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Music. Pure + Simple.

12 13 SEASON



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


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


11 15 22 88 92

Concert — Week 21

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

Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Program: May 3, 4, 5 . . . . . . . . . . . . . . . . . . . . . . . 36 Introducing the Program . . . . . . . . . . . . . . . . . . . . 39 MOZART

Symphony No. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Symphony No. 17 . . . . . . . . . . . . . . . . . . . . . . . . . 45 FISCHER

Symphony with Eight Timpani . . . . . . . . . . . . 43 REBEL

Chaos, from The Elements . . . . . . . . . . . . . . . . . 47 HAYDN

Symphony No. 45 (“Farewell”) . . . . . . . . . . . . . 49 Program: May 9, 10 . . . . . . . . . . . . . . . . . . . . . . . . 37 Introducing the Program . . . . . . . . . . . . . . . . . . . . 55 HANDEL

Water Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Zadok the Priest . . . . . . . . . . . . . . . . . . . . . . . . . . 61 “Dettingen” Te Deum . . . . . . . . . . . . . . . . . . . . . . 63 Conductor: Ton Koopman . . . . . . . . . . . . . . . . . . . Soloist: Paul Yancich . . . . . . . . . . . . . . . . . . . . . . . . . Guest Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cleveland Orchestra Chamber Chorus . . . . . . . . .


67 69 70 72

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.


All unused books are recycled as part of the Orchestra’s regular business recycling program.

Support Sound for the Centennial . . . . . . . . . . . . . . . . . . . . 52 Heritage Society . . . . . . . . . . . . . . . . . . . . . . . . . . 72-B Corporate Annual Support . . . . . . . . . . . . . . . . . . . 73 Foundation / Government Annual Support . . . 75 Individual Annual Support . . . . . . . . . . . . . . . . . . 76

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This program book is printed on paper that includes 50% recycled post-consumer content.

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

Future Concerts Table of Contents

The Cleveland Orchestra

Photo by Roger Mastroianni


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


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Perspectivesfrom the Executive Director April-May 2013 At the end of March, The Cleveland Orchestra received a $10 million, five-year grant from The Cleveland Foundation — the largest such commitment to an arts organization in the Foundation’s history and one of the largest gifts ever received by the Orchestra. We are deeply grateful for this exceptional grant and for the confidence in the Orchestra’s strategic direction that it represents. Over the past year, the Foundation’s staff and board have rigorously assessed the Orchestra’s ongoing transformation, and we sincerely appreciate their generous support of this important work. The Cleveland Foundation grant is a testament to much more than the Orchestra’s historical ranking among the world’s best — it is an extraordinary commitment to our programming innovations and our active community engagement. Sweeping changes at The Cleveland Orchestra have taken root in recent years and are starting to bear fruit. These include our efforts to foster future audiences, to shape and focus our education programs, and our work to build strong and meaningful working partnerships across the Northeast Ohio community. We are on target for a record-breaking season in ticket sales here at Severance Hall, including a significant increase in the number of young people eagerly enjoying and energizing our regular classical concerts. These numbers are the direct result of strong marketing programs (such as Student Advantage and Under18s Free) for our core symphonic concerts and innovative programming changes (including the KeyBank Fridays@7 and Celebrity series). Our education and community programs are also scoring strong successes. Our longstanding commitment to education was celebrated in March, including a unique showcase concert featuring all our youth ensembles performing together with The Cleveland Orchestra for the first time — a special event that was telecast on WVIZ. In addition, we believe that the introduction of “Make Music!” as a focus and catalyst for our ongoing work in music education will bring new understanding and energy to these programs. New initiatives in the community include the Orchestra’s inaugural neighborhood residency, “At Home in Gordon Square,” which unleashes a week filled with free events and performances, May 11-17, as part of the vibrant renaissance of this westside neighborhood. Good news about The Cleveland Orchestra and Northeast Ohio will continue. The initial stages of our Sound for the Centennial Campaign’s endowment and special fundraising phases have been strong, as evidenced by The Cleveland Foundation’s generous gift and by commitments from additional forward-looking organizations and individuals (see pages 52-53). This Campaign spans the decade up to the Orchestra’s hundredth birthday in 2018, and comprises all our fundraising efforts across the next five years. With your support and enthusiasm, there will be more good news ahead — for The Cleveland Orchestra and the entire Northeast Ohio community.

Severance Hall 2012-13

Gary Hanson



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

Robert Shaw rehearsing The Cleveland Orchestra Chorus for performances of Beethoven’s Missa Solemnis in December 1963, in what was then the chorus rehearsal room at Severance Hall. The allvolunteer Chorus is celebrating the 60th anniversary of its founding throughout the 2012-13 season.

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-


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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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



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


T H E 2 0 1 2 - 1 3 S E A S O N marks Franz Welser-Möst’s eleventh year as music director of The Cleveland Orchestra, with a long-term commitment extending to the Orchestra’s centennial in 2018. Under his direction, the Orchestra is acclaimed for its continuing artistic excellence, is enlarging and enhancing its community programming at home, is presented in a series of ongoing residencies in the United States and Europe, continues its historic championship of new composers through commissions and premieres, and has re-established itself as an important operatic ensemble. Concurrently with his post in Cleveland, Mr. Welser-Möst became general music director of the Vienna State Opera in September 2010. With a committed focus on music education in Northeast Ohio, Franz Welser-Möst has taken The Cleveland Orchestra back into public schools with performances in collaboration with the Cleveland Metropolitan School District. The initiative continues and expands upon Mr. Welser-Möst’s active participation in community concerts and educational programs, including the Cleveland Orchestra Youth Orchestra and partnerships with music conservatories and universities across Northeast Ohio. Under Mr. Welser-Möst’s leadership, The Cleveland Orchestra has established an ongoing biennial residency in Vienna at the famed Musikverein concert hall and another at Switzerland’s Lucerne Festival. Together, they have appeared in residence at Suntory Hall in Tokyo, Japan, and at the Salzburg Festival, where a 2008 residency included five sold-out performances of a staged production of Dvořák’s opera Rusalka. In the United States, Mr. Welser-Möst has established an annual multi-week Cleveland Orchestra residency in Florida under the name Cleveland Orchestra Miami and, in 2011, launched a new biennial residency at New York’s Lincoln Center Festival. To the start of this season, The Cleveland Orchestra has performed fourteen world and fifteen United States premieres under Franz Welser-Möst’s direction. Through the Roche Commissions project, he and the Orchestra have premiered works by Harrison Birtwistle, Chen Yi, Hanspeter Kyburz, George Benjamin, Toshio Hosokawa, and Matthias Pintscher in partnership with the Lucerne Festival and Carnegie Hall. In addition, the Daniel R. Lewis Young Composer Fellow program has brought new voices to the repertoire, including Pintscher, Marc-André Dalbavie, Susan Botti, Julian Anderson, Johannes Maria Staud, Jörg Widmann, and Sean Shepherd. Franz Welser-Möst has led a series of opera performances during his tenure

