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Music. Pure + Simple.

12 13 SEASON



18 East Orange Street Chagrin Falls, Ohio (440) 247-2828

What some kids would rather be doing. That’s why we’re so proud to support The Cleveland Orchestra’s music education programs for children, making possible the rewards and benefits of music in their lives. WILLOUGHBY HILLS: LEXUS, BMW, MINI MENTOR: CADILLAC, SAAB, CHEVROLET, FIAT, FORD, LINCOLN, HYUNDAI, MAZDA TOYOTA SCION VOLKSWAGEN PAINESVILLE: BUICK, GMC STREETSBORO: HONDA, NISSAN, KIA DRIVECLASSIC.COM AUTO GROUP





WEEK 3 7

In the News Perspectives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Spotlight Photo: A Look Back . . . . . . . . . . . . . . . . 8 Orchestra News . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Distinguished Service Award . . . . . . . . . . . . . . . . 32


About the Orchestra Musical Arts Association . . . . . . . . . . . . . . . . . . . . . Music Director. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . Meet the Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . Severance Hall. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Guest Information . . . . . . . . . . . . . . . . . . . . . . . . . . .


11 15 22 71 88 92

Copyright © 2012 by The Cleveland Orchestra and the Musical Arts Association Eric Sellen, Program Book Editor E-MAIL: 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

Concerts — Week 3 Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . Program: October 4, 5, 6 . . . . . . . . . . . . . . . . . . Introducing the Program . . . . . . . . . . . . . . . . . . . . KeyBank Fridays@7 . . . . . . . . . . . . . . . . . . . . . . . . .

31 34 37 39


A Midsummer Night’s Dream . . . . . . . . . . . . . . 41 MOZART

Bassoon Concerto . . . . . . . . . . . . . . . . . . . . . . . . 45 BERLIOZ

Love Scene, Romeo and Juliet . . . . . . . . . . . . . . 51

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. 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.


Daphnis and Chloé, Suite No. 2 . . . . . . . . . . . . 54 Evolution: Rock’n’Roll to Classical . . . . . . . . . 58 COPELAND

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.

Gamelan D’Drum . . . . . . . . . . . . . . . . . . . . . . . . . 61 Conductor: James Feddeck . . . . . . . . . . . . . . . . . . Soloist: John Clouser . . . . . . . . . . . . . . . . . . . . . . . . Cleveland Orchestra Chorus . . . . . . . . . . . . . . . . . . Soloists: D’Drum . . . . . . . . . . . . . . . . . . . . . . . . . . . .



This program book is printed on paper that includes 50% recycled post-consumer content. All unused books are recycled as part of the Orchestra’s regular business recycling program.

Support Sound for the Centennial . . . . . . . . . . . . . . . . . . . . Center for Future Audiences . . . . . . . . . . . . . . . . . Corporate Annual Support . . . . . . . . . . . . . . . . . . . Foundation / Government Annual Support . . . Individual Annual Support . . . . . . . . . . . . . . . . . .


38 47 57 64

48 72 73 75 76

These books are printed with EcoSmart certified inks, containing twice the vegetable-based material and one-tenth the petroleum oil content of standard inks, and producing 10% of the volatile organic compounds.

Future Concerts Concert Calendar . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 Upcoming Concerts . . . . . . . . . . . . . . . . . . . . . . . . 94


Table of Contents

The Cleveland Orchestra

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Perspectivesfrom the Executive Director Autumn 2012 Welcome to the new season — Franz Welser-Möst’s eleventh year as music director. The months ahead promise exciting music and creative innovation, alongside our continuing dedication to artistic excellence and community service. The Cleveland Orchestra and Franz have just returned from this summer’s European Festivals tour. Once again, their performances were lauded and applauded from Scotland to Salzburg and from Lucerne to Linz. Many music critics, in the midst of praising the Orchestra’s overall artistry, focused on the extraordinary string section — including this quote from Südwest Presse: “This string section can clearly do anything perfectly, and Welser-Möst was able to demonstrate that fact with brio.” Additional excerpts of reviews from the European Festivals tour can be found on page 25 of this program book. The Cleveland Orchestra is devoted to nourishing hearts and minds — through musical performances and education programs. We are devoted to economic vitality — as Ohio’s most visible international ambassador, proudly carrying the name of our great city everywhere we go. And we are devoted to community service. The Orchestra is in the midst of a renaissance of spirit, as we commit ourselves to being ever more relevant to our hometown in a modern and changing world. Over the summer, we announced a series of new and innovative programs for the coming season. These include the Orchestra’s first fully staged performances of Tchaikovsky’s The Nutcracker, presented with The Joffrey Ballet the week after Thanksgiving at PlayhouseSquare. We’re also continuing our return to the public schools, with a fourth year of performances at area high schools. And we’re introducing the expansion of “Under 18s Free” to select concert series here at Severance Hall. Next spring, we continue our collaborative partnership performing at the Cleveland Museum of Art, and we launch the Orchestra’s first Neighborhood Residency in Cleveland’s Gordon Square Arts District. Details of these and other programs can be found beginning on page 26 of this program book. We owe a debt of gratitude to the generous donors and sponsors who are funding these new activities alongside our core programming. And we invite you, our loyal friends, to consider your own investment in the continuation of these initiatives. Please be counted among the many who ensure the success of this great orchestra, through your participation and financial support.

Gary Hanson P.S. Included in this fall’s elections is an operating levy for the Cleveland Metropolitan School District. Promoted as the “Right Plan, Right Now,” the success of this funding initiative for education will make a critical difference for Northeast Ohio’s future — and I urge everyone to learn more, to volunteer, and to support the campaign by visiting Severance Hall 2012-13





The Cleveland Orchestra Chorus on its way to sing Bach’s St. John Passion at the Casals Festival in Puerto Rico in June 1962. The all-volunteer Chorus is celebrating the 60th anniversary of its founding throughout the 2012-13 season.

U N D E R T H E L E A D E R S H I P 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 eleventh 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:

the establishment of residencies around the world, fostering creative artistic growth and an expanded financial base, including an ongoing residency at the Vienna Musikverein (the first of its kind by an American orchestra); an ongoing residency in Florida, under the name Cleveland Orchestra Miami, involving an annual series of concerts and community activities, coupled with an expansive set of educational presentations and collaborations


About the Orchestra

The Cleveland Orchestra

(based on successful educational programs pioneered over the past nine decades at home in Cleveland); concert tours from coast to coast in the United States, including annual 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 2010); ongoing recording activities, including new releases under the direction of Franz Welser-Möst, Mitsuko Uchida, and Pierre Boulez, as well as a series of DVD concert presentations of symphonies by Anton Bruckner; additional new residencies at Indiana University and at New York’s Lincoln Center Festival; an expanded offering of education and community programs in Northeast Ohio, designed to make music an integral and regular part of everyday life; the 2012-13 season includes a new neighborhood residency program that will feature a week of activities and performances in Cleveland’s Gordon Square Arts District; creative new artistic collaborations, including staged works and chamber music performances, with arts institutions in Northeast Ohio and in Miami; 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; a concentrated and ongoing effort to develop future generations of audiences for Cleveland Orchestra concerts in Northeast Ohio, through research, targeted discounts, social media offers and promotion, and student ticket programs; continuing and expanded educational partnerships with schools, colleges, and universities from across Northeast Ohio and in the Miami-Dade community; the return of ballet as a regular part of the Orchestra’s presentations, featuring performances by The Joffrey Ballet; the 2012-13 season includes the Orchestra’s first fully staged performances of Tchaikovsky’s The Nutcracker. 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 in 1931 of Severance Hall as the Orchestra’s home 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. Severance Hall 2012-13

The Orchestra Today


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

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

Jeanette Grasselli Brown 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 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

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

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

Herbert Kloiber (Germany) Ludwig Scharinger (Austria)

TR U S TE E S E X- O FFI C I O Faye A. Heston, 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 TR U S TE E S E M ERI T I Clifford J. Isroff Samuel H. Miller David L. Simon PA S T PR E S I D E NT S D. Z. Norton 1915-21 John L. Severance 1921-36 Dudley S. Blossom 1936-38 Thomas L. Sidlo 1939-53

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 T EES 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 2012-13

Gary Hanson, Executive Director

Musical Arts Association



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


T H E 2 0 1 2 - 1 3 S E A S O N marks Franz Welser-Möst’s eleventh 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 another at Switzerland’s Lucerne Festival. 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 residency in Florida under the name Cleveland Orchestra Miami and, in 2011, launched a new biennial residency at New York’s Lincoln Center Festival. To the start of this season, The Cleveland Orchestra has performed fourteen world and fifteen United States premieres under Franz Welser-Möst’s direction. Through the Roche Commissions project, he and the Orchestra have premiered works by Harrison Birtwistle, Chen Yi, Hanspeter Kyburz, George Benjamin, Toshio Hosokawa, and Matthias Pintscher 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 Pintscher, Marc-André Dalbavie, Susan Botti, Julian Anderson, Johannes Maria Staud, Jörg Widmann, and Sean Shepherd. Franz Welser-Möst has led a series of opera performances during his tenure

Severance Hall 2012-13

Music Director


in Cleveland, re-establishing the Orchestra as an important operatic ensemble. Following six seasons of opera-in-concert presentations, he brought fully staged opera back to Severance Hall with a three-season cycle of Zurich Opera productions of the MozartDa Ponte operas. He led concert performances of Strauss’s Salome at Severance Hall and at Carnegie Hall in May 2012. Franz Welser-Möst became general music director of the Vienna State Opera in 2010. 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 SvenEric Bechtolf, and critically praised new productions of Hindemith’s Cardillac and Janáček’s Katya Kabanova and From the House of the Dead. During the 2012-13 season, his Vienna performances include Wagner’s Parsifal, Strauss’s Arabella and Ariadne auf Naxos, Puccini’s La Bohème, and Berg’s Wozzeck. 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; he will conduct the New Year’s Day concert again in 2013 and will also lead the Philharmonic in a series of concerts at New York’s Carnegie Hall in March 2013. 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 Bruckner symphonies, presented in three accoustically distinctive venues (the Abbey of St. Florian in Austria, Vienna’s Musikverein, and 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, 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, a Decoration of Honor from the Republic of Austria for his artistic achievements, 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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12 13 SEASON

THE CLEVELAND ORCHESTRA 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


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






Daniel Singer

Franz Welser-MĂśst and The Cleveland Orchestra, performing Brucknerâ&#x20AC;&#x2122;s Fourth Symphony in concert at Severance Hall in April 2012.



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 2 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 *

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

Chaillé H. and Richard B. Tullis Chair

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

Stanley Konopka Mark Jackobs

CELLOS Mark Kosower*


Jean Wall Bennett Chair

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

The Orchestra

Mark Atherton Thomas Sperl Henry Peyrebrune Charles Barr Memorial Chair

Charles Carleton Scott Dixon Derek Zadinsky HARP Trina Struble * Alice Chalifoux Chair

The Cleveland Orchestra

12 13 O R C H E S T R A FLUTES Joshua Smith * Elizabeth M. and William C. Treuhaft Chair

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

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

OBOES Frank Rosenwein * Edith S. Taplin Chair

Mary Lynch 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

HORNS Richard King *

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*

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


Gilbert W. and Louise I. Humphrey Chair

Richard Stout Alexander and Marianna C. McAfee Chair


Louise Harkness Ingalls Chair

PERCUSSION Jacob Nissly *

Michael Miller


BASSOONS John Clouser *

Otto G. and Corinne T. Voss Chair

Tom Freer 2

Knight Foundation Chair

Jesse McCormick Hans Clebsch Richard Solis Alan DeMattia

Shachar Israel 2


TIMPANI Paul Yancich *

George Szell Memorial Chair

Michael Mayhew §

Linnea Nereim

Stanley L. and Eloise M. Morgan Chair




Sunshine Chair

* Principal § 1 2

Associate Principal First Assistant Principal Assistant Principal

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

Barrick Stees 2 Sandra L. Haslinger Chair

Jonathan Sherwin CONTRABASSOON Jonathan Sherwin

Severance Hall 2012-13

The Orchestra


Business takes ďŹ&#x201A;ight when itâ&#x20AC;&#x2122;s well conducted. 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 businesses here. Which should be music to all of our ears.




2012 European Festivals Tour draws praise for Welser-Möst and Cleveland Orchestra The following are excerpted from press reviews of the Orchestra’s performances during its European Festivals Tour August 18 to September 3: “If the strings are the heart and soul of the symphony orchestra, then The Cleveland Orchestra is essentially in terrific shape. . . . It was the full-bodied attack of the strings in the gutsy opening bars, and their brilliantly delicate and muted virtuosity in the second movement, that were the icing on the cake.” —The Scotsman, August 22, 2012 “The Cleveland Orchestra is often described as the aristocrat among American orchestras. If ‘aristocratic’ means spellbinding finesse in sound and style, then their first Edinburgh Festival concert certainly came up trumps. . . . The music we heard gave a lot of pleasure, largely because it was shrewdly chosen to show off the Clevelanders’ fabulous sheen and warmth. —Telegraph, August 22, 2012 “In this one heard a courageous Bruckner, unafraid of dissonances, magnificently brought alive by Franz Welser-Möst and his Cleveland Orchestra.” —Deutschland Radio, August 25, 2012


“Representing the ruins of a demolished tower of concrete and lead, Matthias Pintscher orchestrates a catastrophic destruction in his Chute d’Étoiles (‘Falling Stars’). Metallic explosions of sound run into the calm of a post-apocalyptic ‘sea of lead,’ and it is left to two solo trumpets to drive this cycle of destruction and new creation forward. . . . Michael Sachs and Jack Sutte performed with great verve and in a mirage-like whisper, using idioms not far removed from free jazz; they gradually soar to a state of golden splendor.” —Die Südotschweiz, August 27, 2012 “The host of strings (eight double basses, an unusual complement of twelve violas seated on the conductor’s right, etc.) was amazing — a sound mass with a lot of fighting power. . . . This string section can clearly do anything perfectly, and WelserMöst was able to demonstrate that fact with brio.” —Südwest Presse, August 29, 2012 “[In Smetana’s Má Vlast] Welser-Möst had the harpist touch the strings with great subtlety, and the wiry immediacy of the strings (with William Preucil as concertmaster) was striking.” —Stuttgart Nachrichten, August 29, 2012

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Cleveland Orchestra News



“[In Smetana’s The Moldau] the coloring was precise, almost pointillistic, the tempo flowing and animated, with furious explosive power and dramatic brio in the passage of the cataracts, and with silky sparkle in the violins for the scene of the mermaids in the silvery moonlight. The conductor thoroughly cleansed this earworm from all the patina of spa concerts. The familiar sounded excitingly new — this was definitely worth listening to carefully.” —Esslinger Zeitung, August 29, 2012



Cleveland Orchestra continues innovations in programming and community engagement New programs and expansion include neighborhood residency, ballet, free tickets, and school partnerships and performances




In the 2012-13 season, The Cleveland Orchestra continues its innovations in programming and community engagement, seeking to build on the success of recent initiatives. The coming season’s innovations include new program and audience development activities at Severance Hall, alongside expanded activities outside the concert hall. The Orchestra will venture even farther outside its University Circle home with new programs downtown and on Cleveland’s West Side. At PlayhouseSquare, the Orchestra will collaborate with The Joffrey Ballet, while the organization’s ground-breaking residency program, developed and refined by the Orchestra in cities including Vienna and Miami, will come home to Northeast Ohio with the launch of a new program of Neighborhood Residencies. The first annual Cleveland Orchestra Neighborhood Residency will take place in Gordon Square the week of May 13-19, 2013. Also this season, the initiative that brought the full Orchestra back into the schools in 2009 will continue and become a permanent part of the annual schedule thanks to a newly-created endowment fund, and a new partnership with Breakthrough Charter Schools begins in October 2012. Meanwhile, “Under 18s Free,” a program first established for the 2011 Blossom Festival, will come inside Severance Hall for selected concerts, and as the unique Fridays@7 Series enters its fourth season, a bold repertoire move sees world music migrating from the @fter-party entertainment to the main-stage concert with the Orchestra. The KeyBank Fridays@7 series opening on October 5 features the music of Stewart Copeland, founder and drummer of The Police, and a collaboration with the Rock and Roll Hall of Fame & Museum. In announcing the new initiatives in August, Gary Hanson, executive director of The Cleveland Orchestra, said, “We want to build on the success of our many recent community engagement initiatives, and in the coming season we are further diversifying our schedule and


programs. Our goal is to be even more relevant to our community.” CLEVELAND ORCHESTRA NEIGHBORHOOD RESIDENCY The Cleveland Orchestra Neighborhood Residency is a new program to immerse the Orchestra in local communities with an intense schedule of performances and activities. The first of these annual residencies in Northeast Ohio takes place the week of May 13-19, 2013, in Gordon Square. The centerpieces of the Residency will be free Cleveland Orchestra concerts at St. Colman Church for neighborhood residents and students, and musicians will perform as soloists and in ensembles in non-traditional locations and in local schools. The Cleveland Orchestra Neighborhood Residency at Gordon Square is funded in part by the Machaskee Fund for Community Programming, an endowed fund created by Alex and Carol Machaskee. Sean Watterson, co-owner of the Happy Dog bar, restaurant, and music venue in Gordon Square, said, “We’re incredibly enthusiastic about the Orchestra coming to Gordon Square. We’re thrilled that people in our community will be able to experience their world-class performances at a series of events for all ages throughout the neighborhood. We’re proud to welcome the world to Gordon Square to join us for this unique experience.” HIGH SCHOOL PERFORMANCES PERMANENTLY ENDOWED The Cleveland Orchestra returned to performing in Cleveland high schools in 2009, after an absence of more than three decades. On Thursday, October 11, 2012, the Orchestra’s performance at Shaker Heights High School will be the first to be supported by a newly established fund that permanently endows annual Cleveland Orchestra performances in area high schools. The Alfred Lerner In-School Performance Fund, a gift of $1 million from Mrs. Norma Lerner and The Lerner Foundation, will support concerts in high schools in perpetuity. Performances are being

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OrchestraNews planned for Cleveland Metropolitan School District High Schools in 2013 and 2014.

