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THE CLEVELAND ORCHESTRA

SPRING SEASON

F R ANZ WELSER-MÖST M U SIC DI R ECTOR

Music. Pure + Simple.

12 13 4&"40/ SEASON

clevelandorchestra.com

March 21, 23 ALAN GILBERT CONDUCTS MAHLER’S SEVENTH


E! LIF G N TI POR A S

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TA B L E O F C O N T E N T S

THIS WEEK THE

CLEVELAND

1213 SEASON

ORCHESTRA

PAGE

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In the News From the Executive Director . . . . . . . . . . . . . . . . . . 7 Orchestra News . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

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About the Orchestra Spotlight: Photo of the Week . . . . . . . . . . . . . . . . . 8 Musical Arts Association . . . . . . . . . . . . . . . . . . . . . 11 Music Director. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . 22 Student Ticket Programs . . . . . . . . . . . . . . . . . . . . 59 Meet the Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Administrative Staff . . . . . . . . . . . . . . . . . . . . . . . . . 62 Education & Community . . . . . . . . . . . . . . . . . . . . 65 Severance Hall. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 Guest Information . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

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Concert — Week 16 Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Program: March 21, 23. . . . . . . . . . . . . . . . . . . . . 35 Introducing the Program . . . . . . . . . . . . . . . . . . . . 37 RAVEL

Mother Goose (complete ballet score) . . . . . . . . . . . . . . . . . . . 39 MAHLER

Symphony No. 7 . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Conductor: Alan Gilbert . . . . . . . . . . . . . . . . . . . . . 57

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Support Sound for the Centennial . . . . . . . . . . . . . . . . . . . . Endowed Funds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Corporate Annual Support . . . . . . . . . . . . . . . . . . . Foundation / Government Annual Support . . . Individual Annual Support . . . . . . . . . . . . . . . . . .

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COVER PHOTOGRAPH BY CARL JUSTE / IRIS COLLECTIVE

48 69 73 75 76

Copyright © 2013 by The Cleveland Orchestra and the Musical Arts Association Eric Sellen, Program Book Editor E-MAIL: esellen@clevelandorchestra.com Program books for Cleveland Orchestra concerts are produced by The Cleveland Orchestra and are distributed free to attending audience members. Program book advertising is sold through Live Publishing Company at 216-721-1800

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

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Future Concerts

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.

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

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Table of Contents

The Cleveland Orchestra


Photo by Roger Mastroianni

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Perspectivesfrom the Executive Director March 2013 Many of you will have seen recent press coverage of this season’s record-breaking sales revenues and the growing presence of young audience members here at Severance Hall. The news is encouraging for the Orchestra and all of Northeast Ohio. The Plain Dealer’s front-page coverage in January noted that The Cleveland Orchestra “is seeing attendance and ticket revenue skyrocket, mostly as a result of new programs aimed at children and students.” In an editorial, Crain’s Cleveland Business wrote that the Orchestra “deserves bravos for the hard work it and its supporters have done to secure the future of this ensemble of skilled musicians, who together remain the city’s most visible global ambassadors.” These are important steps toward a bright future, and much of the credit belongs to the staff who work tirelessly in the service of our patrons and artists. This team of dedicated professionals works behind the scenes every day to ensure that what happens offstage matches the unsurpassed excellence of the music-making onstage. Staff members (listed on pages 62- 63 of this book) focus their energies to plan and produce, manage and market hundreds of performances, educational programs, and patron events annually. The planning begins years in advance. Every event — at home in Northeast Ohio and on the road — involves scores of decisions and details that begin to take shape at least three years in advance. In the past several weeks, we have announced the 2013 Blossom Music Festival and 2013-14 season at Severance Hall, after completing months of preparation and finalizing details. At the same time, the programming for 2014-15 is being discussed and decided, while conductors and soloists are being booked for 2015-16. For every rehearsal, performance, program, and event, Severance Hall and Blossom must be prepared to ensure an efficient and comfortable experience for the artists onstage and for you in the audience. From cleaning and climate control to program books and box office, from finance and food service to payroll and parking, every detail is important. And these days, as we diversify our activities in Northeast Ohio, staff members throughout the institution are coordinating an increasingly complex puzzle of programming, people, and partnerships. Fundraising is an essential part of the equation, requiring not only that we ask for your support, but that we earn your support, and that genuine and grateful thanks are extended to each and every donor. Simultaneously, the infrastructure of the institution must be attended to, including the maintenance and management of Severance Hall’s physical plant, of the organization’s computer systems, and the Orchestra’s array of equipment, instruments, and music library. The success of this season — and of future seasons in the months and years to come — is the result of hard work by many hands. I hope you will join me in expressing gratitude to all the dedicated staff members for everything they do, for helping to make The Cleveland Orchestra the very best right here in Northeast Ohio.

Severance Hall 2012-13

Gary Hanson

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CLEVELAND ORCHESTRA ARCHIVES

PHOTO OF THE WEEK follow the Orchestra on Facebook for more archival photos

IN JAPAN — May 1970, principal guest conductor Pierre Boulez and music director George Szell discuss musical matters in Japan in a traditional tea house setting during The Cleveland Orchestra’s tour to Japan and Korea.

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: UNDER THE LEADERSHIP

the establishment of residencies around the world, fostering creative artistic growth and an expanded financial base, including an ongoing residency at the Vienna Musikverein (the first of its kind by an American orchestra); expansion of education and community programs in Northeast Ohio to make music an integral and regular part of everyday life for more people; the 2012-13 season includes the launch of an annual Neighborhood Residency pro-

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About the Orchestra

The Cleveland Orchestra


gram that will bring The Cleveland Orchestra to neighborhoods across the region for an intensive week of special activities and performances. First stop is the Gordon Square Arts District in Cleveland’s Detroit/Shoreway neighborhood in May 2013; 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 (based on successful educational programs pioneered at home in Cleveland); 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; concert tours from coast to coast in the United States, including annual appearances at Carnegie Hall; regular concert tours to Europe and Asia; 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; 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 across Northeast Ohio and in the Miami-Dade community; additional new residencies at Indiana University and at New York’s Lincoln Center Festival; the return of ballet as a regular part of the Orchestra’s presentations, featuring performances by The Joffrey Ballet; the 2012-13 season featured 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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T H E M U S I C AL AR TS ASSOCIATION

as of February 2013

operating The Cleveland Orchestra, Severance Hall, and Blossom Music Festival O F F I C E R S A ND E X E C UT IVE C O MMI T 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 David J. Hooker 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 Christopher M. Kelly 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 Milton S. Maltz 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 Jeffrey M. Weiss Norman E. Wells 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) *deceased

TR U S TE E S E X- O FFIC IO Faye A. Heston, President, Volunteer Council of The Cleveland Orchestra Beth Schreibman Gehring, President, Women’s Committee of The Cleveland Orchestra Claire Frattare, State Chair, Blossom Women’s Committee TR U S TE E S E M ERIT 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 TEES FOR LIFE Allen H. Ford Gay Cull Addicott Robert W. Gillespie Francis J. Callahan Dorothy Humel Hovorka Mrs. Webb Chamberlain Robert F. Meyerson Oliver F. Emerson Percy W. Brown 1953-55 Frank E. Taplin, Jr. 1955-57 Frank E. Joseph 1957-68 Alfred M. Rankin 1968-83

Ward Smith 1983-95 Richard J. Bogomolny 1995-2002, 2008-09 James D. Ireland III 2002-08

THE CLEVELAND ORCHESTRA Franz Welser-Möst, Music Director

Severance Hall 2012-13

Gary Hanson, Executive Director

Musical Arts Association

11


PHOTOGRAPH Š BY HEDRICH BLESSING

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March 21, 23 ALAN GILBERT CONDUCTS MAHLER’S SEVENTH


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

P H OTO BY S ATO S H I AOYAG I

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

15


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 conducted the New Year’s Day concert again at the start of 2013 and also leads 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 acoustically 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.

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Music Director

The Cleveland Orchestra


THE CLEVELAND ORCHESTRA Franz Welser-Möst MUSIC DIREC TOR

“The Cleveland Orchestra proved that they are still one of the world’s great musical beasts. With Franz Welser-Möst conducting, this music . . . reverberated in the souls of the audience.” —Wall Street Journal

—The Guardian (London)

P H OTO BY R O G E R M A S T R O I A N N I

“Cleveland’s reputation as one of the world’s great ensembles is richly deserved.”


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Franz Welser-MÜst and The Cleveland Orchestra, performing Bruckner’s Fourth Symphony in concert at Severance Hall in April 2012.


T H E

C L E V E L A N D

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

FIRST VIOLINS William Preucil CONCERTMASTER

Blossom-Lee Chair

Yoko Moore

ASSISTANT CONCERTMASTER

Clara G. and George P. Bickford Chair

Peter Otto

FIRST ASSOCIATE CONCERTMASTER

Jung-Min Amy Lee

ASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith 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

22

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

Emilio Llinas

2

James and Donna Reid Chair

Eli Matthews 1 Patricia M. Kozerefski and Richard J. Bogomolny Chair

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

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

Stanley Konopka 2 Mark Jackobs Jean Wall Bennett Chair

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

The Orchestra

CELLOS Mark Kosower* Louis D. Beaumont Chair

Richard Weiss 1 The GAR Foundation Chair

Charles Bernard 2 Helen Weil Ross Chair

Bryan Dumm Muriel and Noah Butkin Chair

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

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

Mark Atherton Thomas Sperl Henry Peyrebrune Charles Barr Memorial Chair

Charles Carleton Scott Dixon 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

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

BASS CLARINET Linnea Nereim BASSOONS John Clouser * Louise Harkness Ingalls Chair

William Hestand Barrick Stees 2 Sandra L. Haslinger Chair

Jonathan Sherwin

HORNS Richard King * George Szell Memorial Chair

Michael Mayhew § Knight Foundation Chair

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

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

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

Michael Miller

PERCUSSION Jacob Nissly * 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

LIBRARIANS Robert O’Brien Donald Miller ORCHESTRA PERSONNEL Carol Lee Iott DIRECTOR

Karyn Garvin MANAGER

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

Richard Stout Alexander and Marianna C. McAfee Chair

Shachar Israel 2 BASS TROSMBONE Thomas Klaber EUPHONIUM AND BASS TRUMPET Richard Stout TUBA Yasuhito Sugiyama* Nathalie C. Spence and Nathalie S. Boswell Chair

TIMPANI Paul Yancich * Otto G. and Corinne T. Voss Chair

Tom Freer 2

ENDOWED CHAIRS CURRENTLY UNOCCUPIED Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Chair Sidney and Doris Dworkin Chair Sunshine Chair

* Principal § 1 2

Associate Principal First Assistant Principal Assistant Principal

CONDUCTORS Christoph von Dohnányi MUSIC DIRECTOR LAUREATE

Giancarlo Guerrero

PRINCIPAL GUEST CONDUCTOR, CLEVELAND ORCHESTRA MIAMI

James Feddeck

ASSISTANT CONDUCTOR

Elizabeth Ring and William Gwinn Mather Chair

Robert Porco

CONTRABASSOON Jonathan Sherwin

Severance Hall 2012-13

SEASON

DIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

The Orchestra

23


WE LIGHT THE WAY To new beginnings and healthier tomorrows

Si s ter s of C h a r it yHe a lt h.or g / Joi nUs In C l e v e l a n d : S t . V i n c e n t C h a r i t y M e d i c a l C e n t e r, S t . J o h n M e d i c a l C e n t e r*, S i s t e r s o f C h a r i t y F o u n d a t i o n o f C l e v e l a n d , B u i l d i n g H e a l t h y C o m m u n i t i e s , R e g i n a H e a l t h C e n t e r, J o s e p h ’s H o m e , L i g h t o f H e a r t s V i l l a*, * Joint ventures with partners C a t h o l i c C o m m u n i t y C o n n e c t i o n*, I n d e p e n d e n t P h y s i c i a n S o l u t i o n s Canton, Ohio i Cleveland, Ohio i Columbia, South Carolina

A Ministry of the Sisters of Charity of St. Augustine


THE CLEVELAND ORCHESTRA THE CLEVELAND ORCHESTRA TRA THE CLEVELAND ORCHESTRA

News

From the President Orchestra News 2013-14 Season at Severance Hall announced

Franz Welser-Möst’s twelfth season of subscription concerts features a Fall Festival of Beethoven and Shostakovich, a celebration of English composer Benjamin Britten, and semi-staged opera