Severance Hall 2012-13

Music Director


in Cleveland, re-establishing the Orchestra as an important operatic ensemble. Following six seasons of opera-in-concert presentations, he brought fully staged opera back to Severance Hall with a three-season cycle of Zurich Opera productions of the MozartDa Ponte operas. He led concert performances of Strauss’s Salome at Severance Hall and at Carnegie Hall in May 2012. Franz Welser-Möst became general music director of the Vienna State Opera in 2010. His long partnership with the company has included acclaimed performances of Tristan and Isolde, a new production of Wagner’s Ring cycle with stage director SvenEric Bechtolf, and critically praised new productions of Hindemith’s Cardillac and Janáček’s Katya Kabanova and From the House of the Dead. During the 2012-13 season, his Vienna performances include Wagner’s Parsifal, Strauss’s Arabella and Ariadne auf Naxos, Puccini’s La Bohème, and Berg’s Wozzeck. Mr. Welser-Möst also maintains an ongoing relationship with the Vienna Philharmonic. Recent performances with the Philharmonic include appearances at the Lucerne Festival and Salzburg Festival, in Tokyo, and in concert at La Scala Milan, as well as leading the Philharmonic’s 2011 New Year’s Day concert, viewed by telecast in seventy countries worldwide; he 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.


Music Director

The Cleveland Orchestra


“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)


“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.



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


Blossom-Lee Chair

Yoko Moore


Clara G. and George P. Bickford Chair

Peter Otto


Jung-Min Amy Lee


Gretchen D. and Ward Smith Chair

Takako Masame Paul and Lucille Jones Chair

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

Kim Gomez Elizabeth and Leslie Kondorossy Chair

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

Miho Hashizume Theodore Rautenberg Chair

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

Alicia Koelz Oswald and Phyllis Lerner Gilroy Chair

Yu Yuan Patty and John Collinson Chair

Isabel Trautwein Trevor and Jennie Jones Chair

Mark Dumm Gladys B. Goetz Chair

Alexandra Preucil Katherine Bormann Ying Fu


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

Emilio Llinas


James and Donna Reid Chair

Eli Matthews 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


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


Giancarlo Guerrero


James Feddeck


Elizabeth Ring and William Gwinn Mather Chair

Robert Porco

CONTRABASSOON Jonathan Sherwin

Severance Hall 2012-13



Frances P. and Chester C. Bolton Chair

The Orchestra


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


Cleveland Foundation grants Orchestra $10 million Largest gift to an arts organization in Foundation’s history is vote of confidence in The Cleveland Orchestra’s programming innovations and community engagement across Northeast Ohio

—Cleveland Plain Dealer, March 28

The Cleveland Foundation has awarded The Cleveland Orchestra a $10 million grant to support its ongoing efforts to cultivate new and broader audiences and to build a strong endowment to sustain the nearly century-old institution. The grant . . . is a demonstration of the grantmaking organization’s confidence in the strategic direction the orchestra is taking, said Robert Eckardt, The Cleveland Foundation’s executive vice president. . . . “It was time to step up and provide a significant commitment to the Orchestra as they work through the challenging environment they find themselves in,” Mr. Eckardt said. . . . “They are an important part of Cleveland’s brand, and it’s difficult to imagine Cleveland without a world-class orchestra.” . . . Gary Hanson, the orchestra’s executive director, stated that The Cleveland Foundation’s commitment . . . adds “meaningful momentum” to the Orchestra’s Sound for the Centennial fundraising campaign, which runs through 2018 — the orchestra’s 100-year anniversary.

Cleveland Orchestra News

—Crain’s Cleveland Business, March 28



Severance Hall 2012-13

“The Cleveland Foundation’s just-announced $10 million grant to The Cleveland Orchestra — the largest arts grant in the foundation’s history — is a ringing vote of confidence in the future of this treasured local institution and its pacesetting innovations. . . . The grant is a welcome affirmation that The Cleveland Orchestra will be making beautiful music for another 100 years.”


On March 28, The Cleveland Foundation announced the awarding of a five-year, $10 million grant to The Cleveland Orchestra in support of the Orchestra’s recent and ongoing efforts to attract a new, broader audience and to transform itself for the future. Given as part of the Orchestra’s Sound for the Centennial Campaign, this unprecedented grant is the largest single grant to an arts organization in the Foundation’s 99-year history. “We are deeply grateful for the Cleveland Foundation’s extraordinary grant and the confidence in the Orchestra’s strategic direction that it represents,” says Gary Hanson, executive director of The Cleveland Orchestra. “Over the past year, the foundation’s staff and board have rigorously assessed the Orchestra’s ongoing transformation and we sincerely appreciate their generous commitment to our work.” “Through the years, the Cleveland Foundation has stepped up to provide significant support to major Northeast Ohio institutions at pivotal times,” remarked Ronald B. Richard, president and chief executive officer of the Foundation. “We intend that this grant will catalyze additional leadership funding for the Orchestra’s creative efforts in the community to make this world-class institution accessible and enjoyable to all of Greater Cleveland for years to come.” The grant to the Orchestra was part of a record $26.6 million in grants in the first quarter of 2013 authorized by the Foundation’s board of directors, including grants in support of core neighborhood and youth initiatives, educational institutions, and efforts to create a vibrant downtown. Established in 1914, the Cleveland Foundation is the world’s first community foundation and one of the largest today. Through the generosity of donors, the foundation improves the lives of Greater Clevelanders by building community endowment, addressing needs through grantmaking, and providing leadership on vital issues.