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“UNDER 18s FREE” EXPANDS FROM BLOSSOM TO SEVERANCE HALL The Cleveland Orchestra’s “Under 18s Free” at Blossom program is expanding to Severance

Hall. This follows the unprecedented success of the program for Blossom Festival concerts, where, since its inception in 2011, more than 23,000 young people have attended Cleveland Orchestra concerts. “Under 18s Free” at Severance Hall tickets are available for all KeyBank Fridays@7 concerts, as well as for the Orchestra’s two regular matinee series: Friday Mornings at 11 and Sundays at 3. Free tickets are offered for young people ages 7-17 on a one-for-one basis with paid adult admissions. “Under 18s Free” tickets are available by contacting the Severance Hall Ticket Office. “Under 18s Free” is supported in part by The Cleveland Orchestra’s Center for Future Audiences. The Center, created with a lead endowment gift from the Maltz Family Foundation, was estabThe Joffrey Ballet performs lished to fund programs to The Nutcracker with The develop new generations Cleveland Orchestra Noof audiences for Cleveland vember 29-December 2. Orchestra concerts in Read more on page 68. Northeast Ohio.


NEW PARTNERSHIP WITH BREAKTHROUGH CHARTER SCHOOLS The Cleveland Orchestra begins an educational partnership with Breakthrough Charter Schools in October 2012. All of the students from participating schools will attend a Cleveland Orchestra concert at Severance Hall, and their teachers will participate in professional development workshops and concert preparation. The Orchestra’s award-winning Learning Through Music program includes ongoing visits from Cleveland Orchestra musicians in the schools. The pilot partnership will eventually expand to incorporate all nine Breakthrough Schools. The Cleveland Orchestra partnership with Breakthrough Schools is funded in part by Cliffs Natural Resources. Breakthrough Charter Schools are a nationally-recognized network of high-performing, free, public charter schools operating in partnership with the Cleveland Metropolitan School District.





OrchestraNews October 4-6: Student Appreciation Week offers $5 tickets to students and introduces new $50 Frequent FanCard


The Cleveland Orchestra is hosting its second annual Student Appreciation Week with this weekend’s concerts, October 4- 6. Through the Orchestra’s ongoing Student Advantage Program, student tickets, which are usually $10, are being offered for just $5 to this weekend’s concerts. Membership in the Student Advantage Program is free. In addition, a new Student Frequent FanCard has been introduced this week. Priced at $50, the FanCard offers students unlimited single tickets (one per FanCard holder) to Classical Subscription concerts all season long. Also with this week’s KeyBank Fridays@7 concert, the Orchestra’s “Under 18s Free” program comes to Severance Hall after two successful summer seasons at Blossom. This program offers free tickets (one per regular-priced adult paid admission) to young people ages

7-17 to the Orchestra’s Fridays@7, Friday Morning at 11, and Sunday Afternoon at 3 concerts. These programs are supported by The Cleveland Orchestra’s Center for Future Audiences and the Alexander and Sarah Cutler Fund for Student Student Advantage Audiences. The Center for Future The Cleveland Orchestra Audiences was Student Ambassadors created with a $20 million lead endowment gift from the Maltz Family Foundation to develop new generations of audiences for Cleveland Orchestra concerts in Northeast Ohio. Student Ambassadors are helping answer questions and promote all of these programs at each of this weekend’s concerts. To learn more about the Student Ambassadors program, please call 216-231-7472.

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Cleveland Orchestra News

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OrchestraNews A.R.O.U.N.D T.O.W.N Recitals and presentations featuring Orchestra musicians Upcoming performances by members of The Cleveland Orchestra locally include:



Severance Hall 2012-13

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.

Cleveland Orchestra News



Please join in extending congratulations and warm wishes to: Frank Rosenwein (oboe) and Jung-Min Amy Lee (violin), who were married June 10. Martha Baldwin (cello) and Micah Leibowitz, whose baby daughter, Zoe Kathleen, was born on August 14. Robert Woolfrey (clarinet) and Tanya Ell (cello), who were married on September 8.

The third of Mitsuko Uchida’s albums of Mozart concertos with The Cleveland Orchestra has been released — and is now available for purchase at the Cleveland Orchestra Store at Severance Hall. The album features Piano Concertos Nos. 9 and 21, recorded in live performances at Severance Hall. One of the previous discs from this collaboration received a Grammy Award in 2011. Reviews of this new album include these comments from Audio Audition: “Conducting Mozart concertos from the piano has a long and honored tradition, originating with the composer himself. . . . Uchida performs on a new Hamburg Steinway whose action remains uniformly light and resonant, especially as Uchida does not mince her dynamics. . . . We need only audition this fine collaboration to enjoy the scintillating energy of the outer movements [of Concerto No. 9] and the internal rigors of the Andantino movement. The last movement virtually bubbles with infectious wit and digital confidence. . . . The give-and-take response between Uchida and The Cleveland strings and winds attractively beguiles us. Then, her seamless runs and arpeggios move inexorably to a bravura cadenza almost early Beethoven in its briefly pearly wit that rushes to a coda spread over three octaves. Superb!”


Cleveland Orchestra musicians Emma Shook (violin), Lisa Boyko (viola), and Carolyn Warner (piano) join with former Orchestra cellist Diane Mather for a recital on Sunday afternoon, October 7, at Rocky River Presbyterian Church (2174 Detroit Road, Rocky River). The free concert begins at 4:00 p.m. and features Fauré’s Piano Quartet in E minor and Dohnányi’s Serenade for String Trio. For more information, visit

New album with Cleveland Orchestra and Mitsuko Uchida is now available . . .


Cleveland Orchestra musician Mark Kosower (principal cello) performs a recital with pianist Jeewon Oh on Sunday afternoon, October 7, at the Music Settlement (11125 Magnolia Drive in University Circle). Presented by the Cleveland Cello Society, the performance begins at 3:00 p.m. and features works by Beethoven, Britten, Ginastera, Bartók, and Brahms. Tickets are $25 (or $10 at the door for students) and can be purchased in advance at 216-921-3480 or



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12 13



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.

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. October 4 and 6 “Under the Looking Glass: Fairies, Elves, and Musical Enchantment” with Francesca Brittan, assistant professor of musicology, Case Western Reserve Univ.

October 11, 13, 14 “Meet the Composer” composer Stephen Paulus with conductor Giancarlo Guerrero

October 18, 19, 20 “Russian Passions” with Jason Harris, assistant professor of choral conducting, Oberlin College

October 25, 26, 27 “Mood and Melody” with Rose Breckenridge, Cleveland Orchestra Music Study Groups administrator and lecturer For Concert Preview details, visit

Severance Hall 2012-13

Concert Previews


The Cleveland Orchestra

Distinguished Service Award The Musical Arts Association is proud to honor Milton and Tamar Maltz as the 2012-13 recipients of the Distinguished Service Award, recognizing extraordinary service to The Cleveland Orchestra.


Richard Weiner 2011-12 Distinguished Service Award Committee Marguerite B. Humphrey, Chair Ambassador John D. Ong, Vice Chair Richard J. Bogomolny Dr. Jeanette Grasselli Brown Robert Conrad Gary Hanson Carol Lee Iott Dennis W. LaBarre Robert P. Madison Clara Taplin Rankin

Robert Conrad 2010 -11 Clara Taplin Rankin 2009-10 Louis Lane 2008- 09 Gerald Hughes 2007- 08 John D. Ong 2006-07 Klaus G. Roy 2005 - 06 Alex Machaskee 2004 - 05 Thomas W. Morris 2003 -04 Richard J. Bogomolny 2002- 03 John Mack 2001-02 Gary Hanson 2000-01 Christoph von Dohnรกnyi 1999-2000 Ward Smith 1998-99 David Zauder 1997-98 Dorothy Humel Hovorka 1996-97


Distinguished Service Award

The Cleveland Orchestra

Presented to Milton at the concert of October 6, 2012

and Tamar Maltz


believe in creating a better world. This conviction has ignited decades of inspirational and transformative philanthropy. Great music of many kinds has a permanent place in Milton and Tamar’s vision. Their devotion to music has ranged from helping develop the Rock and Roll Hall of Fame and Museum to supporting the success and growth of The Cleveland Orchestra. The couple have been Cleveland Orchestra subscribers across four decades and are devoted to the Orchestra’s Blossom Festival. They have been generous contributors to the Orchestra’s Annual Fund and to special projects such as the renovation of Severance Hall. In 2010, their visionary leadership helped launch the Orchestra’s Center for Future Audiences with a $20 million lead endowment gift. The Center was established to create and fund programs to develop new generations of audiences for Cleveland Orchestra concerts. These programs include the Orchestra’s “Under 18s Free” program, which has to date granted free Blossom admission to over 26,000 young people. Milton began his career as a child actor in radio dramas. He majored in journalism at the University of Illinois and served our country as a code breaker in the U.S. Navy before founding Malrite Communications Group in 1956. During Milton’s tenure as chairman and CEO, Malrite became one of the country’s top broadcasting companies, boasting radio and television stations from coast to coast. Milton’s successes include receiving the Dively Award for Entrepreneurship, and being inducted into the Cleveland Business Hall of Fame. Tamar earned her education degree from Chicago’s Roosevelt University, and then taught in Maryland, Michigan, and Ohio. She met her husband during a radio audition, and later loaned him $6,000 to start Malrite. She serves on the board of directors of the Brain & Behavior Research Foundation and works to create social and recreational opportunities for people suffering from mental illness, for which she received the “Trailblazer of the Year” award from the Planned Life Assistance Network. Together with their children, Milton and Tamar created the Maltz Family Foundation to channel their success into a greater Northeast Ohio. The Foundation has supported programs in everything from the arts to medicine, including the Cleveland Museum of Art, Cleveland Play House, Cleveland Clinic Foundation, and Case Western Reserve University. The Foundation also launched The Maltz Museum of Jewish Heritage, which sponsors an annual “Stop the Hate” essay contest, awarding $100,000 in scholarships and prizes to the winners. Milton and Tamar believe that music is an essential part of life. Their exceptional philanthropy helps ensure that great music performed by The Cleveland Orchestra can continue to inspire everyone, forever. For their enduring commitment to the Orchestra, for their exemplary generosity in strengthening the Northeast Ohio community, and for their unwavering devotion to music, the Musical Arts Association is pleased to present Milton and Tamar Maltz with its highest award for distinguished service. Severance Hall 2012-13

Distinguished Service Award



W E L S E R - M Ö ST M U S I C


Severance Hall

Thursday evening, October 4, 2012, at 8:00 p.m. Saturday evening, October 6, 2012, at 8:00 p.m.

James Feddeck, conductor felix mendelssohn (1809-1847)

Four Entr’actes from A Midsummer Night’s Dream, Opus 61 1. 2. 3. 4.

w.a. mozart (1756-1791)

Scherzo Intermezzo Nocturne Wedding March

Bassoon Concerto in B-flat major, K191 1. Allegro 2. Andante ma adagio 3. Rondo: Tempo di menuetto JOHN CLOUSER, bassoon


hector berlioz

Love Scene from Romeo and Juliet, Opus 17

maurice ravel

Daphnis and Chloé, Suite No. 2



1. Daybreak — 2. Pantomime — 3. General Dance CLEVELAND ORCHESTRA CHORUS Robert Porco, director

DISTINGUISHED SERV I CE A W A R D The Cleveland Orchestra’s Distinguished Service Award will be presented to Milton and Tamar Maltz onstage before the Saturday night concert. (See pages 32-33)

John Clouser’s solo appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from the late Dr. Frank Hovorka in honor of Dorothy Humel Hovorka. The concerts will end at approximately 9:40 on Thursday and at 9:50 on Saturday.


Concert Program — Week 3

The Cleveland Orchestra

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Friday evening, October 5, 2012, at 7:00 p.m.

James Feddeck, conductor felix mendelssohn (1809-1847)

Four Entr’actes from A Midsummer Night’s Dream, Opus 61 1. 2. 3. 4.

maurice ravel (1875-1937)


Scherzo Intermezzo Nocturne Wedding March

Daphnis and Chloé, Suite No. 2 1. Daybreak — 2. Pantomime — 3. General Dance CLEVELAND ORCHESTRA CHORUS Robert Porco, director


stewart copeland (b. 1952)



Gamelan D’Drum 1. Klentong 2. Taksu 3. Lesung D’DRUM, world percussion This concert is presented with an extended intermission to allow for the percussion required for Gamelan D’Drum to be set up onstage. Audience members are encouraged to watch this process taking place, or to spend time in the lobbies socializing with friends and enjoying cash-bar refreshments before returning to your seats in the Concert Hall.

The KeyBank Fridays@7 series is sponsored by KeyBank, a Cleveland Orchestra Partner in Excellence. Fridays@7 Media Partner: The Plain Dealer The concert includes an intermission and will end at about 8:50 p.m.

Information about the Fridays@7 pre-concert performers and the @fterparty music can be found on page 39. Severance Hall 2012-13

Concert Program — Week 3 Friday



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The Cleveland Orchestra


Mozart, Love & Rock’n’Roll PA I R S O F Y O U N G L O V E R S

inhabit several of the musical works throughout this weekend’s concerts. The most famous of these, Romeo and Juliet, are represented in Berlioz’s symphony of that name. The Love Scene — performed on Thursday and Saturday nights — is the central movement of seven, and the emotional core of the work. It was the scene that left the strongest impression on Berlioz when he first saw Shakespeare’s play. Mendelssohn’s music for A Midsummer Night’s Dream alludes to no less than three pairs of lovers: the four lovers whose misunderstandings and entanglements form the center of the story, and the king and queen whose nuptials are celebrated by the famous Wedding March. The four entr’actes presented feature music crafted to portray — among other emotions — peaceful quiet, uncertainty, and joy. Daphnis and Chloé are less familiar lovers, but their devotion in a classical pastoral setting was perfect for the world Ravel wanted to render in his famous ballet from 1912. The wordless voices — sung by the Cleveland Orchestra Chorus — add a special depth to Ravel’s detailed and mesmerizing sound world. Also featured on Thursday and Saturday evenings, the Orchestra’s principal bassoon, John Clouser, steps to center stage to play Mozart’s lyrical Bassoon Concerto, written when the composer was just eighteen years old. On Friday night, conductor James Feddeck leads the first KeyBank Fridays@7 concert of the season, including the Cleveland premiere of an unusual concerto for world percussion, created by composer Stewart Copeland especially for the five-man ensemble D’Drum. This requires some change from our usual Fridays@7 format, introducing an intermission so that the fascinatingly large battery of percussion instruments can be set up onstage. The evening surrounding the concert begins with world music of a different sort and ends with the usual @fterparty, this week featuring Jamey Haddad, who not only curates the pre- and post-concert affairs, but is an agile and gifted performer.