Severance Hall 2012-13

founding of our society,” says Welser-Möst. “Political and social freedom is presented so emotionally and clearly in Beethoven’s music. By listening to the music of Beethoven and Shostakovich in juxtaposition, we can experience their ideas of freedom from different eras, yet from today’s perspective.” Franz Welser-Möst continues an emphasis on operatic and choral repertoire in the 201314 season, with the Cleveland premiere performances of Janáček’s opera The Cunning Little Vixen and performances of Beethoven’s Mass in C major and Britten’s Spring Symphony. Soprano Martina Janková returns to perform the title role in The Cunning Little Vixen in May 2014. The cast also includes bass-baritone Alan Held and mezzo-sopranos Jennifer Johnson Cano and Julie Boulianne. The music of Brahms will be featured in

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FRANZ WELSER-MÖST CONDUCTS In his twelfth season as music director, Franz Welser-Möst introduces a Fall Festival in October, featuring symphonies by Beethoven and Shostakovich in three programs. Beethoven’s Symphonies Nos. 3, 4, and 5 are paired with Shostakovich’s Nos. 6, 8, and 10. In addition to conducting the performances at Severance Hall, Welser-Möst will speak about the program pairings in a special festival preview. “The dream of freedom inspired the

THE CLEVELAND ORCHESTRA

The Cleveland Orchestra has announced its 2013-14 season, with complete details and renewal forms due to be mailed to all current subscribers in the coming weeks. (For the first time, series subscriptions can be renewed online through the Orchestra’s website — complete instructions are included in each subscriber’s mailed renewal package.) Series packages for the season’s classical concerts will be available through Severance Hall Ticket Services beginning at the end of March. Individual tickets to the season will go on sale in late summer. Additional details about the 2013-14 season — including Celebrity Series, Family Concert Series, PNC Musical Rainbows, Holiday Concerts, and special presentations — will be announced in the coming months. For the 2013-14 season, Franz Welser-Möst introduces a Fall Festival, pairing symphonies by Beethoven and Shostakovich, and an allBrahms weekend with two programs featuring works by Brahms, and also leads semi-staged performances of Janáček’s The Cunning Little Vixen. Guest artists returning to Severance Hall include Leon Fleisher, Mitsuko Uchida, Radu Lupu, and conductors Christoph von Dohnányi, Pierre Boulez, and Herbert Blomstedt. The Orchestra commemorates the 100th anniversary of the birth of Benjamin Britten with performances of three of his major works.


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News CONTINUED

Boulez

two programs led by Welser-Möst in January 2014. Each program features the Violin Concerto with guest soloist Julia Fischer, paired either with Symphony No. 2 or Symphony No. 4.

A

CLEVELAND ORCHESTRA THE CLEVELAND ORCHESTRA THE CLEVELAND ORCHE

THE CLEVELAND ORCHESTRA

FIVE BEETHOVEN PIANO CONCERTOS Across the season, the Orchestra presents all five of Beethoven’s piano concertos, performed by varying artists and conductors. Leon Fleisher, the Orchestra’s new artist-in-residence for the 2013-14 season, returns to appear with the Orchestra for the first time since 2003, making his Severance Hall conducting debut. He leads a program including Beethoven’s Piano Concertos Nos. 2 and 3 with Mitsuko Uchida as soloist. Mr. Fleisher has appeared with the Orchestra in 70 concerts, beginning with his Cleveland Orchestra debut in October 1946. He made his conducting debut with the Orchestra in 1978. Mr. Fleisher recorded the complete Beethoven Piano Concerto cycle with George Szell and The Cleveland Orchestra in the 1950s and ’60s. As artist-in-residence, Mr. Fleisher will present a piano masterclass during the 2013-14 season. The position of artist-in-residence is made possible by the Malcolm E. Kenney Artist-in-Residence Fund. Mitsuko Uchida has appeared annually with the Orchestra since 2002 (including a term as artist-in-residence). Her 2009 recording of Mozart’s Piano Concertos Nos. 23 and 24 with The Cleveland Orchestra won a Grammy Award. Radu Lupu performs Beethoven’s Piano Concerto No. 4 under the direction of Franz Welser-Möst in a program in January 2014. In the opening concert program of the season in September 2013, Hélène Grimaud performs Beethoven’s Piano Concerto No. 5 (“Emperor”) under the direction of guest conductor Fabio Luisi. Beethoven’s First Piano Concerto is featured with soloist Imogen Cooper and guest conductor Jane Glover in April 2014. The program also includes Haydn’s Symphony No. 103 (“Drum Roll”). BOULEZ, DOHNÁNYI, AND BLOMSTEDT Pierre Boulez returns to conduct two programs in February 2014. Schoenberg’s

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Blomstedt

Dohnányi

Verklärte Nacht (“Transfigured Night”) opens the first program, which also includes Bartók’s Violin Concerto No. 2 with Nikolaj Znaider. The second program features Debussy’s La Mer (“The Sea”) and Prelude to the Afternoon of a Faun. Christoph von Dohnányi, the Orchestra’s music director laureate, returns to conduct an all Schumann program with Symphonies Nos. 2 and 4, in March 2014. Herbert Blomstedt makes his sixth set of appearances at Severance Hall in April 2014, leading performances of Dvořák’s Cello Concerto with Cleveland Orchestra principal cello Mark Kosower paired with Tchaikovsky’s Symphony No. 6 (“Pathétique”). BENJAMIN BRITTEN COMMEMORATION During the 2013-14 season, The Cleveland Orchestra will mark the 100th anniversary commemoration of Benjamin Britten’s birth. Born November 22, 1913, Britten is one of the most celebrated and most performed British composers. In March 2014, Franz Welser-Möst conducts Britten’s Spring Symphony, a large work with soloists and chorus that Britten described as “a symphony not only dealing with the Spring itself but with the progress of Winter to Spring and the reawakening of the earth and life which that means.” In October 2013, Marek Janowski leads

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THE CLEVELAND ORCHESTRA THE CLEVELAND ORCHESTRA TRA THE CLEVELAND ORCHESTRA

News performances of Britten’s Serenade for Tenor, Horn, and Strings with soloists Matthew Polenzani and Cleveland Orchestra principal horn Richard King. The Serenade is a song cycle about night, sleep, and death, with texts by six British poets. And in May 2014, Janine Jansen performs Britten’s Violin Concerto under the direction of Vladimir Jurowski. GIANCARLO GUERRERO Giancarlo Guerrero, principal guest conductor of Cleveland Orchestra Miami, returns to Severance Hall to lead a program featuring guest artist Yuja Wang in Rachmaninoff’s Piano Concerto No. 3. The program also includes Prokofiev’s “Classical” Symphony and concludes with Rimsky-Korsakov’s Scheherazade. In his memoir, Rimsky-Korsakov called the work inspired by the Arabian Nights folk tales “a kaleidoscope of fairy-tale images.”

GLOBAL AMBASSADORS Beyond the concert season at Severance Hall, Franz Welser-Möst and The Cleveland Orchestra embark on their 13th international tour together in November 2013. The tour launches with a performance on the Great Performers series at Lincoln Center in New York. In Europe, the Orchestra will perform twelve concerts, including a week-long residency at Vienna’s Musikverein.

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LEWIS YOUNG COMPOSER FELLOW In September 2013, Ryan Wigglesworth begins a two-year tenure as The Cleveland Orchestra’s seventh Daniel R. Lewis Young Composer Fellow. Wigglesworth has been commissioned to create a new work to be premiered by the Orchestra in the 2014-15 season. The United States premiere of his Sternenfall will be conducted by Franz WelserMöst in March 2014. Wigglesworth will also participate in rehearsals, masterclasses, and educational activities serving the Northeast Ohio community. The Daniel R. Lewis Young Composer Fellow program began in 1998. Works by the composers are commissioned by The Cleveland Orchestra through the Young Composers Endowment Fund, which was es-

tablished by a $1 million gift from Jan R. and Daniel R. Lewis. Mr. Lewis is the chairman of the Miami Music Association, which supports Cleveland Orchestra Miami. British composer Ryan Wigglesworth was appointed composer-in-residence at English National Opera in 2012. His orchestral song cycle Augenlieder was awarded the vocal prize at the 2010 British Composer Awards. His recent Violin Concerto, written for Gordan Nikolic and the Netherlands Chamber Orchestra, was premiered in Amsterdam in 2012. Current projects include a song cycle for tenor Mark Padmore, an orchestral work to mark the centenary of Benjamin Britten’s birth for the Aldeburgh Festival, and a full-scale opera for English National Opera. Ryan Wigglesworth also devotes time as a conductor, most recently leading performances of Birtwistle’s The Minotaur at London’s Royal Opera House and Tippett’s A Child of Our Time with the London Philharmonic.

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OrchestraNews George Gund Foundation supports The Cleveland Orchestra’s “Sound for the Centennial Campaign” with $3 million gift

THE CLEVELAND ORCHESTRA

The George Gund Foundation awarded a $3 million grant at its February board meeting to support The Cleveland Orchestra’s Sound for the Centennial Campaign. Pledged over six years, the award honors the late George Gund III, who was a trustee of the Musical Arts Association. The Foundation’s commitment permanently endows a new Fund for Artistic Excellence in George Gund’s name, providing immediate support for the Orchestra’s core artistic programming for the community. “This commitment to the Campaign not only celebrates George Gund’s legacy and leadership at the Orchestra,” said David Abbott, the Foundation’s executive director. “It also ensures that one of our community’s most valuable assets can continue to serve Northeast Ohio at the

highest levels of artistic excellence.” George Gund III was elected as an international trustee in 1994 and served on the board of the Musical Arts Association for 19 years. The new gift is the largest gift made by the Gund Foundation to The Cleveland Orchestra, and ranks among the largest institutional leadership commitments to the Sound for the Centennial Campaign thus far, as well as among the Foundation’s largest commitments to a cultural organization in Northeast Ohio. The Orchestra’s Sound for the Centennial Campaign runs through the Orchestra’s centennial in 2018 and will ensure that the Orchestra can continue to thrive now and into the future by building a significant endowment and providing immediate support for artistic excellence and community and education programs.

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OrchestraNews 2013 Blossom Music Festival announced Festival season features great orchestral works, a special ballet anniversary, and programs of popular songs and film music

Jack Everly. Cleveland Orchestra chorus director Robert Porco conducts highlights from the Gershwin opera Porgy and Bess (July 21), and Bramwell Tovey leads an evening of the music of popular song (August 25), including melodies by Cole Porter, Jerome Kern, Richard Rodgers, and Duke Ellington. In a program sure to delight children of all ages, the 2013 Festival will close with “Pixar in Concert” on Labor Day Weekend, August 31 and September 1. The Cleveland Orchestra performs selections from thirteen Pixar films, accompanying movie clips projected on large screens. The evening is led by Hollywood conductor Richard Kaufman. A program on July 27 features participants from Kent/Blossom Music performing in a sideby-side concert with The Cleveland Orchestra. Twenty Cleveland Orchestra musicians serve on the faculty at Kent/Blossom Music, and twenty alumni of Kent/Blossom Music are now members of The Cleveland Orchestra. The family-friendly “Under 18s Free” ticket program continues at Blossom, where over 26,000 young people have attended Festival concerts during the past two summers. This ground-breaking initiative is made possible through The Cleveland Orchestra’s Center for Future Audiences and additional generous funders. Series subscriptions are now on sale. For complete season details and schedule, visit clevelandorchestra.com.