Longterm generosity and new commitments by Kulas Foundation and John P. Murphy Foundation recognized through the naming of Severance Hall’s upper lobby and dress circle seating




Two important parts of Severance Hall — the dress circle seating area of the Concert Hall, and the adjoining dress circle lobby — have been named in recognition of longterm support for The Cleveland Orchestra by two extraordinary local organizations: the John P. Murphy Foundation and the Kulas Foundation. Both have long historical relationships with the Orchestra and have made generous new funding commitments to the Sound for the Centennial Campaign, which spans the decade leading to the Orchestra’s 100th anniversary in 2018. “These two foundations represent a special kind of strong, ongoing commitment to the Orchestra — and to the entire Northeast Ohio community,” said Gary Hanson, executive director of The Cleveland Orchestra, in announcing the named spaces. “We are humbled by their generosity and by their faith in the Orchestra’s efforts to transform itself and to harness the passion and power of music to serve more people across the region.” The John P. Murphy Foundation is now permanently honored at Severance Hall with the naming of the John P. Murphy Dress Circle Lobby. The Foundation and its trustees and officers have been generous supporters of The Cleveland Orchestra since 1970, contributing more than $7.5 million. John P. Murphy began serving on the Musical Arts Association board of trustees in 1953 and continued as a trustee until 1968. The Foundation has made a ten-year commitment of funding to The Cleveland Orchestra as part of the comprehensive Sound for the Centennial Campaign. “The John P. Murphy Foundation has long understood the tremendous value that The Cleveland Orchestra holds for all of Northeast Ohio,” says Nancy W. McCann, president of the Foundation’s board of trustees. “Our $3 million commitment to the Sound for the Centennial Campaign is an investment in this community that will help the Orchestra sustain its world-renowned level of artistic excellence while engag-


ing more local residents through transformative and innovative musical programming.” With the naming of the Kulas Dress Circle, the Orchestra permanently honors the Kulas Foundation, which has generously supported The Cleveland Orchestra for three-quarters of a century. With their lifelong passion of music, Elroy J. Kulas and his wife, Fynette, began supporting the Orchestra in 1919, long before they established the Kulas Foundation in 1937. Both later served as active members of the Musical Arts Association board of trustees. In the past three decades, the Kulas Foundation has contributed more than $10 million to The Cleveland Orchestra. Their generosity has helped support education programs as well as the construction and naming of Kulas Plaza at Blossom Music Center to provide updated services for donors. They recently committed $3 million for the Sound for the Centennial Campaign. “We are extraordinarily grateful to Kulas Foundation trustees Richard W. Pogue, Patrick F. McCartan, and Nancy W. McCann for their leadership in working to support The Cleveland Orchestra,” said Gary Hanson. “The Cleveland Orchestra is among Northeast Ohio’s top cultural gems,” continued Nancy McCann. “With our commitment to this Campaign, the Kulas Foundation honors the ensemble’s 100th anniversary and looks forward to the Orchestra’s ongoing role as a strong and vibrant part of this community’s future.”

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

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OrchestraNews Orchestra will be “at home” in Gordon Square

Inaugural neighborhood residency will bring an intensive week of performances, activities, and concerts on west side, May 11-17

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in part by the Machaskee Fund for Community Programming, a fund created by a generous endowment gift from Alex and Carol Machaskee. The centerpiece of the “At Home” in Gordon Square week of over a dozen free music presentations will be a Thursday night concert by The Cleveland Orchestra at Saint Colman Catholic Church. Seating for this is limited and tickets are required. Tickets can be obtained from a variety of Gordon Square businesses and organizations beginning on Saturday, April 27. Complete details of all the free performances and activities for “At Home” in Gordon Square — including family-friendly programs for all age groups — can be found on the Orchestra’s website at A new neighborhood or town will be chosen each season to partner with The Cleveland Orchestra in creating a unique and intensive week-long festival of musical activities, performances, exploration, and everyday fun.


In May, The Cleveland Orchestra launches its “At Home” neighborhood residency program with an intensive week of performances and activities in the Gordon Square Arts District on Cleveland’s west side. All of the events, May 11-17, will be free and open to the public. Leaders and representatives from Gordon Square businesses and associations have partnered with the Orchestra to plan and host the week’s activities. These new “At Home” residencies are being designed to immerse the Orchestra in local neighborhoods through a festival-like week of performances and presentations, in order to bring the Orchestra’s musicians in closer context, contact, and connection with the Northeast Ohio community. “The citizens of this region created The Cleveland Orchestra,” says executive director Gary Hanson, “and continue to support the Orchestra’s music-making and its education programs at a higher level than any other metropolitan area in the country. In thanks for that faithful support, as a way to give back to the community, and as part of our ongoing commitment to Northeast Ohio, we are working to create a real-life everyday connection with neighborhoods throughout the region.” The Cleveland Orchestra’s “At Home” neighborhood residency program is supported



OrchestraNews Orchestra violinist promoted and new musician hired . . .



Music Director Franz Welser-Möst and The Cleveland Orchestra have announced the appointment of a new assistant concertmaster and a new member of the second violin section. Both appointments began at the end of April. Alexandra Preucil, a member of the violin section since 2008, moves forward in the first violins to hold the Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Assistant Concertmaster Endowed Chair. She graduated from the Cleveland Institute of Music with a bachelor’s degree in music and a minor in dance. While in school, Ms. Preucil was assistant concertmaster with the Akron and Canton symphonies, and was a member of the Svanito Quartet. Yun-Ting Lee joins The Cleveland Orchestra as a member of the second violin section. Prior to his appointment, he was a member of Canton Symphony Orchestra and CityMusic Cleveland, and performed as a substitute violinist with the Cincinnati Symphony Orchestra. Most recently, he won a position with the Minnesota Orchestra. A native of Taiwan, Mr. Lee grew up in Arizona, and holds bachelor’s and master’s degrees from the Cleveland Institute of Music.

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

Silence is golden As a courtesy to everyone around you, patrons are reminded to turn off cell phones and to disengage electronic watch alarms prior to each concert.

11/5/13 Ravel: Intimate Masterpieces Yolanda Kondonassis and friends 11/20/13 Yo-Yo Ma, cello Kathryn Scott, piano 12/3/13 The Cleveland Orchestra 2/9/14 Imani Winds with Gilbert Kalish, piano 3/1/14 George Li, piano 4/6/14 Susan Graham, mezzo-soprano 4/13/14 Takacs String Quartet


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OrchestraNews Collaboration with Cleveland Museum of Art continues with “California Masterworks” concerts on May 1 and 3

serve University professor Henry Adams (speaking about modern and 20th-century California art), and concludes with a special performance of John Cage’s large-scale multi-media work HPSCHD in the Museum’s Ames Family Atrium on the evening of May 3, from 9 to 11 p.m. The Orchestra and Museum presented their first similar collaboration in 2011, with a series of in-gallery chamber orchestra performances titled “Italian Masterworks.” These Cleveland Orchestra performances are made possible in part by the Keithley Fund for Artistic Collaboration, created through a generous gift to the Orchestra’s endowment. Additional support is provided through endowed funds at the Cleveland Museum of Art. For more information or to purchase tickets to “California Masterworks,” visit the Museum’s website at


The Cleveland Orchestra and the Cleveland Museum of Art renew their collaborative work together in May with “California Masterworks,” featuring two Cleveland Orchestra concerts of works by groundbreaking composers associated with California. James Feddeck, Cleveland Orchestra assistant conductor, conducts two different programs, Wednesday, May 1, and Friday, May 3, at the Museum’s Gartner Auditorium. The programs feature works by John Adams, Henry Cowell, Lou Harrison, Terry Riley, James Tenney, and, in a posthumous world premiere, Dane Rudhyar. In addition to the concerts, “California Masterworks” will also include the showing of three films highlighting California composers (Crossroads and Music with Balls on April 26, and Lou Harrison: A World of Music on April 29), plus Concert Previews talks with Case Western Re-

