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Music. Pure + Simple.

12 13 SEASON

December 6, 7, 8 (including KeyBank Fridays@7) BÉLA FLECK ALL-AMERICAN December 11 CHARLIE CHAPLIN’S MODERN TIMES


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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 9 7

In the News Perspectives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Spotlight Photo: A Look Back . . . . . . . . . . . . . . . . 8 Orchestra News . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25



Eric Sellen, Program Book Editor E-MAIL:

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

11 15 22 71 88 92


Short Ride in a Fast Machine . . . . . . . . . . . . . . 41 FLECK

Banjo Concerto . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 COPLAND

Suite from Billy the Kid . . . . . . . . . . . . . . . . . . . . . 51 GERSHWIN

An American in Paris . . . . . . . . . . . . . . . . . . . . . . 53 Conductor: Giancarlo Guerrero . . . . . . . . . . . . . . 38 Soloist: Béla Fleck . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

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. 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.

59 62 63 65


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 . . . . . . . . . . . . . . . . . . . . Endowed Funds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Corporate Annual Support . . . . . . . . . . . . . . . . . . . Foundation / Government Annual Support . . . Individual Annual Support . . . . . . . . . . . . . . . . . .


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

Silent Film — Modern Times Confronting Modern Times . . . . . . . . . . . . . . . . . . Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Program and Cast . . . . . . . . . . . . . . . . . . . . . . . . . . Conductor: William Eddins . . . . . . . . . . . . . . . . . . .


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

Concert — Week 9 Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Program: December 6, 7, 8 . . . . . . . . . . . . . 34-35 Introducing the Program . . . . . . . . . . . . . . . . . . . . 37 KeyBank Fridays@7 . . . . . . . . . . . . . . . . . . . . . . . . . . 39


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

48 69 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

Photo by Roger Mastroianni


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Perspectivesfrom the Executive Director November-December 2012 Welcome to Severance Hall! Everyone in The Cleveland Orchestra family is pleased that you are here with us today. As you look around at your fellow audience members, there’s an increasing chance that you will see young people, especially students from some of Northeast Ohio’s many educational institutions. Two years ago, we established the Center for Future Audiences to fund programs to develop new generations of audiences for Cleveland Orchestra concerts in Northeast Ohio. The Center was created with a $20 million lead endowment gift from the Maltz Family Foundation. Our objective is to have one of youngest audiences of any symphony orchestra in the country. Since the beginning of this season, we have made huge strides toward that ambitious goal. In fact, the number of students attending Cleveland Orchestra concerts at Severance Hall has more than doubled over the same period last year. This year, we’ve had an average of more than 200 students at every evening subscription concert — on some nights, students have represented more than 20% of the crowd. This surge in student attendance is a result of the programs supported by the Center for Future Audiences, especially those funded by a $5 million endowment gift from Alexander and Sarah Cutler to encourage student attendance. We have a number of initiatives and promotions to attract students to Severance Hall. Two stand out: The introduction this season of a Student Frequent FanCard, which gives students flexibility and encourages frequency of attendance. Equally important, is our network of a dozen student ambassadors, representing five area colleges, who volunteer their time promoting student concertgoing and helping to create a vital social media presence around The Cleveland Orchestra. Our commitment to student attendance and a younger audience is part of a Cleveland Orchestra renaissance, as we commit to being ever more relevant to our hometown and ever more devoted to community service. Orchestra Gala 2012 Our annual fundraising Gala was held on Saturday, November 3, to raise funds in support of the Orchestra’s Education and Community Programs. Featuring The Cleveland Orchestra and virtuoso cellist Yo-Yo Ma, the event attracted a full house, including more than 400 generous donors who enjoyed a pre-concert reception and a wonderful post-concert dinner. The magical evening, which yielded almost $700,000, owes much to the leadership of Gala Chair Norma Lerner and Corporate Chair Beth Mooney. Please join me in thanking our chairs, along with the evening’s major sponsors, KeyBank, The Lerner Foundation, and Audrey and Albert Ratner.

Gary Hanson Severance Hall 2012-13




— Composer Aaron Copland rehearsing The Cleveland Orchestra at Severance Hall in November 1974, one of five times he came to Cleveland as guest conductor.


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

Severance Hall 2012-13


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.

OrchestraNews 2012 Holiday Festival features traditional and new favorites at Severance Hall and beyond

Richard Solis Horn The Cleveland Orchestra

Richard Solis retires from his position as fourth horn of The Cleveland Orchestra at the end of December. Born in Brooklyn, New York, and raised in Las Vegas, Nevada, he earned a bachelor of music degree from the Cleveland Institute of Music, where he studied with Myron Bloom, former principal horn of the Orchestra. Mr. Solis spent five summers in residence at the Marlboro Festival in Vermont, participating in performances and recordings. He served as principal horn of the Casals Festival, 1976-78. Richard Solis joined The Cleveland Orchestra in 1971 and served as principal horn 1977-95, during which time he performed as principal horn on more than 100 Cleveland Orchestra recordings. Mr. Solis has served as artist-in-residence at the University of Delaware. He is currently the head of the horn department at the Cleveland Institute of Music, and is looking forward to continuing his teaching work there. In retirement, he also plans to focus on one of his favorite pastimes, playing jazz French horn. And he will spend more time at his home in Las Vegas.

Cleveland Orchestra News



Severance Hall 2012-13

Hornplayer Richard Solis steps into retirement at the end of December, after serving as a member of The Cleveland Orchestra for forty-one seasons. Please join in extending heartfelt thanks and congratulations to Richard.


The Cleveland Orchestra’s 2012 Holiday Festival opened last weekend with The Nutcracker with the Joffrey Ballet downtown, and continues this month with traditional and New Age concerts at Severance Hall and beyond. Between December 14 and 23, The Cleveland Orchestra and Cleveland Orchestra Chorus present their annual Christmas Concerts, joined by guest choruses and including holiday favorites such as “The Twelve Days of Christmas,” the Hallelujah Chorus from Handel’s Messiah, music from the movie The Polar Express, and “Sleigh Ride,” plus sing-alongs and a very special guest. Along with The Nutcracker performances and the traditional series of Christmas Concerts by the Orchestra and Chorus, the Holiday Festival also features performances by the group Pink Martini with the Orchestra on December 18 and 19. True to its fashion, the band has created a globally-inclusive holiday concert showcasing a mix of cabaret, samba, and jazz. Their multi-cultural program features popular favorites along with holiday classics. In addition, three PNC Holiday Musical Rainbow programs are offered for families with children ages three and up — “Music of Chanukah,” “A Celebration of Kwanzaa,” and “Christmas Brass Quintet,” featuring members of the Orchestra and guests. Complete details can be found at Families can arrive early for the matinee Christmas Concerts at Severance Hall on December 15, 16, 22, and 23 to have Lunch with Santa in Severance Restaurant from 12 noon until 3 p.m. Call 216-231-7373 or visit for reservations. Severance Restaurant is also open for pre-concert dining for the regular evening Holiday Festival concerts at Severance Hall. Reservations can be made by visiting

Hail and Farewell





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, comes 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 opened on October 5 featuring 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 is 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

Cleveland Orchestra News

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OrchestraNews planned for Cleveland Metropolitan School District High Schools in 2013 and 2014. 1.855.GO.STORM


tuesday through saturday 4pm to 1am Severance Hall 2012-13

Cleveland Orchestra News



restaurant+ lounge


“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 danced lished to fund programs to The Nutcracker with The develop new generations Cleveland Orchestra in five of audiences for Cleveland sold-out performances Orchestra concerts in November 29-December 2. 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 Cleveland Orchestra offers gift ideas for the holidays, including new recordings, gift certificates, and more . . .




Music and the holidays are a perfect match. The Cleveland Orchestra Store offers a host of musical treats this holiday season, including the Orchestra’s latest DVDs and CDs, as well as releases by Orchestra musicians. Music boxes and music-themed holiday ornaments, stationery, books, stuffed toys and musical gifts for children of all ages, fashion scarves, jewelry, and Cleveland Orchestra logo apparel are also on sale at the Store. In addition, Cleveland Orchestra Gift Certificates and Blossom Lawn Ticket Books for the Orchestra’s 2013 Blossom Festival are available at the Severance Hall Ticket Office by calling 216-231-1111 or 800-686-1141, or at

Free tickets to Martin Luther King Jr. Celebration Concert go on sale January 2 On Sunday, January 20, The Cleveland Orchestra performs its 33rd annual concert celebrating the spirit of Dr. King’s life, leadership, and vision in music, song, and community recognition. Admission to the concert is free, but tickets are required. Tickets will be available on a first-come, firstserved basis beginning Wednesday, January 2, through the Severance Hall Ticket Office in person, by phone, or online at There is a limit of 2 tickets per person. Due to high demand, all tickets are usually distributed by 4 p.m. on the day they are made available.