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THE CLEVELAND OR-

Cleveland Orchestra News

THE CLEVELAND ORCHESTRA

Severance Hall 2012-13

THE CLEVELAND ORCHESTRA

The Cleveland Orchestra’s 2013 Blossom Music Festival has been announced, with complete details available on the Orchestra’s website. Season information and series renewals are being mailed to subscribers to last year’s Festival, and new series packages are available for purchase now. Lawn Ticket Books are also for sale now. Individual tickets for the entire season go on sale on Tuesday, May 28. For the 2013 Festival, the Orchestra presents 19 concerts at Blossom Music Center in Cuyahoga Valley National Park from July 3 to September 1. Continuing a 40-year tradition, the Blossom season begins with “Salute to America” concerts performed by the Blossom Festival Band. The band programs on July 3 and 4 are under the direction of Loras John Schissel and feature post-concert fireworks. Music Director Franz Welser-Möst conducts The Cleveland Orchestra for the Festival’s official Opening Night on Friday, July 5, plus two additional evenings. His programs feature Strauss’s Four Last Songs, Beethoven’s “Eroica” Symphony, and Liszt’s fiery Totentanz, along with excerpts from operas by Richard Wagner during this 200th anniversary of the composer’s birthyear. Highlights of the 2013 Festival season also include The Joffrey Ballet’s return, on August 17 and 18, in a program celebrating the 100th anniversary of the world premiere of The Rite of Spring. Stravinsky’s daring score is matched to a reconstruction of the work’s original choreography by Vaslav Nijinsky and facsimiles of the original costumes by Nicholas Roerich. Tito Muñoz leads The Cleveland Orchestra for these ballet performances, which also feature works choreographed by Jerome Robbins and Stanton Welch. In additional to classical symphonic works, a variety of popular music will be also featured at Blossom Festival concerts this summer, ranging from a program of the “Sounds of Simon & Garfunkel” (July 14), under the direction of Michael Krajewski, to an evening of show tunes titled “Broadway’s Leading Men” (July 28), led by


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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:

CLEVELAND ORCHESTRA

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Cleveland Orchestra members Isabel Trautwein (violin) and Tanya Ell (cello) join with colleagues in a special program presented by Heights Arts to honor the former Cleveland Quartet and its original players. The program on Sunday afternoon, March 24, beginning at 3:00 p.m. features the quartet’s original violinists, Donald Weilerstein and Peter Salaff, along with former students in Northeast Ohio and the Cavani Quartet, to present a program of Bartók’s Duos for Two Violins, Dvořák’s Piano Quartet in E-flat major, and Brahms’s Sextet in G major. Reservations are required, $40 for Heights Arts members, $50 non-members. For more information, visit www.heightsarts.org/music.staff, or call 216-371-3457. Cleveland Orchestra members Joshua Smith (flute) and Jacob Nissly (percussion) join together with pianist Tina Dahl in a program on Sunday afternoon, March 24. The program, presented by Arts Renaissance Tremont, begins at 3:00 p.m. and includes works by Bach, Debussy, Harrison, Kirchner, Kurtág, Pärt, Takemitsu, and Xenakis. The performance is at Pilgrim Congregational Church (2592 West 14th Street, Cleveland). Admission is by freewill donation. For additional information, visit www.artsconcerts.com.

Family Concert series concludes in May with storytelling in “Fables, Fantasy, and Folklore” The Cleveland Orchestra’s season of Family Concerts concludes with “Fables, Fantasy, and Folklore” on Sunday afternoon, May 12, led by guest conductor Michael Butterman. The concert features such classics as Rimsky-Korsakov’s Scheherazade (based on Tales from the Arabian Nights), Grieg’s In the Hall of the Mountain King, and Rossini’s William Tell Overture. Intended for children ages 7 and older, the series is designed to introduce young people to classical music. 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 this concert, visit clevelandorchestra.com. THE CLEVELAND ORCHESTRA

F.A.M.I.L.Y N.E.W.S Please join in extending congratulations and warm wishes to: Kim Gomez (violin) and James Gomez, whose baby girl, Christina Therese Gomez, was born on February 5.

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OrchestraNews Special thanks to Cleveland Orchestra musicians

Friday Morning concertgoers can enjoy free bus service courtesy of Women’s Committee The Women’s Committee of The Cleveland Orchestra is again sponsoring free bus service to each of the Orchestra’s Friday Morning concerts this season. The buses depart from locations in Akron, Beachwood, Brecksville, and Westlake. A bus pass is required, and can be reserved along with concert tickets through the Severance Hall Ticket Office inperson or by calling 216-231-1111. (Donations to help defray the cost of this bus service are also welcome and can be given through the ticket office). The season’s final Friday Morning concert is on May 3, with Ton Koopman leading a concert of works by Haydn, Mozart, and Fischer, and featuring Cleveland Orchestra principal timpani Paul Yancich as soloist.

THE CLEVELAND ORCHEST

The Board of Trustees extends special thanks to the members of The Cleveland Orchestra for donating their services for several concerts during the Orchestra’s weeks in residence in Miami this season. These donated performances included daytime Education Concerts at the Adrienne Arsht Center for the Performing Arts of Miami-Dade County, attended by thousands of school children, as well as the Orchestra’s concert in Naples, Florida. “These and other donated services each year are a meaningful demonstration of the musicians’ commitment to this institution’s future,� notes Gary Hanson, executive director. “The members of The Cleveland Orchestra are committed to serving the Orchestra’s communities and presenting music as an important and vital part of life.�

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LEARNING MORE ABOUT THE MUSIC

SEASON

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 clevelandorchestra.com, 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. March 21, 23 “Music of the Night” with Rabbi Roger Klein, The Temple – Tifereth Israel

April 4, 5, 6 “Mozart: Master of the Concerto” with Pierre van der Westhuizen, executive director, Cleveland International Piano Competition

April 11, 12, 13, 14 “The Story of Carmina Burana” with David J. Rothenberg, associate professor of musicology, Case Western Reserve University

April 18, 20, 21 “Just Between Us Composers” Sean Shepherd, Lewis Young Composer Fellow, in conversation with Keith Fitch, head of composition, Cleveland Institute of Music

April 25, 26, 27 “Haydn’s The Seasons” with Francesca Brittan, assistant professor of musicology, Case Western Reserve University For Concert Preview details, visit clevelandorchestra.com

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Concert Previews

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T H E C L E V E L A N D O R C H E S T R A F R A N Z

W E L S E R - M Ö ST M U S I C

D I R E C T O R

Severance Hall

Thursday evening, March 21, 2013, at 8:00 p.m. Saturday evening, March 23, 2013, at 8:00 p.m.

Alan Gilbert, conductor MAURICE RAVEL (1875-1937)

12 13 4&"40/

Mother Goose [Ma Mère l’Oye] (complete ballet music) 1. 2. 3. 4. 5. 6. 7.

Prelude Dance of the Spinning Wheel, and Scene Pavane of Sleeping Beauty Conversations between Beauty and the Beast Tom Thumb Laideronnette, Empress of the Pagodas The Enchanted Garden

INTERMISSION GUSTAV MAHLER (1860-1911)

Symphony No. 7 1. Langsam [Slow] — Allegro risoluto, ma non troppo 2. Night Music I: Allegro moderato 3. Scherzo: Schattenhaft. Fliessend aber nicht schnell. [Shadowy, Vaguely. Flowing, but not fast.] 4. Night Music II: Andante amoroso 5. Rondo-Finale: Tempo I (Allegro ordinario) — Tempo II (Allegro moderato ma energico)

With this Saturday’s concert, The Cleveland Orchestra gratefully honors The Mandel Foundation for its generous support. The concerts will end at approximately 10:10 p.m. each evening. LIVE RADIO BROADCAST

Saturday evening’s concert is being broadcast live on WCLV (104.9 FM). The concert will be rebroadcast as part of regular weekly programming on WCLV on Sunday afternoon, April 28, at 4:00 p.m.

Severance Hall 2012-13

Concert Program — Week 16

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The Cleveland Orchestra


INTRODUCING THE PROGRAM

Tales for Day & Night

T H I S W E E K ’ S P R O G R A M features two contrasting works from the first decade of the 20th century. Ravel’s Mother Goose was originally conceived as a set of piano pieces, as a gift from the composer for the children of friends in Paris. The pieces were too difficult for these youngsters to perform, however, and the world premiere of the piano duet was played by two even younger (but more musically gifted) children in 1910. The next year, Ravel expanded and orchestrated the work as a ballet score, creating a storyline based loosely on some of the widely-known and beloved fairytales published under the rubric of Mother Goose. In this score, Ravel’s keen sense of musicality and his intense abilities to color sounds as an orchestrator shine through. After intermission, the concert continues with Mahler’s enigmatic Seventh Symphony. This big, sprawling work features five contrasting movements built around two that the composer titled Night Music I and II (movements 2 and 4). In these, Mahler combines the musical moods of a nocturne with a serenade. Night Music II, feeling very much like a song, features parts for two instruments unusual in a symphony, guitar and mandolin. Throughout, night and darkness are given as a sense of power and life, rather than evil and forboding. In the middle comes a Scherzo of shadows, and at the end, catching many listeners by surprise, is a joyful, anxious movement happily built in the key of C major (and including allusions to Offenbach’s “Can-Can” and Wagner’s MeisterGUSTAV MAHLER singer). All in all, an evening of musical wonSilhouette by Hans Schliessmann der and depth, simplicity and daring.

Following the instructions of his doctors, Pierre Boulez reluctantly withdrew from his scheduled appearances with The Cleveland Orchestra for this weekend. Alan Gilbert, music director of the New York Philharmonic, has graciously agreed to step in to lead these concerts. The musical selections remain as originally announced.

Severance Hall 2012-13

Introducing the Program

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Music

Baldwin Wallace University Conservatory of Music is proud to announce the new

BW CSI: CONSERVATORY SUMMER INTENSIVE investigating college music study while exploring careers in music, for high school students July 7–20, 2013 Including private lessons, wind ensemble, orchestra, choir, music theatre, composition, piano and organ. Under the guidance of Artistic Director Bryan Bowser, Instrumental Director Laura Joss and Vocal Director William Zurkey, faculty and guest artists include members of The Cleveland Orchestra, Cavani String Quartet and BW Conservatory faculty. A quality pre-college experience in state-of-the-art music facilities on BW’s beautiful campus and opportunities to visit major arts centers in nearby Cleveland. Elective courses include conducting, music technology, chamber music, improvisation and others. Additional “Audition Preparation Program” available for students entering grade 12. Audition and application deadline: April 1, 2013 Additional BW Summer Music Programs . . . For students in grades 4-9: String Camp, June 15-20 Piano Camp A, June 15-20 Piano Camp B, June 22-27 Band Camp, June 22-27 Music Theatre Camp, June 22-27 For high school students: Music Theatre Overtures, the best college music theatre audition preparation, July 7-12 For adults: Summer Institute for Music Teaching and Learning, professional development courses for music educators, June & July Wagner Intensive, for mature singers exploring the Wagnerian repertoire, July 17-27 Cabaret Intensive, for singers looking to expand their performing skills in a cabaret setting, July 28-August 1

For more information, contact: Conservatory Outreach Department 440-826-2365 or conreach@bw.edu www.bw.edu/summer-music-programs Baldwin Wallace University does not discriminate on the basis of race, creed, age, disability, national origin, gender or sexual orientation in the administration of any policies or programs.


Mother Goose [Ma Mère l’Oye] (complete ballet music) composed for piano duet 1908-10, expanded and orchestrated for a ballet 1911-12 M AU R I C E R AV E L

by

Maurice

RAVEL born March 7, 1875

Ciboure, Basses-Pyrénées died December 28, 1937 Paris

Severance Hall 2012-13

possessed a peculiar gift for evoking what he called “the poetry of childhood.” Much as dance is a guiding thread through several of his most important compositions, themes involving childlike fantasy also recur again and again across his musical works. Both aspects — childhood and dance — converge in the orchestral music inspired by selected fairy-tales from Ma Mère l’Oye (“Mother Goose”). Ravel initially conceived this music as a piano duet for Mimi and Jean Godebski, children he had befriended. Their parents, a Polish couple who held salons that attracted a remarkable array of Parisian artists, provided a kind of alternative home for the composer. Biographer Gerald Larner observes that the death of Ravel’s father in 1908 likely predisposed him to muse on his own childhood as he entertained the Godebskis and “took refuge in fairytale and the domesticity of the piano duet.” As a result, adds Larner, “there is at least as much adult nostalgia as childish joy . . . and far more Ravel” in these pieces. The original piano duet version of Mother Goose, which carries the subtitle “five children’s pieces,” emanates a beguiling intimacy and ravishing sense of color quite independent of the later ballet version. Ravel wrote the piano duet as a private gift for the Godebski children to play. For the first public performance, in 1910, however, the kids weren’t up to the task — they complained it would require too much practice — and it was premiered by another pair of prodigies. The following year, Ravel orchestrated these pieces, rearranging their order and adding interludes and a new opening sequence to fashion a suite suitable for a ballet. For this, he concocted a scenario linking the famous fairytale stories that were the starting point of the piano pieces and which had been drawn from multiple French sources. These sources included Charles Perrault’s anthology of 1697, subtitled Tales of Mother Goose (for the first two tales), as well as from versions by Perrault’s contemporary, Baroness d’Aulnoy, and by Jeanne-Marie Le Prince de Beaumont. In Ravel’s scenario, the tale of Sleeping Beauty serves as a framing device for the overall story. The clarity and simplicity of presentation in this score About the Music

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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.