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OrchestraNews Mellon Foundation grants $2.5 million to Cleveland Orchestra for artistic initiatives




The Andrew W. Mellon Foundation has awarded a new $2.5 million grant to The Cleveland Orchestra to support artistically ambitious programming with special emphasis on opera and ballet. The gift — the largest to the Orchestra in the Foundation’s history — supports the type of programming and partnerships that challenge and expand the Orchestra and help distinguish the ensemble from its peers. “We are grateful to the Andrew W. Mellon Foundation for supporting artistic initiatives as part of our ongoing transformation,” said Gary Hanson, the Orchestra’s executive director, in making the announcement. “Of national philanthropic foundations, the Mellon Foundation is among the most important in the support of symphony orchestras. We deeply appreciate their recognition and endorsement of the work of The Cleveland Orchestra.” The Mellon Foundation award will support opera performances in the next three seasons at Severance Hall, beginning with semi-staged performances of Janáček’s The Cunning Little Vixen in May 2014, led by music director Franz Welser-Möst. In addition, the grant also supports world-renowned guest artists in longterm collaborations with The Cleveland Orchestra, such as conductor Ton Koopman, pianist Mitsuko Uchida, and music director laureate Christoph von Dohnányi. The New York-based Andrew W. Mellon Foundation has a long history of supporting The Cleveland Orchestra and of funding efforts to reach new listeners. Its first gift to the ensemble was in 1977, and a grant of $800,000 in 2009 supported the then-new “Fridays@7”series as well as performances of opera, chamber music, and collaborations with Chicago’s Joffrey Ballet. The new Mellon gift and its challenge component through June 2016 add momentum to current fundraising efforts, which include comprehensive commitments to annual giving and legacy gifts to the Orchestra’s endowment.


Children’s Choruses present spring concert on May 13 The Cleveland Orchestra Children’s Chorus — along with the group’s Preparatory Chorus — present their annual spring concert on Monday evening, May 13. The program of choral works begins at 7:30 p.m. at University Circle United Methodist Church (1919 East 107th, Cleveland). The concert is free and open to the public.

Blossom Women’s Committee spring membership luncheon to be held on May 8 The Blossom Women’s Committee is holding their spring membership luncheon on Wednesday, May 8, in Pepper Pike. The program includes a performance by retired assistant principal cello Diane Mather together with clarinetist Joseph Fried and pianist Nina Fried. The event includes a pre-lunch reception, luncheon, and the musical performance. Tickets are $38 and can be ordered through May 1. The luncheon takes place at the Country Club (2825 Lander Road). The public is welcome. For additional information, send an email to Lis Hugh at

Comings and goings As a courtesy to the performers onstage and the entire audience, late-arriving patrons cannot be seated until the first break in the musical program.

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OrchestraNews Read and learn about events across Northeast Ohio at Founded in 2008 to enhance the information available about classical music across Northeast Ohio, publishes a comprehensive calendar each Tuesday of upcoming concert listings and previews, plus features and reviews of concerts and performances throughout the region — including previews and reviews of Cleveland Orchestra concerts. Visit their website to sign up for a free weekly email.

Education & Community

The Cleveland Orchestra notes the death on the morning of April 16 of retired Orchestra trumpeter David Zauder, in Colorado surrounded by his family. David was hired by George Szell in 1958, joining the trumpet section of The Cleveland Orchestra. He served until the close of the 1996-97 season, taking on the concurrent role of principal cornet and retiring after 39 years — longer than any other trumpeter in the Orchestra’s history. Equal in importance to his service as a member of the Orchestra was David’s extraordinary tenure as the Orchestra’s personnel manager, a post he held for 25 seasons. He had earlier served as assistant personnel manager, 1960-71. While much of David’s work was out of the spotlight, he stepped forward as a soloist with the Orchestra on several occasions. His final solo appearance was for the opening night gala concert in 1996. He was also the featured soloist in twenty concerts with the Blossom Festival Concert Band, an organization for which he was the guiding spirit from its inception in Blossom’s second season in 1969. In recognition of his extraordinary service, David Zauder was the recipient of the Orchestra’s Distinguished Service Award in 1997. His great humanity and his love of life were shaped by his personal history as a Holocaust survivor. David Zauder was born in Krakow, Poland, in 1928 or 1931 — his birth year is uncertain as his birth certificate was destroyed during the war. As a youth, he was interned in the Auschwitz, Flossenburg, and Sachsenhausen concentration camps. David survived and began his new life in America on May 20, 1946. His story has been told in the published work of his daughter, Karen Brass. A special memorial service will be held to honor David Zauder in Severance Hall’s Reinberger Chamber Hall on Sunday morning, May 26, beginning at 10:30 a.m.

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Composer Sean Shepherd met with students in April at Shaker Heights High School (above), Baldwin Wallace University, Cleveland School of the Arts, and the Cleveland Institute of Music as part of his work as the Daniel R. Lewis Young Composer Fellow. Shepherd was in town for the world premiere performances of his new work, Tuolumne, created as part of his two-year fellowship with The Cleveland Orchestra. The Plain Dealer wrote of his new work: “Inspired by three photographs by Ansel Adams, the colorful piece readily achieved its goal, evoking the harsh environment of the Sierra Nevada and the tug-of-war between black and white that defines the pictures.”





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




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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Chorus auditions announced for children, youth, and adult singers for Blossom and 2013-14

pare a piece from the OMEA Solo & Ensemble list, or an equivalent classical solo piece; Broadway or “pop” tunes are not acceptable. In addition to the prepared piece, students will be asked to sight-read and demonstrate their vocal range. An accompanist is provided at the audition. The Cleveland Orchestra Chorus is one of the few professionally trained, all-volunteer choruses sponsored by a major American orchestra. Coming from nearly fifty Northeast Ohio communities, members of the Chorus perform with The Cleveland Orchestra in subscription and Christmas concerts each year. Previous choral experience and sight-reading skills are required. The Blossom Festival Chorus includes many members of the Cleveland Orchestra Chorus and other Northeast Ohio choral groups. It has established itself as a permanent annual part of the summertime Blossom Festival and has sung in more than 100 concerts since its 1968 debut. Both groups are directed by Robert Porco. Auditions for the Cleveland Orchestra Chorus and Blossom Festival Chorus will be held May 20 and 21, by appointment only. Those auditioning are asked to prepare two pieces from the classical literature, one of which should be in a foreign language. Each piece should be approximately two minutes in length. Previous choral experience and sight-reading skills are required. An accompanist is provided at the audition. To schedule an audition, call the Chorus Office at 216-231-7374, or send an email to



