely orchestral work, Smetana is best known today — outside his homeland — for the handful of orchestral works that comprise Má Vlast. And the original four parts of this cycle of tone poems remain closer to a traditional symphony in form and function than Smetana cared to admit — or Wagner and Verdi ever achieved. Severance Hall 2011-12

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At a Glance Smetana first talked about writing a musical work depicting the river Moldau in 1867. Five years later, he made some sketches related to two “symphonic poems,” one about the river and one about the fortress Vyšehrad. He completed these two in 1874, after suffering profound hearing loss that summer. He wrote Šárka in early 1875, and the fourth poem, From Bohemia’s Forests and Fields, later that year. Each piece was premiered separately in Prague: Vyšehrad on March 14, 1875, and The Moldau three weeks later on April 4. The premiere of Forests and Fields followed in December 1876, and Šárka in March 1877. Smetana wrote the final two movements of the cycle in 1878-79; they were then premiered in 1880. The entire cycle was first performed together on November 5, 1882. The first three tone poems of Má Vlast together run just over 30 minutes. Smetana scored them for an orchestra of 3 flutes (third doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (triangle, cymbals, bass drum), 2 harps, and strings. The Cleveland Orchestra first presented music from Má Vlast during the 1923-24 season, and has frequently performed the cycle’s second movement, The Moldau. The Orchestra has played the entire six-movement cycle on only two occasions: in 1924 for a special concert marking the centennial of Smetana’s birth, and in December 1976, conducted by Rafael Kubelik at a weekend of concerts at Severance Hall.


Like Carl Maria von Weber before him and Mahler afterward, Smetana worked tirelessly as a conductor and as an admired operahouse administrator. (All three spent admired if frustrating stints in Prague.) Smetana did much to raise the standards of musical performance in Prague, but the energy expended maneuvering through the difficult day-to-day politics of operatic bureaucracy kept him from writing more music. Nevertheless, Smetana was blessed by a life of timely coincidence — of being in the right place at the right time. And equally cursed by fate — with bad timing (political and seasonal), misunderstanding of his creative gifts, and the cold veil of deafness. As with Beethoven, Smetana’s deafness did not end his creative efforts — most of Má Vlast was penned in newfound silence. But whereas Beethoven’s hearing faded gradually over a number of years, and left him with small amounts of aural sensation, Smetana’s came on later in life, very suddenly, and quite completely. Deafness, in fact, removed him so quickly and entirely from the world he thought he knew that only music kept him sane — and only for a while. His deafness was caused by untreated syphilis. Later compounded by stroke, Smetana’s mind shredded more than almost any other composer’s — ending his life like Robert Schumann, who had also died in an asylum three decades earlier. Smetana never really knew what to call Má Vlast — the overall title was probably suggested by his publisher. Nor was he quite certain what he was writing — a symphony? a series of tone poems? memories in music, of what his world sounded like outside his head? In a matter of weeks, from mid-summer into September 1874, Smetana’s hearing gave way suddenly and completely. Of necessity, he was forced to resign his administrative and conducting duties at the opera. And perhaps largely to confront his rushing deafness, Smetana began heated work on the symphonic poems he had been contemplating, completing first the sketches for Vyšehrad he had created two years earlier and then composing all of The Moldau during three weeks in November. In January 1875, he continued with Šárka, which he finished by the end of February. He intended, at this point, to create a four-part cycle of poems not unlike a About the Music

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traditional four-movement symphony, with the fourth depicting “Czech life in song and dance.” This became From Bohemia’s Forests and Fields [“Z českých luhů a hájů” in the original Czech]. Here, after painting portraits in the first movements of the country’s greatest fortress, its national river, and one of its fiercest historical heroes, Smetana wrote a musical ode to the common countryside filled with average villages, verdant greenery, and everyday beauty. Of this music, Smetana wrote: “This symphonic poem broadly characterizes the thoughts and feelings that well within us as we survey the Bohemian landscape. From every direction, fervent song comes to our ears; every grove and all the flowered meadows sing their melodies, both cheerful and melancholy. All have something to say: the deep, dark forests (horn solos) and the sunny, fertile plains along the Elbe River, and all the other parts of the rich and beautiful land of Bohemia.” While not as specifically programmatic as other parts of the cycle, this finely-etched tone painting evokes some of the feelings that nature can inspire and, like Beethoven’s Sixth Symphony, is difficult to resist in its at times gentle sincerity. Two years later, Smetana began work on writing additional movements. Or perhaps, as reported in one newspaper, he was contemplating an entire new set of Czech tone poems. As it turned out, he wrote two more symphonic poems for Má Vlast, but based on only one thematic element (both musically and historically), portraying the national will, martyred glory, and patriotic heroics of a group of 15th-century Czech warriors dedicated to the teachings of Jan Hus, a renowned Protestant reformer. The religious fervency of the Hussite cause was legendary and served Smetana well in creating a two-part coda for his larger symphonic cycle. The whole of Má Vlast was first performed as a cycle in November 1882, to great acclaim and rejoicing. Eight years into his deafness, Smetana heard none of it, of course, but appears to have understood — before his death two years later — that he had finally been anointed the musical saint of his struggling Czech homeland. —Eric Sellen © 2012

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Meet Nancy Dotson Cleveland Orchestra Heritage Society member, former State Chair of the Blossom Womenâ&#x20AC;&#x2122;s Committee, and Heritage Society radio ambassador on WCLV When did you begin attending Cleveland Orchestra concerts? Dick and I have lived in the area for 33 years and have been attending concerts for most of those years. What is your favorite concert experience with The Cleveland Orchestra? Without a doubt, we will never forget the concert at Severance Hall several years ago with Sir Colin Davis and Mitsuko Uchida and the Mozart Piano Concerto. Sitting in the dress circle and seeing the interaction of these two icons and The Cleveland Orchestra is something I will never forget. What is your favorite memory of The Cleveland Orchestra or Blossom Festival? Dick and I have so many wonderful memories of Blossom and Severance Hall. Living in Hudson and only 20 minutes from Blossom, our summer revolves around the lyrical weekend evenings at Blossom. Sitting on the Lawn with a glass of wine under the stars is our idea of a perfect date! Meeting various members of The Cleveland Orchestra at the summer Gourmet Matinee Luncheons or the Orchestra Picnic sponsored by the Blossom Womenâ&#x20AC;&#x2122;s Committee have also been special treats. What reason do you suggest when extending an invitation to join the Heritage Society? It is a very special privilege to have The Cleveland Orchestra so readily accessible and convenient to attend. It is for these reasons that we made a decision to include the Orchestra in our estate planning several years ago. Leaving a legacy for future generations to enjoy this music and for the musicians to carry on the music is something we are happy we can do. For information on membership in the Heritage Society, contact Jim Kozel, Director of Legacy and Planned Giving, by calling 216-231-7549 or via email at or go to and click on Support, then Heritage Society THE CLEVELAND ORCHESTRA

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Generous contributions to the endowment have been made to support specific artistic initiatives, ensembles, educational programming and performances, facilities maintenance costs, touring and residencies, and more. These funding opportunities currently represent new gifts of $250,000 or more. For information about making your own endowment gift to the Orchestra, please call (216) 231-7549.