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Jack’s mother came in, And caught the goose soon, And mounting its back, Flew up to the moon. From Mother Goose’s Nursery Rhymes, published by George Routledge & Sons, London and New York, 1877.

ironically belie the subtleties of Ravel’s orchestration. After a Prelude sets the scene in the manner of a preview, Spinning Wheel Dance and Scene [Danse du rouet et scène] depicts Sleeping Beauty as she pricks her finger on the spindle of an old woman’s spinning wheel; as a result, she is cast into a profound slumber. Sleeping Beauty’s Pavane [Pavane de la Belle au bois dormant] ushers us along with the Princess into a state of dreamlike simplicity with its brief, stately processional and meltingly beautiful writing for woodwinds (in the final measures, their melody is given over to the strings). The tales that follow are enacted as she sleeps, dreamlike episodes that precede the moment of her awakening in the final tableau. At the same time, the Pavane’s sustained wistfulness hints at the ambivalence of Ravel’s summoning of childhood — a past recaptured by the knowing adult’s memory. In Conversations of Beauty and the Beast [Les entretiens de la Belle et de la Bête], Ravel details this unlikely love story in three parts. These chart the appearance of Beauty (clarinet) in a Satie-like waltz, the gruff pleas of Beast (contrabassoon), which emerge from the bass, and the mixture of both in a duet. A glissando from the harp signals Beast’s transformation into a Severance Hall 2012-13

About the Music

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Ancient catastrophe. Modern obsession.

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Come see amazing. ClevelandArt.org 7YLZLU[PUNZWVUZVY

;VWPTHNL!Mount Vesuvius at Midnight, KL[HPS(SILY[)PLYZ[HK[(TLYPJHU· 6PSVUJHU]HZ"\UMYHTLK!_JT;OL*SL]LSHUK4\ZL\TVM(Y[ .PM[VM:3P]PUNZ[VUL4H[OLY7OPSPW9PJOHYK4H[OLY2H[OLYPUL/V`[4H[OLY*YVZZ2H[OLYPUL4H[OLY4J3LHUHUK*VUZ[HUJL4H[OLY)PZOVW   0UZL[PTHNL!Cheyney and Eileen Disturb a Historian at Pompeii, 3\J`4J2LUaPL(JY`SPJHUKPURVUWHWLY-YHTL!__PU ;OL4\ZL\TVM*VU[LTWVYHY`(Y[3VZ(UNLSLZ7\YJOHZLK^P[OM\UKZWYV]PKLKI`[OL+YH^PUNZ*VTTP[[LL


handsome prince (now represented by violin in place of the contrabassoon). Tom Thumb [Petit Poucet] — also known as Hop-o’my-Thumb, one of the many folktale variants of this story involving miniature people — recounts the episode in which the poor woodcutter’s son tries to plan a way out of the woods by dropping breadcrumbs, only to discover (like Hansel and Gretel) that birds have eaten them. Tom Thumb (oboe) wanders in confusion, trying to find the path, while Ravel’s vivid depiction of the birds near the end shows off his facility for conjuring nature. Little people also figure in Little Ugly, Empress of the Pagodas [Laideronnette, impératrice des Pagodes]. Here, a princess has been made the ugliest woman in the world by a witch’s spell, but finds herself transported into a magical kingdom where her miniature subjects, robed in gems, serenade her with an orchestra whose instruments (the “pagodas” in Ravel’s sense) are made of the shells of walnuts and almonds. The nuanced touches from percussion enhance Ravel’s enchanting use of pentatonic melody and evoke a ready-made Asian gamelan ensemble. For the concluding tale, Ravel introduces another handsome prince into his musical landscape. Prince Charming arrives to awaken Sleeping Beauty, and the wood becomes The Enchanted Garden [Le jardin féerique] — the very site of imaginative fantasy. Perfectly judged, painterly touches set the scene. A crescendo steadily builds, and the suite ends with the triumphant sounds of wedding and coronation. —Thomas May © 2013 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 Ravel composed Ma Mère l’Oye (“Mother Goose”) as a five-movement suite for piano duet in 1908-1910. He orchestrated the suite in 1911, then expanded it further as a ballet score in 1911-12. The original piano duet was premiered in 1910 at a concert of the Société Musicale Indépendante in Paris, by Jeanne Leleu and Geneviève Durony (six and seven years old, respectively). The ballet version was first presented in January 1912, at the Théâtre des Arts in Paris, conducted by Gabriel Grovlez and with choreography by Jeanne Hugard. This work runs about 30 minutes in performance. Ravel scored it for 2 flutes, piccolo, 2 oboes, english horn, 2 clarinets, 2 bassoons, contrabassoon, 2 horns, timpani, percussion (triangle, cymbals, bass drum, tam-tam, xylophone, and jeu de timbres), celesta, harp, and strings. The Cleveland Orchestra has often played the five-movement suite from Mother Goose, including a set of concerts in 1928 under the composer’s direction. The complete ballet music was most recently presented in November 2010, conducted by Matthias Pintscher.

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Mahler, in a photograph taken in 1909 in New York

‘‘

The point is not to take the world’s opinion as a guiding star, but to go one’s way in life and to work unfalteringly, neither depressed by failure nor seduced by applause.

‘‘

—Gustav Mahler


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GUSTAV MAHLER 1860-1911

Gustav Mahler, at age five (below left) in the earliest known photograph; with beard at age twenty-one in 1881; (right top) his wife, Alma, and their two daughters, Maria and Anna, in 1906; at the coast (bottom right) of the North Sea; and in a cartoon making fun of the unusual instruments (including cowbell and forging hammer) he orchestrated into his Sixth Symphony.

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Gustav Mahler

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THE CLEVELAN D ORCHESTRA

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 March 1, 2013. 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

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Ms. Nancy W. McCann The Honorable and Mrs. John Doyle Ong The Payne Fund Mr. and Mrs. Richard K. Smucker

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In tune with each other and committed to excellence in Northeast Ohio.

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Symphony No. 7 composed 1904-05 J U S T A S M A H L E R P R E D I C T E D , the world took its time to

by

Gustav

MAHLER born July 7, 1860 Kalischt, Bohemia (now Kalištì in the Czech Republic) died May 18, 1911 Vienna

Severance Hall 2012-13

come to terms with much of his music. That delay persisted still longer for several of his works — nowhere more so than in the case of the Seventh Symphony. Even now, a century after the composer’s death, the Seventh remains less familiar on the whole than its symphonic siblings. Arguably no other score by Mahler poses as many interpretive challenges or has prompted such contradictory evaluations. This essentially enigmatic quality seems particularly fitting for music whose kaleidoscopic range so richly evokes the ambivalence of night. Mahler himself experienced unusual difficulty finding his way into this music, although once he did, composition proceeded with remarkable speed. Literally working from the inside out, Mahler began with the second and fourth movements (both designated “night music” pieces); these he wrote during the summer of 1904, while also completing the Sixth Symphony. The difficulty came in the following summer when he retreated at the end of the opera season to his “composer’s hut” in the Austrian Alps, far from the stress of Vienna. As Mahler sought to forge ahead with the Seventh, he struggled with its larger scope. What was missing was that allimportant ingredient of spontaneous inspiration. He remained blocked and was on the verge of giving up when he encountered a sudden illumination that set the work in motion while being ferried across one of the region’s lakes. “With the first stroke of the oars,” Mahler recalled several years later, “the theme (or rather, the rhythm and style) of the introduction to the first movement came to me.” Within six or seven weeks, he managed to sketch out the score’s three remaining movements. Music lovers who revere Mahler as the poet laureate of existential despair tend to be baffled by the sheer fantasy that abounds in the Seventh Symphony. The “darkness” of its music is altogether distinct, for example, from the fiercely concentrated, bleak, inescapably tragic vision that dominates the Sixth. The contrast becomes all the more remarkable not simply because at one point Mahler worked on both simultaneously. The Seventh co-opts elements of its predecessor, only to defang them. Typical of its rhetoric is the sense of evoking a lost past — including a partial review of the composer’s own symphonic past. About the Music

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Yet at the same time, the Seventh ranks among Mahler’s most forward-looking, innovative achievements, both in the kaleidoscopic textures of its sound world and in its symmetrically designed architecture. Dramatically juxtaposed contrasts are a signature of Mahlerian style, yet the Seventh seems to exaggerate this to a new extreme — another aspect of this symphony’s experimental character. Homages to romanticism and classicism play a significant role, but these are filtered through an ironic, distancing lens much more characteristic of modernism. DARKNE S S AND LIGHT

The nighttime imagery so closely associated with this music goes far beyond melancholy or introspective posturing. Stylistically, it ranges from richly poetic dreamscapes to off-beat parody and even boisterous humor, with a finale — the most controversial part of the Seventh — that bursts on the scene like a raucous, exuberant non-sequitur. In fact, the Seventh’s unofficial nickname in English (“Song of the Night”) can be misleading if it conjures images of night as a negative force, a darkness that must simply be “transcended.” One aspect of the Seventh that troubled its earliest critics was the continually shifting character of the music as it moves from one mood to another seemingly without “motivation” — as if mimicking the “irrational” processes of the unconscious mind. Mahler’s disdain for programmatic descriptions by this point in his career, together with his use of extreme contrasts, means there is no easy “narrative” to orient the listener. “Three night pieces; the finale, bright day. As foundation for the whole, the first movement” — such was the laconic outline Mahler did provide to one colleague. Yet this statement hardly elucidates the issue of how these varieties of night are related to each other and to the finale. Surely an account that reductively insists on the paradigm of the “victory symphony” — of darkness conquered by light — ignores much of the musical evidence. Far from a monolithic threat, the darkness of the Seventh is shaped by Mahler’s prismatic imagination. Alma Mahler suggested that her husband had wanted to evoke the magic of the writers from the early 19th century he so loved, such as Joseph Eichendorff (1788-1857). Thus the middle movements, she wrote, were shot through with “visions of Eichendorff ’s poetry, rippling fountains, German Romanticism.” Severance Hall 2012-13

About the Music

The nighttime imagery of this music goes far beyond melancholy or introspective posturing. Stylistically, it ranges from richly poetic dreamscapes to off-beat parody and even boisterous humor, with a finale — the most controversial part of the Seventh — that bursts on the scene like a raucous, exuberant non-sequitur.