Cleveland Orchestra News


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Spring audition dates for the choral groups sponsored by The Cleveland Orchestra have been announced. The auditions — for adults, youth, and children — are for membership in groups singing during the 2013 Blossom Music Festival and the 2013-14 Season at Severance Hall. Auditions will take place in May and June. The Cleveland Orchestra Choruses embody a long-standing commitment to choral music in which community members of all ages have the opportunity to participate. The Cleveland Orchestra Children’s Chorus is open to students in grades 6-8 and directed by Ann Usher, and the Cleveland Orchestra Children’s Preparatory Chorus is open to students in grades 5-8 and directed by Suzanne Walters. Both groups are holding auditions on May 20, June 3, and June 8. The Children’s Chorus, formed in 1967, provides musical training in vocal production and choral performance skills. The Children’s Preparatory Chorus provides children with initial choral experiences to which younger singers may not have been exposed, while establishing a solid foundation in vocal production techniques. To audition, children are asked to sing one verse of “America” (My Country, ’Tis of Thee) with piano accompaniment in the key of his or her choice and one verse of “America the Beautiful” (Oh beautiful, for spacious skies) without accompaniment in the key of D. Singing scales and doing some rhythmic exercises may also be included in the audition, for which an accompanist is provided. Students in grades 9-12 are welcome to audition for the Cleveland Orchestra Youth Chorus, directed by Lisa Wong, on May 4, June 1, or June 2. Created in 1991, the Youth Chorus helps raise awareness of choral music-making in the schools of Northeast Ohio and encourages students to continue their choral activities through college and into adulthood. The Youth Chorus collaborates each season in performance with the Cleveland Orchestra Youth Orchestra. Youth Chorus audition requirements are to pre-

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

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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. April 25, 26, 27 “Haydn’s The Seasons” with Francesca Brittan, assistant professor of musicology, Case Western Reserve University

May 3, 4, 5 “Drama from Start to Finish” with Rose Breckenridge, Cleveland Orchestra Music Study Groups administrator and lecturer

May 9, 10 “Handel and George I and George II” with David J. Rothenberg, associate professor of musicology, Case Western Reserve University

May 23, 25 “Fate and Tchaikovsky’s Fifth”

Concert Previews

with Michael Strasser, professor of musicology, Baldwin Wallace University Conservatory of Music For Concert Preview details, visit



W E L S E R - M Ö ST M U S I C


Severance Hall

Friday morning, May 3, 2013, at 11:00 a.m. * Saturday evening, May 4, 2013, at 8:00 p.m. Sunday afternoon, May 5, 2013, at 3:00 p.m.

Ton Koopman, conductor w.a. mozart (1756 -1791)

johann c. c. fischer (1752 -1807)

Symphony No. 1 in E-flat major, K16 1. Molto allegro 2. Andante 3. Presto

Symphony with Eight Obbligato Timpani 1. Moderato 2. Adagio 3. Allegretto PAUL YANCICH, timpani

w.a. mozart


1. Allegro 2. Andante 3. Allegro


jean-féry rebel

Overture: Chaos, from Les Élémens

f. joseph haydn

Symphony No. 45 (“Farewell”) in F-sharp minor




1. 2. 3. 4.

Allegro assai Adagio Menuet: Allegretto Finale: Presto — Adagio

(Program notes for these concerts begin on page 39.)

Paul Yancich’s solo appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from Mr. and Mrs. James P. Storer. The Cleveland Orchestra’s Friday Morning Concert Series is endowed by the Mary E. and F. Joseph Callahan Foundation. The Saturday concert will end at approximately 9:45 p.m. and Sunday’s at about 4:45 p.m.

* The Friday morning concert is performed without intermission and features

Mozart’s First Symphony, the Symphony with Timpani, and Haydn’s “Farewell.” The performance will end at approximately 12:05 p.m.


Concert Program — Week 21-A

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W E L S E R - M Ö ST M U S I C


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Severance Hall

Thursday evening, May 9, 2013, at 8:00 p.m. Friday evening, May 10, 2013, at 8:00 p.m.

Ton Koopman, conductor


george frideric handel (1685-1759)

Water Music, Suite No. 1 in F major 1. 2. 3. 4. 5. 6. 7. 8. 9. 10.

Overture Adagio e staccato [without tempo indication] Andante [without tempo indication] Air Minuet Bourrée Hornpipe [without tempo indication]

Zadok the Priest, Coronation Anthem No. 1 CLEVELAND ORCHESTRA CHAMBER CHORUS


Te Deum (“Dettingen”) in D major JAY CARTER, countertenor STEVEN SOPH, tenor KLAUS MERTENS, bass-baritone CLEVELAND ORCHESTRA CHAMBER CHORUS Robert Porco, director (Program notes for these concerts begin on page 55.)

The May 9 and 10 concerts are sponsored by Thompson Hine LLP. Klaus Mertens’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from The Eleanore T. and Joseph E. Adams Fund. The Thursday evening concert is dedicated to Mr. and Mrs. Alfred M. Rankin, Jr. in recognition of their extraordinary generosity in support of The Cleveland Orchestra’s 2011-12 Annual Fund. The Friday evening concert is dedicated to James D. Ireland III in recognition of his extraordinary generosity in support of The Cleveland Orchestra’s 2011-12 Annual Fund. The Thursday and Friday evening concerts will end at approximately 9:50 p.m.

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Concert Program — Week 21-B


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Mozart, Haydn & More

T H E S E C O N D H A L F O F the 18th century, which we now know as music’s “Classical” period, bestowed a wealth of compositions to the orchestral literature. Many of these are masterpieces that are wellknown to much of the musical public, notably the mature symphonies of Haydn and Mozart and most of the latter composer’s piano concertos. But the great quantity of music written during the Classical period guarantees that some worthy and fascinating pieces remain little known and seldom performed. This weekend’s Cleveland Orchestra program samples some of these neglected works. It includes two symphonies by Mozart, neither of them among the half-dozen or so that have become familiar concert fare. We begin with a piece that is the first symphony Mozart composed (he wrote it at just eight years of age). Later, the concerts on Saturday and Sunday feature a more mature symphony from the composer’s prolific adolescence. With these symphonies come some true oddities. The first is a concerto in all but name, one that is singular in its use of timpani as the solo instrument. And, on Saturday and Sunday, we also hear a quite unusual piece of program music, one written to represent nothing less than the creation of material order out of elemental chaos. The concert concludes with the only piece on the program that is widely known — Franz Joseph Haydn’s “Farewell” Symphony. This work is famous for its finale, which embodies both a slender drama and a message from the composer to his employer. But the rest of the symphony is just as remarkable for its agitated themes and lacerating harmonies, qualities that make this one of the most arresting symphonies of its era. —Paul Schiavo

Ton Koopman is serving in his third and final year as The Cleveland Orchestra’s artist-in-residence, a position made possible by the Malcolm E. Kenney Artist-in-Residence Fund.