BELL, BOOK AND CANDLE written by John Van Druten

January 11 – February 3


The Life and Blues of Bessie Smith written by Angelo Parra

February 15 - March 10

GOOD PEOPLE written by David Lindsay-Abaire

March 22 - April 14

RICH GIRL written by Victoria Stewart

April 19 - May 12

a new play by ERIC COBLE | based on the novella by LES ROBERTS | directed by LAURA KEPLEY

A holiday event by Clevelanders, for Clevelanders, about Clevelanders.


Cleveland Orchestra News


The Cleveland Orchestra

OrchestraNews Welcome to new musician


Severance Hall 2012-13

Comings and goings As a courtesy to the performers onstage 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: 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. Robert Walters (english horn) and Grace Chin, whose baby daughter, Kira Bridge Walters, was born on November 26.

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 Audiophile 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. The last movement virtually bubbles with infectious wit and digital confidence. . . . [In Concerto No. 21] the give-andtake 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!”



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


The Cleveland Orchestra welcomes William Hestand, who began playing as a member of the Orchestra in November. In the position of second bassoon, he succeeds Phillip Austin, who joined the Orchestra in 1981 and retired in August 2011. Mr. Hestand has previously served as principal bassoon of the Brooklyn Philharmonic and second bassoon of the Lancaster Festival Orchestra. He has also performed with the New York Philharmonic, New York City Ballet, Orchestra of St. Luke’s, American Composers Orchestra, and the Albany Symphony Orchestra. Born in Columbus, Ohio, William Hestand holds bachelor of music and master of orchestral performance degrees from the Manhattan School of Music and pursued graduate studies at the Conservatory of Amsterdam in the Netherlands. A former student of Cleveland Orchestra assistant principal bassoon Barrick Stees, he also studied with Kim Laskowski, Patricia Rogers, and Jos de Lange. Mr. Hestand has performed in solo recitals at the Bachzaal in Amsterdam and Pforzheimer Recital Hall in New York City and in chamber music concerts at Carnegie Hall and at the American Embassy in the Dominican Republic.





OrchestraNews Family Concert series continues in spring with “Symphony Under the Sea” after Spooktacular start




The Cleveland Orchestra’s season of Family Concerts began with a fun-filled program in late October with “Halloween Spooktacular III.” The series continues in 2013 with “Symphony Under the Sea” on Friday evening, March 8, led by conductor Robert Franz — including favorite musical numbers from Disney’s Little Mermaid. The series closes with “Fables, Fantasies, & Folklore” on Sunday afternoon, May 12, led by conductor Michael Butterman — in an exploration of music storytelling and fun. Intended for children ages 7 and older, the series is designed to introduce young people to classical music. The Halloween program included favorite musical hits and also featured a costume contest for audience members. The Orchestra musicians onstage also got into the “spirit” of the occasion with many theme-related outfits. In addition to each one-hour Orchestra concert, the Family Concert Series features free, pre-concert activities, including an “Instrument Discovery” in which children can try playing various instruments. For complete details about the spring concerts, visit

Cleveland Orchestra’s Distinguished Service Award presented to Maltzes The Cleveland Orchestra’s seventeeth annual Distinguished Service Award was presented to Milton and Tamar Maltz at the start of the Orchestra concert on October 6. The award, created in 1996, honors a person or organization that has provided continuing exemplary service to the Musical Arts Association, the non-profit parent organization that operates The Cleveland Orchestra, Severance Hall, and Blossom Festival. The Maltzes have demonstrated exceptional and continuous dedication to The Cleveland Orchestra and the arts community in Northeast Ohio across four decades. They have been generous contributors to the Orchestra’s Annual Fund and to special projects such as, in 2000, the internationally acclaimed renovation of Severance Hall. In 2010, their visionary leadership helped launch The Cleveland Orchestra’s Center for Future Audiences, which was generously endowed with a lead gift of $20 million from the Maltz Family Foundation. The Center was established to create and fund programs to develop new generations of audiences for Cleveland Orchestra concerts in Northeast Ohio.

If the last note of your marriage has been played . . . call us. 216.363.1313

216.791.8000 A leader in service, research, and advocacy for older adults 30

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 local performances by members of The Cleveland Orchestra include:

Committed to Accessibility

Silence is golden As a courtesy to the performers onstage and the audience around you, all patrons are reminded to turn off cellphones and disengage electronic watch alarms prior to the concert.

Severance Hall 2012-13

Silver Bells and The Cleveland Orchestra have gone hand in hand for more than four decades, and they’re ringing in another year. Reed & Barton silver bells inscribed with “Christmas 2012” are being sold to benefit Community and Education programs of The Cleveland Orchestra. A project of the Women’s Committee of The Cleveland Orchestra, the Silver Bells sale is also a labor of love for Beth Schreibman Gehring, president of the Women’s Committee, whose parents began selling the bells to benefit the Orchestra more than 40 years ago. Silver-plated Reed & Barton bells to benefit the Orchestra cost $20. The bells can be purchased from the Cleveland Orchestra Store and from several local gift shops. In addition, Women’s Committee members will be selling the bells in the lobbies of Severance Hall at many Cleveland Orchestra concerts throughout December.

Cleveland Orchestra News


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

Women’s Committee continues a holiday tradition with Silver Bells raising money for The Cleveland Orchestra


Cleveland Orchestra musicians Mary Kay Fink (piccolo and flute), Katherine Bormann, Ying Fu, and Isabel Trautwein (violins), and Tanya Ell (cello) perform a recital on Sunday afternoon, January 13, presented by Heights Arts at a home in Cleveland Heights. The performance begins at 3:00 p.m. and also includes a dessert reception. Seating is limited, reservations required by calling 216-371-3457. Tickets are $50 (or $40 for Heights Arts members). This is the second of four Heights Arts “Close Encounters” recitals during the season, created under the artistic direction of Cleveland Orchestra violinist Isabel Trautwein.




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

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

Cleveland Orchestra Concert Previews are presented before every regular subscription concert, and are free to all ticketholders to that day’s performance. Previews are designed to enrich the concert-going experience for audience members of all levels of musical knowledge through a variety of interviews and through talks by local and national experts. Concert Previews are made possible by a generous endowment gift from Dorothy Humel Hovorka. December 6 and 8 “Portraits of America” with guest speaker Susan McClary, professor of musicology, Case Western Reserve University

January 10, 11, 12 “New Beginnings” with Rose Breckenridge, Cleveland Orchestra Music Study Groups administrator and lecturer

February 9 and 10 “Seeing Music: Cinematic Visions for the Concert Stage” with Meaghan Heinrich, manager of learning programs for The Cleveland Orchestra

February 14, 15, 16 “Symphonic Expressions” with Rabbi Roger Klein, The Temple – Tifereth Israel

February 21, 22, 23, 24 “Famous Last Words” with Rose Breckenridge, Cleveland Orchestra Music Study Groups administrator and lecturer For Concert Preview details, visit

Severance Hall 2012-13

Concert Previews



W E L S E R - M Ö ST M U S I C


Severance Hall

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

Giancarlo Guerrero, conductor john adams

Short Ride in a Fast Machine

béla fleck

Concerto for Banjo and Orchestra

(b. 1947)

(b. 1958)

Movement I Movement II Movement III BÉLA FLECK, banjo


aaron copland (1900-1990)

george gershwin (1898-1937)

Suite from Billy the Kid 1. 2. 3. 4. 5. 6.

The Open Prairie — Street in a Frontier Town — Card Game at Night — Running Gun Battle — Celebration on Billy’s Capture — Billy’s Death — The Open Prairie Again

An American in Paris

Giancarlo Guerrero’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from James and Donna Reid. Béla Fleck’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from the Virginia M. and Newman T. Halvorson Fund. The concert will end at approximately 9:40 p.m.


Concert Program — Week 9

The Cleveland Orchestra

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Friday evening, December 7, 2012, at 7:00 p.m.

Giancarlo Guerrero, conductor


john adams

Short Ride in a Fast Machine

george gershwin

An American in Paris

béla fleck

Concerto for Banjo and Orchestra

(b. 1947)


(b. 1958)

Movement I Movement II Movement III BÉLA FLECK, banjo



The Cleveland Orchestra’s Fridays@7 series is sponsored by KeyBank, a Cleveland Orchestra Partner in Excellence. Fridays@7 Media Partner: The Plain Dealer The concert is performed without intermission and will end at about 8:00 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 9 Friday






The Cleveland Orchestra


American Sounds& Ideas A QUARTET OF

American composers offer varying ideas this week of what American music can, should, or might be. All four were born in the United States, three of them in New York City. Their resulting sounds vary across a range from the past century, with plenty of power and energetic whirl. The heart of each concert is the new Banjo Concerto by Béla Fleck. Premiered a year ago in Nashville, under the direction of this week’s guest conductor, Giancarlo Guerrero, with Fleck as soloist, this very 21st-century work offers a journey for listeners and performers alike. With lots of good fun alongside some serious music-making. Each evening begins with a tongue-in-cheek piece by John Adams, his very brief Short Ride in a Fast Machine. Please keep your hands and arms safely beside you during this roller-coaster-like experience of just what a modern symphony orchestra can do downhill, with the brakes off. George Gershwin’s An American in Paris lends a tangible view of “otherness” to American ideas of self — and to just what sounds or instruments a symphony orchestra “should” or can embrace. Featured only on Thursday and Saturday evenings is Aaron Copland’s Suite from Billy the Kid. If any composer captures for many people the ideal of classical American music, Copland is the one. His frontier-tinged tunes bring us a vivid sense of a young country, landed on a continent of seemingly wide-open spaces. His ability to capture drama within the music is clear, invigorating, and nostalgic of a simpler (if still violent) time. For those attending the KeyBank Fridays@7 concert, there’s more to enjoy and “taste” with your ears, direct from New Orleans in the post-concert @fterparty. Or, pre-concert, in varying ideas of national folksong from Eastern Europe. We are our music. Mix and match to what you find yourself whistling today. —Eric Sellen




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, January 13, at 4:00 p.m.