Current and past Cleveland Orchestra concerts are broadcast as part of regular weekly programming on WCLV (104.9 FM), Saturday evenings at 8:00 p.m. and Sunday afternoons at 4:00 p.m. This week’s Thursday/Saturday program will be broadcast on Sunday, November 18, at 4:00 p.m.

Severance Hall 2012-13

Introducing the Program


James Feddeck

Assistant Conductor Elizabeth Ring and William Gwinn Mather Endowed Chair The Cleveland Orchestra


The 2012-13 season marks James Feddeck’s fourth year as assistant conductor of The Cleveland Orchestra and music director of the Cleveland Orchestra Youth Orchestra. He made his Cleveland Orchestra debut in August 2009. He assists Franz Welser-Möst in the preparation of Cleveland Orchestra performances, opera productions, recording projects, and tours. In March 2011, he replaced Welser-Möst at the last minute in the Zurich Opera production of Mozart’s Don Giovanni performed at Severance Hall. He has led a number of new community initiatives, including Cleveland Orchestra collaborative performances with the Cleveland Museum of Art and Cleveland Play House. This past summer, he led the Youth Orchestra on its first international tour, with performances in the Czech Republic and Austria. In the United States, Mr. Feddeck has guest conducted the orchestras of Atlanta, Charleston, Charlotte (with soloist Yo-Yo Ma), Grand Rapids, Memphis, Omaha, St. Louis, San Diego, and Toledo as well as performances with the Kennedy Center Opera Orchestra (Ballet Across America Festival) and Aspen Music Festival. In April 2010, he made his European debut with the Tonhalle-Orchester Zürich. He makes his Canadian debut in 2013 with the Orchestre Symphonique de Québec. Before his appointment in Cleveland, Mr. Feddeck was assistant conductor of the Memphis Symphony Orchestra for two seasons. He was a conducting fellow for three summers at the Aspen Music Festival, as a protégé of David Zinman, where he received the Robert J. Harth Conductor Prize and the Aspen Conducting Prize and later served as assistant conductor. He was the unanimous winner of the Sixth Vakhtang Jordania International Conducting Competition as the youngest participant (at age twenty-two). The Georg Solti Foundation U.S. awarded him a Career Assistance Grant, a new prize for young conductors in the United States. An accomplished organist, James Feddeck has performed recitals throughout North America and Europe and has been featured on the North American radio program Pipedreams. As an oboist, he has a special interest in new music and has commissioned works including Daniel Pinkham’s Oboe Quartet. With his interest in early music, he regularly leads orchestras from the keyboard. Mr. Feddeck’s musical training is unusually diverse. He was admitted to the Oberlin Conservatory of Music in four areas: piano, oboe, organ, and conducting. At Oberlin, he led his first operatic production, of Mozart’s Così fan tutte. In September 2010, Oberlin College awarded him its first Outstanding Young Alumni Award for professional achievement and contributions to society, the college’s highest distinction to alumni of his generation.



The Cleveland Orchestra

D N A A R L E V E ST FRIDAYS H E T LE H C RC O October 5 friday evening SEVERANCE HALL



pre-concert st@rters 5:00 p.m.

doors open, snacks and drinks available

6:00 p.m.

Concert Prelude in Reinberger Chamber Hall: featuring Alon Yavnai, jazz pianist with the Cleveland Institute of Music Improvisational Ensemble read about the performer on page 66 > > >

clevel@nd orchestra concert 7:00 p.m.

THE CLEVELAND ORCHESTRA conducted by James Feddeck < < <

biographical information on opposite page

with D’Drum, world percussion Ron Snider, John Bryant, Doug Howard, Ed Smith, and Josh Jennings biographical information on page 64 > > >

“Percussion D’Drum” featuring works by Mendelssohn, Ravel, and Stewart Copeland < < < musical selection details listed on page 35 read commentary about the music: Mendelssohn (page 41), Ravel (page 54), Copeland (page 61) > > >

@fterparty after the concert ends, the evening continues . . . in Bogomolny-Kozerefski Grand Foyer: 9:00 p.m.

Jamey Haddad Quartet featuring Jamey Haddad, Alon Yavnai, Jay Ashby, Kip Reed, and Dylan Moffitt


information on page 67 > > >

bars are open around the performance

Severance Hall 2012-13

KeyBank Fridays@7 — October 5


Four Orchestral Entr’actes from Incidental Music to A Midsummer Night’s Dream, Opus 61 composed 1842 MENDELSSOHN



MENDELSSOHN born February 3, 1809 Hamburg died November 4, 1847 Leipzig

Severance Hall 2012-13

was only seventeen when he and his sister Fanny saw a production of Shakespeare’s A Midsummer Night’s Dream in Berlin. He immediately wrote a piece for piano duet for them to play together, depicting the characters and extraordinary events in the play. He had no thought of it being an overture to anything such as an opera or a performance of the play — but he orchestrated it soon thereafter and called it an Overture, thus making an entirely novel contribution to the 19th century’s wealth of program music. Fifteen years later, he was invited by the King of Prussia to compose incidental music for the play itself, appending new music to the Overture for a production in the King’s palace at Potsdam, near Berlin. Some of the music was played during the action of the play, but the main pieces, apart from the Overture, were the four entr’actes, performed between each of the five acts, that we hear in sequence at this weekend’s concerts. The Scherzo anticipates the fairies’ scene in the forest at the start of Act II. Having already proved himself to be a master of gossamer fairy music in the Octet, the Violin Concerto, and in many other pieces, Mendelssohn produced yet another sample of orchestral wizardry for this scene, rarely rising above piano and showing off the fine skills of both strings and winds, especially the flute, whose long fairy dance at the end trips lightly off the scene and into silence. The Intermezzo is in two parts. At the end of Act II, Hermia has woken in the forest to find her lover Lysander gone. She runs off in desperation: “Either death or you I’ll find immediately.” The music perfectly conveys her distress as she gets lost in the woods, the themes darting from one instrument to another in the minor mode with no settled cadence. Her agitation is shown in the shuddering middle strings. As she is lost to sight, we see Bottom and Quince arriving (portrayed by two bassoons) for a gathering of the mechanicals. In a short while they are all assembled, ready for the rehearsal of their play. At the end of Act III, the four lovers have all been maneuvered into lying down to sleep in the same clearing in the woods. Puck arrives to squeeze the juice in Lysander’s eyes that will make him return to his love, Hermia. The music is a About the Music



Mary Cassatt and the Feminine Ideal in 19th Century Paris

William H. Johnson: An American Modern

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sublime Nocturne while the four of them sleep. A solo horn, supported by two bassoons, leads off with a shapely theme that fills a paragraph. The violins are then a little agitated in character, and the music spreads into what might have been the slow movement of a symphony, the horns being prominent as the true symbols of the Romantic night, especially in Germany. The end fades into silence. The Wedding March celebrates the coming nuptials of Theseus and Hippolyta. It also embraces the happy resolution of all the misunderstandings and quarrels that have beset the two pairs of lovers, Lysander and Hermia, and Demetrius and Helena. For as long as anyone can remember, this music has blessed the weddings of countless couples the world over, many of whom, heading for the daylight and the photographer, will have left the church long before the music reaches its broad and melodious subsidiary themes. Here’s a chance finally to hear the music in all its glorious fullness. —Hugh Macdonald © 2012

The British artist Arthur Rackham (1867-1939) created illustrations for an acclaimed Edwardian edition of Shakespeare’s A Midsummer Night’s Dream published in 1908, including these fairies of the forest and love.

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About the Music

At a Glance Mendelssohn wrote his incidental music to Shakespeare’s A Midsummer Night’s Dream in 1842 at the request of Friedrich Wilhelm IV, King of Prussia. Combined with the composer’s overture written in 1826, the music for the play was first performed on October 14, 1843, in the Royal Theater of the New Palace in Potsdam. The four orchestral entr’actes presented at this concert run about 20 minutes in performance. Mendelssohn’s score calls for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 3 trumpets, 3 trombones, ophicleide (a nowobsolete brass instrument replaced in orchestras by the tuba), timpani, percussion (cymbals), and strings. The Cleveland Orchestra has played selections from Mendelssohn’s A Midsummer Night’s Dream music on many occasions, with the most recent performance being part of the 2011 Blossom Festival, when Bramwell Tovey led a selection of numbers from the complete score.



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Bassoon Concerto in B-flat major, K191 composed 1774 THE AUTOGRAPH SCORE


Wolfgang Amadè

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

of this concerto, though long lost, was said to be dated “Salzburg, 4 June 1774.” That may well be correct, but there is nothing else to tell us who it was written for, or for what occasion. Mozart is said to have written four concertos for a keen amateur bassoonist, Baron Thaddeus von Dürnitz, but, because there is no trace of any others, this may not be one of them. There is a sonata, for cello and bassoon (K292), which was probably written for the baron to play with a cellist friend. It was an uneventful period in Mozart’s life. Aged eighteen, he spent almost the full year in Salzburg at his unrewarding duties in the Archbishop’s service, writing a considerable quantity of music of all kinds — masses, symphonies, sonatas, and two unusual concertos: a “concertone” for two violins (K190) and this bassoon concerto. The concerto is straightforward in style and content, and shows Mozart’s craftsmanship, tirelessly making good points out of quite ordinary material. The bassoon’s capacity for wide leaps, rapid tonguing, and intricate passage-work in the upper register is well displayed. In the slow movement, Mozart even makes the bassoon chant melodiously in dialogue with the ensemble’s two oboes. The finale is a rondo in a firm triple time that seems too stately for a real minuet, and, unlike in the first two movements, there is no space for a solo cadenza. Bassoonists agree that Mozart is one of the finest composers for their instrument, although they might not point immediately to this concerto to demonstrate that. It may make us more aware of the noble role that this composer allots to the bassoon in his orchestral music and his operas. For, more often, the bassoon, not the cello, carries the true tenor voice in Mozart’s orchestra. —Hugh Macdonald © 2012

At a Glance It is thought that Mozart wrote this concerto in late spring 1774. Details of its premiere are unknown. This concerto runs about 20 minutes in performance. Mozart scored it for 2 oboes, 2 horns, strings, and solo bassoon. John Clouser is performing cadenzas written by Bernard Garfield.

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About the Music

The Cleveland Orchestra first performed this concerto in March 1981, when Lorin Maazel led performances with principal bassoon George Goslee. The most recent performance was part of the 1999 Blossom Festival, with conductor Jahja Ling and principal bassoon John Clouser.



John Clouser

Principal Bassoon Louise Harkness Ingalls Endowed Chair The Cleveland Orchestra


John Clouser joined The Cleveland Orchestra as principal bassoon with the start of the 1997-98 season. His solo appearances with the Orchestra at Severance Hall and Blossom have included Mozart’s Bassoon Concerto and Sinfonia concertante (for oboe, clarinet, bassoon, and horn), Haydn’s Sinfonia concertante (for violin, cello, oboe, and bassoon), and Richard Strauss’s Duet Concertino (for clarinet and bassoon). He has also appeared in chamber music presentations at Severance Hall, performing alongside his colleagues and with pianists including Emanuel Ax, Mitsuko Uchida, and Leif Ove Andsnes. Mr. Clouser serves as head of the bassoon department at the Cleveland Institute of Music and is a faculty member of the Kent/Blossom professional training program. He has taught and performed at festivals around North America, including the National Orchestral Institute, Round Top, and Domaine Forget in Quebec, and has worked regularly with young artists at the New World Symphony in Miami. He is a frequent clinician and guest artist at universities and schools of music, leading masterclasses and performing in recitals. Born in Boston, John Clouser studied at Gordon College, College of New Jersey, where he was a philosophy major, and at Temple University, where he worked with his principal teacher, Bernard Garfield (principal bassoon of the Philadelphia Orchestra 1957-2000). Mr. Clouser performs on his teacher’s instrument, which Garfield passed to him in 2006. His recent recording with pianist Elizabeth DeMio of bassoon and piano music by Garfield has received critical acclaim. Prior to coming to Cleveland, Mr. Clouser served as associate principal bassoon of the Montreal Symphony Orchestra and principal bassoon of the Memphis Symphony Orchestra, and was adjunct instructor of bassoon at McGill University, Rhodes College, and Haverford College.

We believe in working for the greater good of all and we are proud to support any organization that shares this value. We thank The Cleveland Orchestra for its commitment to excellence! Ken Lanci, Chairman & CEO Consolidated Companies Severance Hall 2012-13




Sound for the Centennial The Cleveland Orchestra’s artistic health and financial well-being depend on the dedicated and ongoing support of music-lovers throughout Northeast Ohio. The Orchestra’s continued excellence in community service and musical performance can only be ensured through ongoing annual support coupled with increased giving to the Endowment and special fundraising. As the Orchestra approaches its centennial celebration in 2018, the individuals and organizations listed on these pages have made longterm commitments to secure the financial stability of our great Orchestra. This listing represents multi-year commitments of annual and endowment support, and legacy gift declarations, as of September 2012. The Cleveland Orchestra and Musical Arts Association gratefully recognize the transformational support and extraordinary commitment of these individuals, corporations, and foundations toward the Orchestra’s future. To join your name to these visionary contributors, please contact Jon Limbacher, Chief Development Officer, at 216-231-7520. GIFTS OF $5 MILLION AND MORE

Mr. and Mrs. Alexander M. Cutler Maltz Family Foundation Anonymous GIFTS OF $1 MILLION TO $5 MILLION

Baker Hostetler Mr. William P. Blair III Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. and Mrs. Charles P. Bolton Mrs. M. Roger Clapp Eaton Corporation Forest City Enterprises, Inc. Mr. and Mrs. Michael J. Horvitz The Walter and Jean Kalberer Foundation Mr. and Mrs. Joseph P. Keithley KeyBank Kulas Foundation Mr. and Mrs. Dennis W. LaBarre Mrs. Norma Lerner

The Lubrizol Corporation Sally S. and John C. Morley John P. Murphy Foundation NACCO Industries, Inc. Julia and Larry Pollock Mr. and Mrs. Alfred M. Rankin, Jr. Mr. and Mrs. Albert B. Ratner James and Donna Reid Barbara S. Robinson The Sage Cleveland Foundation The Kelvin and Eleanor Smith Foundation The J. M. Smucker Company Joe and Marlene Toot


Gay Cull Addicott Jeanette Grasselli Brown and Glenn R. Brown The Louise H. and David S. Ingalls Foundation Mr. and Mrs. Douglas A. Kern Mr. and Mrs. Jon A. Lindseth Ms. Nancy W. McCann


David and Inez Myers Foundation The Honorable and Mrs. John Doyle Ong The Payne Fund Mr. and Mrs. Richard K. Smucker

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GIFTS OF $250,000 TO $500,000

John P. Bergren* and Sarah M. Evans Mr. and Mrs.* Harvey Buchanan Robert and Jean* Conrad Mr. and Mrs. Matthew V. Crawford Nancy and Richard Dotson Sidney E. Frank Foundation David and Nancy Hooker James D. Ireland III Trevor and Jennie Jones Dr. Vilma L. Kohn Mr. and Mrs. Alex Machaskee

Mr. Donald W. Morrison Margaret Fulton-Mueller William J. and Katherine T. Oâ&#x20AC;&#x2122;Neill Parker Hannifin Corporation Charles and Ilana Horowitz Ratner Mr. and Mrs. James A. Saks The Skirball Foundation Mr. and Mrs. Jules Vinney* David A. and Barbara Wolfort

GIFTS OF $100,000 TO $250,000

Mr. and Mrs. George N. Aronoff Ben and Ingrid Bowman George* and Becky Dunn Dr. and Mrs. Hiroyuki Fujita Albert I. and Norma C. Geller Iris and Tom Harvie Giuliana C. and John D. Koch Foundation Mr. and Mrs. S. Lee Kohrman Mr. Gary A. Oatey RPM International Inc.