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, June 16, at 4:00 p.m.

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Introducing the Program — May 3, 4, 5


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Symphony No. 1 in E-flat major, K16 composed 1764 MOZART’S WORK


Wolfgang Amadè

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

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as a symphonist spanned very nearly his entire career. Between his eighth and thirty-second years, he produced over fift y compositions in this form, more than three dozen of which are now recognized as original symphonies in the accepted canon of his works. (The others are symphonic pieces the composer derived second-hand from his serenades and opera overtures.) The last of these compositions is the magnificent “Jupiter” Symphony, a pillar of the symphonic literature and one of the crown jewels of Mozart’s output. The first is the Symphony in E-flat major, cataloged as K16 in the chronological numbering done by Ludwig Ritter von Köchel in the middle of the 19th century. Mozart composed the E-flat symphony, K16, in 1764, in London, when he was all of eight years old. He had come to the English capital in the company of his family during his “grand tour” as a child prodigy. In a memoir written after the composer’s death, Mozart’s sister, Maria Anna (or “Nannerl,” as she was known familiarly), recalled that in August 1764, while the family was staying in London, their father, Leopold Mozart, fell seriously ill. Until he recovered, Nannerl and Wolfgang were forbidden to touch the keyboard. The son therefore composed his first symphony directly onto paper, his sister copying the music as he did so. It is not certain that the work Nannerl referred to is, in fact, K16. Some Mozart scholars have hypothesized an even earlier effort. No such work, however, has been uncovered by researchers, and Georges de Saint-Foix, author of the classic study The Symphonies of Mozart, declared himself convinced that this E-flat symphony was indeed Mozart’s initial foray into symphonic writing. Whether or not K16 actually represents Mozart’s first symphonic essay, it forecasts his mature style to a remarkable degree. Indeed, Mozart’s earliest extant symphony presages his last one almost uncannily, even though it is, understandably, far less mature and intricately wrought. The work’s initial phrase presents a strong unison statement followed at once by a more lyrical one, thus establishing two poles of expression in its very first moments. This would remain a favorite Mozartean device; we find a notable instance About the Music — May 3, 4, 5


At a Glance Mozart probably wrote this symphony in 1764 in London. The occasion of its first performance is unknown. This symphony runs about 10 minutes in performance. Mozart’s score specifies an orchestra of 2 oboes, 2 horns, and strings. The Cleveland Orchestra first played this symphony at concerts in October 1976, conducted by Lorin Maazel. It was most recently performed in March 2003, conducted by Michael Stern.

of it again at the outset of his final symphony. An even more tangible connection between K16 and Symphony No. 41 from 1788 occurs in the second movement. Here, after the opening phrase, the horns give out a figure whose first four notes are the celebrated “Jupiter motif,” the one Mozart would develop so brilliantly in the finale of his last symphonic essay. For all this, K16 is not merely a precursor of glories to come. Rather, it has charms quite its own, not the least being the abundant energy of its opening movement. If the Andante second movement is uncharacteristically lacking in melodic interest, its harmonies are nevertheless expressive and deftly controlled. And the ensuing third-movement Presto shows Mozart already cognizant of the 18th-century “hunting finale” tradition. —Paul Schiavo © 2013 Paul Schiavo is program annotator for the Saint Louis Symphony Orchestra and Seattle Symphony, as well as a frequent contributor to the program magazines of Lincoln Center, Carnegie Hall, and other organizations. He has lectured on musical subjects at festivals across the United States.

FAMILY PORTRAIT A later engraving based on a favorite Mozart family portrait painted in 1780-81. Wolfgang and his sister, Nannerl, are sitting at the fortepiano, father Leopold stands with his violin, and mother Anna (who died in 1778) is represented in the portrait on the wall.


May 3, 4, 5 — About the Music

The Cleveland Orchestra

Symphony in C major with Eight Obbligato Timpani composed circa 1780s

[*] by

Johann Carl Christian

FISCHER born circa 1752 unknown died circa 1807 Scherwin, near Berlin

* no portrait

of Fischer is known to exist

Severance Hall 2012-13


rarely glamorous but nevertheless important task of musical scholarship has restored to us many lost compositions of the 18th century, including works by such important figures as Bach, Vivaldi, Haydn, and Mozart. Occasionally, however, musicological research turns up unsuspected curiosities by more obscure composers. These works may not be masterpieces, but they nevertheless help to expand out our understanding of music from the Baroque and Classical periods, and enliven our present-day concert life. Such a composition is the Symphony in C major with Eight Obbligato Timpani by Johann Carl Christian Fischer. Fischer was one of the thousands of unsung musicians whose creditable if unspectacular talents contributed to the rich fabric of musical life in central Europe during the 18th century. Of the very few biographical details known about him, the first that should be mentioned is that he is not the well-known same-named oboist-composer Johann Christian Fischer (17331800), a contemporary of Haydn’s whose concertos still figure in the oboe repertory. (Understandably, these two musicians are frequently confused, or their biographies merged together as one, in online entries and databases.) According to research done by Harrison Powley, professor of music at Brigham Young University (and an early teacher at the Eastman School of Music of this weekend’s soloist, Paul Yancich), the Fischer who concerns us here was an obscure north German music copyist, composer, and theater director at the ducal court in Schwerin, one of the many small principalities, duchies, baronies, and other provincial entities that made up what would eventually become the nation-state of Germany. Among other duties, Fischer was responsible for the ceremonial pageantry at the palace of Duke Friedrich Franz I. He probably composed his symphony with timpani for some august court function, though what remains unknown. In any event, it was almost certainly written before 1792, the year Fischer retired from the employ of Friedrich Franz I. For many years this piece was attributed to another composer, Johann Wilhelm Hertel, but recent research has ascerAbout the Music — May 3, 4, 5


At a Glance We do not know when Fischer composed this Symphony with Eight Obbligato Timpani, although it was probably before his retirement from Friedrich Franz I’s service in 1792. The work’s first performance is also unknown. This work runs about 15 minutes in performance. The score calls for 2 oboes, 2 trumpets, and strings, plus for eight timpani. The Cleveland Orchestra is presenting this piece for the first time with this weekend’s concerts.