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Biographer Henry Louis de La Grange points to similarities in atmosphere shared by Novalis’s Hymns to the Night, with their “shadows of the past . . . vague yearnings, and deceived hopes” and by Nietzsche’s philosopher-prophet Zarathustra (whose pivotal “Midnight Song” Mahler had previously used in his Third Symphony, which also casts a shadow over the Seventh). The latter, writes La Grange, involves “a night of clairvoyance and heightened lucidity whose revelation is more essential than that of light.” Conductor Willem Mengelberg, an early Mahler champion, spoke of the visual inspiration of Rembrandt’s The Night Watch (referring to the first “night music” comprising the second movement), though his overliteral interpretation was clarified by a colleague who suggested, more helpfully, that the real model was the painter’s technique of shading and chiaroscuro rather than his subject matter — an observation which can indeed be applied to the overall ambivalence of the Seventh. Nature also forms an important element of Mahler’s nightscapes. In general, La Grange aptly observes, the Seventh “seems to welcome intrusions with a strange passivity, to mirror

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About the Music

The Cleveland Orchestra


the strange diversity of the twentieth-century man’s experience, a diversity which has become impossible to synthesize . . . in a disillusioned present which knows . . . that ambiguities can never be solved.” SYMMETRY AND MUSICAL SHADOWS

For all this ambiguity, the work’s five movements are held together by an impressively unifying symmetry. The first and fifth movements counterbalance each other in proportion; likewise the two “night music” movements, together with the central Scherzo they flank, form an internal continuity roughly equal to each of the outer movements. What results is a neatly balanced arch shape (A-B-C-B-A), with the odd-numbered movements modifying more conventional forms (sonata, scherzo with trio, rondo finale), while the second and fourth movements are closer to fantasias that reinterpret those romantic “character” pieces known as the nocturne and serenade, respectively. A shadowy mystique permeates the symphony’s opening moments. Over a stuttering, funereal accompaniment of unstable harmony, Mahler superimposes the cry of a “tenor horn” (normally associated with brass bands, its unusual sonority is a clue to the work’s highly original orchestration). The first theme features a dotted, descending three-note pattern as well as a long-short-short rhythm; both of these recur as unifying devices throughout the work. With a fierce charge, the introduction accelerates into a fiery Allegro, its music transformed into a driving march that bears a close family resemblance to the opening theme of Mahler’s Sixth Symphony. The lush, yearningly lyrical second theme, given to the strings, serves as the critical center of the movement’s arch during the development, when it emerges like a full moon from a cloudbank and reaches a swooning, visionary climax. Mahler then plummets headlong into the introductory music again, beginning a highly inventive and varied process of recapitulation. The first “night music” movement represents yet another kind of march, one that slowly comes into focus amid echoes, fluttering sounds, and night calls before settling into a major-minor swagger that is Mahler’s musical equivalent of chiaroscuro. The effect is enticingly ambiguous, while, as in Bartók’s night music, bird calls and sensuous new colors (including cowbells) emerge under cover of darkness. The Schubertian charm of the contrasting melody is just one of the nostalgic evocations of the Severance Hall 2012-13

About the Music

At a Glance Mahler began work on his Seventh Symphony with the two “Night Music” movements (Nos. 2 and 4) during the summer of 1904. He added the three remaining movements a year later. Mahler led the work’s first performance, on September 19, 1908, in Prague. This symphony runs between 70 and 85 minutes in performance. Mahler scored it for an orchestra of piccolo and 4 flutes (fourth doubling second piccolo), 3 oboes and english horn, 3 clarinets and small clarinet in E-flat, 3 bassoons and contrabassoon, 4 horns and tenor horn, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, tam-tam, tambourine, triangle, cymbals, glockenspiel, cowbells, low-pitched bells), 2 harps, strings, and (in the fourth movement) guitar and mandolin. The Cleveland Orchestra first performed music from this symphony in 1946, when Erich Leinsdorf programmed the two “Night Music” movements on a weekend of concerts at Severance Hall. The first complete performances were during the 1970-71 season, led by Louis Lane. The most recent performances, at Severance Hall, Blossom, and on tour, were led by Franz Welser-Möst in 2003 and 2004. Pierre Boulez recorded the Seventh Symphony with The Cleveland Orchestra in 1994 for Deutsche Grammophon.

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past that figure into the texture of these middle movements. “Shadowy” (schattenhaft) is Mahler’s marking for the central scherzo, with its misplaced, tipsy accents — a spectral waltz that both mocks and seems to outdo romantic grotesquerie. The oboe’s cheerful tune in the trio comes back in a funhouse distortion when played by trombones and tuba, while echoes of the symphony’s opening theme heighten the symmetry by recurring here at the center. The delicious, painterly details of Mahler’s scoring abound here and in the ensuing fourthmovement “night music,” an Andante amoroso that serves as a gentle remake/parody of the lover’s serenade. This is also the first movement written from the start in the major (F). While reducing his large orchestra to chamber dimensions, Mahler colors it by adding amorous plucking on mandolin and guitar to intensify the ironic nostalgia. The fifth-movement finale has always been the Seventh’s interpretive stumbling block. Pounding timpani set in motion the brassy fanfare of the multipart rondo theme, one segment of which resembles a drunken imitation of the pompously marching cheer of Wagner’s Meistersinger Prelude. Indeed, the C-major brightness of this music — which Mahler pointedly designates Allegro ordinario — intrudes so unexpectedly after all that has preceded that it seems to thumb its nose at the notion of “triumph” over darkness, rather as Shostakovich (perhaps) intended to do in his Fifth Symphony several decades later. Amid the elaborate variations on the hyperactive rondo music, which recurs seven times, the opening theme is transformed from a remembered dream to a statement of clamorous joy that closes the work — so forcefully that the ironic reading by itself seems overly reductive. Bells ring out in a resounding affirmation of life. Affirming all of it. Everything. Night and day. And even including the next-to-last chord, whose harmony introduces one final ambiguous touch before the clear finish. —Thomas May © 2013

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www.skirbuntlaw.com About the Music

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Alan Gilbert When New York Philharmonic music director Alan Gilbert began his tenure in 2009, he became the first native New Yorker to hold the post. He first led performances of The Cleveland Orchestra while a conducting assistant here in the 1990s, and most recently returned as a guest conductor in November 2011. Born to two New York Philharmonic violinists, Alan Gilbert learned violin, viola, and piano as a youth. He studied music at Harvard University, and conducting at the Curtis Institute of Music and the Juilliard School. In 1994, he won both the Georg Solti Prize and first prize in the International Competition for Music Performance in Geneva. He served as conducting assistant and then assistant conductor of The Cleveland Orchestra (1994-97), and received the Seaver/National Endowment for the Arts Conductors Award in 1997. In 2010, Mr. Gilbert was awarded an honorary doctor of music degree by the Curtis Institute of Music. The following year, he became director of conducting and orchestral studies at the Juilliard School, where he is the first holder of Juilliard’s William Schuman Chair in musical studies. Now conductor laureate of the Royal Stockholm Philharmonic Orchestra, Mr. Gilbert was the ensemble’s music director 2000-08. Since 2004, he has been principal guest conductor of Hamburg’s NDR Orchestra. He regularly leads major international orchestras, including Amsterdam’s Royal Concertgebouw Orchestra, the Berlin Philharmonic, Boston Symphony Orchestra, Munich Philharmonic, and San Francisco Symphony; this season’s appearances include engagements with the Berlin Staatskapelle and Leipzig Gewandhaus Orchestra. After serving as assistant concertmaster of the Santa Fe Opera in 1993, and making his conducting debut there in 2001, Alan Gilbert was named the opera’s first music director in 2003. He made his Metropolitan Opera debut in November 2008 leading John Adams’s Doctor Atomic; that recording received a Grammy Award as best opera recording in its DVD release the next year. He has also conducted performances at the Royal Swedish Opera, Vienna State Opera, and Zurich Opera. Alan Gilbert and his wife, Swedish cellist Kajsa William-Olsson, are the parents of three children. Although his father has retired, Mr. Gilbert’s mother continues to be a member of the New York Philharmonic. For additional information, visit www.alangilbert.com.

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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 months of the current Severance Hall season, student attendance 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. “ U N D E R 1 8 s F R E E ” F O R FA M I L I E S

Introduced for Blossom Music Festival concerts two summers ago, the “Under 18s Free” for families program now includes select Cleveland Orchestra concerts at Severance Hall each season. This program offers free tickets (one per regularpriced 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


CLE E H T

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D LAN

OR

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T HES

RA

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.

SCOTT HAIGH

bass BORN: Oak Park, Illinois ROLE MODELS: My teacher. People

with positive attitudes. ON MY MP3 PLAYER: Don’t have one. WHY A MUSICIAN: When I was a teenager,

I couldn’t imagine doing anything else! FREE TIME: Exercise and practice. FAVORITE ORCHESTRAL WORK:

I can’t decide. I like most of the orchestral repertoire.

PHOTOGRAPHS BY ROGER MASTROIANNI

FRANK ROSENWEIN

DANIEL McKELWAY

oboe

clarinet BORN: Hanover, New Hampshire

BORN: Evanston, Illinois ROLE MODELS: John Mack

(but raised in Davidson, North Carolina) ON MY MP3 PLAYER: sea shanties,

and my mother. CLEVELAND ORCHESTRA HIGHLIGHT:

Playing in Vienna’s Musikverein. FREE TIME: Read The New Yorker, and learn Korean. ON MY MP3 PLAYER: These days I’m an old school vinyl and CD aficionado. WHY A MUSICIAN: To devote my life to understanding and being an ambassador for the greatest works of art. FAVORITE ORCHESTRAL WORKS: Bach’s Saint Matthew Passion.

Severance Hall 2012-13

The Beatles, clarinet chamber music with my teacher Harold Wright, The Cleveland Orchestra with George Szell. ROLE MODELS: My teacher Robert Listokin is the most inspiring human I have ever encountered. FREE TIME: Play with my son Rein, hang out and talk with my wife, Lembi, and enjoy our two twin daughters. Run, sail, hike, ski, climb mountains, work on my 1976 Toyota Celica, watch ACC basketball.

Meet the Musicians

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T HE

C LE V E L A N D

Administrative Staff EXECUTIVE OFFICE Gary Hanson EXECUTIVE DIRECTOR

Rosemary Klena EXECUTIVE ASSISTANT

ORCHES T R A

as of March 20, 2013

CLEVELAND ORCHESTRA MIAMI Holly Hudak MANAGING DIRECTOR

Christina Jocomino ADMINISTRATIVE ASSISTANT

ORCHESTRA OPERATIONS Carol Lee Iott ACTING GENERAL MANAGER

Montserrat Balseiro PATRON DEVELOPMENT & EDUCATION MANAGER

Pratima Raju ASSOCIATE DEVELOPMENT OFFICER

SEVERANCE HALL Mary Ann Makee DIRECTOR OF FACILITIES MANAGEMENT & OPERATIONS

Laura Clelland ADMINISTRATIVE ASSISTANT

Building Operations Charles L谩szl贸 BUILDING OPERATIONS MANAGER

Janet Montagino ADMINISTRATIVE ASSISTANT

Cherilyn Byers ADMINISTRATIVE ASSISTANT

Julie Kim DIRECTOR OF OPERATIONS

Amy Gill ORCHESTRA OPERATIONS MANAGER

Artistic Administration Mark Williams DIRECTOR, ARTISTIC PLANNING

Randy Elliot ASSISTANT ARTISTIC ADMINISTRATOR

Barb Bodemer DRIVER

Orchestra Personnel Carol Lee Iott DIRECTOR

Karyn Garvin MANAGER

Marla Bentley ORCHESTRA PERSONNEL ASSISTANT

Stage Joe Short STAGE MANAGER

Gil Gerity Thomas Holden John Riley Don Verba STAGEHANDS

Chorus Jill Harbaugh MANAGER

Rachel Novak ASSISTANT TO THE MANAGER

Education & Community Programs Joan Katz Napoli DIRECTOR

Sandra Jones MANAGER, EDUCATION & FAMILY CONCERTS

Erika Richter EDUCATION & COMMUNITY PROGRAMS COORDINATOR

Ashley Smith MANAGER, CLEVELAND ORCHESTRA YOUTH ORCHESTRA

SALES & COMMUNICATIONS Ross Binnie CHIEF MARKETING OFFICER

Sales Julie Stapf

Steve Skunta SENIOR BUILDING ENGINEER

Scott Miller Robert Nock Christopher Downey Michael Evert BUILDING ENGINEERS

DIRECTOR OF SALES

Ryan Buckley DIGITAL MARKETING & WEBSITE MANAGER

David Szekeres INTERIM PUBLICATIONS MANAGER

Timothy Parkinson COMMUNICATIONS ASSOCIATE

Jerry Golski GROUP SALES MANAGER

Research Adriane Smith PATRON SYSTEMS MANAGER

Ticket Office Timothy Gaines TICKET OFFICE MANAGER

Joan Eppich ASSOCIATE MANAGER

Mary Ellen Campbell ASSISTANT MANAGER

Monica Berens SUBSCRIPTION REPRESENTATIVE

Patrick Colvin Joclyn Madey Cindy Adams Traci Shillace Mary Ellen Snyder CUSTOMER SERVICE REPRESENTATIVES

Shelia Baugh George Felder Michelle Williams DOOR PERSONS

Quinn Chambers HALL STAFF & CLEANING SUPERVISOR

Steven Washington Pauletta Hughes HALL STAFF LEAD

Antonio Adamson Kervin Hinton Dwayne Johnson Jerome Kelley Darrell Simmons Dwayne Taylor HALL STAFF