Severance Hall 2012-13

Introducing the Program


Giancarlo Guerrero Principal Guest Conductor Cleveland Orchestra Miami

The 2012-13 season marks Giancarlo Guerrero’s fourth year as music director of the Nashville Symphony and second year as principal guest conductor of Cleveland Orchestra Miami. He made his Cleveland Orchestra debut in May 2006. He has led the Orchestra in concerts in Miami, at Severance Hall, at the summertime Blossom Festival, and in its annual downtown community concert in Cleveland. Mr. Guerrero’s recent seasons in Nashville have included an opening gala with Yo-Yo Ma, as well as world premieres of a new work by Richard Danielpour, a Béla Fleck banjo concerto, and a Terry Riley concerto for electric violin. This season, in addition to his work conducting concerts and in community engagement activities with Cleveland Orchestra Miami, he makes his debuts with the BBC Symphony Orchestra and Deutsches Symphonie Berlin, and has return engagements with the orchestras of Boston, Philadelphia, Toronto, and São Paulo. Internationally, he led a five-city European tour with the Monte Carlo Philharmonic last season, and this year leads performances in Australia with the Adelaide Symphony and Auckland Philharmonic. A fervent advocate of new music and contemporary composers, he has collaborated with and conducted works by some of America’s most respected composers, including John Adams, John Corigliano, Michael Daugherty, Osvaldo Golijov, Jennifer Higdon, Aaron Jay Kernis, and Roberto Sierra. His first album with the Nashville Symphony, on Naxos, featured works by Daugherty and won three 2011 Grammy Awards. Two more albums have been released, of music by Argentine legend Astor Piazzolla and by American composer Joseph Schwantner; the latter recording received a Grammy Award earlier this year. A strong proponent of young musicians and music education, Mr. Guerrero returns annually to Caracas, Venezuela, to conduct the Orquesta Sinfónica Simón Bolívar and to work with young musicians in the country’s much-lauded El Sistema music education program. This season he will also work with student orchestras at the Curtis Institute of Music in Philadelphia and the Colburn School in California. Born in Nicaragua and raised in Costa Rica, Giancarlo Guerrero received a bachelor’s degree in percussion from Baylor University and his master’s degree in conducting from Northwestern University. He was music director of Oregon’s Eugene Symphony (2003-09) and served as associate conductor of the Minnesota Orchestra (1999-2004). He received the American Symphony Orchestra League’s Helen M. Thompson Award recognizing outstanding achievement among young conductors. Prior to his tenure in Minnesota, he was music director of the Táchira Symphony Orchestra in Venezuela.



The Cleveland Orchestra

D N A A R L E V E ST FRIDAYS H E T LE H C RC O December 7 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 Harmonia performing folk music sounds from Eastern Europe read about the performers on page 56 > > >

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

THE CLEVELAND ORCHESTRA conducted by Giancarlo Guerrero < < <

biographical information on opposite page

with Béla Fleck, banjo

biographical information on page 47 > > >

“Béla Fleck Banjo Virtuoso” featuring works by Adams, Gershwin, and Fleck < < < musical selection details listed on page 35 read commentary about the music: Adams (page 41), Gershwin (page 53), Fleck (page 43) > > >

@fterparty after the concert ends, the evening continues . . . in Bogomolny-Kozerefski Grand Foyer: 8:05 p.m.

with contemporary music from the heart of New Orleans . . . Mark Mullins, trombone Roland Guerin, bass Johnny Vidacovich, drums


bio information on page 57 > > >

bars are open around the performance

Severance Hall 2012-13

KeyBank Fridays@7 — December 7


0DNLQJWKHZRUOGD EHWWHUSODFHNQRZV QRUHOLJLRQ That’s why last year, the Jewish Federation of Cleveland raised and allocated nearly $127 million to social service, educational and humanitarian organizations that support Cleveland’s Jewish and general communities, as well as those in more than 70 countries around the world. Through the generosity of our donors, the Jewish Federation of Cleveland is Ohio’s largest grantmaking organization. Together, we do extraordinary things.


For more information, please contact Alan D. Gross at 216.593.2818 or Mandel Building · 25701 Science Park Drive Cleveland, Ohio 44122 216.593.2900


Jewish Federation OF CLEVELAND

The Cleveland Orchestra

Short Ride in a Fast Machine composed 1986 AFTER TWENTY YEARS



ADAMS born February 15, 1947 Worcester, Massachusetts currently residing in Berkeley, California

of youthful and creative sputtering, John Adams emerged in the 1990s as America’s most performed and most influential serious composer since Aaron Copland’s heyday fifty years before. Adams’s music is often labeled as Minimalism — a kind of modern repetitive, incremental music that lives and dies by constant rhythm working alongside gradual harmonic changes. But Adams is much more than a Minimalist and, like any truly great composer, has successfully created a style of writing that is unmistakably and recognizably his own. His ability to blend melody and dramatic action into the rhythmic fabric of his works has extended his creative canvas. His operas — including Nixon in China, The Death of Klinghoffer, Doctor Atomic, and A Flowering Tree — have been well received and repeatedly revived in new productions. Adams wrote Short Ride in a Fast Machine in 1986. The work’s first performance was given by the Pittsburgh Symphony Orchestra in June of that year. In explaining the title, Adams said, “You know how it is when someone asks you to ride in a terrific sports car, and then you wish you hadn’t?” The motor of the Machine runs on a beat established at the beginning by woodblocks and trumpets (Adams has described the woodblocks’ persistent beat as “almost sadistic”). After that, there’s a lot of whirring, soaring, revving, and zooming, as well as a few backfires and hiccups of the mostly well-oiled machine. Rather than wishing they hadn’t, many listeners will wish that the ride had gone on longer — or, like a roller-coaster, they may choose to ride it again and again, just for fun. —Eric Sellen

At a Glance Adams wrote his Short Ride in a Fast Machine in 1986 on commission from the Pittsburgh Symphony Orchestra’s Great Woods Festival. The work was premiered on June 13, 1986, in Mansfield, Massachusetts, by the Pittsburgh Symphony under the direction of Michael Tilson Thomas. This work runs less than 5 minutes in performance. Adams scored it for 2 flutes (both doubling piccolo), 2 oboes (second doubling english

Severance Hall 2012-13

About the Music

horn), 4 clarinets, 3 bassoons (third doubling contrabassoon), 4 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion (woodblocks, triangle, xylophone, crotales, glockenspiel, suspended cymbal, sizzle cymbal, snare drum, pedal bass drum, large bass drum, large tam-tam, tambourine), 2 synthesizers (optional), and strings. The Cleveland Orchestra previously presented this work during the 1993 Blossom Festival, led by Leonard Slatkin.



Mary Cassatt and the Feminine Ideal in 19th Century Paris

William H. Johnson: An American Modern

Studio Glass in Focus: Dialogue and Innovation

November 3–January 27

October 13–January 21

Presenting a seminal collection of landscapes, still-life paintings, and portraits spanning the career of this pivotal artist. FREE

Celebrating 50 years of the studio glass movement in America. FREE

Examining the depiction of women by Mary Cassatt and her Parisian cohorts. FREE TOP: After the Bath c. 1901. Mary Cassatt. Pastel; 66 x 100 cm (sheet). Gift of J. H. Wade 1920.379

11150 East Blvd. University Circle 216-421-7350 1-888-CMA-0033

RIGHT: Fossil Series: Salurian Candidate II 2004. Brent Kee Young (American, b. 1946). Blown glass with flame worked inclusions. Collection of the artist

September 23–April 14

Banjo Concerto composed 2010-11



FLECK born July 10, 1958 New York City currently residing in Nashville, Tennessee