ARTISTIC endowed funds support a variety of programmatic initiatives ranging from guest artists and radio broadcasts to the all-volunteer Cleveland Orchestra Chorus. American Conductors Fund

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SEVERANCE HALL endowed funds support performance initiatives for the Orchestra’s winter season in Cleveland and maintenance of Severance Hall: Severance Guest Conductor


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CENTER FOR FUTURE AUDIENCES — Announced in October 2010, the Center for Future Audiences will transform the way The Cleveland Orchestra attracts and welcomes audiences to Severance Hall, throughout Northeast Ohio, and around the world. The Center was created with a generous naming lead gift of $20 million from the Maltz Family Foundation providing onethird of the $60 million endowment that will eventually help fully fund these activities. T H E C L E V E L A N D


CENTER FOR FUTURE AUDIENCES Endowed by the Maltz Family Foundation

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The Cleveland Orchestra: Serving the Community The Cleveland Orchestra’s Education and Community programs provide shared musical experiences that engage, inspire, support, and deepen connections with audiences throughout Northeast Ohio


T H E C L E V E L A N D O R C H E S T R A has a long and proud history of sharing the value and joy of music with citizens throughout Northeast Ohio. Education and community programs date to the Orchestra’s founding in 1918 and have remained a central focus of the ensemble’s actitivities for over ninety years. Today, with the support of many generous individual, foundation, corporate, and governmental funding partners, the Orchestra’s educational and community programs reach more than 70,000 young people and adults annually, helping to foster a love of music and a lifetime of involvement with the musical arts. On these pages, we share photographs from a sampling of these many programs. For additional information about these and other programs, visit us at or contact the Education & Community Programs Office by calling (216) 231-7355.

School buses delivering students to Severance Hall. More than four million schoolchildren have been introduced to symphonic music in nine decades of Cleveland Orchestra education concerts. Severance Hall 2011-12

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The Cleveland Orchestra helps celebrate the seasons and special events throughout the year. On October 30, the season’s first Family Concert featured the second annual “Halloween Spookatcular!” including a special audience costume contest.


Music Study Groups provide a way of exploring the Orchestra’s music in depth. These professionally led classes meet weekly to explore the music being played each week and the stories behind the composers’ lives.

A Family Concert featuring Stravinsky’s Firebird Suite brought audiences up close for a thrilling performance by Academy Trainees of the Joffrey Ballet and performers from the Cleveland School of Dance. The Joffrey Academy returned on December 2 to Severance Hall for the season’s second Family Concert, “Scenes from Tchaikovsky’s Nutcracker.”


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The Cleveland Orchestra is creating “Musical Neighborhoods” in Cleveland preschools as part of PNC Grow Up Great, using music to support pre-literacy and school readiness skills.


Cleveland Orchestra clarinetist Robert Woolfrey leads a Learning Through Music program at H. Barbara Booker School in Cleveland.

The Cleveland Orchestra’s Education and Community programs are made possible by many generous individuals, foundations, and corporations, including: The Abington Foundation The Eva L. and Joseph M. Bruening Foundation Chubb Group of Insurance Companies Cleveland Clinic The Cleveland Foundation Conn-Selmer, Inc. Cuyahoga Arts & Culture Dominion Foundation The Harry K. Fox and Emma R. Fox Charitable Foundation Giant Eagle Muna & Basem Hishmeh Foundation Martha Holden Jennings Foundation JPMorgan Chase Foundation KeyBank The Laub Foundation The Lincoln Electric Foundation The Lubrizol Corporation Medical Mutual of Ohio The Nord Family Foundation Ohio Arts Council Ohio Savings Bank PNC The Reinberger Foundation Albert G. & Olive H. Schlink Foundation The Sherwin-Williams Foundation The South Waite Foundation Surdna Foundation Thomas H. White Foundation, a KeyBank Trust The Edward & Ruth Wilkof Foundation Women’s Committee of The Cleveland Orchestra

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More than 1,000 talented young musicians have performed as members of the Cleveland Orchestra Youth Orchestra in the 25 years since its founding in 1986.


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

FREE PUBLIC TOURS Free public tours of Severance Hall are offered on select Sundays during the year. Free public tours of Severance Hall are being offered this season on November 27, February 12, March 18, and May 13. For additional information or to book for one of these tours, please call the Cleveland Orchestra Ticket Office at (216) 231-1111. Private tours can be arranged for a fee by calling (216) 231-7421.

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

RENTAL OPPORTUNITIES Severance Hall, a Cleveland landmark and home of the world-renowned Cleveland Orchestra, is the perfect location for business meetings and conferences, pre- or post-concert dinners and receptions, weddings, and social events. Exclusive catering provided by Sammy’s. Premium dates are available. Call the Facility Sales Office at (216) 231-7420 or email to

BE FO R E T H E CO NC E R T GARAGE PARKING AND PATRON ACCESS Parking can be purchased for $10 per vehicle when space in the Campus Center Garage permits. However, the garage often fills up well before concert time; only ticket holders who purchase prepaid parking passes are ensured a parking space. Overflow parking is available in CWRU Lot 1 off Euclid Avenue, across from Severance Hall; University Circle Lot 13A on Adelbert Road; and the Cleveland Botanical Garden. Pre-paid parking for the Campus Center Garage can be purchased in advance through the Ticket Office for $14 per concert. This pre-paid parking ensures you a parking space, but availability of prepaid parking passes is limited. To order pre-paid parking, call the Cleveland Orchestra Ticket Office at (216) 231-1111.


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

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



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


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

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SERVICES FOR PERSONS WITH DISABILITIES Severance Hall staff are experienced in assisting patrons to find seats that meet their needs. Wheelchair seating is available on the Orchestra Level, Box Level, and Dress Circle, and in Reinberger Chamber Hall at a variety of prices. For patrons who prefer to transfer from a wheelchair, seats with removable arms are available on the Orchestra Level in the Concert Hall. ADA seats are held for those with special needs until 48 hours prior to the performance, unless sell-out conditions exist before that time. Severance Hall features seating locations for people with mobility impairments and offers wheelchair transport for all performances. To discuss your seating requirements, please call the Ticket Office at (216) 231-1111. TTY line access is available at the public pay telephone located in the Security Office. Infrared Assistive Listening Devices are available from a


Head Usher or the House Manager for all performances. If you need assistance, please contact the House Manager at (216) 231-7425 in advance if possible. Service animals are welcome at Severance Hall. Please notify the Ticket Office when purchasing tickets.