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Hewitt and Paula Shaw Ms. Ginger Warner Mr. Max W. Wendel Paul and Suzanne Westlake Mr. Donald Woodcock * deceased

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– Marshall McLuhan, 1911-1980


Photo by Roger Mastroianni



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Love Scene from Romeo and Juliet composed 1839 BERLIOZ’S FIRST SYMPHONY



BERLIOZ born December 11, 1803 La Côte-Saint-André, Isère, France died March 8, 1869 Paris

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was the Symphonie fantastique (1830), an autobiographical drama taking Beethoven’s concept of the symphony far into the realm of passion and personal confession. His second symphony, Harold in Italy (1834), was also personal, part reminiscence of Berlioz’s own travels in Italy, part exploration of the Byronic spleen from which the whole Romantic generation loved to suffer. For his third symphony, Roméo et Juliette (1839), Berlioz turned to his greatest literary passion, Shakespeare, drawing once again on his own most fervent experiences. His discovery of Shakespeare in 1827 had been overwhelming, not only for the dramatic force of the poetry and drama (instinctively grasped even though Berlioz knew no English), but also because the leading actress of the company, Harriet Smithson, immediately won his heart. She became for him the personification of Ophelia in Hamlet or of Juliet, and it is very probable that his immediate response was to set certain scenes from the play, perhaps as instrumental music without voices. There seems to be a lost work, perhaps titled “Four Scenes from Romeo and Juliet,” which was soon set aside and absorbed into various works written during the period 1828-1830. In 1830, Berlioz decided to compose a drama that featured not the role of Juliet, which Harriet Smithson had played in 1827, but Harriet herself. The first movement of the Symphonie fantastique depicts the artist’s burning passion, a passion undirected and without any object until the beloved walks into his life. This is exactly the scenario of the first scenes of Romeo and Juliet in the version that Berlioz saw. The Symphonie fantastique’s second movement depicts a ball, just as in Act I of the play. At all events, the idea of a musical setting of the play underwent a long fermentation in his creative storehouse; Berlioz was waiting for an opportunity to compose such a work — and for a binding idea that would give it external form. The opportunity came with Paganini’s famous gift to the composer of 20,000 francs at the end of 1838, and the formal shape came, indirectly, from Beethoven’s Ninth Symphony. Like the Ninth, Berlioz’s new symphony was also to be a full-length choral symphony, but in seven movements, using a double chorus to represent the two warring families and solo voices as secondAbout the Music


At a Glance Berlioz planned a musical work based on Shakespeare’s Romeo and Juliet beginning as early as 1829; the eveninglong dramatic symphony was written a decade later, in 1839, using words by Émile Deschamps, a translator of Shakespeare. The first performance took place on November 24, 1839, in Paris, under the composer’s direction. Berlioz revised the work over the next seven years, and the final version was published, with a dedication to Paganini, in 1847. The Love Scene from Berlioz’s Romeo and Juliet runs not quite 20 minutes in performance. Berlioz scored this movement for 2 flutes, 2 oboes (second doubling english horn), 2 clarinets, 4 bassoons, 4 horns, and strings. In the complete symphony, this movement includes a brief passage for off-stage male chorus, which is usually omitted when this Love Scene is extracted by itself. The Cleveland Orchestra first performed music from Romeo and Juliet during the 1935-36 concert season. The most recent performance of excerpts was at the 2010 Blossom Festival, when Stéphane Denève conducted the Love Scene. The complete symphony was presented in May 2000, with the Orchestra, Cleveland Orchestra Chorus, and soloists under the direction of Pierre Boulez.


ary characters (Mercutio and Friar Laurence, with the contralto soloist as commentator). The two lovers themselves were to be represented purely by the orchestra. The symphony does not enact the drama in detail and many episodes are omitted, but the resources of voices and orchestra allowed Berlioz to combine the dramatic immediacy of sung words with the infinite expressive power of instrumental music. The Scène d’amour, or Love Scene, is one of the movements that call for no voices. Berlioz felt it was necessary to explain why he did not set the famous balcony scene as a love duet, perhaps for soprano and tenor soloists. His reasons were threefold. First, this is a symphony and not an opera; second, love duets already exist in profusion, while programmatic symphonic movements were new; and third, words are too precise to express the very sublimity of this love — only music can attempt to paint its true intensity. This last reason embodies the essence of Berlioz’s own aesthetics, for he always felt and heard things more vividly in his imagination than with his ears and eyes. Rather than have his lovers sing and risk banality, he entrusts their feelings and poetry to the orchestra, the instrument of which he was the complete master. In the autograph manuscript, Berlioz noted the date of completion, September 8, 1839. By the composer’s side, perhaps contributing her own understanding of Shakespeare, was Harriet Smithson, who had become his wife six years before. Berlioz had only ever seen the play that first and only time in 1827, but he had forgotten nothing of that experience and had read and re-read the play a thousand times. The Scène d’amour is also the central movement in a sequence of three, broadly equivalent to first movement, slow movement, and scherzo of a traditional symphony. Various attempts have been made to show how the music parallels the text of Shakespeare’s balcony scene, although it is difficult to be more precise than to hear the cellos (and other tenor instruments) as the ardent Romeo, while the upper woodwinds, especially the clarinet, represent Juliet. At the end of the movement, we hear the falling accents of “Adieu!”/“Farewell” repeated as the lovers part. The symphony was given its first three performances at the Paris Conservatoire at the end of 1839, with Berlioz conducting. It was a pinnacle of French Romanticism and a brilliant example of Berlioz’s orchestral mastery, as many then present were aware. —Hugh Macdonald © 2012

About the Music

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Berlioz, painted in Rome in 1832, probably by Emile Signol.


Love cannot express the idea of music, while music may give an idea of love.


—Hector Berlioz

Daphnis and Chloé, Suite No. 2 composed 1909-12 UNLIKE MANY



RAVEL born March 7, 1875

Ciboure, Basses-Pyrénées died December 28, 1937 Paris


famous love stories — such as Tristan and Isolde, Shanbo and Yingtai, or Romeo and Juliet — the tale of Daphnis and Chloé has a happy ending. It is a celebration of sensual love and beauty set in an imaginary world of ancient Greek shepherds. Many a secret dream, many an amorous fantasy is embodied in this luxuriant ballet score. The story came from a pastoral romance by the Greek author Longus (3rd century, A.D.). The romance tells about the awakening of love between two young people, both abandoned as children and now tending their herds together. After various adventures — amorous rivalries, abductions by pirates, and other intrigues — it turns out that both are children of aristocratic families and they have a grand wedding, living happily ever after. Ravel’s ballet on this subject was written on a commission from Sergei Diaghilev, the brilliant Russian impresario and founder of the Ballets Russes. Ravel received the commission in 1909, but the score was not completed until 1912. By the time the long-awaited score was finished, much had happened in the realms of Parisian ballet and music. Indeed, the fast-moving Diaghilev had initiated so many new projects that Ravel’s effort, when finally presented, was somewhat overshadowed by other productions, including a very controversial adaptation of Debussy’s Prelude to the Afternoon of a Faun, which opened just two weeks before Daphnis and Chloé. In addition, Stravinsky’s Firebird and Pétrouchka has received their premieres in 1910 and 1911, respectively. And Debussy’s Jeux and Stravinsky’s Rite of Spring were already in the making. Even the Greek topic had been “stolen” from Ravel with the ballet Narcisse, another Fokine production with Nijinsky in the title role, premiered in 1911 with music by Nikolai Tcherepnin. In the end, Daphnis and Chloé was presented on June 8, 1912, two days before the end of the ballet season, and played only twice before the company went on summer break. “My intention,” Ravel said, “was to compose a vast musical fresco in which I was less concerned with archaism than with faithfully reproducing the Greece of my dreams, which is very similar to that imagined and painted by the French artists at the end of the 18th century.” Diaghilev and his choreographer, along with the set and costume designers, had hoped About the Music

The Cleveland Orchestra

for something more authentically historical. But, ultimately, Ravel’s music sweeps away all questions of Greek facts and faces to evoke a wonderfully Romantic world of pastoral landscapes and the triumph of love. The music of Daphnis and Chloé was more quickly successful in the concert hall, mainly in the form of the two suites that Ravel extracted from the score soon after the ballet music was completed. The second suite, presented at this weekend’s concerts, features three sections: Lever du jour (“Daybreak”), Pantomime, and Danse générale (“General Dance”), which form the complete final part of the ballet in order. The suite begins with a wonderful and famous representation of sunrise. Against a texture of lush figurations in flutes, clarinets, harps, and celesta, the basses and cellos begin a majestic tune, gradually taken over by violas and violins. The first shepherd crossing the stage is portrayed by the piccolo, the second by the equally high-pitched E-flat clarinet (both musicians were on the stage in the original ballet version). The embrace of Daphnis and Chloé is marked by an orchestral climax where the violins reach their highest register. The music calms down as the old shepherd Lammon tells his story about Pan and Syrinx (oboe solo), which Daphnis and Chloé proceed to enact in a pantomime. When the god creates his flute — the panpipe — from reed-stalks, we hear one of the most enchanting flute solos in the entire orchestral literature. (Actually, the melody is divided between the flutes, to give the musicians a chance to breathe!) Daphnis and Chloé embrace one more time, and then the ecstatic Danse générale gets underway. Rather unusually for a ballet, large stretches of this dance were written in the asymmetrical meter of 5/4, to which dancers and musicians in 1912 were unaccustomed. (It is said that they had to scan the words “Ser-gei Dia-ghi-lev, Ser-gei Dia-ghi-lev” until they got the rhythm right.) This asymmetry and the use of ostinatos (repeated rhythmic figure or short melodic motif) throughout this final section remind us that Stravinsky’s Rite of Spring is less than a year away. Both Daphnis and Chloé and The Rite of Spring end with similar effects — short rhythmic units repeated, varied, and stirred up to a paroxysm; and the fact that Stravinsky was to carry this effect even further takes nothing away from the brilliance and excitement of Ravel’s finale. —Peter Laki © 2012

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About the Music

At a Glance Ravel composed the ballet Daphnis and Chloé (in one act, divided into three scenes) between 1909 and 1912. It was premiered by Sergei Diaghilev’s Ballets Russes on June 8, 1912, at the Théâtre du Châtelet in Paris. Vaslav Nijinsky and Tamara Karsavina danced the title roles; Pierre Monteux conducted. Ravel drew two suites of orchestral excerpts from the ballet, of which the second has especially gained wide acceptance in the concert hall. Suite No. 2 runs about 15 minutes in performance. Ravel’s score calls for piccolo, 2 flutes, alto flute, 2 oboes, english horn, 3 clarinets, bass clarinet, 3 bassoons, contrabassoon, 4 horns, 4 trumpets, 3 trombones, tuba, 2 harps, celesta, timpani, percussion (bass drum, 2 side drums, cymbals, triangle, tambourine, castanets, glockenspiel), and strings, plus an optional mixed chorus (singing without words). The Second Suite from Daphnis and Chloé has been a staple of The Cleveland Orchestra’s repertoire since Nikolai Sokoloff conducted it in April 1925. The most recent performances were in February and March 2008, when Ilan Volkov led concerts featuring both suites and Jayce Ogren led a performance of Suite No. 2 sideby-side with the Cleveland Orchestra Youth Orchestra.


Robert Porco

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

Robert Porco became director of choruses for The Cleveland Orchestra in 1998. In addition to overseeing choral activities and preparing the Cleveland Orchestra Chorus and the Blossom Festival Chorus for a variety of concert programs each season, Mr. Porco conducts the Orchestra’s annual series of Christmas concerts at Severance Hall and regularly conducts subscription concert programs both at Severance Hall and Blossom. He has also served as director of choruses for the Cincinnati May Festival since 1989. In 2011, Mr. Porco was honored by Chorus America with its annual Michael Korn Founders Award for a lifetime of significant contributions to the professional choral art. The Ohio native served as chairman of the choral department at Indiana University 1980-98, and in recent years has taught doctoral-level conducting at the school. As teacher and mentor, Mr. Porco has guided and influenced the development of hundreds of musicians, many of whom are now active as professional conductors, singers, or teachers. As a sought-after guest instructor and coach, his teaching work has included programs at Harvard University, Westminster Choir College, and the University of Miami Frost School of Music.

Lisa Wong

Assistant Director of Choruses

Lisa Wong became assistant director of choruses for The Cleveland Orchestra with the 2010-11 season. In this capacity, she assists in preparing the Cleveland Orchestra Chorus and Blossom Festival Chorus for performances each year. With the 2012-13 season, she takes on the added position of director of the Cleveland Orchestra Youth Chorus. In addition to her duties at Severance Hall, Ms. Wong is a faculty member at the College of Wooster, where she conducts the Wooster Chorus and the Wooster Singers and teaches courses in conducting and music education. She previously taught in public and private schools in New York, Pennsylvania, and Indiana. Active as a clinician, guest conductor, and adjudicator, Ms. Wong holds a bachelor’s degree in music education from West Chester University and master’s and doctoral degrees in choral conducting from Indiana University. 1.855.GO.STORM 56

Cleveland Orchestra Chorus

The Cleveland Orchestra

Cleveland Orchestra Chorus Robert Porco, Director

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




Cathleen R. Bohn Emily Bzdafka Mary Jane Carlin Susan Cucuzza Carrie Culver Lisa Rubin Falkenberg Rosie Gellott Danielle Greenway Debbie Gutowski Rebecca S. Hall Lisa Hrusovsky Shannon R. Jakubczak Sarah Jones Hope Klassen-Kay Kate Macy Julie Myers-Pruchenski Noreen Norka Jennifer Heinert O’Leary Sarah Osburn Melissa Patton Lenore M. Pershing Joy Powell Roberta Privette Cassandra E. Rondinella Monica Schie Sharon Shaffer Samantha J. Smith Sidney Storry Jane Timmons-Mitchell Sarah Tobias Melissa Vandergriff Sharilee Walker Carole Weinhardt Marilyn Wilson Mary Wilson

Alexandria Albainy Emily Austin Beth Bailey Katherine Brown Julie A. Cajigas Barbara J. Clugh Janet Crews Carolyn Dessin Marilyn Eppich Amanda Evans Nancy Gage Diana Weber Gardner Ann Marie Hardulak Betty Huber Karen Hunt Jenna Kirk Lucia Leszczuk Diana Martin Ginger Mateer Danielle S. McDonald Karla McMullen Shanely Rae Niemi Peggy Norman Marta Perez-Stable Cindy Pitera Ginny Roedig Becky A. Seredick Peggy Shumate Shari Singer Shelley Sobey Ina Stanek-Michaelis Martha Cochran Truby Sarah B. Turell Laure Wasserbauer Meredith S. Whitney Flo Worth Debra Yasinow

Eric H. Berko Paul C. Bryson Gerry C. Burdick Thomas Ginsburg Thomas Glynn Daniel M. Katz Peter Kvidera Tod Lawrence Steve Lawson Rohan Mandelia James Newby Tremaine Oatman Robert Poorman Michael D. Powell Joselín E. Ramírez Matthew Rizer John Sabol Lee Scantlebury James Storry Charles Tobias William Venable Chester F. Willey

Craig Astler Jack Blazey Charles Carr Peter B. Clausen Dwyer Conklyn Steve diLauro Jeffrey Duber Matthew Englehart Thomas E. Evans Richard Falkenberg Robert Higgins Kurtis B. Hoffman Paul Hubbard Thomas Hull Joshua Jones Joel Kincannon Jason Levy Scott Markov Tyler Mason Daniel May, Jr. Shaun McGrath Roger Mennell Robert Mitchell Tom Moormann Keith Norman John Riehl Corey Rubin Robert Seaman Michael Seredick Daniel J. Singer David A. Welshhans S. David Worhatch Paul Zeit

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

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Cleveland Orchestra Chorus


Musical Evolution from ROCK’n’ROLL to CLASSICAL by Lauren Onkey and Jason Hanley


The Cleveland premiere of Stewart Copeland’s Gamelan D’Drum mixes artists and audiences from across the musical spectrum — and around the world.