Severance Hall 2012-13

I T W A S N ’ T U N T I L 1 9 7 3 , while he was a teenager, that Béla Anton Leoš Fleck received his first banjo, but in less than a decade he had recorded his first solo album, Crossing the Tracks (1979) — and was well on his way to reclaiming the instrument for a new era. With a unique combination of virtuosity, imagination, and insatiable curiosity, Fleck has devoted his career to exploring and revealing the hidden potential of the banjo. The iconic style of Earl Scruggs, to whom Fleck’s Banjo Concerto is dedicated, was a formative influence, yet one that Fleck characteristically fuses with those of jazz legends Chick Corea and Charlie Parker. In this concerto, we also hear the stimulus of voices from classical tradition — particularly Bach and Beethoven — filtered through a new perspective. Fleck’s innovative approach extends across an astounding spectrum of achievements, from his early work in progressive bluegrass with the New Grass Revival (which led him to settle in Nashville three decades ago) to the “blu-bop” blend of jazz and bluegrass he continues to pioneer with his group, Béla Fleck and the Flecktones. The African origins of the banjo have provided yet another area of exploration for Fleck in recent years, leading to such world music collaborations as the recording sessions Throw Down Your Heart in 2009. On a parallel track, Fleck continues to enrich the expressive language of the banjo by forging unprecedented connections with the realm of classical music — a world introduced to him during childhood by his stepfather, a cellist. Fleck, in fact,was named after no fewer than three great composers — Béla Bartók, Anton(in) Dvořák, and Leoš Janáček — making the classical past literally part of his identity. He credits Edgar Meyer, the bassist with whom he has collaborated on numerous projects since the early 1980s, with reawakening his mature interest in classical music. (See “A Classical Side for Banjo,” on page 45.) Meyer also helped instill in him the desire to undertake a classically based composition of his own, following two previous collaborative efforts. The Concerto for Banjo marks a significant new departure for Fleck, which he describes as “a liberating experience for my efforts as a composer, and hopefully the banjo as well.”

About the Music


During initial rehearsals with the Nashville Symphony, Fleck recalls conductor Guerrero observing that “the banjo doesn’t sound like a banjo at the beginning” but becomes emphatically banjo-like by the end.


No familiar models for such a piece exist. Fleck mentions just three previous examples, which include a concerto written for Pete Seeger in the 1960s, one by Swiss banjo player Jens Kruger, and a farcical send-up by the parodist P.D.Q. Bach. With his own Banjo Concerto, Fleck has crafted a largescale composition requiring intricate organization, and he has taken on his first experience of writing for a heft y orchestra. The challenge, he recalls, led him to evoke “different sounds on my banjo than I was used to doing.” Fleck observes that, unlike a traditional string concerto, where the solo instrument is already mirrored in the larger ensemble, the banjo possesses “a voice that is not present in the orchestra” and which is resonant enough to play effectively with it. The specific instrument for which Fleck wrote his concerto is a vintage 1937 Gibson Mastertone banjo made of mahogany — a prized possession he calls the “holy grail” of banjos, much as a violinist might treasure an instrument made in the workshops of Stradivarius. THE MUSIC

During initial rehearsals with the Nashville Symphony, Fleck recalls conductor Guerrero observing that “the banjo doesn’t sound like a banjo at the beginning” but becomes emphatically banjo-like by the end. The remark shed light on a scenario that runs through the three-movement score, though Fleck points out that this was the creative work of his “subconscious” rather than a deliberate plan: “The banjo is the hero in this play and is trying to avoid the truth of who he is, but in the end cannot avoid it.” Fleck notes that the musical arc could be likened to the pattern by which, “when you’re young, you try every possible idea, but as you become wiser, sometimes the obvious is not such a terrible thing. So in the first movement, especially with its solo cadenzas, the banjo is at its most ‘classical,’ even though I wasn’t trying to emulate any particular composer. But you can hear an evolution in my own writing of the piece as it goes on. As it continues, I become more comfortable with the idea that this can be whatever I want it to be, and it ends by returning to my roots in bluegrass and Earl Scruggs.” At the same time, to establish this identity, Fleck had to make the ending sound like the “inevitable outcome” of the preceding music rather than an arbitrary change of tack. “I About the Music

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needed to make the concluding section, where I rip into this style, reflect the sound of the banjo as a bluegrass instrument, while also combining it with the orchestra.” —Thomas May Thomas May is a frequent contributor to Cleveland Orchestra program books and writes regularly about music and the arts. His books include The John Adams Reader and Decoding Wagner.

At a Glance Fleck composed his Banjo Concerto in 2010-11 on a commission from the Nashville Symphony. He dedicated the work to legendary bluegrass player Earl Scruggs. The concerto was premiered on September 22, 23, and 24, 2011, in Nashville, conducted by Giancarlo Guerrero, and with Fleck as the soloist. This concert runs just over 30 minutes in performance. Fleck scored it for 3 flutes (third doubling piccolo), 3 oboes (third doubling english

horn), 3 clarinets (third doubling bass clarinet), 3 bassoons (third doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (wind gong, glockenspiel, triangle, cymbals, gong, bells, rain stick, crotales, snare drum, bass drum), and strings, plus the solo banjo. The Cleveland Orchestra is performing Béla Fleck’s music for the first time with this weekend’s performances.

A Classical Side for Banjo — and Nashville With the multiple-Grammy Award-winning Perpetual Motion (2001), Béla Fleck made his first sustained foray into introducing the world of classical music to the banjo’s repertory. His engaging sequence of banjo arrangements breathed new life into such familiar pieces as Chopin mazurkas, Bach inventions, and Beethoven’s Moonlight Sonata. Fleck subsequently teamed with bassist Edgar Meyer to write the Double Concerto for Banjo and Bass, which the Nashville Symphony premiered in 2003. That effort proved so successful that the Nashville Symphony commissioned a triple concerto, which was co-written by Fleck, Meyer, and tabla player Zakir Hussain. Titled The Melody of Rhythm, the concerto was premiered at the concert that inaugurated Nashville’s Schermerhorn Symphony Center in 2006.

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About the Music


Béla Fleck American banjo player Béla Fleck is considered to have reinvented the instrument’s image and sound throughout his performing and recording career. He is making his Cleveland Orchestra debut with this weekend’s concerts. Born and raised in New York City, Béla Anton Leoš Fleck was named for composers Bartók, Dvořák, and Janáček. Until Earl Scruggs’s banjo style piqued his interest, he played guitar. In 1973, Mr. Fleck received a banjo from his grandfather, and also entered New York City’s High School of Music and Art. He began studying horn and took banjo lessons outside school from Erik Darling, Marc Horowitz, and Tony Trischka. About that time, Mr. Fleck joined his first band, Wicker’s Creek. After graduation, he moved to Boston to play with Tasty Licks and, at 19 years old, recorded his first solo banjo album, Crossing the Tracks, on Rounder Records. Mr. Fleck later relocated to Lexington, Kentucky, and formed Spectrum, which toured until 1981, when he joined the progressive bluegrass band, New Grass Revival. During his nine years with New Grass Revival, Béla Fleck continued to record solo albums for Rounder and also collaborated with an acoustic group called Strength in Numbers. Their MCA release, The Telluride Sessions, is considered evolutionary by the acoustic music community. In the late 1980s, he created Béla Fleck & the Flecktones. Now famous for a non-stop touring schedule, the Flecktones have reached more than 500,000 audience members annually since 2001. The group’s release The Hidden Land won the 2007 Grammy for Best Contemporary Jazz Album. Their holiday recording, Jingle All The Way, was named Best Pop Instrumental Album at the 2009 Grammy Awards. Béla Fleck’s 2001 Sony Classical album, Perpetual Motion, won a pair of Grammys and announced his presence in the world of classical music, as well as his musical partnership with bassist Edgar Meyer. They tour together, recorded Music for Two, and co-wrote and performed the 2003 world premiere of a double concerto for banjo and bass with the Nashville Symphony. Since 1998, Mr. Fleck has received 14 Grammy Awards and 30 nominations, and has been nominated in more different categories than anyone else. For additional information, visit Béla Fleck will sign compact discs after the concerts on Thursday and Saturday evenings in the Lerner Lobby at the Cleveland Orchestra Store on the groundfloor of Severance Hall. A selection of his albums are available for sale through the Cleveland Orchestra Store.