IN THE EVENT OF AN EMERGENCY Contact an usher or a member of the house staff if you require medical assistance. Emergency exits are clearly marked throughout the building. Ushers and house staff will provide instructions in the event of an emergency.

SECURITY For security reasons, backpacks, musical instrument cases, and large bags are prohibited in the concert halls. These items must be checked at coat check and may be subject to search. Severance Hall is a firearms-free facility. No person may possess a firearm on the premises.

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

T IC K ET SE RV IC ES TICKET EXCHANGES Subscribers unable to attend on a particular concert date can exchange their tickets for a different performance of the same week’s program. Subscribers may exchange their subscription tickets for another subscription program up to five days prior to a performance. There will be no service charge for the five-day advance ticket exchanges. If a ticket exchange is requested within 5 days of the performance, there is a $10 service charge per concert. Visit for details and blackout dates.

UNABLE TO USE YOUR TICKETS? Ticket holders unable to use or exchange their tickets are encouraged to notify the Ticket Office so that those tickets can be resold. Because of the demand for tickets to Cleveland Orchestra performances, “turnbacks” make seats available to other music lovers and can provide additional income to the Orchestra. If you return your tickets at least 2 hours before the concert, the value of each ticket can be used as a tax-deductible contribution. Patrons who turn back tickets receive a cumulative donation acknowledgement at the end of each calendar year.

Guest Information

The Cleveland Orchestra



WWW.CACGRANTS.ORG 216 515 8303

Severance Hall 2011-12





The Cleveland Orchestra


Corporate Support The Cleveland Orchestra gratefully acknowledges and salutes these corporations for their generous support toward the Orchestra’s Endowment, Annual Fund, Special Projects, and/or Programs. Additional legacy gifts from these organizations and others are recognized through The Cleveland Orchestra Heritage Society.

Cumulative Giving

Annual Support


The Partners in Excellence program salutes companies with annual contributions of $100,000 and more, exemplifying leadership and commitment to artistic excellence at the highest level.



Baker Hostetler Bank of America Eaton Corporation FirstEnergy Foundation Forest City Enterprises, Inc. The Goodyear Tire & Rubber Company The Lubrizol Corporation / The Lubrizol Foundation Merrill Lynch NACCO Industries, Inc. Parker Hannifin Corporation The Plain Dealer PNC Bank PolyOne Corporation The J. M. Smucker Company The Severance Society recognizes generous contributors of $1 million or more in lifetime giving to The Cleveland Orchestra. Listing as of September 2011.

gifts of $2,500 or more during the past year, as of December 15, 2011


KeyBank The Lubrizol Corporation NACCO Industries, Inc. PNC Raiffeisenlandesbank Oberösterreich (Europe) PARTNERS IN EXCELLENCE $200,000 TO $299,999

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

The J. M. Smucker Company Medical Mutual of Ohio $50,000



FirstMerit Bank The Goodyear Tire & Rubber Company Jones Day Parker Hannifin Corporation The Sage Cleveland Foundation Tele München Group (Europe) $25,000 TO $49,999 Conn-Selmer, Inc. Giant Eagle JPMorgan Chase Foundation Northern Trust Bank of Florida (Miami) Quality Electrodynamics (QED) Richard L. Bowen & Associates, Inc. Squire, Sanders & Dempsey (US) LLP Thompson Hine LLP

$2,500 TO $24,999 Akron Tool & Die Company American Fireworks, Inc. American Greetings Corporation Arnstein & Lehr LLP (Miami) Bank of America BDI Brouse McDowell Eileen M. Burkhart & Co. LLC

Severance Hall 2011-12

Corporate Support

Buyers Products Company Calfee, Halter & Griswold LLP The Cleveland Wire Cloth & Mfg. Co. The Cliffs Foundation Community Behavioral Health Center Consolidated Graphics Group, Inc. Dealer Tire LLC Dollar Bank Dominion Foundation Ernst & Young LLP Evarts-Tremaine-Flicker Company Feldman Gale, P.A. (Miami) Ferro Corporation Fifth Third Bank Frantz Ward LLP Gallagher Benefit Services Genovese Vanderhoof & Associates Great Lakes Brewing Company Gross Builders Hahn Loeser + Parks LLP Higer Lichter & Givner LLP (Miami) Houck Anderson P.A. (Miami) Hunton & Williams, LLP (Miami) Hyland Software, Inc. Keithley Foundation The Lincoln Electric Foundation C. A. Litzler Co., Inc. Live Publishing Company LNE Group / Lee Weingart (Europe) Macy’s Miba AG (Europe) MindCrafted Systems MTD Products, Inc. Nordson Corporation North Coast Container Corp. Northern Haserot Oatey Co. Octavia Press Ohio CAT Ohio Savings Bank, A Division of New York Community Bank Olympic Steel, Inc. Park-Ohio Holdings Corp. PolyOne Corporation The Prince & Izant Company Richey Industries, Inc. RPM International Inc. SEMAG GmbH (Europe) The Sherwin-Williams Company Stearns Weaver Miller Weissler Alha (Miami) Stern Advertising Agency Summa Health System Swagelok Company Towers Watson TriMark S.S. Kemp Trionix Research Laboratory, Inc. Tucker Ellis & West LLP Ulmer & Berne LLP United Automobile Insurance Co. (Miami) Ver Ploeg & Lumpkin, P.A. Westlake Reed Leskosky Anonymous (3)


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Foundation & Government Support The Cleveland Orchestra gratefully acknowledges and salutes these Foundations and Government agencies for their generous support toward the Orchestraâ&#x20AC;&#x2122;s Endowment, Annual Fund, Special Projects, and/or Programs. Additional legacy gifts from these organizations and others are recognized through The Cleveland Orchestra Heritage Society.

Cumulative Giving

Annual Support




The Cleveland Foundation Maltz Family Foundation State of Ohio Ohio Arts Council The Kelvin and Eleanor Smith Foundation

gifts of $2,000 or more during the past year, as of December 15, 2011

The Cleveland Foundation Cuyahoga County residents through Cuyahoga Arts and Culture Maltz Family Foundation The Kelvin and Eleanor Smith Foundation $500,000 TO $999,999

The Louise H. and David S. Ingalls Foundation The Payne Fund


$250,000 TO $499,000

Cuyahoga County residents through Cuyahoga Arts & Culture Kulas Foundation

Andrew W. Mellon Foundation David and Inez Myers Foundation Ohio Arts Council The Skirball Foundation


Ann and Gordon Getty Foundation The GAR Foundation The George Gund Foundation The Louise H. and David S. Ingalls Foundation Martha Holden Jennings Foundation John S. and James L. Knight Foundation (Miami) Andrew W. Mellon Foundation John P. Murphy Foundation David and Inez Myers Foundation National Endowment for the Arts The Payne Fund The Reinberger Foundation The Severance Society recognizes generous contributors of $1 million or more in lifetime giving to The Cleveland Orchestra. Listing as of September 2011.