tained Fischer’s authorship. Despite its title, this work is not really a symphony but a concerto for timpani, including a fully notated cadenza at the end of the first movement. The eight drums called for are tuned to the notes of a C major scale running from G to the G an octave above. Through much of the piece, particularly those passages utilizing the full orchestra, Fischer employs the timpani in the conventional manner — that is, to support the bass line by playing a few fundamental pitches that give rhythmic and textural emphasis to changes of harmony. But in the most interesting episodes, he exploits the timpani battery’s ability to articulate melodic lines or more sophisticated accompanying figures such as we might find in late 18th-century keyboard music. The work follows the usual three-movement design of a Classical-period concerto. The initial movement begins with a concerted orchestral passage, the standard opening for a concerto in the 18th century. Near the conclusion of this movement comes a cadenza solo written out by Fischer (to which Yancich has added some personal embellishments, as a soloist in the original era might well have done). The Adagio second movement provides a brief transition to the rondo-form finale. The third movement’s several sections entail changes of tempo. The brief cadenza that revisits the principal theme following an adagio interlude has been written by Yancich. 20th-century composers have occasionally turned to percussion instruments as a concerto resource, and percussionists now can appear as soloists in works by Darius Milhaud, Joseph Schwantner, James Oliverio, and other composers. Whatever other virtues it may possess, Fischer’s piece stands as perhaps the first concerto to use drums as the solo instrument. Even the enterprising Antonio Vivaldi, whose nearly 450 extant concertos employ nearly every other instrument known during the 18th century, never ventured anything like it.

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May 3, 4, 5 — About the Music


—Paul Schiavo © 2013

The Cleveland Orchestra

Symphony No. 17 in G major, K129 composed 1772


Wolfgang Amadè

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

M O Z A R T W A S A N E X T R A O R D I N A R Y child prodigy, as demonstrated by having composed his first symphony before his ninth birthday. But it was during his adolescence that he first matured as a composer of orchestral music. In 1772, the year he turned sixteen, Mozart completed seven symphonies, and they show a markedly increased assurance in his handling of all facets of the genre. Among these works is a symphony in the key of G major, written in May of that year, which the great 19th-century musicologist Ludwig Köchel eventually entered as work No. 129 in his pioneering catalog of Mozart’s compositions. In this work, Mozart dispenses with the minuet, which would later become a standard feature of the Classical-period symphony, thereby limiting the piece to three movements. The first begins with a sonorous chord that seems to propel the initial theme forward. Both this subject and the second, which follows in due course, feature a Lombard rhythm — two-note figures, the first note played very quickly — and Mozart makes dramatic use of that rhythmic motif during the brief development episode at the center of the movement. There follows a melodious slow movement with a contrapuntal development passage. And then the third movement begins with a fanfare that recalls once more the hunting-finale tradition, which Mozart had acknowledged in his very first symphony. The music that follows races along in rollicking triplet rhythms, almost creating the impression of a jig.

—Paul Schiavo © 2013

At a Glance Mozart’s autograph score for this symphony bears the date May 1772, but there is no record of its first performance. This symphony runs about 15 minutes in performance. Mozart scored it for 2 oboes, 2

Severance Hall 2012-13

About the Music — May 3, 4, 5

horns, and strings. The Cleveland Orchestra previously performed this symphony as part of the 2002 Blossom Festival, when Steven Smith led a performance in July that year.


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Overture: Chaos, from the symphony Les Élémens composed 1737 T H E M O S T C E LE B R AT E D




baptized April 18, 1666 Paris died January 2, 1747 Paris

Severance Hall 2012-13

member of a family of French composers and instrumentalists, Jean-Féry Rebel enjoyed a successful career as violinist, composer, and conductor in Paris. Musically capable and politically astute, he succeeded to a series of increasingly prestigious positions within the Académie de Musique (forerunner of the Paris Opéra) and the royal court. Among these posts was court chamber composer, in which capacity Rebel wrote vocal music and works for small instrumental ensembles. Rebel’s most notable compositions, however, took the form of “symphonies” conceived for choreography by leading dancers of the day. (Ballet enjoyed considerable favor in Paris during the 17th and 18th centuries, when Louis XIV’s enthusiasm for terpsichorean entertainment resulted in the creation of lavish dance productions.) Rebel’s crowning work of this kind was his score for a spectacle entitled Les Élémens (or “The Elements”). Written in 1737 — Rebel was then over 70, and this was his final composition — Les Élémens purported to “depict by dance and by music,” the composer explained in the preface to his score, the “distinctive characters of the elements,” meaning the four classical forms of matter — earth, air, fire, and water. Rebel suggests each of them through picturesque musical figuration: flowing melodies on the flute for water, lively passagework in the violins for fire, and so forth. Rebel called Les Élémens a “Simphonie,” though neither its compositional design nor its musical details suggest anything we would today call a symphony. Rather, they present unmistakably a dance suite. The most substantial, and by far the most remarkable, of its nine movements is the overture. This, Rebel asserted in his preface, depicts “Chaos itself, that confusion which reigned among the elements before the instant in which, according to inviolable laws, they took the places prescribed to them in the order of nature.” Its opening moment seems chaotic indeed, for the initial sound is a harsh chord encompassing all seven pitches of a D minor scale. Over the course of the first several measures, this dissonance gradually resolves to a single pitch, thus providing a graphic representaAbout the Music — May 3, 4, 5


tion of chaos giving way to order. Rebel then goes on to weave musical images of the four elements into a somewhat diverse movement. The whole piece is one of the more striking examples of pictorial music from the Baroque period and anticipates by three-quarters of a century the “Representation of Chaos” that opens Haydn’s oratorio The Creation. —Paul Schiavo © 2013

At a Glance Rebel wrote his dance suite Les Élémens (“The Elements”) in 1737. It was performed for the first time on September 27, 1737, in Paris. The overture, Le cahos (“Chaos”), from Les Élémens runs about 5 minutes in performance.

The score calls for 2 flutes, 2 oboes, bassoon, 2 horns, 2 trumpets, timpani, harpsichord, and strings. The Cleveland Orchestra is performing this work for the first time with these concerts.