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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 October 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

BakerHostetler 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 Robert and Jean* Conrad 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 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



John Moore U 216-721-4300 U


Suite from Billy the Kid composed 1938 BACK IN THE 1890s,



COPLAND born November 14, 1900 Brooklyn, New York died December 2, 1990 North Tarrytown, New York

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Antonín Dvořák was urging American composers to develop an original American musical style based on native melodies. That was much easier said than done, however. It was not at all clear how Dvořák’s own tried-andtrue Bohemian recipe could be applied in a country whose native traditions were much more diverse and, at the time, much less valued by native composers. One thing that Dvořák, in his fascination with “exotica,” did not realize was that the national renewal would not be exclusively from American Indian and African musical traditions, but also those of the European settlers in the New World. Even forty years after Dvořák returned home to Europe, the shape of American music was still uncertain — and the idea of a ballet about cowboys was something very shocking in American classical music and classical ballet circles. It was Lincoln Kirstein, the innovative director of Ballet Caravan, who provided the subject to Copland. As the composer later wrote in his autobiography, “When I suggested that, as a composer born in Brooklyn, I knew nothing about the Wild West, Lincoln informed me that Eugene Loring’s scenario for Billy the Kid was based on the real life story of William Bonney, a notorious cowboy who had been born in New York! Lincoln was persuasive, and it did not take long to convince me that if I could work with Mexican tunes in writing El Salón México, I might try home-grown ones for a ballet. Kirstein provided Copland with two collections of cowboy songs, and the composer set to work. In the finished ballet, we hear such vintage tunes as “Old Paint,” “The Old Chisholm Trail,” “Git Along Little Dogie,” and “The Dying Cowboy.” Copland learned additional information on Billy the Kid’s character and history from the music director of Kirstein’s Ballet Caravan at the time, the composer Elliott Carter. Nevertheless, Copland later stressed that he had been less concerned with the historical William Bonney than with the legend he had become in American folklore. The ballet opened in Chicago in October 1938, to wide acclaim. Finally, there was an American work that showed how folksong could be used to create an authentic national style in music. Billy the Kid became one of Copland’s most frequentlyAbout the Music


At a Glance Copland wrote his ballet score for Billy the Kid in 1938 at the request of dance impresario Lincoln Kirstein. The work was premiered in Chicago on October 6, 1938, by Kirstein’s Ballet Caravan. The composer extracted a concert suite from the score the following year. This ballet suite runs about 20 minutes in performance. Copland scored it for 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (xylophone, side drum, woodblocks, cymbals, glockenspiel, sleigh bells, guiro, whip), harp, piano, and strings. The Cleveland Orchestra played the Suite from Billy the Kid at Severance Hall on only one previous set of Severance Hall subscription concerts, in February 1943, under the direction of music director Artur Rodzinski. Excerpts from the ballet have been performed on many occasions since that time, especially on Education Concert programs, and the suite was presented at Blossom Festival concerts in 1978 and 1997.

performed works, especially in the form of the suite, which the composer drew from the original score. As Copland noted, the six movements of the suite “match the action of the ballet.” Copland summarized that action in the preface of the score as follows: “The action begins and closes on the open prairie. The central portion of the ballet concerns itself with significant moments in the life of Billy the Kid. The first scene is a street in a frontier town. Familiar figures amble by. Cowboys saunter into town, some on horseback, others with their lassoes. Some Mexican women do a Jarabe [a Mexican dance], which is interrupted by a fight between two drunks. Attracted by the gathering crowd, Billy is seen for the first time as a boy of twelve with his mother. The brawl turns ugly, guns are drawn, and in some unaccountable way, Billy’s mother is killed. Without an instant’s hesitation, in cold fury, Billy draws a knife from a cowhand’s sheath and stabs his mother’s slayers. His short but famous career had begun. In swift succession we see episodes in Billy’s later life. At night, under the stars, in a quiet card game with his outlaw friends. Hunted by a posse led by his former friend Pat Garrett. Billy is pursued. A running gun battle ensues. Billy is captured. A drunken celebration takes place. Billy in prison is, of course, followed by one of Billy’s legendary escapes. Tired and worn in the desert, Billy rests with his girl. (Pas de deux). Starting from a deep sleep, he senses movement in the shadows. The posse has finally caught up with him. It is the end.” —Peter Laki

From the original staging of Billy the Kid in 1938.


About the Music

The Cleveland Orchestra

An American in Paris composed 1928 GEORGE GERSHWIN



GERSHWIN born September 26, 1898 Brooklyn, New York died July 11, 1937 Hollywood, California

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achieved early success as one of the most brilliant songwriters on Broadway. He had more ambitious dreams, however — he aspired to be recognized as a serious classical composer. Gershwin felt that American classical music should incorporate elements of jazz in order to find a distinctive national voice. Rhapsody in Blue was Gershwin’s first step in that direction, followed by the Concerto in F, An American in Paris, and, finally, the opera Porgy and Bess. Throughout his efforts on these works, Gershwin, a fabulous pianist and improviser, knew that his technical equipment as a classical composer was incomplete, and tried hard to fill in the gaps in his knowledge by applying himself to the study of music theory and orchestration. The original manuscript of An American in Paris bears the following inscription by Gershwin: “An American in Paris, a tone poem for orchestra, composed and orchestrated by George Gershwin. Begun early in 1928, finished November 18, 1928.” Gershwin went out of his way to point out that he had done the orchestration himself, because while much as his melodic gifts and his pianistic virtuosity were acclaimed, he was dogged by constant criticism of what were perceived as shortcomings (compared to expected norms) in his compositional craftsmanship. Gershwin provided the following explanation of this piece in an interview for Musical America in 1928: “This new piece, really a ‘symphonic ballet,’ is written very freely and is the most modern music I’ve yet attempted. The opening part will be developed in typical French style, in the manner of Debussy . . . though the themes are original. My purpose here is to portray the impression of an American visitor in Paris, as he strolls about the city, listens to the various street noises, and absorbs the French atmosphere. As in my other orchestral compositions, I’ve not endeavored to represent any definite scenes in this music. The rhapsody is programmatic only in a general impressionistic way, so that the individual listener can read into the music such episodes as his imagination pictures for him. The opening section is followed by a rich ‘blues’ with a strong rhythmic undercurrent. Our American friend, perhaps after strolling into a café and having About the Music


a couple of drinks, has suddenly succumbed to a spasm of homesickness. The harmony here is both more intense and simple than in the preceding pages. This ‘blues’ rises to a climax followed by a coda in which the spirit of the music returns to the vivacity and bubbling exuberance of the opening part with its impressions of Paris. Apparently the homesick American, having left the café and reached the open air, has disowned his spell of the blues and once again is an alert spectator of Parisian life. At the conclusion, the street noises and French atmosphere are triumphant! —Peter Laki Peter Laki is a musicologist and frequent lecturer on classical music. He is a visiting associate professor at Bard College in New York.

At a Glance

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3 trombones, tuba, timpani, percussion (bass drum, snare drum, triangle, orchestra bells, xylophone, and taxi horns), celesta, and strings. The Cleveland Orchestra first performed An American in Paris in March 1943, under the direction of Artur Rodzinski. The Orchestra’s most recent performance was led by Miguel Harth-Bedoya as part of the 2006 Blossom Festival.

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Gershwin wrote An American in Paris in 1928, after a visit to France. The first performance, led by Walter Damrosch, took place on December 13, 1928, at Carnegie Hall. An American in Paris runs between 15 and 20 minutes in performance. Gershwin scored it for 3 flutes (third doubling piccolo), 2 oboes, english horn, 2 clarinets, bass clarinet, 3 saxophones (alto, tenor, and baritone), 2 bassoons, 4 horns, 3 trumpets,

A Valentine Fantasy with Janice Martin A true phenomenon, unlike any performing artist you’ve ever seen

Friday, Feb. 8th -- 8 PM Severance Hall tickets: 216-231-1111


About the Music

The Cleveland Orchestra

George Gershwin working on his opera Porgy and Bess in 1935.


True music must repeat the thought and inspirations of the people and the time. My people are Americans and my time is today.


—George Gershwin

D N A A R L E V E ST H r7 e T LE HE b m C RC ce O e D



Harmonia Walt Mahovlich, accordion Alexander Fedoriouk, cimbalom Beata Begeniova, vocals Jozef Janis, violin Andrei Pidkivka, panflute and sopilka Branislav Brinarsky, bass

Harmonia presents the traditional folk music of Eastern Europe, ranging from the Danube to the Carpathians. Its repertoire reflects the cultures of this region — Hungarian, Slovak, Ukrainian, Romanian, Croatian, and Gypsy. Performing on authentic folk instruments, and styled after East-European Gypsy bands from a century ago, their music is drawn from both the urban and rural traditions of Eastern Europe. The ensemble’s performances evoke the full range of human emotions, interspersing fiery, passionate virtuosity with soulful melancholy and nostalgic yearning. They have been called “obscenely talented” by the Folklore Society of Washington D.C. and “a musical gem” by National Public Radio. The musicians come from varied East-European backgrounds, and in Harmonia they have found a common musical language. Harmonia brings to the concert stage the vitality and excitement of ethnic weddings, celebrations, and smoky cafés that inspired composers such as Bartók, Brahms, and Liszt. The six-piece ensemble uses instruments as varied as accordion, upright bass, violin, panflute, and cimbalom (the East European 125-string hammered dulcimer). Their technical brilliance only adds to Harmonia’s breathtaking performances — dizzying cimbalom solos coupled with soaring violin lines, haunting flute and accordion solos, and soulful vocals. The ensemble is equally at home on the concert stage and in academic or workshop settings. To learn more, visit

Jamey Haddad has curated and planned the world music performances for The Cleveland Orchestra’s Fridays@7 concerts since the series began in 2009. Born in Cleveland, Ohio, he 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, Boston’s Berklee College of Music, and the New England Conservatory. To learn more, visit


Guest Artists

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Mark Mullins, trombone Roland Guerin, bass Johnny Vidacovich, drums