Severance Hall 2011-12

$100,000 TO $249,999

Sidney E. Frank Foundation The GAR Foundation The George Gund Foundation Martha Holden Jennings Foundation John S. and James L. Knight Foundation Kulas Foundation The Mandel Foundation The Miami Foundation, from a fund established by the John S. and James L. Knight Foundation (Miami) John P. Murphy Foundation Surdna Foundation $50,000 TO $99,999

The George W. Codrington Charitable Foundation Myra Tuteur Kahn Memorial Fund of The Cleveland Foundation National Endowment for the Arts The Reinberger Foundation $20,000 TO $49,999 The Abington Foundation Akron Community Foundation The Helen C. Cole Charitable Trust The Mary S. and David C. Corbin Foundation

Foundation/Government Support

The Gerhard Foundation, Inc. Ann and Gordon Getty Foundation Elizabeth Ring Mather and William Gwinn Mather Fund The Nonneman Family Foundation The Esther and Hyman Rapport Philanthropic Trust The Sisler McFawn Foundation

$2,000 TO $19,999 Ayco Charitable Foundation The Ruth and Elmer Babin Foundation Bicknell Fund The Eva L. and Joseph M. Bruening Foundation The Collacott Foundation The Frances G. and Lewis Allen Davies Endowment Fund Mary and Dr. George L. Demetros Charitable Trust Elisha-Bolton Foundation Fisher-Renkert Foundation The Harry K. Fox and Emma R. Fox Charitable Foundation Funding Arts Network (Miami) The Helen Wade Greene Charitable Trust The Hankins Foundation Muna & Basem Hishmeh Foundation Richard H. Holzer Memorial Foundation The Kangesser Foundation The Laub Foundation Victor C. Laughlin, M.D. Memorial Foundation Trust The G. R. Lincoln Family Foundation Margaret Clark Morgan Foundation Miami-Dade County Department of Cultural Affairs (Miami) Laura R. & Lucian Q. Moffitt Foundation The Nord Family Foundation Paintstone Foundation The Charles E. & Mabel M. Ritchie Memorial Foundation The Leighton A. Rosenthal Family Foundation SCH Foundation Albert G. & Olive H. Schlink Foundation The Sherwick Fund Lloyd L. and Louise K. Smith Memorial Foundation The South Waite Foundation Jean C. Shroeder Foundation The Taylor-Winfield Foundation The George Garretson Wade Charitable Trust The S. K. Wellman Foundation The Wells Family Foundation, Inc. Thomas H. White Foundation, a KeyBank Trust The Edward & Ruth Wilkof Foundation Wright Foundation The Wuliger Foundation Anonymous (2)



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

Lifetime Giving

Annual Support


gifts during the past year, as of December 15, 2011



Daniel R. and Jan R. Lewis (Miami)

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


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

Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. and Mrs. Alexander M. Cutler Mrs. Norma Lerner and The Lerner Foundation Mr. and Mrs. Albert B. Ratner Anonymous

Irma and Norman Braman (Miami) The Walter and Jean Kalberer Foundation Susan Miller (Miami) Mr. and Mrs. Albert B. Ratner James and Donna Reid


Irma and Norman Braman (Miami) Mr. and Mrs. Francis J. Callahan Mrs. Anne M. Clapp Mr. George Gund III Mr. and Mrs. Michael J. Horvitz Mr. James D. Ireland III The Walter and Jean Kalberer Foundation Mr. and Mrs. Joseph P. Keithley Mr. and Mrs. Dennis W. LaBarre Susan Miller (Miami) Sally S. and John C. Morley The Family of D. Z. Norton The Honorable and Mrs. John Doyle Ong Mr. and Mrs. Alfred M. Rankin, Jr. Charles and Ilana Horowitz Ratner James and Donna Reid Barbara S. Robinson Anonymous (2) The Severance Society recognizes generous contributors of $1 million or more in lifetime giving to The Cleveland Orchestra. As of December 2011.


INDIVIDUAL GIFTS OF $100,000 TO $199,999

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

Robert and Jean* Conrad Trevor and Jennie Jones Mr. and Mrs. Douglas A. Kern Mr. and Mrs. Dennis W. LaBarre The Honorable and Mrs. John Doyle Ong Julia and Larry Pollock Barbara S. Robinson

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

Individual Donors

Severance Hall 2011-12

INDIVIDUAL GIFTS OF $50,000 TO $74,999

John P. Bergren* and Sarah M. Evans Mr. William P. Blair III Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. and Mrs. Charles P. Bolton Hector D. Fortun (Miami) James D. Ireland III R. Kirk Landon and Pamela Garrison (Miami) Peter B. Lewis and Janet Rosel (Miami) Toby Devan Lewis Mrs. Emma S. Lincoln Ms. Nancy W. McCann Mr. and Mrs. Alfred M. Rankin, Jr. Mr. and Mrs. Richard K. Smucker David A. and Barbara Wolfort Anonymous INDIVIDUAL GIFTS OF $30,000 TO $49,999

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

Sheldon and Florence Anderson (Miami) Mr. and Mrs. Gerald A. Conway Tati and Ezra Katz (Miami) Mr. and Mrs. S. Lee Kohrman Dr. and Mrs. David Leshner Mr. and Mrs. Alex Machaskee Mrs. Jane B. Nord Mr. and Mrs. James A. Ratner

Severance Hall 2011-12

Individual Donors

Hewitt and Paula Shaw Richard and Nancy Sneed R. Thomas and Meg Harris Stanton Rick, Margarita and Steven Tonkinson (Miami) Judy and Sherwood Weiser (Miami) INDIVIDUAL GIFTS OF $20,000 TO $24,999

Gay Cull Addicott Mr. and Mrs. Daniel M. Bell (Miami) Dr. Ben H. and Julia Brouhard Martha and Bruce Clinton (Miami) Bruce and Beth Dyer Albert I. and Norma C. Geller Dr. Edward S. Godleski Andrew and Judy Green Margaret Fulton-Mueller and Scott Mueller William J. and Katherine T. O’Neill Dr. and Mrs. Ronald J. Ross Mr. and Mrs. James A. Saks Marc and Rennie Saltzberg Raymond T. and Katherine S. Sawyer Dr. and Mrs. Neil Sethi Paul and Suzanne Westlake Anonymous gift from Switzerland (Europe) Anonymous INDIVIDUAL GIFTS OF $15,000 TO $19,999