Glynis Smith Renee Pettway CLEANING PERSONS

Facility Sales Bob Bellamy FACILITY SALES MANAGER

Concerts & Special Events Erin Patton Graziani MANAGER

Jennifer Masters ASSOCIATE MANAGER

Communications Ana Papakhian DIRECTOR

Christine Honolke MEDIA RELATIONS MANAGER

Deborah Hefling ARCHIVIST

Program Book Eric Sellen EDITOR

House Management Judith Diehl HOUSE MANAGER

Adam Clemens ASSOCIATE HOUSE MANAGER

Retail Larry Fox STORE MANAGER

Pauline Kivach Gretchen Kolovich Helen Douglas SALES ASSOCIATES

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Administrative Staff

The Cleveland Orchestra


clevelandorchestra.com PHILANTHROPY & ADVANCEMENT

FINANCE & ADMINISTRATION

Jon Limbacher

James E. Menger

CHIEF DEVELOPMENT OFFICER

Colleen Halpin SENIOR DEVELOPMENT ASSOCIATE

Leadership Giving Tim Mann DIRECTOR, LEADERSHIP DEVELOPMENT

Ellen Bender LEADERSHIP GIVING OFFICER

Bryan de Boer LEADERSHIP GIVING OFFICER

Grace Sipusic MAJOR GIFTS OFFICER

Hayden Howland MANAGER, LEADERSHIP GIVING

Jessica Thomas INDIVIDUAL GIVING COORDINATOR

Bridget Mundy LEGACY GIVING OFFICER

Institutional Giving Anizia Karmazyn DIRECTOR OF DEVELOPMENT, INSTITUTIONAL GIVING

David Welshhans DEVELOPMENT OFFICER, CORPORATE & FOUNDATION RELATIONS

Erin Gay DEVELOPMENT OFFICER, FOUNDATION & CORPORATE RELATIONS

Leah Hostetler MANAGER, CORPORATE GIVING

Patricia Camacho Hughes DEVELOPMENT MANAGER, STEWARDSHIP

Development Operations Suzanne Richardson de Roulet MANAGER, DEVELOPMENT COMMUNICATIONS

CHIEF FINANCIAL OFFICER

Shirley Rundo

Severance Hall

11001 Euclid Avenue Cleveland, OH 44106

ADMINISTRATIVE ASSISTANT

Faith Noble CONTROLLER

Barbara S. Snyder ACCOUNTING MANAGER

Carolann Oravec PAYROLL MANAGER

Heather Poston SENIOR ACCOUNTANT

Administrative Offices

216-231-7300 Ticket Office

216-231-1111 or 800-686-1141

Mary Stewart-McGovern ACCOUNTING ANALYST

Group Sales

Christina Dutkovic

216-231-7493

ACCOUNTING ASSOCIATE

Information Technology David Vivino DIRECTOR

Randy Conn DATABASE ANALYST

Theresa Henderson NETWORK ADMINISTRATOR

Mailroom Jim Hilton SUPERVISOR

Lomack Gray MAILROOM CLERK

Human Resources Michelle Vectirelis DIRECTOR

Charise Reid HUMAN RESOURCES COORDINATOR

Connie Pomeroy HUMAN RESOURCES ASSOCIATE

Emily Szy MANAGER, SPECIAL EVENTS & DONOR SERVICES

Education & Community Programs

216-231-7355 Media Relations

216-231-7476 Archives

216-231-7356

Individual Giving

216-231-7562 Institutional Giving

216-231-8011 Legacy Giving

Lori Cohen

216-231-8006

COMMUNITY LEADERSHIP LIAISON

Jim Reynolds

Volunteers

DEVELOPMENT DATABASE COORDINATOR

216-231-7557

Severance Hall Rental Office

216-231-7421 Cleveland Orchestra Store

216-231-7478

Severance Hall 2012-13

Administrative Staff

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64

The Cleveland Orchestra


The Cleveland Orchestra: Serving the Community The Cleveland Orchestra draws together traditional and new programs in music education and community involvement to deepen connections with audiences throughout Northeast Ohio

P H OTO G R A P H Y BY R O G E R M A S T R O I A N N I

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

Franz Welser-Möst leads a concert at John Adams High School. Through such In-School Performances and Education Concerts at Severance Hall, The Cleveland Orchestra introduced more than 4 million young people to symphonic music over the past nine decades. Severance Hall 2012-13

Education & Community

65


T H E

C L E V E L A N D

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

Through the PNC Musical Rainbows series at Severance Hall, Cleveland Orchestra musicians introduce nearly 10,000 preschoolers each year to the instruments of the orchestra.

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Cleveland Orchestra bassist Mark Atherton with classroom students at Clevelandâ&#x20AC;&#x2122;s Mayfair Elementary School, part of the Learning Through Music program that fosters the use of music and the arts to support general classroom learning. Education & Community

The Cleveland Orchestra


O R C H E S T R A THANK YOU The Cleveland Orchestra’s Education & Community programs are made possible by many generous individuals and organizations, including:

PROGRAM FUNDERS The Abington Foundation The Eva L. and Joseph M. Bruening Foundation Cleveland Clinic The Cleveland Foundation Conn-Selmer, Inc. Cuyahoga Arts & Culture Dominion Foundation The Harry K. Fox and Emma R. Fox Charitable Foundation The Giant Eagle Foundation Muna & Basem Hishmeh Foundation Invacare Corporation Martha Holden Jennings Foundation KeyBank The Laub Foundation The Lincoln Electric Foundation The Lubrizol Corporation The Nord Family Foundation Ohio Arts Council Ohio Savings Bank PNC The Reinberger Foundation Albert G. & Olive H. Schlink Foundation The Sherwin-Williams Foundation The South Waite Foundation Surdna Foundation Thomas H. White Foundation, a KeyBank Trust The Edward & Ruth Wilkof Foundation Women’s Committee of The Cleveland Orchestra

Cleveland Orchestra flutist Marisela Sager working with pre-school students as part of PNC Grow Up Great, a program utilizing music to support pre-literacy and school readiness skills.

ENDOWMENT FUNDS AND FUNDERS Hope and Stanley I. Adelstein Kathleen L. Barber Mr. Roger G. Berk In memory of Anna B. Body Isabelle and Ronald Brown Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Roberta R. Calderwood Alice B. Cull Memorial Fund Mr. and Mrs. Charles B. Emrick, Jr. Charles and Marguerite C. Galanie Mr. David J. Golden The George Gund Foundation Dorothy Humel Hovorka Mr. James J. Hummer Frank and Margaret Hyncik Walter and Jean Kalberer Foundation Alfred Lerner In-School Performance Fund Mr. and Mrs. Stanley A. Meisel Christine Gitlin Miles Mr. and Mrs. David T. Morganthaler Morley Fund for Pre-School Education Pysht Fund The Ratner, Miller, and Shafran Families and Forest City Enterprises, Inc. In memory of Georg Solti The William N. Skirball Endowment Jules and Ruth Vinney Youth Orchestra Touring Fund Anonymous

Severance Hall 2012-13

Education & Community

The Cleveland Orchestra helps celebrate the seasons and special events throughout the year. This past October, the season’s first Family Concert featured the third annual “Halloween Spooktacular!” including costumes onstage and a special audience costume contest.

67


THE CLEVELAND ORCHESTRA

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

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

ENDOWED FUNDS

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

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

THANK YOU

for helping develop tomorrow’s audiences today.

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Center for Future Audiences

The Cleveland Orchestra


T H E C L E V E L A N D O R C H ETSHTER AC L E V E L A N D O R C H E S T R A

Endowed Funds

funds established as of March 2013

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 Excellence

American Conductors Fund

George Gund III Fund

Douglas Peace Handyside Holsey Gates Handyside

Artistic Collaboration

Severance Hall Guest Conductors

Keithley Fund

Roger and Anne Clapp James and Donna Reid

Artist-in-Residence Malcolm E. Kenney

Cleveland Orchestra Soloists

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

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

69


THE CLEVELAND ORCHESTRA

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

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Endowed Funds

The Cleveland Orchestra


Severance Hall 2012-13

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The Cleveland Orchestra


THE CLEVELAN D 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

JOHN L. SEVERANCE SOCIETY KeyBank

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.

$1 MILLION TO $5 MILLION

PARTNERS IN EXCELLENCE $300,000 AND MORE

$5 MILLION AND MORE

BakerHostetler 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 PolyOne Corporation Raiffeisenlandesbank Oberösterreich (Europe) The J. M. Smucker Company

gifts of $2,500 or more during the past year, as of February 25, 2013

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

BakerHostetler Eaton Corporation FirstEnergy Foundation Forest City Enterprises, Inc. PNC PARTNERS IN EXCELLENCE $100,000 TO $199,999

The Cliffs Foundation Google, Inc. Medical Mutual of Ohio Parker Hannifin Corporation $50,000 TO $99,999

The Severance Society recognizes generous contributors of $1 million or more in cumulative giving to The Cleveland Orchestra. Listing as of February 2013.

Exile LLC Jones Day Quality Electrodynamics (QED) Anonymous $25,000 TO $49,999 Bank of America Dix & Eaton The Giant Eagle Foundation 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 AdCom Communications Akron Tool & Die Company AkronLife Magazine American Fireworks, Inc. American Greetings Corporation BDI Brouse McDowell Eileen M. Burkhart & Co LLC

Severance Hall 2012-13

Corporate Annual Support

Buyers Products Company Cedar Brook Financial Partners, LLC The Cleveland Wire Cloth & Mfg. Co. Community Behavioral Health Center Conn-Selmer, Inc. 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 Viktor Kendall, Friends of WLRN Gallagher Benefit Services Great Lakes Brewing Company Gross Builders Hahn Loeser + Parks LLP Houck Anderson P.A. (Miami) Hunton & Williams, LLP (Miami) Hyland Software The Lincoln Electric Foundation Littler Mendelson, P.C. C. A. Litzler Co., Inc. Live Publishing Company Macy’s Materion Corporation Miba AG (Europe) MTD Products, Inc. Nordson Corporation North Coast Container Corp. Northern Haserot Oatey Co. Ohio CAT Ohio Savings Bank, A Division of New York Community Bank 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 Ulmer & Berne LLP 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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CLEVELAND INSTITUTE OF MUSIC 11021 East Boulevard Cleveland, OH 44106 | 216.791.5000 | cim.edu

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

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

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 74

The Cleveland Orchestra


THE CLEVELAN D ORCHESTRA

Foundation & Government Support The Cleveland Orchestra gratefully acknowledges and salutes these Foundations and Government agencies for their generous support toward the Orchestra’s Annual Fund, benefit events, tours and residencies, and special projects.

Cumulative Giving

Annual Support

JOHN L. SEVERANCE SOCIETY

$1 MILLION AND MORE

$10 MILLION AND MORE

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

gifts of $2,000 or more during the past year, as of February 25, 2013

The Cleveland Foundation Cuyahoga County residents through Cuyahoga Arts and Culture The George Gund Foundation The Andrew W. Mellon Foundation David and Inez Myers Foundation The Kelvin and Eleanor Smith Foundation $250,000 TO $499,000

Kulas Foundation The Miami Foundation, from a fund established by the John S. and James L. Knight Foundation (Miami) John P. Murphy Foundation Ohio Arts Council

The George Gund Foundation The Andrew W. Mellon Foundation John P. Murphy Foundation

$100,000 TO $249,999

$1 MILLION TO $5 MILLION

$50,000 TO $99,999

GAR Foundation Ann and Gordon Getty Foundation The Louise H. and David S. Ingalls Foundation Martha Holden Jennings Foundation Knight Foundation (Cleveland, Miami) David and Inez Myers Foundation National Endowment for the Arts The Payne Fund The Reinberger Foundation The Sage Cleveland Foundation

Sidney E. Frank Foundation GAR Foundation

The George W. Codrington Charitable Foundation Martha Holden Jennings Foundation Myra Tuteur Kahn Memorial Fund of The Cleveland Foundation John S. and James L. Knight Foundation The Mandel Foundation Elizabeth Ring Mather and William Gwinn Mather Fund National Endowment for the Arts Donald and Alice Noble Foundation, Inc. The Payne Fund The Sage Cleveland Foundation Surdna Foundation $20,000 TO $49,999

$2,000 TO $19,999 The Abington Foundation Ayco Charitable Foundation The Ruth and Elmer Babin Foundation The Batchelor Foundation, Inc. (Miami) The Bernheimer Family Fund of The Cleveland Foundation Bicknell Fund 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 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 Miami-Dade County Department of Cultural Affairs (Miami) Paintstone Foundation The Charles E. & Mabel M. Ritchie Memorial Foundation The Leighton A. Rosenthal Family Foundation SCH Foundation Albert G. & Olive H. Schlink Foundation Harold C. Schott Foundation Jean C. Schroeder Foundation Kenneth W. Scott 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)

The Severance Society recognizes generous contributors of $1 million or more in cumulative giving to The Cleveland Orchestra. Listing as of February 2013.