with “Roll Over Beethoven,” a song that defined the sound and spirit of rock and roll. The genesis of the song came from Berry’s efforts to steal some time on the family piano from his sister, who was playing classical music. But in its final form it created a lasting image of rock and roll as a revolutionary force: “My temperature’s risin’ / The jukebox’s blowin’ a fuse / My heart’s beatin’ rhythm / And my soul keeps a-singin’ the blues / Roll over Beethoven and tell Tchaikovsky the news.” Rock and roll music asked its listeners to pay more attention to rhythm and timbre than to the movement of the harmonic progression. The songs of the first wave of rock and roll blasted forth with an unrestrained enthusiasm, ready to take on the bastions of tradition. The ideal of tradition is often at the center of the division between classical and popular music. Tradition underlies our notions of complexity, authenticity, meaning, and even performance etiquette. We find much of this debate contained in the words of cultural critic Theodor W. Adorno in his 1941 article “On Popular Music.” Adorno claims that popular music, by its very nature, can never attain the heights and complexities of classical music — because popular song is written with a standardized goal in mind: the leisure time of the listener. Adorno was referencing the music of Rock’n’Roll

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dancehalls and Broadway, hot jazz and radio tunes. By the time rock and roll entered the scene in the early 1950s, the world was primed for a change — rock and roll would take up the challenge. Like most art forms, rock and roll soon developed its own sense of tradition, along with young bands bent on breaking it. Inspired by the musical experiments of the Beatles, British bands like Procol Harum, King Crimson, the Moody Blues, and Yes created sounds that valued European classical music more than the American rhythm-and-blues roots of rock-and-roll. These musicians blended the song sensibilities of popular music with some of the syntax and structures of art music. They wrote long form suites, performed with orchestras, and valued technical skill and virtuosity. The entire musical style was later named art rock, or progressive rock, to signify the manner in which the two musical traditions found a space to interact. Classical music was not oblivious to the trend of crossing influences, and was never really as exclusive as rock and roll fans sometimes make it out to be. In fact the interaction between popular and classical music has been an important part of the concert music for much of history. In the 20th century alone, jazz music influenced many composers of the concert hall, including Stravinsky, Satie, and Weill; composer Luciano Berio expressed admiration for the Beatles; popular music played a formative role in the evolution of minimalist music; and composers like Phillip Glass and Michael Torke took musical melodies and harmonies directly from David Bowie and Madonna. Rock and Roll Hall of Fame inductee Frank Zappa might be the most intriguing artist who mixed rock with classical music. He claimed the music of Howlin’ Wolf and Edgard Varèse as two of his most important influences. During his lifetime, Zappa composed music for film, rock band, orchestra, synthesizer, jazz quartet, and almost any other combination he could imagine. At one point, Zappa’s orchestral music was conducted and recorded by none other than Pierre Boulez (who has often conducted The Cleveland Orchestra here at Severance Hall). Zappa insisted that he would never be limited by tradition, and would always fight for music made for the pure sake of music. Sounds will mingle, music will evolve, and traditions will cross and dissolve. We should preserve the music we love, but we should also let it roam and experiment — it’s okay to go and knock on the door of the person across the street and say, “hey, what do you have on that iPod, and can I take a listen?” Lauren Onkey serves as vice president of education and public programs, and Jason Hanley as director of education, at the Rock and Roll Hall of Fame and Museum.

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About the Instruments Stewart Copeland’s Gamelan D’Drum utilizes a large battery of percussion instruments, many of which originate in the Javanese and Balinese gamelan ensemble. Many are metallophones (pitched metal instruments). Amadinda — from Uganda, a large wooden xylophone played by 2 or 3 musicians; originally the royal music played for the king in Uganda. Bonang — from Java, small bronze pot gongs on horizontal frame. Ceng-ceng — from Bali, hand cymbals used in ceremonial and parade music. Cimbalom — from Hungary, a large classical dulcimer, a trapezoid string instrument on legs, played with mallets. Doumbek — from the Middle East, a single-headed, goblet-shaped drum. Gambang — from Java, wooden xylophone with trough resonator. Gender — from Bali and Java, a set of bronze tuned metal bars (a kind of metal xylophone), played with a mallet, usually played in pairs tuned slightly out of tune with each other to create a “wow” effect; a special pair of western-tuned diatonic gender were custom made to be played in Gamelan D’Drum. Gendhing — from Java, a large double-sided barrel drum. Gongs — from Bali and Java, large vertically hung tuned gongs with raised boss in center. Kendang — from Bali, a double-headed drum played with both hands and/or a beater (pagul). Kendang (Sudan/Java) — a set of 3 double-headed drums (1 large and 2 small) played while sitting; the pitch of the large drum is controlled with the heel of the left foot. Kendang Tambor — from Java, a very large 2-headed drum played by 2 people. Lesung — from Bali, large hollowed log (for pounding rice using heavy poles) with 3 to 5 people pounding interlocking rhythms known as kotekan. Marimba — from the United States, tuned wooden bars suspended over resonators. Reyong —from Bali, small bronze pot gongs, either set on horizontal frames or hand held; a special set of 2-octave western-tuned chromatic reyong were custom made for the performance of Gamelan D’Drum. Richik — from Bali, small, thick cymbals mounted on a wooden turtle base. Riq — from the Middle East, frame drum with large jingles. Trans-Cultural Kit — an American-styled drumset utilizing the Ewe barrel drums, Gon Gon, and caxixi of West Africa, Turkish cymbals, and Arabic frame drum. Vibraphone — from the United States, metal bars suspended over metal tube resonators with a pedal used to attain dampening, sustained, and tremelo effects.


About the Percussion Instruments

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Gamelan D’Drum (concerto for world percussion) composed 2009-10 DEAR READER:



COPELAND born July 16, 1952 Alexandria, Virginia now resides Los Angeles, California

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Those attending this Friday evening performance of Stewart Copeland’s concerto for orchestra and world percussion are likely to be of two camps — those very much aware of Copeland’s career as a rock-n-roll drummer and those, especially of a very classical music bent, who are still wondering “Stewart who?” Fortunately, there is plenty for everyone — to experience, to learn, to be amazed with sounds familiar and new, and together to embrace music as a very far-ranging artform, filled with variety and imagination, and with much overlap, continuity, and . . . pleasure. Stewart Copeland’s considerable achievements and fame as a rock’n’roll musician and performer are amply clear from his biography (see page 63). And were confirmed with his induction into the Rock and Roll Hall of Fame in 2003. His second career as a “serious composer” may be less well-known, although his film scores have been prolific and have included some high profile movies, including Wall Street and Talk Radio. He has also written several ballets and operas, including the opera Holy Blood and Crescent Moon, commissioned and premiered by Cleveland Opera in 1989, to a libretto by British playwright Susan Shirwen. The concerto Gamelan D’Drum traces its origins to a Dallas Symphony Orchestra gala in 2007. The percussion ensemble D’Drum, including two Dallas Symphony members, was featured on the concert, and the Symphony’s executive director wanted to commission a new work for them. Composer Stewart Copeland was chosen, and the sound world of Indonesian gamelan “orchestras” became a central idea for a concerto. Copeland and D’Drum are not the first Western classical musicians to become intrigued by Indonesian gamelan. Benjamin Britten was fascinated by the sound, a sense of which he incorporated into his orchestral vocabulary and into certain scores in particular (his ballet score The Prince of the Pagodas, for example). Francis Poulenc and Olivier Messiaen were also influenced by the sounds and culture of Indonesia. As befitting a symphonic concerto — and history’s many examples of virtuoso soloists who both inspired and advised composers, from Mozart to Brahms to Tchaikovsky — the D’Drum soloists became an integral part of the composition About the Music


At a Glance Copeland wrote Gamelan D’Drum on a commission from the Dallas Symphony Orchestra for a concerto for the world percussion group D’Drum (which is based in Dallas and includes two Dallas Symphony musicians among its five members). The work was premiered on February 5, 2011, in Dallas, under the direction of Jaap van Zweden. This concerto runs between 35 and 40 minutes in performance. In addition to the large battery of world percussion instruments played by the soloists, it is scored for an orchestra of 2 flutes, piccolo, 2 oboes, english horn, 2 clarinets, bass clarinet, 2 bassoons, 2 horns, 2 trumpets, 2 trombones, and strings. The Cleveland Orchestra is performing music by Stewart Copeland for the first time with this evening’s concert.

process. “It was an equal collaboration,” says D’Drum’s John Bryant. “We made suggestions about how to ‘bend’ Stewart’s ideas to suit our instruments. We’re not playing these instruments — they’re playing us!” For the world premiere in 2011, Dallas Symphony program annotator Laurie Shulman provided the following overview: “Gamelan D’Drum consists of three movements that are arranged fast-slow-fast. Resemblance to traditional concertos stops there. The piece allows some improvisation for Bryant, [Jennings], and Smith . . . but the cimbalom and marimba parts (Snider and Howard) are notated throughout. “The movement titles come from the instruments themselves and the vocabulary of gamelan culture. Klentong is a gong; Taksu refers to the spirit, the gentle rhythmic beauty that is the soul of Balinese aesthetics. Lesung is a rice trough, used for pounding rice with heavy sticks or logs. Copeland’s music takes each term as his point of departure. “The piece begins with offstage percussion, playing marching instruments. ‘It’s like what you might hear in a Balinese processional to temple,’ explains percussionist Ed Smith. ‘Even the rice farmers are musicians.’ Copeland’s music is occasionally idiomatic to what one might hear in Bali, but the gamelan vocabulary is stretched by his own harmonic sensibilities. Textures are complex. He uses bell tree, snare drum and other unpitched drums for punctuation. “In the first movement, cimbalom and marimba often play as a duet. As in other large orchestral works, the background tends to fulfill a harmonic function and the foreground a melodic function, but there are stretches where the solo percussion ensemble virtually eclipses the orchestra, coloring foreground and background differently. . . . Copeland’s roots as a drummer surface in rhythmic patterns and overlays that provide an underpinning to the music.” Throughout the piece, the soloists move about the stage, from instrument to instrument — sometimes converging on a single one that they play on together. While this can be absorbing to watch, it can be equally stimulating to, at times, close your eyes and take in this unusual soundscape without visual reference, as traditional orchestral instruments mix and match against a panoply of world percussion. Enjoy! —Eric Sellen


About the Music

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About the Composer After rising to international stardom as drummer and percussionist for the English rock band The Police, Stewart Copeland has spent the past three decades as a composer, creating a prolific series of film scores, operas, and ballets. Copeland was born in Virginia, but spent his formative years in the Middle East, where his father was a CIA officer and his mother was an archeologist. He attended college in California before moving to England in 1975 and playing drums with the progressive rock unit Curved Air. Following the group’s dissolution, he founded The Police with singer/bassist Sting and guitarist Henri Padovani (soon replaced by Andy Summers). Beginning with their first hit, 1979’s “Roxanne,” the trio emerged as one of the most popular and innovative bands of the postpunk era, drawing upon reggae, funk, and world music. Together they created an infectious yet cerebral brand of pop music, giving birth to a series of hit singles that included “Every Little Thing She Does Is Magic,” “Every Breath You Take,” and “King of Pain.” While with The Police, Copeland earned wide critical acclaim for his intricate, textured drumwork, while also writing many of the group’s songs. His unique and at times unpredictable style of drumming has greatly influenced generations of drummers since the 1970s. At the peak of their success, The Police disbanded after touring with the 1983 blockbuster Synchronicity. By that time, Copeland was already established as a film composer, earning a Golden Globe nomination for his score to Francis Ford Coppola’s Rumble Fish. In 1985, he released the album The Rhythmatist, the product of his musical pilgrimage to Africa, followed by an ever-increasing number of film scores, including a pair of Oliver Stone features, Wall Street and Talk Radio. Other movie projects included Ken Loach’s Raining Stones, Four Days in September, and West Beirut. Copeland also spent time as a member of the pop-fusion trio Animal Logic, while pursuing other avenues for composition including the scores for San Francisco Ballet’s King Lear, Cleveland Opera’s Holy Blood and Crescent Moon, and Ballet Oklahoma’s Prey. Copeland was inducted into the Rock and Roll Hall of Fame in 2003. In 2007, he reunited with The Police to celebrate the band’s 30th anniversary with a worldwide tour. Copeland currently lives in Los Angeles with his family. His autobiography, Strange Things Happen: A Life with The Police, Polo, and Pygmies, was published by Harper Collins in 2009.

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Stewart Copeland


D’Drum world percussion D’Drum is a world music percussion group based in Dallas, Texas. The group has performed and recorded extensively, and is featured in an Emmy Award-winning PBS short film documenting their travels and observations as related to world percussion. D’Drum is also heard in the National Geographic film Lions of Darkness, in addition to the hit PBS series Wishbone. As in their live performances, their recorded albums feature music derived from traditional cultures of Bali, Africa, Persia, and other locales that are blended with the influences of Western Classical and Jazz forms. All of the instruments featured are acoustic, and of traditional and contemporary design. D’Drum was named Best Percussion Ensemble in Drum! Magazine’s 2010 Readers Poll. More information can be found by visiting

Ron Snider D’Drum group leader Ron Snider serves as assistant principal percussion with the Dallas Symphony Orchestra. As cimbalom soloist, Mr. Snider has recorded Kodály’s Háry János with the Dallas and Milwaukee Symphonies and appeared with the orchestras of Philadelphia, Cleveland, Los Angeles, San Francisco, St. Louis, Houston, Toronto, and Mexico City, among others. He has played on hundreds of recordings for television and film, and performs on the RCA, Warner Brothers, Epic, Delos, Dorian, Telarc, Pro-Arte, and Hungaroton record labels. Ron Snider studied at the University of North Texas, and in Bali with Ketut Madri and Raka Swastika. He has designed and collected hundreds of instruments.

John Bryant John Bryant is a percussionist, music producer, and composer. He has composed the musical scores for a number of award-winning documentary films, as well as three dance works commissioned by the Dallas Black Dance Theatre. Originally from Virginia, Mr. Bryant majored in percussion at the University of North Texas, where he played and recorded with the One O’Clock Lab Band. He has performed and/or recorded with many artists, including Ray Charles, Don Henley, Gary Burton, Joe Walsh, and the Dallas Symphony Orchestra. He is currently a member of the faculty at Southern Methodist University as an adjunct lecturer of music production and drumset studies.


Guest Artists

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Doug Howard Doug Howard serves as principal percussion and associate principal timpani of the Dallas Symphony Orchestra. Since 1982, he has been a member of the artist faculty at the Aspen Music Festival and School. He has also been a featured clinician at the International Percussive Arts Society conventions. Mr. Howard has been the subject of a cover story that appeared in Modern Percussionist magazine. He is currently an adjunct professor of percussion at Southern Methodist University in Dallas, and has taught at the Oberlin Percussion Institute and the Ludwig Percussion Symposium. He has served on the board of directors for the Percussive Arts Society, Greater Dallas Youth Orchestra, and the Dallas Symphony Orchestra.

Ed Smith Ed Smith’s music career as a jazz vibraphonist spans more than three decades, having performed with such distinguished artists as John Cage, Phil Wilson, Louie Bellson, Johnny Mathis, Glen Velez, Trichy Sankaran, and many others. He has performed concerts and masterclasses across America, Asia, Mexico, and Europe. Mr. Smith began traveling to Bali, Indonesia, in 1995 to study the music of wayang kulit (shadow puppet play) on gender wayang, and in 1998 he was awarded the high honor of performing on the gender wayang with his teacher, Ketut Madri, in a temple celebration. Since 2002, he has been studying the repertoire of the large Balinese gamelan, gong kebyar. Mr. Smith is a member of the percussion faculty at the University of North Texas, teaching vibraphone and Balinese gamelan. He also teaches at Southern Methodist University and Cedar Valley College. Mr. Smith is a Malletech Vibe Artist.

Josh Jennings As a guest with D’Drum, Josh Jennings brings musical experience from concert halls to marching fields to Tokyo jazz clubs and everything in between. While completing his degrees at the University of North Texas, his experience with the Latin Jazz, Steel Drum, Afro-Cuban, Brazilian, and Gamelan ensembles led him to his musical and cultural exploration of Brazil, Japan, Tahiti, Taiwan, and Thailand. He has been a featured soloist at the Midwest Band and Orchestra Conference, and the Texas Music Educators Association and Percussive Arts Society conventions. Mr. Jennings presents clinics worldwide, and is an active member of the PAS World Music Committee. He endorses Cadeson drums, Contemporânea Brazilian instruments, and Pro-Mark drumsticks and mallets.