Mr. and Mrs. William W. Baker Randall and Virginia Barbato Jayusia and Alan Bernstein (Miami) Scott Chaikin and Mary Beth Cooper Do Unto Others Trust (Miami) George* and Becky Dunn Colleen and Richard Fain (Miami) Mr. Allen H. Ford Richard and Ann Gridley Mrs. John A Hadden Jr. Gary Hanson and Barbara Klante Jack Harley and Judy Ernest Iris and Tom Harvie Joan and Leonard Horvitz Richard and Erica Horvitz (Cleveland, Miami) Elizabeth B. Juliano Robert M. Maloney and Laura Goyanes Mr. Thomas F. McKee Mrs. Stanley L. Morgan* Lucia S. Nash Mr. Gary A. Oatey Nancy and Neil Schaffel (Miami) David and Harriet Simon Mary M. Spencer (Miami) Dr. and Mrs. William P. Steffee Dr. Kenneth F. Swanson listings continue Mr. Joseph F. Tetlak Anonymous



INDIVIDUAL GIFTS OF $12,500 TO $14,999

Mr. and Mrs. George M. Aronoff Mr. and Mrs. David J. Carpenter Mrs. David Seidenfeld Mrs. Jean H. Taber Mr. and Mrs. Alfred Umdasch (Europe) Anonymous INDIVIDUAL GIFTS OF $10,000 TO $12,499

Fred G. and Mary W. Behm Marsha and Brian Bilzin (Miami) Dr. Christopher P. Brandt and Dr. Beth Sersig Mr. D. McGregor Brandt, Jr. Mr. and Mrs. Eugene A. Buehler J. C. and Helen Rankin Butler Augustine* and Grace Caliguire Richard J. and Joanne Clark Mrs. Barbara Cook Bruce Coppock and Lucia P. May (Miami) Judith and George W. Diehl Mr. and Mrs. Robert P. Duvin Mike S. and Margaret Eidson (Miami) Dr. and Mrs. Lloyd H. Ellis Jr. Mr. and Mrs.* David K. Ford Ms. Dawn M. Full Francisco A. Garcia and Elizabeth Pearson (Miami) Mr. and Mrs. Richard T. Garrett Mr. and Mrs. Robert W. Gillespie Jeffrey and Stacy Halpern


Annual Campaign Patrons

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

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

Ongoing annual support gifts are a critical component toward sustaining The Cleveland Orchestra’s economic health. Ticket revenues provide only a small portion of the funding needed to support the Orchestra’s outstanding performances, educational activities, and community projects. The Crescendo Patron Program recognizes generous donors of $2,500 or more to the Orchestra’s Annual Campaign. For more information on the benefits of playing a supporting role each year, please contact Hayden Howland, Manager of Leadership Giving, by calling (216) 231-7545.


Sondra and Steve Hardis Robin Hitchcock Hatch Mr. and Mrs. Jeffrey Healy Mary and Jon Heider (Cleveland, Miami) David and Nancy Hooker Mr. and Mrs. Christopher Hyland Mr. and Mrs. Donald M. Jack, Jr. Mr. and Mrs. Richard A. Janus Mr. and Mrs. Ferdinand Jereb Janet and Gerald Kelfer (Miami) Jonathan and Tina Kislak (Miami) Mrs. Elizabeth R. Koch Tim and Linda Koelz Mr. and Mrs. Edward A. Lozick Mr. and Mrs. Richard A. Manuel Mrs. Robert H. Martindale Mr. and Mrs. Arch J. McCartney William and Eleanor McCoy Mr. and Mrs. Stanley A. Meisel Mr. Walter N. Mirapaul* Elisabeth and Karlheinz Muhr (Europe) Brian and Cindy Murphy Mr. and Mrs. William M. Osborne, Jr. Mr. and Mrs. George M. Rose Mr. and Mrs. David A. Ruckman David M. and Betty Schneider Rachel R. Schneider, PhD Mr. and Mrs. Oliver E. Seikel Kim Sherwin Lois and Tom Stauffer Mrs. Blythe Sundberg Dr. Russell A. Trusso Dr. Paul J. Vignos, Jr.* Tom and Shirley Waltermire Clara and David Williams INDIVIDUAL GIFTS OF $7,500 TO $9,999

Mr. William Berger Laurel Blossom Dr. and Mrs. Jerald S. Brodkey Dr. Thomas Brugger and Dr. Sandra Russ Ellen E. & Victor J. Cohn Supporting Foundation Mr. and Mrs. William E. Conway Mr. and Mrs. Edward B. Davis Henry and Mary Doll Nancy and Richard Dotson Mr. and Mrs. Terry C. Z. Egger Mr. David J. Golden Robert K. Gudbranson and Joon-Li Kim Kathleen E. Hancock Mary Jane Hartwell Mrs. Sandra L. Haslinger In memory of Philip J. Hastings Amy and Stephen Hoffman Pamela and Scott Isquick Allan V. Johnson Joela Jones and Richard Weiss Mrs. Carolyn Lampl Mr. Lawrence B. and Christine H. Levey Judith and Morton Q. Levin Mr. Jeff Litwiller Mr. and Mrs. Thomas B. McGowan Mr. Donald W. Morrison Mr. and Mrs. Stephen E. Myers Pannonius Foundation Rosskamm Family Trust listings continue Mr. Larry J. Santon

Individual Donors

Severance Hall 2011-12
























S E V E R A N C E H A L L M AY 1 9 . M AY 2 6 C L E V E L A N D O R C H E S T R A . C O M T I C K E T


2 1 6 - 2 3 1 - 1 1 1 1


listings continued

Patricia J. Sawvel Carol and Albert Schupp Naomi G. and Edwin Z. Singer Family Fund Mrs. Gretchen D. Smith Mr. and Mrs. Donald W. Strang, Jr. Bruce and Virginia Taylor Sandy and Ted Wiese Anonymous (2) INDIVIDUAL GIFTS OF $5,000 TO $7,499