Mark Mullins has made a reputation for himself in New Orleans as a multifaceted musician who, like a chameleon, fits perfectly in many situations without compromising his integrity. Mark began studying trombone at age 8 and, at 13, had his own street band performing in Mardi Gras parades. After college, he joined Harry Connick Jr.’s new Big Band, touring the world and appearing on many recordings. Other projects included recordings with Tori Amos, Sheryl Crow, George Porter Jr., and others. He subsequently launched an original rock band named MuleBone and presentations of “A Night of Led Zeppelin,” as well as Bonerama, a stage full of trombones playing brass band music that later grew to be the house band of HBO’s Comic Relief. To learn more, visit

Roland Guerin first learned music from his mother, a bass player who taught him that you can’t make it in music without a strong groove and feeling. At Southern University in Baton Rouge, he joined legendary jazz educator Alvin Batiste’s band, The Jazztronauts. He later began to tour the world as a member of jazz guitarist Mark Whitfield’s band and also participated in the recording of several albums with a variety of artists, including Ellis Marsalis and Allen Toussaint. Roland was a member of the Marcus Roberts Trio (1994-2010), with which he performed at the 2002 Winter Olympic Games. His work as a bandleader includes several albums, including A Different World (2011). When not touring, he is active throughout the New Orleans music scene. To learn more, visit Johnny Vidacovich was born and raised in New Orleans, and is a founding member of the world-renowned contemporary jazz quartet Astral Project. He has played and/or recorded with such luminaries as Professor Longhair, George Porter Jr., Dr. John, Skerik, and John Scofield. Johnny played in the first and in every subsequent New Orleans Jazz and Heritage Festival (which recently celebrated its 40th anniversary). He has four albums under his own name, as well as an instructional book and DVD focusing on his approach to New Orleans drumming. He continues to maintain an active playing, touring, and teaching schedule and is currently busy touring with Voice of the Wetlands Allstars. To learn more, visit Severance Hall 2012-13

Guest Artists



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

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Charlie Chaplin Confronts Modern Times by Dan Kamin THE SOUND REVOLUTION

that came to movies in 1927 represented a major esthetic crisis for all silent filmmakers, but for Charlie Chaplin in particular, since his mimetic artistry was the primary reason for his phenomenal worldwide popularity. In 1931, a full two years after Hollywood had stopped making silent films, he stubbornly released City Lights (presented last season, in March 2012 here at Severance Hall). Chaplin’s only concession to the changing times was an original musical score that he wrote himself, and a few sound effects that he used to skewer the crudities of early sound movies. The film, filled with hilarious physical comedy and scenes of surprising emotional power, proved to be a sensation. Chaplin knew, though, that City Lights was the exception that proved the rule. The era of silent movies was over. Yet he also knew that as soon as he spoke onscreen he would become like any other comedian. After a long period of gestation, Chaplin’s solution was to give his beloved Tramp character a second reprieve in the form of Modern Times, an audacious hybrid of silent and sound movie techniques. The film preserved Chaplin’s mastery of silent film storytelling while allowing sounds and words to encroach in unusual ways. To forestall the inevitable critical complaint that a mostly-visual comedy released in 1936 might be considered an anachronism, Chaplin provided an up-to-theminute story of the Tramp as a factory worker experiencing inhumane working conditions, strikes, and social upheaval during the Depression. He also provided a glorious original score, arguably the best one he ever wrote. Eighteen years later, when the film was re-released in the 1950s, Severance Hall 2012-13

Charlie Chaplin’s Modern Times


its lush romantic theme was given lyrics and recorded by Nat King Cole, becoming the worldwide song hit “Smile.” One of the most fascinating things about Modern Times is the film’s insistent running commentary on the nature of sound films. For example, when the human voice is heard in the film it’s always over mechanical devices such as radios, loudspeakers or televisions; face-to-face dialogue is reproduced, as in silent films, in title cards. Stressing the mechanical nature of sound reproduction in this way reflects Chaplin’s view that words in movies are intrusive or superfluous, as unnatural as the inhuman pace the factory imposes on its workers. The factory itself offers another clue to Chaplin’s intention to make the clashing worlds of sound and silent films the underlying subject of Modern Times. We never learn what, precisely, is being produced by this factory. But in one of the film’s most memorable sequences, when Charlie falls into the machinery and is drawn through its gears, he resembles nothing so much as a strip of film winding through a movie projector. This interpretation is no great stretch. The square nut plates Charlie tightens on the assembly line are like frames of film speeding by, and Charlie himself is a creature who exists only on film. The The Cleveland Orchestra

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Charlie Chaplin’s Modern Times

The Cleveland Orchestra

factory — metaphorically, at least — is a film factory, its product a film starring Charlie himself. But Charlie is a creature born of silent film, and until the end the film unfolds at a brisk silent movie pace. But finally Chaplin can no longer postpone the inevitable. The Tramp’s practical problems holding a job and Chaplin’s esthetic problems as a silent filmmaker facing sound converge when the Tramp gets a job as a singing waiter. Chaplin, at last, prepares to break his long cinematic silence. Viewers worldwide eagerly anticipated hearing his voice, and he does not disappoint. But with characteristic impudence and inventiveness he uses the occasion to thumb his nose one last time at sound movies, demonstrating, with a brilliant display of mime and eccentric dance that actions — when they’re his actions — really do speak louder than words. What audiences in 1936 couldn’t know was that Modern Times marked the end of the Tramp’s silent journey. As the film ends and Chaplin’s beautiful love theme swells in the background, we watch the familiar figure recede in the distance for the last time, a casualty of modern times. —Adapted from The Comedy of Charlie Chaplin: Artistry in Motion by Dan Kamin, published by Scarecrow Press. Dan Kamin trained Robert Downey Jr. for his Oscar-nominated performance as Chaplin, and created several of the film’s physical comedy sequences. He is an internationally renowned mime artist who performs frequently with symphony orchestras.

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All concerts beginbegin at 3:00 pmpm at at All concerts at 3:00 Cleveland State University’s Waetjen Cleveland State University’s Waetjen Auditorium, Euclid 21stSt. St. Auditorium, EuclidAve. Ave.and and E. E. 21st ForFor more information more information call call 216.687.5018 216.687.5018 ororvisit series/kc series/kc

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Charlie Chaplin’s Modern Times



Modern Times SYNOPSIS

Charlie is a factory worker in this hectic age — a minor cog in the grinding wheels of industry. His job is mechanically tightening bolts on a moving belt. The monotony of the work drives him berserk. Taken to hospital, he soon recovers, is discharged, and cautioned to avoid excitement. Caught in a street riot, he is mistaken for the leader and thrown into a patrol wagon. Charlie unconsciously thwarts an attempted jailbreak. As a reward, he is given a cell with all the comforts of home. But just as he is ready to settle down to a life of ease and contentment in jail, he is pardoned. He then gets a job in a shipyard, but is fired for doing the wrong things at the wrong times. He resolves to return to the comfort and security of jail. He meets the girl, a gamine of the waterfront. She and her orphaned sisters are about to be taken into custody by the juvenile welfare officers, but she escapes. When she is about to be arrested for stealing food, Charlie attempts to take the blame, without success. He wanders into a cafeteria, orders everything in sight, then informs the manager that he has no money to pay. On the way to jail he meets the girl again. Together they escape and from then on they are inseparable companions. Charlie gets a job as night watchman in a department store. His first night on duty is hectic. Burglars invade the store, and Charlie is involved once again with the police, and once more shunted to jail. Released, he meets the girl who has found herself a job as a cabaret dancer. She gets Charlie a job in the same restaurant as a singing waiter. He proves a huge success. Happiness seems close now, but the juvenile welfare officers have finally tracked the girl down. They attempt to take her into custody, but Charlie foils them and escapes with the girl. Together they trudge down the lonely road, ready to face whatever the future may bring. Modern Times was premiered on February 5, 1936, at New York’s Rivoli Theatre.


Charlie Chaplin’s Modern Times

The Cleveland Orchestra


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Modern Times A SILENT FILM

written and directed by Charlie Chaplin

PRESENTED IN CONCERT with The Cleveland Orchestra conducted by William Eddins and featuring Brent Chamberlin, Jason Levy, Rohan Mandelia, and Matthew Rizer as the voices of the singing waiters

THE CAST Charlie Chaplin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A Worker Paulette Goddard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Gamine Henry Bergman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Café Owner Stanley J. Sanford . . . . . . . . . . . . . . . . . . . . . . . . . . . . Big Bill and Worker Chester Conklin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mechanic Hank Mann . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Burglar Stanley Blystone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Gamine’s Father Allan Garcia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Company Boss Sam Stein . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Foreman Juana Sutton . . . . . . . . . . . . . . . . . . . . . . . Woman with Buttoned Bosom Dick Alexander . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Prison Cellmate Cecil Reynolds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Prison Chaplain Myra McKinney . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Chaplain’s Wife Lloyd Ingraham . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Angry Café Patron

music by Charlie Chaplin musical arrangements by David Raksin and Edward Powell original musical direction by Alfred Newman original scoring restored for live performance by Timothy Brock Modern Times © Roy Export S.A.S. Music copyright © Roy Export Company Establishment and Bourne Co. All rights reserved.