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Guest Artists


D N A A R L E V E ST H 5 T LE HE r e C RC b o t O Oc



Alon Yavnai Pianist and composer Alon Yavnai, currently an associate professor at Berklee College of Music in Boston, was born in 1969 in Israel, where he was raised and had his formal music studies. He started performing professionally at an early age. Since moving to the United States in 1993, Mr. Yavnai has toured worldwide, performing and recording with a diverse range of artists, including Paquito D’Rivera, Yo-Yo Ma, Nancy Wilson, and Freddie Hubbard, among others. In addition to recording with an eclectic array of artists in different genres, he has released three albums of his own. He recorded with the Zurich Tonhalle Orchestra and performed as a soloist with the Colón Theater Philharmonic in Buenos Aires. Other engagements include Carnegie Hall, and the Library of Congress and Kennedy Center in Washington D.C., as well as festivals and jazz clubs around the world, including the Blue Note and Birdland in New York. Mr. Yavnai taught at the Hebrew University in Jerusalem, Israel, and started his masters in composition alongside with his performing career. In March 2012, he released his first big band album, featuring his original compositions and arrangements. The album was recorded in Hamburg with the renowned NDR Bigband. Mr. Yavnai currently lives in New York. To learn more, visit www.


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Guest Artists



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Jamey Haddad Born in Cleveland, Ohio, percussionist Jamey Haddad holds a unique position in the world of jazz and contemporary music, with his musical voice transcending styles and trends. Regarded as one of the foremost world music and jazz percussionists in the United States, Mr. Haddad is an associate professor at the Cleveland Institute of Music, Oberlin Conservatory of Music, Bostonâ&#x20AC;&#x2122;s Berklee College of Music, and the New England Conservatory. Mr. Haddad has curated and planned the world music performances for The Cleveland Orchestraâ&#x20AC;&#x2122;s Fridays@7 concerts since the series began in 2009. He performs frequently around the world and here in Northeast Ohio, bringing together an eclectic mix of artists from a range of musical genres and styles. He performed with Paul Simon (he has been a member of Simonâ&#x20AC;&#x2122;s band for more than a decade) when Simon was the recipient of the first annual Library of Congress Gershwin Prize for Popular Song. To learn more, visit Jamey Haddad, drums, percussion

Alon Yavnai, piano Jay Ashby, trombone

Kip Reed, bass Dylan Moffitt, percussion


Call Alan Weinberg, Managing Partner, at 216-685-1100. Weltman, Weinberg & Reis Co., LPA

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Guest Artists


OrchestraNews The Cleveland Orchestra performs Tchaikovsky’s “The Nutcracker” with The Joffrey Ballet at PlayhouseSquare Five performances Nov 29 thru Dec 2 Tickets are now on sale for the holiday event of the season, as The Cleveland Orchestra presents The Joffrey Ballet’s complete silver anniversary production of Tchaikovsky’s The Nutcracker. Five performances will be presented at PlayhouseSquare’s State Theatre November 29 thru December 2. The production will be conducted by Tito Muñoz and mark the first time The Cleveland Orchestra has performed Tchaikovsky’s The Nutcracker in a fully-staged presentation. Conceived and originally directed in 1987 by Robert Joffrey, with choreographic contributions from Gerald Arpino, this production of The Nutcracker features more than 40 company dancers, 200 brilliant costumes, and larger-than-life scenery. The Chicago Sun-Times called the Joffrey’s Nutcracker “a grand showcase of classical technique that spotlights the particular talents of many of the company’s ensemble dancers,” the Chicagoist calls it “a first-class celebration of one of the greatest holiday productions ever,” and the Washington Post praised it as “a theatrical event of irresistible power.” The Cleveland cast of The Nutcracker will include sixty Northeast Ohio young dancers, who will be selected by audition, dancing side-by-side with the Joffrey company. The Cleveland Orchestra Children’s Chorus, comprised of fift y members, also joins the performances to sing in the beautiful “Snow Scene.” “Our company looks forward to once again joining The Cleveland Orchestra” says Joffrey Ballet artistic director Ashley Wheater, “and in extending our wonderful partnership into a complete production. Our previous performances together at Blossom have included elements of a full ballet, but this time we’ll have all the sets, costumes, lighting, and the magnificent choreography of our founder Robert Joffrey.”

TICKETS On-sale now! 216-241-6000 or 68

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OrchestraNews Meet the Artist luncheons continue on October 12 with composer Stephen Paulus

Welcome to new musician! The Cleveland Orchestra welcomes oboe Mary Lynch, who was appointed last February and began playing with the Orchestra in August. Born in Washington D.C., Ms. Lynch completed her master of music degree earlier this year at the Juilliard School, where she studied with Elaine Douvas and Nathan Hughes. She also holds a bachelor of music degree from the New England Conservatory, where she studied with John Ferrillo, and was a student of Daniel Stolper at the Interlochen Arts Academy. She was principal oboe of the New York String Orchestra in 2009 and 2010. While a student in Boston, she performed as co-principal oboe of the Discovery Ensemble (2008-10) and as a frequent substitute with the Boston Philharmonic Orchestra. For her longer biography, visit


The Meet the Artist Series, presented each year by the Women’s Committee of The Cleveland Orchestra, continues with a Friday luncheon program on October 12. Composer Stephen Paulus will discuss his music and his new concerto being premiered that week. He will be interviewed by assistant artistic administrator Randy Elliot. Paulus’s Violin Concerto No. 3 is being given its world premiere October 11-14 by The Cleveland Orchestra, with concertmaster William Preucil as soloist. The work was written for Preucil. Giancarlo Guerrero conducts. The luncheon takes place at the Mayfield Sand Ridge Club in South Euclid. A reception at 11:30 a.m. and luncheon precede the program. Tickets ($40 public, or $38 for WCCO members) can be reserved by calling 216-231-1111.



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Meet the Musicians Cleveland Orchestra musicians participate in a variety of community and education activities beyond the weekly orchestral concerts at Severance Hall. These activities include masterclasses and recitals, PNC Musical Rainbows, the Learning Through Music school partnership program, and coaching the Cleveland Orchestra Youth Orchestra. PHOTOGRAPHS BY ROGER MASTROIANNI



trombone BORN: Nahariya, Israel ROLE MODEL: My family and


Vienna residencies. FREE TIME: Play with my dog, exercise. FAVORITE CLEVELAND: Running or biking around the Shaker Lakes. WHY A MUSICIAN: I knew I would be going to work with a smile my whole life. FAVORITE ORCHESTRAL WORK: Mahler Symphony No. 2.



violin BORN: Seoul, Korea ON MY MP3 PLAYER: Beethoven string

quartets, Freakonomics Radio podcasts. CLEVELAND ORCHESTRA HIGHLIGHT: There are so many . . . including Rusalka in Salzburg, Brahms Requiem in Vienna. FREE TIME: Run, cook, play with my dog. WHY A MUSICIAN: I’d have to write a book to really answer this question!

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viola BORN: Elmhurst, Illinois WHY A MUSICIAN: I really love music, and I

wanted my children (I have 2 now) to have a dad who loves what he does for a living. ROLE MODELS: My viola teachers: David Holland, Milton Preves, Robert Vernon. FAVORITE CLEVELAND ACTIVITY: Going to Mass at my church. FREE TIME: Outings with my family. ON MY MP3 PLAYER: Messiaen, Pärt, Bartók, Gabrieli, OK Go (my younger brother’s band). FAVORITE ORCHESTRAL WORK: Bartók’s Music for Strings, Percussion, and Celesta.

Meet the Musicians


The Cleveland Orchestra Center for Future Audiences T H E C L E V E L A N D O R C H E S T R A ’s Center for Future Audiences was estab-

lished to fund programs to develop new generations of audiences for Cleveland Orchestra concerts in Northeast Ohio. The Center was created in 2010 with a $20 million lead endowment gift from the Maltz Family Foundation. Center-funded programs focus on addressing economic and geographic barriers to attending Cleveland Orchestra concerts at Severance Hall and Blossom Music Center. Programs include research, introductory offers, targeted discounts, student ticket programs, and integrated use of new technologies. The goal is to create one of the youngest audiences of any symphony orchestra in the country. For additional information about these plans and programs, call us at 216-231-7464.


Maltz Family Foundation Mr. and Mrs. Alexander M. Cutler

For information about contributing to this major endowment initiative, please contact the Orchestra’s Philanthropy & Advancement Department by calling Jon Limbacher, Chief Development Officer, at 216-231-7520.


for helping develop tomorrow’s audiences today.


Center for Future Audiences

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Corporate Support The Cleveland Orchestra gratefully acknowledges and salutes these corporations for their generous support toward the Orchestra’s Annual Fund, benefit events, tours and residencies, and special projects.

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 Raiffeisenlandesbank Oberösterreich (Europe) The Sage Cleveland Foundation The J. M. Smucker Company The Severance Society recognizes generous contributors of $1 million or more in cumulative giving to The Cleveland Orchestra. Listing as of September 2012.

gifts of $2,500 or more during the past year, as of September 10, 2012

KeyBank The Lubrizol Corporation NACCO Industries, Inc. The J. M. Smucker Company PARTNERS IN EXCELLENCE $200,000 TO $299,999

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

Google, Inc. Medical Mutual of Ohio Parker Hannifin Corporation $50,000



Exile LLC Jones Day Quality Electrodynamics (QED) Raiffeisenlandesbank Oberösterreich (Europe) The Sage Cleveland Foundation $25,000 TO $49,999 Bank of America Dix & Eaton Giant Eagle Northern Trust Bank of Florida (Miami) Park-Ohio Holdings Corp. The Plain Dealer RPM International Inc. Squire, Sanders & Dempsey (US) LLP Thompson Hine LLP

$2,500 TO $24,999 Akron Tool & Die Company AkronLife Magazine American Fireworks, Inc. American Greetings Corporation BDI Brouse McDowell Conn-Selmer, Inc. Eileen M. Burkhart & Co LLC Buyers Products Company Cedar Brook Financial Partners, LLC The Cleveland Wire Cloth & Mfg. Co.

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Corporate Annual Support

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 FirstMerit Bank Frantz Ward LLP Gallagher Benefit Services Genovese Vanderhoof & Associates The Goodyear Tire & Rubber Company Great Lakes Brewing Company Gross Builders Hahn Loeser + Parks LLP Houck Anderson P.A. (Miami) Hunton & Williams, LLP (Miami) The Lincoln Electric Foundation Littler Mendelson, P.C. C. A. Litzler Co., Inc. Live Publishing Company Macy’s Miba AG (Europe) MTD Products, Inc. Nordson Corporation North Coast Container Corp. Northern Haserot Oatey Co. Ohio CAT Olympic Steel, Inc. Oswald Companies PolyOne Corporation The Prince & Izant Company Richey Industries, Inc. Satch Logistics LLC SEMAG Holding GmbH (Europe) The Sherwin-Williams Company Stern Advertising Agency Swagelok Company TriMark S.S. Kemp Trionix Research Laboratory, Inc. Tucker Ellis United Automobile Insurance Company (Miami) Ver Ploeg & Lumpkin, P.A. (Miami) Ricky & Sarit Warman — Papa John’s Pizza (Miami) WCLV Foundation Westlake Reed Leskosky The Avedis Zildjian Company Anonymous (3)


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Autumn 2012

Fall Forecast Arts and Culture In Northeast Ohio

2 0 1 2 - 2 0 13 C O N C E R T S E R I E S

page 5

Election 2012 Complete Coverage page 17

Inside WKSU Regina Brett page 14

Introducing Q New Programs & New Schedule on WKSU page 14

NE Ohio Cultural Milestones page 4


46th Folk Festival Program Guide page 21 Your Guide to: the orchestra the facilities the concerts the people



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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 Annual Fund, benefit events, tours and residencies, and special projects.

Cumulative Giving

Annual Support




The Cleveland Foundation Cuyahoga County residents through Cuyahoga Arts & Culture Kulas Foundation Maltz Family Foundation State of Ohio Ohio Arts Council The Kelvin and Eleanor Smith Foundation $5 MILLION TO $10 MILLION

John P. Murphy Foundation $1 MILLION TO $5 MILLION

Ann and Gordon Getty Foundation GAR Foundation The George Gund Foundation The Louise H. and David S. Ingalls Foundation Martha Holden Jennings Foundation Knight Foundation (Cleveland, Miami) Andrew W. Mellon 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 cumulative giving to The Cleveland Orchestra. Listing as of September 2012.

Severance Hall 2012-13

gifts of $2,000 or more during the past year, as of September 10, 2012

The Cleveland Foundation Cuyahoga County residents through Cuyahoga Arts and Culture The Kelvin and Eleanor Smith Foundation $250,000 TO $499,000

Kulas Foundation Andrew W. Mellon Foundation The Miami Foundation, from a fund established by the John S. and James L. Knight Foundation (Miami) John P. Murphy Foundation David and Inez Myers Foundation Ohio Arts Council $100,000 TO $249,999

Sidney E. Frank Foundation GAR Foundation The George Gund Foundation John S. and James L. Knight Foundation $50,000 TO $99,999

The George W. Codrington Charitable Foundation Martha Holden Jennings Foundation The Mandel Foundation Myra Tuteur Kahn Memorial Fund of The Cleveland Foundation Elizabeth Ring Mather and William Gwinn Mather Fund The Payne Fund Surdna Foundation $20,000 TO $49,999 The Abington Foundation Akron Community Foundation The Helen C. Cole Charitable Trust The Mary S. and David C. Corbin Foundation The Gerhard Foundation, Inc. Ann and Gordon Getty Foundation The Margaret Clark Morgan Foundation The Nonneman Family Foundation The Nord Family Foundation Peacock Foundation, Inc. (Miami) The Sisler McFawn Foundation

$2,000 TO $19,999 Ayco Charitable Foundation The Ruth and Elmer Babin Foundation The Bernheimer Family Fund of the Cleveland Foundation Bicknell Fund The Eva L. and Joseph M. Bruening Foundation The Collacott Foundation 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 The Muna and Basem Hishmeh Foundation Richard H. Holzer Memorial Foundation The Kangesser Foundation The Kridler Family Fund of The Columbus Foundation The Jean Thomas Lambert Foundation The Laub Foundation Victor C. Laughlin, M.D. Memorial Foundation Trust The G. R. Lincoln Family Foundation Laura R. & Lucian Q. Moffitt Foundation National Endowment for the Arts Paintstone Foundation The Charles E. & Mabel M. Ritchie Memorial Foundation The Leighton A. Rosenthal Family Foundation SCH Foundation Albert G. & Olive H. Schlink Foundation Jean C. Schroeder Foundation The Sherwick Fund Lloyd L. and Louise K. Smith Memorial Foundation The South Waite Foundation The Taylor-Winfield Foundation The George Garretson Wade Charitable Trust The S. K. Wellman Foundation The Welty Family Foundation Thomas H. White Foundation, a KeyBank Trust The Edward & Ruth Wilkof Foundation The Wuliger Foundation Anonymous (2)

Foundation/Government Annual Support



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 to the Annual Fund, benefit events, tours and residencies, and special annual donations.

Lifetime Giving

Annual Support


gifts during the past year, as of September 10, 2012 INDIVIDUAL GIFTS OF $500,000 AND MORE


Daniel R. and Jan R. Lewis (Miami, Cleveland)

Daniel R. and Jan R. Lewis (Miami) INDIVIDUAL GIFTS OF $200,000 TO $499,999


Irma and Norman Braman (Miami) Francie and David Horvitz (Miami) The Walter and Jean Kalberer Foundation Susan Miller (Miami) Ms. Ginger Warner (Cleveland, Miami)

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

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


Irma and Norman Braman (Miami) Mr. and Mrs. Francis J. Callahan Mrs. Anne M. Clapp Mr. George Gund III Francie and David Horvitz (Miami) 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 September 2012.