Dr. Jacqueline Acho and Mr. John LeMay Mr. and Mrs. Monte Ahuja Susan S. Angell Agnes Armstrong Mr. and Mrs. Albert A. Augustus Ms. Jody Bacon Mr. and Mrs. Dean Barry Mr. Jon Batchelor (Miami) James and Reita Bayman Dr. and Mrs. Nathan A. Berger Dr. and Mrs. Eugene H. Blackstone In memory of Claude M. Blair Mrs. Flora Blumenthal Brennan Family Foundation Paul and Marilyn* Brentlinger Mr. Robert W. Briggs Mr. and Mrs. William C. Butler Mr. and Mrs. R. Bruce Campbell Ms. Maria Cashy Drs. Wuu-Shung and Amy Chuang Dr. William & Dottie Clark Mrs. Lester E. Coleman Corinne L. Dodero Trust for the Arts and Sciences Mr. and Mrs. Evan R. Corns Mr. Peter and Mrs. Julie Cummings (Miami) Mrs. Barbara Ann Davis Mr. and Mrs. Thomas S. Davis Peter and Kathryn Eloff Dr. and Mrs. Robert Elston Mary and Oliver Emerson Mr. and Mrs. Charles R. Emrick, Jr. Mr. and Mrs. Henry J. Goodman Mr. and Mrs. Randall J. Gordon Harry and Joyce Graham Mr. Paul Greig Mr.* and Mrs. David E. Griffiths David and Robin Gunning Clark Harvey and Holly Selvaggi T. K. and Faye A. Heston Mr. Clifford Hill Amy and Stephen Hoffman Mr. and Mrs. Brinton L. Hyde Ms. Martha Ingram (Miami) Judith* and Clifford Isroff Rudolf D. and Joan T. Kamper Andrew and Katherine Kartalis Milton and Donna* Katz Dr. and Mrs. William S. Kiser Cynthia Knight (Miami) Julius and Doris Kramer Mrs. Justin Krent Mr. and Mrs. Peter A. Kuhn Mr. and Mrs. Arthur J. Lafave, Jr. Michael and Ruth* Lamm Robert and Judie Lasser


Judy and Donald Lefton (Miami) Shirley and William Lehman (Miami) Mr.* and Mrs. Leo Leiden Mr. and Mrs. Robert P. Madison Ms. Jennifer R. Malkin Mr. and Mrs. Morton L. Mandel Alan Markowitz M.D. and Cathy Pollard Mrs. Kay Marshall Alexander and Marianna C. McAfee Claudia Metz and Thomas Woodworth Edith and Ted* Miller Drs. Terry E. and Sara S. Miller Mr. and Mrs. William A. Mitchell Robert Moss (Miami) Mr. and Mrs. Herbert Newman Richard and Kathleen Nord John and Margi Oâ&#x20AC;&#x2122;Brien Mr. Michael G. Oravecz Mr. Henry Ott-Hansen Mr. J. William and Dr. Suzanne Palmer Claudia and Steven Perles (Miami) Nancy and Robert Pfeifer Dr. and Mrs. John N. Posch Douglas and Noreen Powers Lois S.* and Stanley M. Proctor Ms. Rosella Puskas Drs. Raymond R. Rackley and Carmen M. Fonseca Mr. and Mrs. Roger F. Rankin Mrs. Nancy L. Reymann Mr. and Mrs. James E. Rohr Carol Rolf and Steven Adler Dr. Tom D. Rose Steven and Ellen Ross Mr. Christopher Roy Mr. Klaus G. Roy* and Mrs. Gene J. Roy Mr. and Mrs. Robert C. Ruhl Drs. Michael and Judith Samuels (Miami) David M. and Betty Schneider+ Linda B. Schneider Larry and Sally Sears Dr. and Mrs. James L. Sechler Mr. Eric Sellen and Mr. Ron Seidman Dr. Gerard and Phyllis Seltzer Drs. Daniel and Ximena Sessler Mrs. Frances G. Shoolroy Mrs. William I. Shorrock Laura and Alvin A. Siegal David Kane Smith Jim and Myrna Spira George and Mary Stark Mrs. Marie S. Strawbridge Charles B. and Rosalyn Stuzin (Miami) Mr. and Mrs. Paul A. Teel, Jr. Mr. and Mrs. Bill Thornton Mr. Brian Thornton Mr. and Mrs. Lyman H. Treadway Mr.* and Mrs. Robert N. Trombly Robert A. Valente Don and Mary Louise Van Dyke Bill Appert and Chris Wallace (Miami) Dr. Edward L. and Mrs. Susan Westbrook Tom and Betsy Wheeler Mr. Roy Woda Mrs. Janet A. Wright Mr. David Zauder Anonymous (7)

listings continue

Individual Donors

The Cleveland Orchestra

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

Dr. and Mrs. D. P. Agamanolis Mr. and Mrs. Quentin Alexander Mr. and Mrs. Robert H. Baker Ms. Delphine Barrett Mr.* and Mrs. Russell Bearss Mr. and Mrs. Jules Belkin Dr. Ronald and Diane Bell Dr. Robert Benyo Suzanne and Jim Blaser Mr. and Mrs. Dennis A. Block Ms. Elizabeth E. Brumbaugh Frank and Leslie Buck Dr. and Mrs. William E. Cappaert Mrs. Millie L. Carlson Ms. Mary E. Chilcote Drs. Mark Cohen and Miriam Vishny Diane Lynn Collier+ Marjorie Dickard Comella Mr. and Mrs. David J. Cook Pete and Margaret Dobbins Mr.* and Mrs. Sidney Dworkin Mr. Brian L. Ewart and Mr. William McHenry Mr. J. Gilbert and Mrs. Eleanor Frey Mrs. Cora C. Gigax Joyce and Ab* Glickman Robert N. and Nicki N. Gudbranson

John and Virginia Hansen Mr. Robert D. Hart Barbara Hawley and David Goodman Matthew D. Healy and Richard S. Agnes Ms. Mary Beth Hedlund Hazel Helgesen and Gary D. Helgesen Anita and William Heller Bob and Edith Hudson (Miami) Mr. James J. Hummer Dr. and Mrs. Scott R. Inkley Donna L. and Robert H. Jackson Dr. and Mrs. Richard S. Kaufman Mrs. Rita G. Kelly Mr. and Mrs. Robert M. Koch Ronald and Barbara Leirvik Mr. and Mrs. Irvin A. Leonard Mr. and Mrs. Robert C. Loesch Anne R. and Kenneth E. Love Robert and LaVerne Lugibihl Elsie and Byron Lutman Joel and Mary Ann Makee Martin and Lois Marcus Dr. Susan M. Merzweiler Ann Jones Morgan Dr. Joan R. Mortimer Mr. and Mrs. Peter R. Osenar Mr. and Mrs. John S. Piety

Mr. and Mrs. Richard W. Pogue In memory of Henry Pollak Dr. Laurine Purola Dr. Robert W. Reynolds Amy and Ken Rogat Bob and Ellie Scheuer Ms. Freda Seavert Ginger and Larry Shane Dr. Marvin and Mimi Sobel Mr. and Mrs. William E. Spatz Dr. Elizabeth Swenson Ms. Lorraine S. Szabo Mr. and Mrs. Leonard K. Tower Robert J. and Marti J. Vagi Mr. and Mrs. Fred A. Watkins Mr. and Mrs. Mark Allen Weigand Mr. Peter and Mrs. Laurie Weinberger Robert C. Weppler Nancy V. and Robert L. Wilcox Ms. Judith H. Wright Anonymous (3)