Severance Hall 2012-13

Charlie Chaplin’s Modern Times



Failure is unimportant. It takes courage to make a fool of yourself.


—Charlie Chaplin

William Eddins William Eddins is music director of the Edmonton Symphony Orchestra and a frequent guest conductor of major orchestras throughout the world. He served five seasons as principal guest conductor of Ireland’s RTÉ National Symphony Orchestra (2001-06) after serving as resident conductor of the Chicago Symphony Orchestra and associate conductor of the Minnesota Orchestra. He made his Cleveland Orchestra debut in the March 2012 presentation of Charlie Chaplin’s silent film City Lights. As a guest conductor, Mr. Eddins has appeared with symphony orchestras across the United States, including those of Atlanta, Baltimore, Buffalo, Cincinnati, Detroit, Houston, Indianapolis, Los Angeles, Milwaukee, Minnesota, New York, Philadelphia, St. Louis, and San Francisco. Internationally, his engagements have included performances with the Berlin Staatskapelle, Berlin Radio Orchestra, Welsh National Opera, Royal Scottish National Orchestra, Bergen Philharmonic, Adelaide Symphony Orchestra, Barcelona Symphony Orchestra, Italy’s RAI Orchestra Sinfonica Nazionale, and the Lisbon Metropolitan Orchestra. He conducted Porgy and Bess with Opéra de Lyon in 2008 and 2010. Mr. Eddins is an accomplished pianist and chamber musician. He regularly conducts from the keyboard in works by Mozart, Beethoven, Gershwin, and Ravel. He has released an album featuring Beethoven’s Hammerklavier Sonata and William Albright’s The Nightmare Fantasy Rag. Mr. Eddins has performed at the Ravinia Festival with both the Chicago Symphony Orchestra and the Ravinia Festival Orchestra. He has also conducted the orchestras of the Chautauqua Festival, Aspen Music Festival, Hollywood Bowl, Boston University Tanglewood Institute, and the Civic Orchestra of Chicago. A native of Buffalo, New York, William Eddins attended the Eastman School of Music, studying with David Effron and graduating at age eighteen, making him the youngest graduate in the history of the institution. He also studied conducting with Daniel Lewis at the University of Southern California and was a founding member of the New World Symphony in Miami, Florida. For more information, visit

Severance Hall 2012-13

Conductor: Modern Times


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The Cleveland Orchestra

Student Ticket Programs “Under 18s Free,” Student Advantage membership, and Student Frequent FanCard offer affordable access to Cleveland Orchestra concerts all season long The Cleveland Orchestra is committed to developing one of the youngest audiences of any orchestra in the country. With the help of generous contributors, the Orchestra has expanded its discounted ticket offerings through several new programs. In the opening two months of the current Severance Hall season, student attendance has doubled from last season, with nearly 20% of the audience being students experiencing Cleveland Orchestra concerts through these various programs and offers. S T U D E N T A DVA N TAG E P R O G R A M

The Orchestra’s ongoing Student Advantage Program provides opportunities for students to attend Orchestra concerts at Severance Hall through discounted ticket offers. Membership in the Student Advantage Program is free. A new Student Frequent FanCard was introduced this season. Priced at $50, the FanCard offers students unlimited single tickets (one per FanCard holder) to weekly Classical Subscription Concerts all season long. “UNDER 18s FREE”

Introduced for Blossom Festival concerts two summers ago, the “Under 18s Free” program now includes select Cleveland Orchestra concerts at Severance Hall each season. 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. All of these programs are supported by The Cleveland Orchestra’s Center for Future Audiences and the Alexander and Sarah Cutler Fund for Student Audiences. The Center for Future Audiences was 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. Severance Hall 2012-13

Student Ticket Programs


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The Cleveland Orchestra


Endowed Funds

funds established as of September 2012

Generous contributions to the endowment have been made to support specific artistic initiatives, education and community programming and performances, facilities maintenance costs, touring and residencies, and more. Named funds can be established with new gifts of $250,000 or more. For information about making your own endowment gift to the Orchestra, please call 216-231-7438.

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

American Conductors Fund

Keithley Fund

Douglas Peace Handyside Holsey Gates Handyside


Severance Hall Guest Conductors

Malcolm E. Kenney

Young Composers Jan R. and Daniel R. Lewis

Friday Morning Concerts Mary E. and F. Joseph Callahan Foundation

International Touring Frances Elizabeth Wilkinson

Cleveland Orchestra Chorus Jerome and Shirley Grover Meacham Hitchcock and Family

Concert Previews Dorothy Humel Hovorka

Radio Broadcasts Robert and Jean Conrad

Unrestricted William P. Blair III Fund for Orchestral Excellence John P. Bergren and Sarah S. Evans Margaret Fulton-Mueller Fund Virginia M. and Jon A. Lindseth

Roger and Anne Clapp James and Donna Reid

Cleveland Orchestra Soloists Julia and Larry Pollock Family Fund

Guest Artists The Eleanore T. and Joseph E. Adams Fund Mrs. Warren H. Corning The Gerhard Foundation Margaret R. Griffiths Trust The Virginia M. and Newman T. Halvorson Fund The Hershey Foundation The Humel Hovorka Fund Kulas Foundation The Payne Fund Elizabeth Dorothy Robson Dr. and Mrs. Sam I. Sato The Julia Severance Millikin Fund The Sherwick Fund Mr. and Mrs. Michael Sherwin Sterling A. Spaulding Mr. and Mrs. James P. Storer Mrs. Paul D. Wurzburger

CENTER FOR FUTURE AUDIENCES â&#x20AC;&#x201D; The Cleveland Orchestraâ&#x20AC;&#x2122;s Center for Future Audiences, created with a lead gift from the Maltz Family Foundation, was established to develop new generations of audiences for The Cleveland Orchestra. Center for Future Audiences Maltz Family Foundation

Student Audiences Alexander and Sarah Cutler Fund

Endowed Funds listing continues

Severance Hall 2012-13

Endowed Funds



Endowed Funds continued from previous page EDUCATION AND COMMUNITY endowed funds help support programs that deepen connections to symphonic music at every age and stage of life, including training, performances, and classroom resources for thousands of students and adults each year. Education Programs Anonymous, in memory of Georg Solti Hope and Stanley I. Adelstein Kathleen L. Barber Isabelle and Ronald Brown Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Alice B. Cull Memorial Frank and Margaret Hyncik Junior Committee of The Cleveland Orchestra Mr. and Mrs. David T. Morgenthaler John and Sally Morley Education Fund The William N. Skirball Endowment

Education Concerts Week The Max Ratner Education Fund, given by the Ratner, Miller, and Shafran families and by Forest City Enterprises, Inc.

In-School Performances Alfred M. Lerner Fund

Classroom Resources Charles and Marguerite C. Galanie

Cleveland Orchestra Youth Orchestra The George Gund Foundation Christine Gitlin Miles, in honor of Jahja Ling Jules and Ruth Vinney Touring Fund

Musical Rainbows Pysht Fund

Community Programming Machaskee Fund

SEVERANCE HALL endowed funds support maintenance of keyboard instruments and the facilities of the Orchestraâ&#x20AC;&#x2122;s concert home, Severance Hall: Keyboard Maintenance William R. Dew The Frederick W. and Janet P. Dorn Foundation Mr. and Mrs. Richard A. Manuel Vincent K. and Edith H. Smith Memorial Trust

Organ D. Robert and Kathleen L. Barber Arlene and Arthur Holden Kulas Foundation Descendants of D.Z. Norton Oglebay Norton Foundation

Severance Hall Preservation Severance family and friends

BLOSSOM MUSIC CENTER and BLOSSOM FESTIVAL endowed funds support the Orchestraâ&#x20AC;&#x2122;s summer performances and maintenance of Blossom Music Center. Blossom Festival Guest Artist Dr. and Mrs. Murray M. Bett The Hershey Foundation The Payne Fund Mr. and Mrs. William C. Zekan

Landscaping and Maintenance The Bingham Foundation Emily Blossom family members and friends The GAR Foundation John S. and James L. Knight Foundation

Blossom Festival Family Concerts David E. and Jane J. Griffiths


Endowed Funds

The Cleveland Orchestra







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



cello BORN: Los Angeles ROLE MODEL: Cellist Leonard Rose. ON MY MP3 PLAYER: Yo-Yo Ma’s Soul of the

Tango, and beginning Spanish lessons. CLEVELAND ORCHESTRA HIGHLIGHT:

First appearance as concerto soloist, and then years later playing in the cello section as my student Alisa Weilerstein was soloist in the same piece. FREE TIME: Horseback riding, reading. BIG DREAM: To ride a horse as well as I play the cello. FAVORITE ORCHESTRAL WORK: Currently, Tchaikovsky’s Serenade for Strings.




cello BORN: Miami, Florida ROLE MODEL: My eldest sister, Julia,

who died before I was born. She has always led me. BIG DREAM: Move to Europe, be the pianist for an opera company; get a position as a church organist and learn all of Bach’s works for organ. FREE TIME: I like to read histories and biographies of great people. ON MY MP3 PLAYER: German lessons, Mitsuko Uchida playing Mozart, Alfred Brendel playing Schubert and Liszt. FAVORITE ORCHESTRAL WORK: Wagner’s operas. Severance Hall 2012-13

BORN: Eau Claire, Wisconsin ON MY MP3 PLAYER: It’s filled with sym-

phonic, opera, chamber, and solo music. ROLE MODELS: Janos Starker

and Herbert Blomstedt. BIG DREAM: To record an extensive

cross-section of the cello literature. WHY A MUSICIAN: I was born into a family of musicians and didn’t know any better. FREE TIME: Reading, dining, movies, basketball. FAVORITE ORCHESTRAL WORK: Too many to choose from.