Mr. and Mrs. Joseph P. Keithley Dr. and Mrs. Herbert Kloiber (Europe) Mrs. Norma Lerner Peter B. Lewis and Janet Rosel (Miami) Mr.* and Mrs. Herbert McBride Mr. and Mrs. Albert B. Ratner INDIVIDUAL GIFTS OF $75,000 TO $99,999

Mr. and Mrs. Douglas A. Kern The Honorable and Mrs. John Doyle Ong Janet and Richard Yulman (Miami) INDIVIDUAL GIFTS OF $50,000 TO $74,999

Sheldon and Florence Anderson (Miami) Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. and Mrs. Alexander M. Cutler Hector D. Fortun (Miami) Mr. and Mrs. Michael J. Horvitz James D. Ireland III Mr. and Mrs. Dennis W. LaBarre

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 Annual Support

The Cleveland Orchestra

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

R. Kirk Landon and Pamela Garrison (Miami) Mr. Randy Lerner Toby Devan Lewis Ms. Beth E. Mooney Mr. and Mrs. Alfred M. Rankin, Jr. James and Donna Reid Barbara S. Robinson David A. and Barbara Wolfort Anonymous INDIVIDUAL GIFTS OF $30,000 TO $49,999

Mr. and Mrs. Daniel M. Bell (Miami) Dr. and Mrs. Wolfgang Berndt (Europe) Blossom Women’s Committee Mr. and Mrs. Charles P. Bolton The Brown and Kunze Foundation Jeanette Grasselli Brown and Glenn R. Brown Robert and Jean* Conrad Do Unto Others Trust (Miami) Mr. and Mrs. Geoffrey Gund George Gund Trevor and Jennie Jones Giuliana C. and John D. Koch Foundation (Cleveland, Miami) Dr. Vilma L. Kohn Mr. and Mrs. S. Lee Kohrman Charlotte R. Kramer Ms. Nancy W. McCann Sally S. and John C. Morley Julia and Larry Pollock Mrs. Alfred M. Rankin, Sr. Brian and Patricia Ratner Charles and Ilana Horowitz Ratner Luci and Ralph* Schey Mary M. Spencer (Miami) Mr. and Mrs. Franz Welser-Möst INDIVIDUAL GIFTS OF $25,000 TO $29,999

Mr. William P. Blair III Margaret Fulton-Mueller Dr. and Mrs. Hiroyuki Fujita Elizabeth B. Juliano Dr. and Mrs. David Leshner Mr. and Mrs. Jon A. Lindseth Mr. and Mrs. Edward A. Lozick Mrs. Jane B. Nord Mr. and Mrs. James A. Ratner Hewitt and Paula Shaw Richard and Nancy Sneed Junior Committee of The Cleveland Orchestra Paul and Suzanne Westlake

Gay Cull Addicott Mr. and Mrs. William W. Baker Jill and Paul Clark Bruce and Beth Dyer Esther L. and Alfred M. Eich, Jr. Andrew and Judy Green Gary Hanson and Barbara Klante Mr. and Mrs. Jack Hoeschler Richard and Erica Horvitz (Cleveland, Miami) Mrs. Marguerite B. Humphrey William J. and Katherine T. O’Neil Dr. and Mrs. Ronald J. Ross Steven and Ellen Ross Mr. and Mrs. James A. Saks Marc and Rennie Saltzberg Raymond T. and Katherine S. Sawyer Dr. and Mrs. Neil Sethi R. Thomas and Meg Harris Stanton Mr. and Mrs. Donald Stelling (Europe) Anonymous gift from Switzerland (Europe) Anonymous INDIVIDUAL GIFTS OF $15,000 TO $19,999

Randall and Virginia Barbato Jayusia and Alan Bernstein (Miami) Scott Chaikin and Mary Beth Cooper Mr. and Mrs. Peter O. Dahlen George* and Becky Dunn Colleen and Richard Fain (Miami) Jeffrey and Susan Feldman Mr. Allen H. Ford Richard and Ann Gridley Mrs. John A Hadden Jr. Jack Harley and Judy Ernest Mary and Jon Heider (Cleveland, Miami) Tati and Ezra Katz (Miami) Jonathan and Tina Kislak (Miami) Robert M. Maloney and Laura Goyanes Mr. Thomas F. McKee Miba AG (Europe) Lucia S. Nash Mr. Gary A. Oatey Brian and Patricia Ratner David and Harriet Simon Mr. Joseph F. Tetlak Rick, Margarita and Steven Tonkinson (Miami) LNE Group — Lee Weingart (Europe) Anonymous INDIVIDUAL GIFTS OF $12,500 TO $14,999

Mr. and Mrs. David J. Carpenter Judith and George W. Diehl Joyce and Ab* Glickman Mr. and Mrs. Jeffrey Healy Mrs. David Seidenfeld Mr. and Mrs. Alfred Umdasch (Europe) listings continue

Severance Hall 2012-13

Individual Annual Support



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

Tim and Linda Koelz Mr. and Mrs. Richard A. Manuel Mr. and Mrs. Arch J. McCartney Mr. and Mrs. Stanley A. Meisel Edith and Ted* Miller Mrs. Sydell L. Miller The Estate of 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 Mr. Larry J. Santon Dr. E. Karl and Lisa Schneider Rachel R. Schneider Mr. and Mrs. Oliver E. Seikel Mr. Eric Sellen and Mr. Ron Seidman Kim Sherwin Mr. and Mrs. Steven Spilman Lois and Tom Stauffer Mrs. Blythe Sundberg Dr. Russell A. Trusso Tom and Shirley Waltermire Mr. Gary L. Wasserman and Mr. Charles A. Kashner (Miami) The Wells Family Foundation, Inc. Anonymous

Mr. and Mrs. George N. Aronoff Marsha and Brian Bilzin (Miami) Dr. Christopher P. Brandt and Dr. Beth Sersig Mr. D. McGregor Brandt, Jr. Augustine* and Grace Caliguire Mr. and Mrs. R. Bruce Campbell Richard J. and Joanne Clark Martha and Bruce Clinton (Miami) Mr. and Mrs. William E. Conway Mrs. Barbara Cook Bruce Coppock and Lucia P. May (Miami) Mr. and Mrs. Matthew V. Crawford Mr. Peter and Mrs. Julie Cummings (Miami) Mr. and Mrs. Robert P. Duvin Mike S. and Margaret Eidson (Miami) Dr. and Mrs. Lloyd H. Ellis Jr. Ms. Dawn M. Full Francisco A. Garcia and Elizabeth Pearson (Miami) Mr. and Mrs. Richard T. Garrett Albert I. and Norma C. Geller Mr. and Mrs. Robert W. Gillespie Robert K. Gudbranson and Joon-Li Kim Jeffrey and Stacie Halpern Sondra and Steve Hardis David and Nancy Hooker Mr. and Mrs. Christopher Hyland Mr. and Mrs. Donald M. Jack, Jr. Janet and Gerald Kelfer (Miami) Mrs. Elizabeth R. Koch



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.


Laurel Blossom Dr. and Mrs. Jerald S. Brodkey Dr. Thomas Brugger and Dr. Sandra Russ Ellen E. & Victor J. Cohn Supporting Foundation Mr. Owen and Mrs. Victoria Colligan Mr. and Mrs. Edward B. Davis Henry and Mary Doll Nancy and Richard Dotson Kathleen E. Hancock Mary Jane Hartwell Iris and Tom Harvie Mrs. Sandra L. Haslinger Pamela and Scott Isquick Allan V. Johnson Judith and Morton Q. Levin Mr. Jeff Litwiller Mrs. Robert H. Martindale Mr. and Mrs. Thomas B. McGowan Mr. Donald W. Morrison Pannonius Foundation Douglas and Noreen Powers Rosskamm Family Trust Patricia J. Sawvel Carol and Albert Schupp Dr. Gerard and Phyllis Seltzer 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

Susan S. Angell Mr. and Mrs. Albert A. Augustus Mr. and Mrs. Dean Barry Mr. Jon Batchelor (Miami)

Individual Annual Support

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Severance Hall 2012-13


THE CLEVELAN D ORCHESTRA listings continued

Fred G. and Mary W. Behm Dr. and Mrs. Nathan A. Berger Mr. William Berger Dr.* and Mrs.* Norman E. Berman Dr. and Mrs. Eugene H. Blackstone Paul and Marilyn* Brentlinger Mr. Robert W. Briggs Frank and Leslie Buck Mr. and Mrs. William C. Butler Ms. Maria Cashy Drs. Wuu-Shung and Amy Chuang Dr. William & Dottie Clark Mrs. Lester E. Coleman Mr. and Mrs. Gerald A. Conway Corinne L. Dodero Foundation for the Arts and Sciences Mrs. Barbara Ann Davis Ms. Nancy J. Davis (Miami) Mr. and Mrs. Thomas S. Davis Mr. and Mrs. Terry C. Z. Egger Dr. and Mrs. Robert Elston Mary and Oliver Emerson Dr. D. Roy and Diane A. Ferguson Christopher Findlater (Miami) Mr. David J. Golden Mr. and Mrs. Henry J. Goodman Mr. and Mrs. Randall J. Gordon Harry and Joyce Graham Mr. Paul Greig David and Robin Gunning Clark Harvey and Holly Selvaggi In memory of Philip J. Hastings Henry R. Hatch and Robin Hitchcock Hatch Robin Hitchcock Hatch Barbara Hawley and David Goodman Janet D. Heil* Anita and William Heller T. K. and Faye A. Heston Amy and Stephen Hoffman Joan and Leonard Horvitz Bob and Edith Hudson (Miami) Mr. James J. Hummer Mr. and Mrs. Brinton L. Hyde Rudolf D. and Joan T. Kamper Andrew and Katherine Kartalis Milton and Donna* Katz Dr. and Mrs. William S. Kiser Mrs. Justin Krent Mr. James and Mrs. Patricia Krohngold Mr. and Mrs. Peter A. Kuhn Mr. and Mrs. Arthur J. Lafave, Jr. David C. Lamb

Shirley and William Lehman (Miami) Mr.* and Mrs. Leo Leiden Mrs. Emma S. Lincoln Heather and Irwin Lowenstein Mr. and Mrs. Alex Machaskee Mr. and Mrs.* Robert P. Madison Ms. Jennifer R. Malkin Mr. and Mrs. Morton L. Mandel Alan Markowitz M.D. and Cathy Pollard Alexander and Marianna C.* McAfee Claudia Metz and Thomas Woodworth Drs. Terry E. and Sara S. Miller Mr. and Mrs. William A. Mitchell Ann Jones Morgan Robert Moss (Miami) Mr. and Mrs. Stephen E. Myers Mr. and Mrs. Herbert Newman Richard and Kathleen Nord Mr. Henry Ott-Hansen Mr. J. William and Dr. Suzanne Palmer Claudia and Steven Perles (Miami) Nan and Bob Pfeifer Dr. and Mrs. John N. Posch Lois S.* and Stanley M. Proctor Ms. Rosella Puskas Mr. and Mrs. Thomas A. Quintrell Drs. Raymond R. Rackley and Carmen M. Fonseca Mr. and Mrs. Roger F. Rankin Paul A. and Anastacia L. Rose Dr. Tom D. Rose Mr. and Mrs. Robert C. Ruhl David M. and Betty Schneider Linda B. Schneider Larry and Sally Sears Mrs. Frances G. Shoolroy Marjorie B. Shorrock Laura and Alvin A. Siegal David Kane Smith Jim and Myrna Spira George and Mary Stark Charles B. and Rosalyn Stuzin (Miami) Mr. and Mrs. Paul A. Teel, Jr. Mr. and Mrs. Bill Thornton Mr.* and Mrs. Robert N. Trombly Don and Mary Louise Van Dyke Bill Appert and Chris Wallace (Miami) Mr. and Mrs. Fred A. Watkins Dr. and Mrs. Leslie T. Webster, Jr. Dr. Edward L. and Mrs. Suzanne Westbrook Tom and Betsy Wheeler Charles Winans Anonymous (7)


Dr. and Mrs. D. P. Agamanolis Mr. and Mrs. Robert H. Baker Ms. Delphine Barrett Mr.* and Mrs. Russell Bearss Mr. and Mrs. Jules Belkin Dr. Ronald and Diane Bell Suzanne and Jim Blaser Dr. Ben H. and Julia Brouhard Dr. and Mrs. William E. Cappaert Ms. Mary E. Chilcote Drs. Mark Cohen and Miriam Vishny


Diane Lynn Collier Marjorie Dickard Comella Pete and Margaret Dobbins Peter and Kathryn Eloff Mr. Brian L. Ewart and Mr. William McHenry Mrs. Joan Getz (Miami) Robert N. and Nicki N. Gudbranson Mr. Robert D. Hart Matthew D. Healy and Richard S. Agnes Hazel Helgesen and Gary D. Helgesen

Individual Annual Support

Mr. David and Mrs. Dianne Hunt Dr. and Mrs. Scott R. Inkley Donna L. and Robert H. Jackson Mr. and Mrs. Richard A. Janus Helen and Erik Jensen Joela Jones and Richard Weiss Dr. Gilles and Mrs. Malvina Klopman Dr. James and Mrs. Margaret Kreiner Ronald and Barbara Leirvik Mr. and Mrs. Irvin A. Leonard listings continue

The Cleveland Orchestra





WWW.CACGRANTS.ORG 216 515 8303


Severance Hall 2012-13



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

Mr. Lawrence B. and Christine H. Levey Dr. Alan and Mrs. Joni Lichtin Anne R. and Kenneth E. Love Robert and LaVerne Lugibihl Elsie and Byron Lutman Joel and Mary Ann Makee Martin and Lois Marcus Susan and Reimer Mellin Dr.* and Mrs. Hermann Menges, Jr. Dr. Susan M. Merzweiler Mr. and Mrs. Peter R. Osenar Mrs. Ingrid Petrus Mr. and Mrs. John S. Piety Mr. and Mrs. Richard W. Pogue In memory of Henry Pollak William and Gwen Preucil Dr. Robert W. Reynolds

Mrs. Charles Ritchie Amy and Ken Rogat Fred Rzepka and Anne Rzepka Family Foundation Bob and Ellie Scheuer Ms. Freda Seavert Charles Seitz (Miami) Ginger and Larry Shane Mr. Richard Shirey Dr. Marvin and Mimi Sobel Mr. and Mrs. William E. Spatz Howard Stark M.D. and Rene Rodriguez (Miami) Mrs. Barbara Stiefel (Miami) Dr. Elizabeth Swenson Ms. Lorraine S. Szabo Mr. and Mrs. Leonard K. Tower

Robert and Marti Vagi Mr. and Mrs. Mark Allen Weigand Mr. Peter and Mrs. Laurie Weinberger Robert C. Weppler Nancy V. and Robert L. Wilcox Ms. Rosina Horvath

Mr. George and Mrs. Beth Downes Ms. Mary Lynn Durham George* and Mary Eaton David and Margaret Ewart Harry and Ann Farmer Carl and Amy Fischer Scott Foerster, Foerster and Bohnert Joan Alice Ford Mrs. Amasa B. Ford Mr. Monte Friedkin (Miami) Marvin Ross Friedman and Adrienne bon Haes (Miami) Arthur L. Fullmer Peggy and David* Fullmer Richard L. Furry Jeanne Gallagher Barbara and Peter Galvin Joy E. Garapic Mrs. Georgia T. Garner Barbara P. Geismer* Mr. Wilbert C. Geiss, Sr. Dr. Kevin and Angela Geraci Anne and Walter Ginn Mr. and Mrs. David Goldberg Mr. and Mrs. David A. Goldfinger Dr. and Mrs. Ronald L. Gould Mr. and Mrs. Robert T. Graf Nancy Green (Miami) Mr. and Mrs. Brent R. Grover The Thomas J. and Judith Fay Gruber Charitable Foundation Nancy and James Grunzweig Mr. Davin and Mrs. Jo Ann Gustafson Dr. Phillip M. and Mrs. Mary Hall Norman C. and Donna L. Harbert Mr. and Mrs. George B. P. Haskell Mr. and Mrs. Jerry Herschman Mr. Robert T. Hexter Dr. and Mrs. Robert L. Hinnes Mr. and Mrs. Edmond H. Hohertz Thomas and Mary Holmes Dr. Keith A. and Mrs. Kathleen M. Hoover Mark and Ruth Houck (Miami)