Leigh and Mary* Carter Mr. and Mrs. James B. Chaney Dr. and Mrs. Ronald Chapnick Dr. Christopher and Mrs. Maryann Chengelis Mr. and Mrs. Homer D. W. Chisholm Mr. and Mrs. Robert A. Clark Dr. Dale and Susan Cowan Mrs. Frederick F. Dannemiller Charles and Fanny Dascal (Miami) Jeffrey and Eileen Davis Mrs. Lois Joan Davis Ms. Nancy J. Davis (Miami) Scott and Laura Desmond Dr. and Mrs. Richard C. Distad Ms. Maureen A. Doerner and Mr. Geoffrey T. White Mr. George and Mrs. Beth Downes David Jack and Elaine Drage Ms. Mary Lynn Durham Mrs. Mary S. Eaton Esther L. and Alfred M. Eich, Jr. Erich Eichhorn and Ursel Dougherty Mrs. Margaret Estill* David and Margaret Ewart Harry and Ann Farmer Scott Foerster, Forester and Bohnert Joan Alice Ford Mrs. Amasa B. Ford Mr. Randall and Mrs. Patrice Fortin Mr. Monte Friedkin (Miami) Marvin Ross Friedman and Adrienne bon Haes (Miami)

Peggy and David* Fullmer Richard L. Furry Jeanne Gallagher Marilee L. Gallagher Barbara and Peter Galvin Joy E. Garapic Mrs. Georgia T. Garner Mr. Wilbert C. Geiss, Sr. Mrs. Joan Getz (Miami) Herman and Blanche Gilbert Anne and Walter Ginn Mr. and Mrs. David A. Goldfinger Dr. and Mrs. Ronald L. Gould Mr. and Mrs. Robert T. Graf Cynthia and David Greenberg Mr. and Mrs. Brent R. Grover The Thomas J. and Judith Fay Gruber Charitable Foundation Nancy and James Grunzweig Dr. Phillip M. and Mrs. Mary Hall Ronald M. and Sallie M. Hall (Miami) Mr. Holsey G. Handyside Mr. George P. Haskell Virginia and George Havens Oliver and Sally Henkel Mr. and Mrs. Jerry Herschman Mr. Robert T. Hexter Dr. and Mrs. John D. Hines Dr. and Mrs. Robert L. Hinnes Dr. Feite F. Hofman Mr. and Mrs. Edmond H. Hohertz Peter A. and Judith Holmes


Ms. Nancy A. Adams Stanley I. and Hope S. Adelstein Norman and Rosalyn Adler Family Philanthropic Fund Mr. Gerald O. Allen Norman and Helen Allison Mr. and Mrs. Robert J. Amsdell Rev. Dr. and Mrs. Kenneth J. Anderson Mr. and Mrs. Jeffrey R. Appelbaum Mr. and Mrs. Stanley H. Arkin (Miami) Geraldine and Joseph Babin Mr. William Baldwin Reverend Thomas and Dr. Joan Baumgardner Mr. and Mrs. Mike Belkin Ms. Pamela D. Belknap Mr. Roger G. Berk Kerrin and Peter Bermont (Miami) Barbara and Sheldon Berns Julia & David Bianchi (Cleveland, Miami) John A. Biek and Christina J. Norton Carmen and Karl* Bishopric (Miami) Bill and Zeda Blau Mr. Doug Bletcher John and Anne Bourassa Ms. Barbara E. Boyle Betty Madigan Brandt David M. and Carol M. Briggs Mrs. Ezra Bryan Ms. Mary R. Bynum and Mr. J. Philip Calabrese Mr. and Mrs. Frank H. Carpenter


listings continue

Individual Donors

The Cleveland Orchestra

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Severance Hall 2011-12



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

Thomas and Mary Holmes Dr. Keith A. and Mrs. Kathleen M. Hoover Xavier-Nichols Foundation / Robert and Karen Hostoffer Mark and Ruth Houck (Miami) Dr. Randal N. Huff and Ms. Paulette Beech Ms. Charlotte L. Hughes Mr. David and Mrs. Dianne Hunt Ms. Luan K. Hutchinson Mr. and Ms. Charles S. Hyle Ruth F. Ihde Carol Lee and James Iott Helen and Erik Jensen Mr. Peter and Mrs. Mary Joyce Mr. Daniel Kamionkowski Mr. William and Mrs. Mary Jo Kannen Barbara and Michael J. Kaplan Dr. and Mrs. Richard S. Kaufman Rev. William C. Keene Elizabeth Kelley Angela Kelsey and Michael Zealy (Miami) The Kendis Family Trust: Hilary & Robert Kendis and Susan & James Kendis Bruce and Eleanor Kendrick Mr. James Kish Fred and Judith Klotzman Jacqueline and Irwin Kott (Miami) Dr. Ronald H. Krasney and Ms. Sherry Latimer* Dr. James and Mrs. Margaret Kreiner Mr. James and Mrs. Patricia Krohngold Mr. Donald N. Krosin David C. Lamb Kenneth M. Lapine Anthony T. and Patricia A. Lauria Mr. and Mrs. Leon Lazarev Jeffrey and Ellen Leavitt Dr. Hasoon Lee Dr. and Mrs. Jai H. Lee Michael and Lois A. Lemr Dr. Edith Lerner Dr. Stephen B. and Mrs. Lillian S. Levine Robert G. Levy Dr. Alan and Mrs. Joni Lichtin Isabelle and Sidney* Lobe Holly and Donald Loftus Drs. Alex and Marilyn Lotas Martha Klein Lottman Sandi M. A. Macdonald and Henry J. Grzes (Miami) Herbert L. and Rhonda Marcus Dr. and Mrs. Sanford E. Marovitz Mr. and Mrs.* Duane J. Marsh Mrs. Meredith T. Marshall Dr. Ernest and Mrs. Marian Marsolais Mr. Julien L. McCall Mrs. Alice Mecredy Susan and Reimer Mellin Dr.* and Mrs. Hermann Menges, Jr. Stephen and Barbara Messner