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 Helen Wade Greene Charitable Trust The Margaret Clark Morgan Foundation The Frederick and Julia Nonneman Foundation The Nord Family Foundation William J. and Dorothy K. O’Neill Foundation Peacock Foundation, Inc. (Miami) The Reinberger Foundation The Sisler McFawn Foundation

Severance Hall 2012-13

Foundation/Government Annual Support

75


THE CLEVELAN D ORCHESTRA

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

JOHN L. SEVERANCE SOCIETY

gifts during the past year, as of February 25, 2013 INDIVIDUAL GIFTS OF $500,000 AND MORE

$10 MILLION 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

$5 MILLION TO $10 MILLION

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

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

$1 MILLION TO $5 MILLION

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

Irma and Norman Braman (Miami) Mr. Francis J. Callahan Mrs. M. Roger 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)

James D. Ireland III Mr. and Mrs. Joseph P. Keithley Dr. and Mrs. Herbert Kloiber (Europe) Peter B. Lewis and Janet Rosel (Miami) Mr.* and Mrs. Herbert McBride Mr. and Mrs. Albert B. Ratner Janet and Richard Yulman (Miami)

The Severance Society recognizes generous contributors of $1 million or more in lifetime giving to The Cleveland Orchestra. As of February 2013.

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INDIVIDUAL GIFTS OF $75,000 TO $99,999

Mr. and Mrs. Douglas A. Kern The Honorable and Mrs. John Doyle Ong Mr. and Mrs. Alfred M. Rankin, Jr. INDIVIDUAL GIFTS OF $50,000 TO $74,999

Sheldon and Florence Anderson (Miami) Mr. William P. Blair III 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 Elizabeth B. Juliano (Cleveland, Miami) Mr. and Mrs. Dennis W. LaBarre R. Kirk Landon and Pamela Garrison (Miami) Toby Devan Lewis Mr. and Mrs. Edward A. Lozick Ms. Beth E. Mooney James and Donna Reid Barbara S. Robinson

Individual Annual Support

The Cleveland Orchestra


Mr. and Mrs. Richard K. Smucker Barbara and David 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 (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. 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

Dr. and Mrs. Hiroyuki Fujita Junior Committee of The Cleveland Orchestra David and Jan Leshner Mr. and Mrs. Jon A. Lindseth Margaret Fulton-Mueller Mrs. Jane B. Nord Mr. and Mrs. James A. Ratner Hewitt and Paula Shaw Richard and Nancy Sneed (Cleveland, Miami) R. Thomas and Meg Harris Stanton Paul and Suzanne Westlake INDIVIDUAL GIFTS OF $20,000 TO $24,999

Gay Cull Addicott Mr. and Mrs. William W. Baker Jill and Paul Clark Mr. and Mrs. Matthew V. Crawford Bruce and Beth Dyer Esther L. and Alfred M. Eich, Jr. Jeffrey and Susan Feldman Dr. Edward S. Godleski Andrew and Judy Green Gary Hanson and Barbara Klante

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Mr. and Mrs. Jack Hoeschler Richard and Erica Horvitz (Cleveland, Miami) Mrs. Marguerite B. Humphrey Joy P. and Thomas G. Murdough, Jr. (Miami) William J. and Katherine T. O’Neill 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 Mr. and Mrs. Donald Stelling (Europe) Mr. Gary L. Wasserman and Mr. Charles A. Kashner (Miami) Women’s Committee of The Cleveland Orchestra Anonymous gift from Switzerland (Europe) Anonymous INDIVIDUAL GIFTS OF $15,000 TO $19,999

Randall and Virginia Barbato Jayusia and Alan Bernstein (Miami)

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Crescendo

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 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.

Individual Annual Support

77


THE CLEVELAN D ORCHESTRA

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:

listings continued

Scott Chaikin and Mary Beth Cooper Martha and Bruce Clinton (Miami) Mr. and Mrs. Peter O. Dahlen George* and Becky Dunn Colleen and Richard Fain (Miami) 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.* and Mrs. Arch J. McCartney 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 â&#x20AC;&#x201C; 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) INDIVIDUAL GIFTS OF $10,000 TO $12,499

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 Mr. and Mrs. William E. Conway Mrs. Barbara Cook Bruce Coppock and Lucia P. May (Miami) Mr. Peter and Mrs. Julie Cummings (Miami) Mr. and Mrs. Robert P. Duvin

78

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 Elaine Harris Green Robert K. Gudbranson and Joon-Li Kim Jeffrey and Stacie Halpern Sondra and Steve Hardis David and Nancy Hooker Joan and Leonard Horvitz Mr. and Mrs. Christopher Hyland Mr. and Mrs. Donald M. Jack, Jr. Allan V. Johnson Janet and Gerald Kelfer (Miami) Mrs. Elizabeth R. Koch Tim and Linda Koelz Mr. Jeff Litwiller Mr. and Mrs. Richard A. Manuel 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 Dr. Tom D. Rose Mr. and Mrs. David A. Ruckman Dr. Isobel Rutherford Mr. Larry J. Santon Dr. E. Karl and Lisa Schneider Rachel R. Schneider Mr. and Mrs. Oliver E. Seikel Kim Sherwin Mr. and Mrs. Steven Spilman Lois and Tom Stauffer Mrs. Blythe Sundberg Mrs. Jean H. Taber Dr. Russell A. Trusso Tom and Shirley Waltermire The Wells Family Foundation, Inc. Sandy and Ted Wiese Anonymous* INDIVIDUAL GIFTS OF $7,500 TO $9,999

Laurel Blossom Dr. and Mrs. Jerald S. Brodkey Dr. Thomas Brugger and Dr. Sandra Russ Ellen E. & Victor J. Cohn Supporting Foundation Mr. Owen 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 Amy and Stephen Hoffman Pamela and Scott Isquick Joela Jones and Richard Weiss Judith and Morton Q. Levin Mr. and Mrs.* Robert P. Madison Mrs. Robert H. Martindale

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Individual Annual Support

The Cleveland Orchestra


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

1-866-UH4-CARE | 1-866-844-2273 UHhospitals.org/musicandmedicine

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THE CLEVELAN D ORCHESTRA listings continued

Mr. and Mrs. Thomas B. McGowan Mr. Donald W. Morrison Mr. Raymond M. Murphy 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. Mrs. Marie S. Strawbridge Bruce and Virginia Taylor Anonymous (3) INDIVIDUAL GIFTS OF $5,000 TO $7,499

Susan S. Angell Mr. and Mrs. Albert A. Augustus Mr. and Mrs. Robert H. Baker Mr. and Mrs. Dean Barry Mr. Jon Batchelor (Miami) Fred G. and Mary W. Behm Drs. Nathan A. and Sosamma J. 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 Mr. and Mrs. Ralph Daugstrup 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) Joy E. Garapic 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 Robin Hitchcock Hatch Barbara Hawley and David Goodman Janet D. Heil* Anita and William Heller T. K. and Faye A. Heston Bob and Edith Hudson (Miami) Mr. James J. Hummer Mr. and Mrs. Brinton L. Hyde Rudolf D. and Joan T. Kamper

80

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 Larry and Christine Levey Mr. and Mrs. Adam Lewis (Miami) Mrs. Emma S. Lincoln Heather and Irwin Lowenstein Mr. and Mrs. Alex Machaskee 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 Ms. Deborah Read Paul A. and Anastacia L. Rose Mr. and Mrs. Robert C. Ruhl Mrs. Florence Brewster Rutter David M. and Betty Schneider Linda B. Schneider Larry and Sally Sears Dr. and Mrs. James L. Sechler Charles Seitz (Miami) Mr. Eric Sellen and Mr. Ron Seidman 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) Ms. Lorraine S. Szabo 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 Fred and Marcia Zakrajsek Anonymous (6)

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Individual Annual Support

The Cleveland Orchestra


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THE CLEVELAN D ORCHESTRA listings continued INDIVIDUAL GIFTS OF $3,500 TO $4,999

Dr. and Mrs. D. P. Agamanolis Ms. Delphine Barrett Mrs. Joanne M. 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 Peggy and David* Fullmer 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 Ms. Rosina Horvath 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 Dr. Gilles and Mrs. Malvina Klopman Dr. James and Mrs. Margaret Kreiner Judy and Donald Lefton (Miami) Ronald and Barbara Leirvik Mr. and Mrs. Irvin A. Leonard 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 Bert and Marjorie Moyar Richard B. and Jane E. Nash 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 Mr. Paul H. Scarbrough Bob and Ellie Scheuer Ms. Freda Seavert Ginger and Larry Shane Mr. Richard Shirey Howard and Beth Simon 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 Mr. and Mrs. Leonard K. Tower Mr. and Mrs. Lyman H. Treadway Robert and Marti Vagi Mr. and Mrs. Mark Allen Weigand Mr. Peter and Mrs. Laurie Weinberger Robert C. Weppler Richard Wiedemer, Jr. Nancy V. and Robert L. Wilcox

Mr.* and Mrs. Robert A. Clark Mr. and Mrs. Stanley Cohen (Miami) 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 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. Randall and Mrs. Patrice Fortin Mr. Monte Friedkin (Miami) Marvin Ross Friedman and Adrienne bon Haes (Miami) Arthur L. Fullmer Richard L. Furry Jeanne Gallagher Barbara and Peter Galvin 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 Peter A. and Judith Holmes 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. Carole Hughes 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)

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

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 and David Bianchi (Cleveland, Miami) Carmen Bishopric (Miami) Bill* and Zeda Blau Mr. Doug Bletcher Madeline and Dennis A. Block Mr. and Mrs. Richard H. Bole John and Anne Bourassa Lisa and Ron Boyko Mrs. Ezra Bryan J. C. and Helen Rankin Butler Ms. Mary R. Bynum and Mr. J. Philip Calabrese Mrs. Millie L. Carlson Mr. and Mrs. Frank H. Carpenter Leigh 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

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Individual Annual Support

The Cleveland Orchestra


    

  

 

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THE CLEVELAN D ORCHESTRA listings continued INDIVIDUAL GIFTS OF $2,500 TO $3,499 CONTINUED

The Kendis Family Trust: Hilary & Robert Kendis and Susan & James Kendis Bruce and Eleanor Kendrick Mr. James Kish Natalie Kittredge Fred and Judith Klotzman Jacqueline and Irwin Kott (Miami) 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. John J. Lane Mr. and Mrs. Israel Lapciuc (Miami) 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 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 Ms. Nancy L. Meacham Mr. James E. Menger Stephen and Barbara Messner Mr. Stephen P. Metzler Mr. and Mrs. Roger Michelson (Miami) MindCrafted Systems Ms. Barbara A. Morrison Joan Katz Napoli and August Napoli

Mr. David and Mrs. Judith Newell Marshall I. Nurenberg and Joanne Klein 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 Drs. John Petrus and Sharon DiLauro Dr. Roland S. Philip and Dr. Linda M. Sandhaus Ms. Maribel Piza (Miami) Dr. Marc and Mrs. Carol Pohl Mr. Richard and Mrs. Jenny Proeschel K. Pudelski Dr. James and Lynne Rambasek 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 Dr. Harry S. and Rita K. Rzepka Nathan N. and Esther Rzepka Family Philanthropic Fund Bunnie Joan Sachs Family Foundation Dr. and Mrs. Martin I. Saltzman Ms. Patricia E. Say 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 Dr. Howard* and Mrs. Judith Siegel Ms. Linda M. Smith Mr. and Mrs.* Jeffrey H. Smythe Mrs. Virginia Snapp Ms. Barbara Snyder Lucy and Dan Sondles Mr. John C. Soper and Dr. Judith S. Brenneke Mr. John D. Specht Mr. and Mrs.* Lawrence E. Stewart Stroud Family Trust

Dr. Kenneth F. Swanson Mr. Taras G. Szmagala Jr. Mr. and Mrs. William W. Taft Mr. Nelson S. Talbott Ken and Martha Taylor Greg and Suzanne Thaxton Mr. Karl and Mrs. Carol Theil Parker D. Thomson Esq. (Miami) Dr. and Mrs. Thomas A. Timko Mr. and Mrs. Robert J. Tomsich Steve and Christa Turnbull Miss Kathleen Turner Robert A. Valente Brenton Ver Ploeg (Miami) Mr. Gregory Videtic Mr. and Mrs. Joaquin Vinas (Miami) Mr. and Mrs. Les C. Vinney Dr. Michael Vogelbaum and Mrs. Judith Rosman Ricky and 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 Dr. Paul R. and Mrs. Catherine Williams Dr. and Mr. Ann Williams Richard and Mary Lynn Wills Michael H. Wolf and Antonia Rivas-Wolf Mr. Robert Wolff and Dr. Paula Silverman Tony and Diane Wynshaw-Boris Rad and Patty Yates Mr. Kal Zucker and Dr. Mary Frances Haerr Anonymous (10)

member of the Leadership Council (see page 78)

* deceased

The Cleveland Orchestra is sustained through the support of thousands of generous patrons, including members of the Crescrendo Patron Program listed on these pages. Listings of all annual 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 ongoing artistic excellence, education programs, and community partnerships, please contact our Philanthropy & Advancement Office by calling 216-231-7545.