Dr. Randal N. Huff and Ms. Paulette Beech Ms. Charlotte L. Hughes Ms. Luan K. Hutchinson Ruth F. Ihde Dr. Michael and Mrs. Deborah Joyce Barbara and Michael J. Kaplan Dr. and Mrs. Richard S. Kaufman Rev. William C. Keene Mr. Karl W. Keller Elizabeth Kelley Angela Kelsey and Michael Zealy (Miami) The Kendis Family Trust Bruce and Eleanor Kendrick Mr. James Kish Natalie Kittredge Fred and Judith Klotzman Ellen Brad and Bart Kovac Dr. Ronald H. Krasney and Ms. Sherry* Latimer Mr. Donald N. Krosin Mr. and Mrs. S. Ernest Kulp Mrs. Carolyn Lampl Mr. and Mrs. Israel Lapciuc Kenneth M. Lapine Anthony T. and Patricia A. Lauria Mr. Jin-Woo Lee Michael and Lois A. Lemr Dr. Edith Lerner Dr. Stephen B. and Mrs. Lillian S. Levine Robert G. Levy Mr. Jon E. Limbacher and Patricia J. Limbacher Isabelle and Sidney* Lobe Holly and Donald Loftus Martha Klein Lottman Mary Loud Marianne Luedeking (Miami) Herbert L. and Rhonda Marcus Dr. and Mrs. Sanford E. Marovitz David and Elizabeth Marsh


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. Roger G. Berk Kerrin and Peter Bermont (Miami) Barbara and Sheldon Berns Julia & David Bianchi (Cleveland, Miami) Carmen Bishopric (Miami) Bill and Zeda Blau Mr. Doug Bletcher Mr. and Mrs. Dennis A. Block John and Anne Bourassa Lisa and Ron Boyko Mrs. Ezra Bryan Ms. Mary R. Bynum and Mr. J. Philip Calabrese Mrs. Millie L. Carlson Mr. and Mrs. Frank H. Carpenter Leigh and Mary* Carter Mr. and Mrs. James B. Chaney Dr. and Mrs. Ronald Chapnick Ms. Suzan Cheng Dr. and Mrs. Chris Chengelis Mr. and Mrs. Homer D. W. Chisholm Mr. and Mrs. Robert A. Clark Mr. and Mrs. David J. Cook Dr. Dale and Susan Cowan Mrs. Frederick F. Dannemiller Charles and Fanny Dascal (Miami) Jeffrey and Eileen Davis Mrs. Lois Joan Davis Dr. and Mrs. Richard C. Distad Ms. Maureen A. Doerner and Mr. Geoffrey T. White


Individual Annual Support

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

Mr. and Mrs.* Duane J. Marsh Mrs. Meredith T. Marshall Dr. Ernest and Mrs. Marian Marsolais Mr. Julien L. McCall Jim and Diana McCool William and Eleanor McCoy Stephen and Barbara Messner Mr. Stephen P. Metzler Mr. and Mrs. Roger Michelson (Miami) MindCrafted Systems Mr. Raymond M. Murphy Joan Katz Napoli and August Napoli Richard B. and Jane E. Nash Mr. David and Mrs. Judith Newell Mort and Milly Nyman (Miami) Richard and Jolene O’Callaghan Nedra and Mark Oren (Miami) James P. Ostryniec (Miami) Mr. and Mrs. Robert D. Paddock Deborah and Zachary Paris Dr. Lewis and Janice B. Patterson Dr. Roland S. Philip and Dr. Linda M. Sandhaus Dr. Marc and Mrs. Carol Pohl Mr. Richard and Mrs. Jenny Proeschel K. Pudelski Ms. C. A. Reagan Alfonso Conrado Rey (Miami) David and Gloria Richards Michael Forde Ripich Dr. Barbara Risius Carol Rolf and Steven Adler Dr. and Mrs. Michael Rosenberg (Miami) Michael and Roberta Rusek Mrs. Florence Brewster Rutter Dr. Harry S. and Rita K. Rzepka Nathan N. and Esther Rzepka Family Philanthropic Fund 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 Drs. Daniel and Ximena Sessler Harry and Ilene Shapiro Norine W. Sharp Dr. and Mrs. William C. Sheldon Ms. Linda M. Smith Mr. and Mrs.* Jeffrey H. Smythe Mrs. Virginia Snapp Ms. Barbara Snyder Mr. John C. Soper and Dr. Judith S. Brenneke Mr. John D. Specht Mr. and Mrs.* Lawrence E. Stewart Ms. Evelyn H. Stroud


Dr. Kenneth F. Swanson Mr. Taras G. Szmagala Jr. Mr. Nelson S. Talbott Ms. Suzanne Thaxton Mr. Karl and Mrs. Carol Theil Parker D. Thomson Esq. (Miami) Mr. and Mrs. Robert J. Tomsich Mr. and Mrs. Lyman H. Treadway Steve and Christa Turnbull Miss Kathleen Turner Robert A. Valente Brenton Ver Ploeg (Miami) Mr. and Mrs. Joaquin Vinas (Miami) Mr. and Mrs. Les C. Vinney Ricky & Sarit Warman — Papa John’s Pizza (Miami) Mr. and Mrs. Joseph F. Wasserbauer Ms. Laure A. Wasserbauer Philip and Peggy Wasserstrom Eric* and Margaret Wayne Mr. and Mrs. Jerome A. Weinberger Mrs. Mary Wick Bole Richard Wiedemer, Jr. Dr. Paul R. and Mrs. Catherine Williams Mr. and Dr. Ann Williams Richard and Mary Lynn Wills Michael H. Wolf and Antonia Rivas-Wolf Mr. Robert Wolff and Dr. Paula Silverman Rad and Patty Yates Fred and Marcia Zakrajsek Mr. Kal Zucker and Mrs. Mary Frances Haerr Anonymous (10) member of the Leadership Council (see page 76)

* 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.

Individual Annual Support

The Cleveland Orchestra







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, released in 2012, 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 recent years include two under the baton of Pierre Boulez and a third album of Mozart piano concertos with Mitsuko Uchida, whose first Cleveland Orchestra Mozart album won a Grammy Award in 2011. Visit the Cleveland Orchestra Store for the latest and best Cleveland Orchestra recordings and DVDs.


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11001 Euclid Avenue Cleveland, Ohio 44106



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



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.

Severance Hall

The Cleveland Orchestra

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2012 Larchmere Holiday Stroll ~ Thanksgiving weekend ~ Friday, November 23 & Saturday, November 24 ~ 10am-5pm

Severance Hall 2012-13




FALL SEASON Thursday October 4 at 8:00 p.m. Saturday October 6 at 8:00 p.m. THE CLEVELAND ORCHESTRA James Feddeck, conductor John Clouser, bassoon Cleveland Orchestra Chorus

Thursday October 25 at 8:00 p.m. Friday October 26 at 11:00 a.m. Saturday October 27 at 8:00 p.m. THE CLEVELAND ORCHESTRA Robin Ticciati, conductor Simon Trpčeski, piano

MENDELSSOHN Orchestral Music from A Midsummer Night’s Dream MOZART Bassoon Concerto BERLIOZ Love Scene from Romeo and Juliet RAVEL Daphnis and Chloé Suite No. 2 Friday October 5 at 7:00 p.m. THE CLEVELAND ORCHESTRA James Feddeck, conductor Cleveland Orchestra Chorus D’Drum, world percussion

LIADOV The Enchanted Lake * RACHMANINOFF Piano Concerto No. 2 SIBELIUS Symphony No. 2 * not part of Friday Morning concert Sponsor: Baker Hostetler

Sunday October 28 at 2:00 p.m. THE CLEVELAND ORCHESTRA Kelly Corcoran, conductor FAMILY CONCERT

Spooktacular III

Back by popular demand for a third year! Join The Cleveland Orchestra for an afternoon of terrifying tales and friendly fun in this (ghost)story-based program of Halloween favorites, including Night on Bald Mountain and Danse Macabre.


RAVEL Daphnis and Chloé Suite No. 2 S. COPELAND Gamelan D’Drum

Sponsor: The Giant Eagle Foundation

Sponsor: KeyBank

Thursday October 11 at 8:00 p.m. Saturday October 13 at 8:00 p.m. Sunday October 14 at 3:00 p.m. THE CLEVELAND ORCHESTRA Giancarlo Guerrero, conductor William Preucil, violin

STRAVINSKY Pétrouchka PAULUS Violin Concerto No. 3 RAVEL Rapsodie espagnole Thursday October 18 at 8:00 p.m. Friday October 19 at 8:00 p.m. Saturday October 20 at 8:00 p.m. THE CLEVELAND ORCHESTRA Pinchas Steinberg, conductor Sasha Cooke, mezzo-soprano Cleveland Orchestra Chorus

RIMSKY-KORSAKOV Suite from Le Coq d’Or TCHAIKOVSKY Francesca da Rimini PROKOFIEV Alexander Nevsky

Saturday November 3 at 7:00 p.m. THE CLEVELAND ORCHESTRA Carlos Miguel Prieto, conductor Yo-Yo Ma, cello GALA CONCERT

Yo-Yo Ma

A special night of celebration and music brings internationally renowned cellist Yo-Yo Ma to Severance Hall to perform Dvořák’s famed Cello Concerto with The Cleveland Orchestra. A limited number of concert-only tickets are available by calling the Severance Hall Ticket Office at 216-231-7547 or online at .

Thursday November 8 at 8:00 p.m. Friday November 9 at 11:00 a.m. Saturday November 10 at 8:00 p.m. THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Michael Sachs, trumpet * Jack Sutte, trumpet *

BEETHOVEN Symphony No. 4 BEETHOVEN Grosse Fuge PINTSCHER Chute d’Étoiles * (for two trumpets) SCRIABIN The Poem of Ecstasy * not part of Friday Morning concert Sponsor: NACCO Industries, Inc.


Concert Calendar

The Cleveland Orchestra





Sunday November 11 at 7:00 p.m. CLEVELAND ORCHESTRA YOUTH ORCHESTRA James Feddeck, conductor

DVORÁK Carnival Overture PROKOFIEV Lieutenant Kijé Suite HANSON Symphony No. 2 (“Romantic”) Friday November 23 at 8:00 p.m. Saturday November 24 at 8:00 p.m. Sunday November 25 at 3:00 p.m. THE CLEVELAND ORCHESTRA Jaap van Zweden, conductor Louis Lortie, piano

CHOPIN Piano Concerto No. 2 RACHMANINOFF Symphony No. 2 Thursday November 29 at 7:00 p.m. Friday November 30 at 7:00 p.m. Saturday December 1 at 2:00 p.m. Saturday December 1 at 7:00 p.m. Sunday December 2 at 2:00 p.m. THE JOFFREY BALLET and THE CLEVELAND ORCHESTRA conducted by Tito Muñoz

The Nutcracker

A holiday must-see, full of magic and marvels and featuring Tchaikovsky’s beloved score performed by The Cleveland Orchestra. The Joffrey Ballet’s production has been captivating audiences for a quarter century with brilliant costumes, larger-than-life scenery, entrancing storytelling, and breathtaking dancing. Presented at PlayhouseSquare in downtown Cleveland. Tickets: 216-241-6000 or

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.

Cleveland Orchestra


Friday December 14 at 8 p.m. Saturday December 15 at 3 & 8 p.m. Sunday December 16 at 3 p.m. Friday December 21 at 8 p.m. Saturday December 22 at 3 & 8 p.m. Sunday December 23 at 3 & 7 p.m. THE CLEVELAND ORCHESTRA Robert Porco, conductor Cleveland Orchestra Chorus Cleveland Orchestra Children’s Chorus

Celebrate the holiday season with a favorite Cleveland tradition — with The Cleveland Orchestra and Chorus in these annual offerings of music for the Christmas Season. Including sing-alongs and holiday cheer, all in the festive yuletide splendor of Severance Hall.

Program Notes for each regular concert are usually posted in advance online at


216 - 231-1111 800-686-1141 Severance Hall 2012-13

Concert Calendar


11001 Euclid Avenue, Cleveland, Ohio 44106 CLEVELANDORCHESTRA.COM

AT SE V E R A NC E H A LL CONCERT DINING AND CONCESSION SERVICE Severance Restaurant at Severance Hall is open for pre-concert dining. For reservations, call 216-231-7373, or make your plans on-line by visiting 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 October 14, November 25, February 10 and 24, and May 5 and 26. For additional information or to reserve you place for these tours, please call the Severance Hall 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 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 pre-paid parking passes is limited. To order prepaid parking, call the Severance Hall Ticket Office at 216-231-1111. Parking can be purchased for the at-door price of $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 pre-paid 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.


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

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 Cedar Hill Baptist Church (12601 Cedar Road). The fee for this service is $10 per car.



ATM — Automated Teller Machine

If you have any questions, please ask an usher or a staff member, or call 216-231-7300 during regular weekday business hours, or email to


Concert Previews at Severance Hall are presented in Reinberger Chamber Hall on the ground floor (street level), except when noted, beginning one hour before most Cleveland Orchestra concerts.

Guest Information

The Cleveland Orchestra

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

PHOTOGRAPHY, VIDEO, AND AUDIO RECORDING Audio recording, photography, and videography are strictly prohibited during performances at Severance Hall. As courtesy to others, please turn off any phone or device that makes noise or emits light.

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

LATE SEATING Performances at Severance Hall start at the time designated on the ticket. In deference to the comfort and listening pleasure of the audience, late-arriving patrons will not be seated while music is being performed. Latecomers are asked to wait quietly until the first break in the program, when ushers will assist them to their seats. Please note that performances without intermission may not have a seating break. These arrangements are at the discretion of the House Manager in consultation with the conductor and performing artists.

SERVICES FOR PERSONS WITH DISABILITIES Severance Hall provides special seating options for mobility-impaired persons and their companions and families. There are wheelchair- and scooter-accessible locations where patrons can remain in their wheelchairs or transfer to a concert seat. Aisle seats with removable armrests are also available for persons who wish to transfer. Tickets for wheelchair accessible and companion seating can be purchased by phone, in person, or online. As a courtesy, Severance Hall provides wheelchairs to assist patrons in going to and from their seats. Patrons can arrange a loan by calling the House Manager at 216-231-7425 TTY line access is available at the public pay phone located in the Security Office. Infrared Assistive Listening Devices are available from a Head Usher or the House Manager for most performanc-

Severance Hall 2012-13

Guest Information

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

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 seven. 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 will be treated as a tax-deductible contribution. Patrons who turn back tickets receive a cumulative donation acknowledgement at the end of each calendar year.




At Severance Hall . . .

William Preucil

Yo-Yo Ma



Thursday October 11 at 8:00 p.m. Saturday October 13 at 8:00 p.m. Sunday October 14 at 3:00 p.m.

Saturday November 3 at 7:00 p.m. THE CLEVELAND ORCHESTRA Carlos Miguel Prieto, conductor Yo-Yo Ma, cello

THE CLEVELAND ORCHESTRA Giancarlo Guerrero, conductor William Preucil, violin

A great ballet score and the world premiere of a new violin concerto — this program features musical works from across the past century, led by guest conductor Giancarlo Guerrero. The concert begins with Stravinsky’s lively ballet score Pétrouchka, in which a puppet tries to find true love. Here, Stravinsky draws a riveting portrait of townsfolk and human longings in brilliant rhythms and memorable melody. Plus, concertmaster William Preucil premieres a brand-new concerto. The concert ends with the Frenchman Ravel’s exquisite portrait of Spanish tastes.

Internationally-acclaimed cellist Yo-Yo Ma joins The Cleveland Orchestra for one special evening, performing Antonin Dvořák’s magnificently majestic Cello Concerto. The program under guest conductor Carlos Miguel Prieto also includes Copland’s rollicking El Salón México, and Revueltas’s dark and disturbing Sensemayá. Ma also partners with the Orchestra for John Williams’s tranquil Elegy, built upon fragments from the score to the movie Seven Years in Tibet. Tickets are on sale now for this special gala event of the season, raising funds to support the Orchestra’s education and community programs.

See also the concert calendar listing on pages 90-91, 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.




Upcoming Concerts

The Cleveland Orchestra

If you want to be remembered, do something memorable . SM

Leave your mark on your community by partnering with the Cleveland Foundation. We are the largest grantmaker in Northeast Ohio, giving about $80 million annually in grants to worthy causes here. You can give to all of your favorite causes through the Cleveland Foundation. For nearly 100 years, we have helped people like you give back in memorable ways. Join us and experience the satisfaction of knowing your gift will keep giving forever.

216.861.3810 877.554.5054

The Cleveland Orchestra  

October 4,6 Love & Mozart; October 5 Keybank Friday@7 Percussion d'Drum

The Cleveland Orchestra  

October 4,6 Love & Mozart; October 5 Keybank Friday@7 Percussion d'Drum