Meet the Musicians


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The Cleveland Orchestra


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.

Severance Hall 2012-13

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

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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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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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The Cleveland Orchestra

The Center for Music & Medicine University Hospitals Center for Music and Medicine is proud to support The Cleveland Orchestra.

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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.


with The

Joffrey Ballet and The Cleveland Orchestra conducted by Tito Mu単oz

Nov 29-30 and Dec 1-2 TICKETS






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

TOW N H A L L S P E A K E R S E R I E S 2 0 1 2 - 2 0 1 3

P. J. O’Rourke Political satirist and best-selling author


William H. Dietz, M.D., Ph.D. 1.28.13

Expert on fitness, nutrition and obesity

Jose Antonio Vargas 2.25.13

Author of “My Life as an Undocumented Immigrant”

Michael Beschloss 3.18.13

“The nation’s leading Presidential historian”

Tickets are $45 each. Ohio Theatre 6:00 PM

Call for tickets at 216.241.1919

KNOW YOUR STUFF 2013 MUSICAL MILESTONES Get the jump on 2013: Four major celebrations will be marked in the world of classical music. The bicentenary of the births of Richard Wagner and Giuseppe Verdi; the 100th anniversary of the birth of Benjamin Britten, and the centenary of the notorious 1913 Paris premiere of The Rite of Spring. This course will explore all of these milestones through audio and video recordings that confirm the timelessness of these artistic phenomena.

DONALD ROSENBERG Music and Dance writer for The Plain Dealer; President of the Music Critics Association of North America.

Wednesdays, January 9, 16, 23, 30 1:30 – 3:30 p. m. Registration: $60 Donald Rosenberg’s writing has appeared in Symphony Magazine, Opera News, Opera (London), Musical America, and other publications. An accomplished French horn player, he has performed at the prestigious Aspen and Marlboro music festivals. He is a graduate of the Mannes College of Music and the Yale School of Music.

register online or call 216.368.2090 Academic Sponsor

Severance Hall 2012-13

...for the love of learning 89



FALL SEASON Thursday December 6 at 8:00 p.m. Saturday December 8 at 8:00 p.m. THE CLEVELAND ORCHESTRA Giancarlo Guerrero, conductor Béla Fleck, banjo

ADAMS Short Ride in a Fast Machine FLECK Banjo Concerto COPLAND Suite from Billy the Kid GERSHWIN An American in Paris Friday December 7 at 7:00 p.m. THE CLEVELAND ORCHESTRA Giancarlo Guerrero, conductor Béla Fleck, banjo

Friday December 14 at 10:00 a.m. Saturday December 15 at 11:00 a.m. PNC HOLIDAY RAINBOW

Christmas Brass Quintet Enjoy the Christmas spirit with brass music in this favorite Cleveland Orchestra holiday treat. A festive program of holiday music for young people and their families, suitable for ages 3 and up. Sponsor: PNC

Tuesday December 18 at 8:00 p.m. Wednesday December 19 at 8:00 p.m. THE CLEVELAND ORCHESTRA James Feddeck, conductor



Sponsor: KeyBank

The group Pink Martini returns to Severance Hall for a special holiday celebration with a globally-inclusive holiday concert for the 21st century.

ADAMS Short Ride in a Fast Machine GERSHWIN An American in Paris FLECK Banjo Concerto

Pink Martini: Joy to the World

Friday December 7 at 10:00 a.m. Sunday December 9 at 12:30 p.m. PNC HOLIDAY RAINBOW

Music of Chanukah A special presentation and celebration of the music and

traditions of Chanukah, presented at Temple — Tifereth Israel (26000 Shaker Boulevard, Beachwood). For young people and their families, suitable for ages 3 and up. Sponsor: PNC

Tuesday December 11 at 8:00 p.m. THE CLEVELAND ORCHESTRA William Eddins, conductor CELEBRITY SERIES

Charlie Chaplin’s Modern Times

For a second year, the Orchestra presents a classic silent film with live orchestral accompaniment. Don’t miss this iconic film of the Little Tramp in his adventures amidst the industrialization of modern life.

Thursday December 13 at 10:00 a.m. PNC HOLIDAY RAINBOW

Celebration of Kwanzaa

A special Holiday Rainbow celebrating the traditions of Kwanzaa, presented “on the road” at Karamu House (2355 East 89th Street, Cleveland). For young people and their families, suitable for ages 3 and up. Sponsor: PNC


WINTER SEASON Thursday January 10 at 8:00 p.m. Friday January 11 at 11:00 a.m. Saturday January 12 at 8:00 p.m. THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Garrick Ohlsson, piano

TCHAIKOVSKY Piano Concerto No. 2 * SHOSTAKOVICH Symphony No. 10 Morning concert includes the concerto * Friday and selections from Smetana’s Má Vlast Sponsor: BakerHostetler

Thursday January 17 at 8:00 p.m. Saturday January 19 at 8:00 p.m. THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Joshua Bell, violin

WIDMANN Lied BARTÓK Dance Suite BEETHOVEN Violin Concerto Sponsor: Eaton Corporation

Concert Calendar

The Cleveland Orchestra





Friday January 18 at 7:00 p.m. THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Joshua Bell, violin KEYBANK FRIDAYS@7

BEETHOVEN Violin Concerto BARTÓK Dance Suite Sponsor: KeyBank

Sunday January 20 at 7:00 p.m. THE CLEVELAND ORCHESTRA Tito Muñoz, conductor Central State University Chorus Martin Luther King Jr. Celebration Chorus

MARTIN LUTHER KING JR. CELEBRATION CONCERT The Cleveland Orchestra’s 33rd annual concert celebrating the spirit of Dr. King’s life, leadership, and vision. Presented in collaboration with the City of Cleveland. TICKETS: Admission is free, but tickets are required. Tickets become available on January 2. Sponsor: KeyBank

Monday January 21 from noon to 5 p.m.

MARTIN LUTHER KING JR. COMMUNITY OPEN HOUSE Severance Hall joins in a city-wide celebration of Martin Luther King Jr’s life and achievements with a free public open house featuring musical performances by the Cleveland Orchestra Youth Orchestra, Cleveland Orchestra Youth Chorus, and groups from across Northeast Ohio. Watch for complete details.

Saturday February 9 at 8:00 p.m. Sunday February 10 at 3:00 p.m. THE CLEVELAND ORCHESTRA Gianandrea Noseda, conductor Massimo La Rosa, trombone

RACHMANINOFF The Isle of the Dead ROTA Trombone Concerto PROKOFIEV Symphony No. 6 Sponsor: FirstMerit Bank

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.

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

Severance Hall 2012-13

Concert Calendar


216 - 231-1111 800-686-1141 91

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 . . .




Thursday January 17 at 8:00 p.m. Friday January 18 at 7:00 p.m. Saturday January 19 at 8:00 p.m.

Tuesday December 18 at 8:00 p.m. Wednesday December 19 at 8:00 p.m.

THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Joshua Bell, violin

One of today’s great artists performs one of the greatest concertos ever written, Beethoven’s timeless Violin Concerto. Superstar violinist Joshua Bell has enchanted audiences worldwide with his breathtaking virtuosity and beautiful tone. Experience his artistry in concert with The Cleveland Orchestra at Severance Hall. Fridays@7 Sponsor: KeyBank KeyBank Fridays@7 World Music — Post-Concert: Pedrito Martinez Group

THE CLEVELAND ORCHESTRA James Feddeck, conductor with Pink Martini

The group Pink Martini returns to Severance Hall for a special holiday celebration with The Cleveland Orchestra. In true Pink Martini fashion, the band has created a globally-inclusive holiday concert for the 21st century. Their multicultural concert showcases an intoxicating mix of cabaret, samba, and jazz. Enjoy the band’s popular favorites along with holiday classics such as “White Christmas,” “Santa Baby,” “Little Drummer Boy,” “We Three Kings,” and more!

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.

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The Cleveland Orchestra December 6-11 Concerts  

December 6-8 Bela Fleck All-American December 11 Charlie Chaplin's Modern Times