84

Individual Annual Support

The Cleveland Orchestra


Accepting Exceptional Consignments Cowanâ&#x20AC;&#x2122;s Auctions holds two Fine Jewelry & Timepieces auctions annually. For information on how to bid, consign and receive free appraisals visit cowans.com

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Contact Brad Wanstrath jewelry@cowans.com 513.871.1670 x17 6270 Este Ave. Cincinnati, OH 45232

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THE CLEVELAN D ORCHESTRA R E C O R D I N G S great gift ideas

The Cleveland Orchestra’s catalog of recordings continues to grow. The newest DVD features Bruckner’s Eighth Symphony recorded live at Severance Hall under the direction of Music Director Franz Welser-Möst in 2010 and released in May 2011. And, released in 2012, Dvořák’s opera Rusalka on CD, recorded live at the Salzburg Festival. Writing of the Rusalka performances, the reviewer for London’s Sunday Times praised the performance as “the most spellbinding account of Dvořák’s miraculous score I have ever heard, either in the theatre or on record. . . . I doubt this music can be better played than by the Clevelanders, the most ‘European’ of the American orchestras, with wind and brass soloists to die for and a string sound of superlative warmth and sensitivity.” Other recordings released in recent years include two under the baton of Pierre Boulez and a third album of Mozart piano concertos with Mitsuko Uchida, whose first Cleveland Orchestra Mozart album won a Grammy Award in 2011. Visit the Cleveland Orchestra Store for the latest and best Cleveland Orchestra recordings and DVDs.


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11001 Euclid Avenue Cleveland, Ohio 44106

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CLEVELANDORCHESTRA.COM

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

HAILED AS ONE OF

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

Severance Hall

The Cleveland Orchestra


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THE CLEVELAND C O N C E R T

C A L E N D A R

SPRING SEASON Thursday March 21 at 8:00 p.m. Saturday March 23 at 8:00 p.m. THE CLEVELAND ORCHESTRA Alan Gilbert, conductor

RAVEL Mother Goose (complete ballet music) MAHLER Symphony No. 7 Friday March 22 at 10:00 a.m. Saturday March 23 at 10:00 a.m. Saturday March 23 at 11:00 a.m. PNC MUSICAL RAINBOW

THE FABULOUS FLUTE Marisela Sager, flute

30-minute programs for ages 3 to 6.

Thursday April 4 at 8:00 p.m. Friday April 5 at 8:00 p.m. Saturday April 6 at 8:00 p.m. THE CLEVELAND ORCHESTRA Mitsuko Uchida, piano and conductor

MOZART Piano Concerto No. 17 MOZART Divertimento in B-flat major MOZART Piano Concerto No. 25 Sponsor: Quality Electrodynamics (QED)

Thursday April 11 at 8:00 p.m. Friday April 12 at 8:00 p.m. Saturday April 13 at 8:00 p.m. Sunday April 14 at 3:00 p.m. THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Robert Walters, oboe d’amore Rebecca Nelsen, soprano Nicholas Phan, tenor Stephen Powell, baritone Cleveland Orchestra Chorus Cleveland Orchestra Children’s Chorus

BACH Concerto in A major, BWV1055 ORFF Carmina Burana Sponsor: KeyBank

Thursday April 18 at 8:00 p.m. Saturday April 20 at 8:00 p.m. Sunday April 21 at 3:00 p.m. THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Frank Peter Zimmermann, violin

SHEPHERD Tuolumne [WORLD PREMIERE] SHOSTAKOVICH Violin Concerto No. 1 DVOŘÁK Symphony No. 6

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Thursday April 25 at 8:00 p.m. Friday April 26 at 8:00 p.m. Saturday April 27 at 8:00 p.m. THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Malin Hartelius, soprano Maximilian Schmitt, tenor Luca Pisaroni, baritone Cleveland Orchestra Chorus

HAYDN The Seasons Sponsor: BakerHostetler

Friday April 26 at 10:00 a.m. Saturday April 27 at 10:00 a.m. Saturday April 27 at 11:00 a.m. PNC MUSICAL RAINBOW

THE VIRTUOSO VIOLIN Beth Woodside, violin

30-minute programs for ages 3 to 6.

Wednesday May 1 at 7:30 p.m. Friday May 3 at 7:30 p.m. THE CLEVELAND ORCHESTRA James Feddeck, conductor AT THE CLEVELAND MUSEUM OF ART

CALIFORNIA MASTERWORKS Two special programs feature daring sounds of musical works that originated from composers living and writing in California during the 20th century — and welcomed into classical music a myriad of non-European influences. Funded in part through The Cleveland Orchestra’s Keithley Fund for Artistic Collaboration.

Friday May 3 at 11:00 a.m.* Saturday May 4 at 8:00 p.m. Sunday May 5 at 3:00 p.m. THE CLEVELAND ORCHESTRA Ton Koopman, conductor Paul Yancich, timpani

MOZART Symphony No. 1 FISCHER Symphony with Eight Timpani MOZART Symphony No. 17* REBEL Overture to The Elements * HAYDN Symphony No. 45 (“Farewell”) *not included on Friday Morning Matinee

For a complete schedule of future events and performances, or to purchase tickets online 24/ 7 for Severance Hall concerts, visit www.clevelandorchestra.com.

Concert Calendar

The Cleveland Orchestra


ORCHESTRA

1213 SEASON I N

T H E

S P O T L I G H T

Thursday May 9 at 8:00 p.m. Friday May 10 at 8:00 p.m. THE CLEVELAND ORCHESTRA Ton Koopman, conductor Jay Carter, countertenor Steven Soph, tenor Klaus Mertens, bass Cleveland Orchestra Chamber Chorus

HANDEL Water Music, Suite No. 1 HANDEL Zadok the Priest HANDEL Dettingen Te Deum Sponsor: Thompson Hine LLP

Sunday May 12 at 2:00 p.m. THE CLEVELAND ORCHESTRA Michael Butterman, conductor FAMILY CONCERT

FABLES, FANTASY, AND FOLKLORE Discover how music can bring characters and stories to life, then use your imagination to help create your own musical story with the help of The Cleveland Orchestra! This highly interactive concert includes such classics as Rimsky-Korsakov’s Scheherazade (based on Tales from the Arabian Nights), Grieg’s In the Hall of the Mountain King, Rossini’s William Tell Overture, and Berlioz’s Symphonie Fantastique. Bring your family, and your imagination for storytelling on the big stage. Sponsor: The Giant Eagle Foundation

Sunday May 12 at 7:00 p.m. CLEVELAND ORCHESTRA YOUTH ORCHESTRA James Feddeck, conductor PROGRAM INCLUDES:

BARBER Overture to “The School for Scandal” SZYMANOWSKI Etude R. STRAUSS Death and Transfiguration Saturday May 18 at 2:00 p.m. THE CLEVELAND ORCHESTRA James Feddeck, conductor with Patti Austin CELEBRITY SERIES

PATTI AUSTIN: MUSIC OF ELLA AND ELLINGTON Pop-jazz superstar Patti Austin began her career as a fouryear-old, onstage with legend Dinah Washington. Since then, she has performed hit songs all over the world. In a tribute to jazz giants Ella Fitzgerald and Duke Ellington, Patti Austin joins The Cleveland Orchestra in a program of all-time favorites such as “Cottontail,” “I Got It Bad,” “Honeysuckle Rose,” “Mr. Paganini,” and more!

HANDEL’S WATER MUSIC Thursday May 9 at 8:00 p.m. Friday May 10 at 8:00 p.m. THE CLEVELAND ORCHESTRA Ton Koopman, conductor Jay Carter, countertenor Steven Soph, tenor Klaus Mertens, bass Cleveland Orchestra Chamber Chorus

In 1717, England’s King George was suffering in the polls. His political advisors suggested that he do something big to get the people behind him. They came up with the idea of a summer boating party on the Thames, for which Handel wrote the music. Arguably the most popular piece of Baroque music today, Water Music makes fashionable use of the dance forms popular at the time, combining festivity and finesse. Sponsor: Thompson Hine LLP

CLEVELAND ORCHESTRA TICKETS PHONE

216 - 231-1111 800-686-1141

clevelandorchestra.com Severance Hall 2012-13

Concert Calendar

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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 opentable.com. 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 clevelandorchestra.com

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 hallrental@clevelandorchestra.com

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.

FRIDAY MATINEE PARKING

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.

QUESTIONS

CONCERT PREVIEWS

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 info@clevelandorchestra.com

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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 clevelandorchestra.com 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.

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THE CLEVELAND ORCHESTRA U P C O M I N G

C O N C E R T S

At Severance Hall . . .

MITSUKO UCHIDA’S MOZART

CARMINA BURANA Thursday April 11 at 8:00 p.m. Friday April 12 at 8:00 p.m. Saturday April 13 at 8:00 p.m. Sunday April 14 at 3:00 p.m.

Thursday April 4 at 8:00 p.m. Friday April 5 at 8:00 p.m. Saturday April 6 at 8:00 p.m.

THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Robert Walters, oboe d’amore Rebecca Nelsen, soprano Nicholas Phan, tenor Stephen Powell, baritone Cleveland Orchestra Chorus Cleveland Orchestra Children’s Chorus

THE CLEVELAND ORCHESTRA Mitsuko Uchida, piano and conductor

Mitsuko Uchida’s interpretations of Mozart are renowned for their intelligence, elegance, and sensitivity. She continues her acclaimed collaboration with The Cleveland Orchestra, which was recognized with a 2010 Grammy Award, by performing and recording two more of Mozart’s piano concertos, Nos. 17 and 25. “Mitsuko Uchida’s Mozart playing is stunningly sensitive, crystalline, and true.” —Boston Globe Sponsor: Quality Electrodynamics (QED)

Carl Orff’s joyous Carmina Burana bursts forth like a boisterous street festival — filled with great music, marvelous mayhem, and delightful merriment. This modern-day Canterbury Tales comes complete with lusty hymns to springtime, animated drinking songs, and a swan’s anguishingly ironic farewell to life (on a barbecue spit!). The evening opens with a concerto by J.S. Bach, for oboe d’amore. Sponsor: KeyBank

New! 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.

TICKETS

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216-231-1111

clevelandorchestra.com

Upcoming Concerts

The Cleveland Orchestra


If you want to change

YOUR COMMUNITY, be that change.

Isabel Trautwein, Cleveland Orchestra First Violinist, Program Director, Dreamer & Doer, Local Hero. Longing to share the experience of making music with children who had never been to Severance Hall, Isabel launched a strings program at the Rainey Institute in the Hough neighborhood. Now thereâ&#x20AC;&#x2122;s a waiting list to learn how to play classical music. You, too, can play a part in creating lasting change within the Cleveland community by making a donation to the Cleveland Foundation â&#x20AC;&#x201D; dedicated to enhancing the lives of all Clevelanders now and for generations to come.

Support your passions. Give through the Cleveland Foundation. Please call our Advancement Team at 1.877.554.5054 ClevelandFoundation.org

The Cleveland Orchestra March 21, 23  

Alan Gilbert conducts Mahler's Seventh

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