Donald D. Miller MindCrafted Systems Bert and Marjorie Moyar Mr. Raymond M. Murphy Richard B. and Jane E. Nash Marshall I. Nurenberg and Joanne Klein Richard and Jolene O’Callaghan Nedra and Mark Oren (Miami) James P. Ostryniec (Miami) Mr. and Mrs. Christopher I. Page Deborah and Zachary Paris Dr. Lewis and Janice B. Patterson Mr. Thomas F. Peterson, Jr. Mrs. Ingrid Petrus Dr. Roland S. Philip and Dr. Linda M. Sandhaus Dale and Susan Phillip Dr. Marc and Mrs. Carol Pohl William and Gwen Preucil Mr. Richard and Mrs. Jenny Proeschel K. Pudelski Mr. Lute and Mrs. Lynn Quintrell Mr. and Mrs. Thomas A. Quintrell Ms. C. A. Reagan David and Gloria Richards Mrs. Florence Brewster Rutter Fred Rzepka and Anne Rzepka Family Foundation Dr. Harry S. and Rita K. Rzepka Nathan N. and Esther Rzepka Family Philanthropic Fund of the Jewish Co Dr. and Mrs. Martin I. Saltzman Ms. Patricia E. Say Mr. Paul H. Scarbrough Mr. James Schutte Dr. John Sedor and Ms. Geralyn Presti Lee G. and Jane Seidman Charles Seitz (Miami) Harry and Ilene Shapiro Norine W. Sharp Dr. and Mrs. William C. Sheldon Mr. Richard Shirey Dr. Howard and Mrs. Judith Siegel Donald Singer and Helene Love Mr. and Mrs.* Jeffrey H. Smythe Pete and Linda Smythe Mrs. Virginia Snapp Jay and Ellen Solowksy (Miami) Mr. John C. Soper and Dr. Judith S. Brenneke Mr. John D. Specht Howard Stark M.D. and Rene Rodriguez (Miami) Mr. and Mrs.* Lawrence E. Stewart Mrs. Barbara Stiefel (Miami) Ms. Evelyn H. Stroud Mr. and Mrs. G. W. Stuelpe Mr. and Mrs. Daniel C. Sussen Mr. Nelson S. Talbott Mr. Karl and Mrs. Carol Theil Colin Blades Thomas Dr. and Mrs. Thomas A. Timko Mr. and Mrs. Robert J. Tomsich Mr. Erik Trimble

Drs. Anna* and Gilbert True Miss Kathleen Turner Mrs. H. Lansing Vail, Jr. Mr. and Mrs. Joaquin Vinas (Miami) Mr. and Mrs. Les C. Vinney Mr. and Mrs. Joseph F. Wasserbauer Ms. Laure A. Wasserbauer Philip and Peggy Wasserstrom Mr. and Mrs. Jerome A. Weinberger Mrs. Mary Wick Bole Richard Wiedemer, Jr. Helen Sue* and Meredith Williams Mr. Peter and Mrs. Ann Williams Richard and Mary Lynn Wills Charles Winans Michael H. Wolf and Antonia Rivas-Wolf Drs. Nancy Wolf and Aric Greenfield Mr. Robert Wolff and Dr. Paula Silverman Kay and Rod Woolsey Rad and Patty Yates Fred and Marcia Zakrajsek Mr. Kal Zucker and Mrs. Mary Frances Haerr Anonymous (11)

Individual Donors

The Cleveland Orchestra

member of the Leadership Council (see page 80)

* deceased

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

Creativity, Passion, Accountability, and Integrity are our guiding principles principles.

Providing Controllership, CFO, Transaction Management, and Traditional Accounting Services to enterpreneurs and not-for-profit organizations. Contact Jonathan Green • 216.593.0900 ext. 109 •


Where will it take you?

Where great music lives and is created.

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

Severance Hall 2011-12

Severance Hall

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


of Music Director Franz Welser-Möst, The Cleveland Orchestra has become one of the most sought-after performing ensembles in the world. In concerts at its winter home at Severance Hall and at each summer’s Blossom Festival, in residencies from Miami to Vienna, and on tour around the world, The Cleveland Orchestra sets standards of artistic excellence, creative programming, and community engagement. The partnership with Franz Welser-Möst, now in its tenth season, and with a commitment to the Orchestra’s centennial in 2018, has moved the ensemble forward with a series of new and ongoing initiatives, including: UNDER THE LEADERSHIP

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


The Orchestra Today

The Cleveland Orchestra

an array of new concert offerings (including Fridays@7 and Celebrity Series at Severance Hall as well as movie, themed, and family presentations at Blossom) to make a wider variety of concerts more available and affordable; the return of ballet to Blossom, with performances by The Joffrey Ballet. The Cleveland Orchestra was founded in 1918 by a group of local citizens intent on creating an ensemble worthy of joining America’s ranks of major symphony orchestras. Over the ensuing decades, the Orchestra quickly grew from a fine regional organization to being one of the most admired symphony orchestras in the world. The opening of Severance Hall as the Orchestra’s home in 1931 brought a special pride to the ensemble and its hometown, as well as providing an enviable and intimate acoustic environment in which to develop and refine the Orchestra’s artistry. Year-round performances became a reality in 1968 with the opening of Blossom Music Center, one of the most beautiful and acoustically admired outdoor concert facilities in the United States.



SATURDAY INSTRUMENTAL SCHOOL. Music students line up for a photograph in April 1929 at East Technical High School. The students were part of a program in which Cleveland Orchestra musicians taught instrument lessons on Saturdays throughout the school year — nearly 3,000 students took part during the late 1920s and early ’30s. The Orchestra has a long and successful history as an education partner with schools, colleges, and universities throughout Northeast Ohio.

Severance Hall 2011-12

The Cleveland Orchestra




At Severance Hall . . .



Thursday January 19 at 8:00 p.m. Friday January 20 at 8:00 p.m. Saturday January 21 at 8:00 p.m. Thursday February 2 at 8:00 p.m. Friday February 3 at 8:00 p.m. Saturday February 4 at 8:00 p.m.

Thursday February 9 at 8:00 p.m. Saturday February 11 at 8:00 p.m. Sunday February 12 at 3:00 p.m. THE CLEVELAND ORCHESTRA Pierre Boulez, conductor Men of the Cleveland Orchestra Chorus

THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Yefim Bronfman, piano

Hailed by the New York Times as a virtuoso “defying comparison,” Yefim Bronfman performs Brahms’s two piano concertos across two weekends in the new year. The Second, in January, is Brahms at the full height of his creative maturity. The First, in February, brings the swagger and daring of youth, bristling with passion and ambition. January Concert Sponsor: FirstMerit Bank February Concert Sponsor: Baker Hostetler

Former Cleveland Orchestra principal guest conductor Pierre Boulez returns to continue his exploration of the music of Gustav Mahler. The Seventh Symphony begins with the shadow sounds of a boat rowing across a lake late at night, in this far-reaching symphony nicknamed “Song of the Night.” The men of the Cleveland Orchestra Chorus joins in for three lesser-known night songs by Franz Schubert, leading us from the translucent richness of twilight to transcendent darkness and peace. Concert Sponsor: Baker Hostetler

See also the concert calendar listing on pages 48-49, or visit The Cleveland Orchestra online for a complete schedule of future events and performances, or to purchase tickets online 24 / 7 for Severance Hall concerts.




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The Cleveland Orchestra Jan. 12-14 Concert Program  

Brahms Violin Concerto

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