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May 3, 4, 5 — About the Music

The Cleveland Orchestra

Symphony No. 45 (“Farewell”) in F-sharp minor composed 1772 H AY D N ’ S “ F A R E W E L L” S Y M P H O N Y ,


F. Joseph


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

Severance Hall 2012-13

known as No. 45 in the standard listing of his output, is one of the composer’s most famous works. Certainly it deserves its renown — but not just for its unusual finale and the remarkable anecdote attached to it. By any measure, this is one of the most expressive and keenly original symphonies of the eighteenth century. Each of its four movements offers unconventional developments, and the whole is marked by a startling intensity of feeling. But first, the story of the finale. By 1772, the year he wrote the “Farewell” Symphony, Haydn had served a full decade as Kapellmeister — conductor and resident composer — of the musical establishment maintained by Nikolaus, Prince Esterházy, one of the most powerful and wealthy peers of the Hapsburg empire. Among Haydn’s duties in this post was to write several symphonies each year for the court orchestra. In the mid-1760s, Prince Nikolaus began to build a splendid rural estate about fift y miles from Vienna. He soon established the habit of moving his court there for the summer season, initially for a few months but gradually for greater and greater periods. While “Esterháza” was under construction, it could not accommodate the Prince’s full entourage, and the court musicians consequently had to sojourn there without the company of their wives. This, of course, did not sit well with the players, and their frustration grew acute during the autumn of 1772, when Prince Nikolaus tarried far longer than usual at his country retreat. Haydn felt it incumbent upon himself to petition the prince on behalf of the orchestra, but this mission had to be carried out delicately. Although admired as one of the outstanding composers of his day, he was still essentially a servant to the Esterházy family, a status that did not allow him to make demands upon his employer. Finally, however, he hit on an ingenious solution. When Prince Nikolaus attended the performance of the composer’s latest symphony, he was surprised to find the piece gradually winding down, as one player after another concluded his part, blew out his candle, and left the hall. At last only two violinists remained. To his credit, the Prince reportedly not only perceived the message intended by this scene but ordered his court to depart for Vienna the following day. About the Music — May 3, 4, 5




– Marshall McLuhan, 1911-1980


Photo by Roger Mastroianni



John Moore U 216-721-4300 U

Its unique finale alone would distinguish the “Farewell” Symphony, but even apart from this the composition commands our attention and admiration. In the music he composed around 1770, Haydn achieved an unprecedented degree of originality and sense of passion, and this symphony represents one of his most daring essays of this period. We can hardly mistake the searing emotions of the symphony’s opening movement, whose agitated rhythms and piercing harmonies convey a sense of desperate crisis, one that even a dulcet melody introduced midway through cannot long dispel. Though more relaxed, the second movement maintains musical tension through unexpected turns of line and harmony. Harmonic surprises enliven the ensuing third-movement minuet also — indeed, we do not pass the third measure before encountering a startling “wrong” chord (“wrong” except for Haydn’s convincing use of it). The fourth-movement finale begins with a vigorous Presto section that unfolds much as we might expect the closing movement of a Haydn symphony to do. Having run its course, it gives way unexpectedly to the “Farewell” Adagio. Even deprived of its original purpose and context, the slight drama of the orchestra’s players quitting the proceedings one or several at a time remains curiously affecting. —Paul Schiavo © 2013

At a Glance Haydn wrote his “Farewell” Symphony in the autumn of 1772. It was first performed at Esterháza, a palatial estate east of Vienna, near the present-day border of Austria and Hungary. This symphony runs about 25 minutes in performance. Haydn scored it for 2 oboes, bassoon, 2 horns, and strings. The Cleveland Orchestra first played Haydn’s “Farewell” Symphony during the ensemble’s 1925-26 season. It has been infrequently performed since then, most recently at Severance Hall in 1964, conducted by Louis Lane, and at Blossom in 1977, led by Erich Kunzel.

In appreciation of their support, The Cleveland Orchestra and Musical Arts Association extend a special welcome to Tucker Ellis LLP, whose guests are enjoying a special evening at Severance Hall this weekend.

Severance Hall 2012-13

About the Music — May 3, 4, 5



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 April 15, 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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David and Inez Myers Foundation Ms. Beth E. Mooney Sally S. and John C. Morley John P. Murphy Foundation NACCO Industries, Inc. Julia and Larry Pollock Mrs. Alfred M. Rankin, Sr. Mr. and Mrs. Alfred M. Rankin, Jr. Mr. and Mrs. Albert B. Ratner James and Donna Reid Barbara S. Robinson The Sage Cleveland Foundation Ralph and Luci Schey Foundation The Kelvin and Eleanor Smith Foundation The J. M. Smucker Company Joe and Marlene Toot Anonymous


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The Cleveland Orchestra

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Mr. Clarence E. Klaus, Jr. Mr. and Mrs. Alex Machaskee Mr. Donald W. Morrison Margaret Fulton-Mueller William J. and Katherine T. O’Neill Parker Hannifin Corporation Charles and Ilana Horowitz Ratner Mr. and Mrs. James A. Saks The Skirball Foundation Mr. and Mrs. Jules Vinney* David A. and Barbara Wolfort

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perfect harmony The Cleveland Orchestra. Tucker Ellis.




was born in Germany, apprenticed in Italy, but pursued his career mostly in England. The success he achieved there was such that he became not just the most celebrated but the essential English musician. For some four decades, beginning in about 1715, hardly any important public occasion was complete without music by Handel. Moreover, the composer enjoyed close ties with three successive English monarchs. Their patronage was an important aspect of his high standing with the public, and his music served to amplify their glory and regal status. Each of the three compositions by Handel that comprise this week’s Cleveland Orchestra program is connected with England’s royal rulers. The first, the first suite from the popular Water Music, originally served as entertainment for King George I and a party of his aristocratic guests during an evening excursion by barge down the Thames. We then hear two works written to honor that monarch’s son and successor, King George II. Handel composed the choral anthem Zadok the Priest for the ceremonies attending the coronation of George II. Both its biblical text and the music itself convey a jubilant tone suitable to the occasion. We find much the same qualities in the “Dettingen” Te Deum. Handel wrote this work to celebrate the victory by the English army, led by George II himself, over French forces at the battle of Dettingen, in 1743 (the king is portrayed on horseback at the battle in the painting above by John Wootton). The King must have been pleased with Handel’s musical tribute. —Paul Schiavo

Ton Koopman is serving in his third and final year as The Cleveland Orchestra’s artist-in-residence, a position made possible by the Malcolm E. Kenney Artist-in-Residence Fund. With this weekend’s concerts, The Cleveland Orchestra gratefully honors The Lubrizol Foundation for its generous support.

Severance Hall 2012-13

Introducing the Program — May 9, 10


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Water Music, Suite No. 1 in F major composed 1717 E X C E P T I N G O N LY T H E P E R E N N I A L


George Frideric


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

Severance Hall 2012-13

oratorio Messiah, Handel’s Water Music is his most familiar composition. It was created for a truly royal entertainment — an excursion by barge on the Thames hosted by England’s King George I. Although Handel was born in Halle, in what is now east-central Germany, he had emigrated to England and quickly established himself as the pre-eminent composer in London during the second decade of the 18th century. He found particular favor with the royal family, whose patronage made him something of a national institution. But events surrounding the succession of the English crown soon threatened to upset this happy situation, events that entailed consequences Handel probably could not have anticipated when he moved to London. At the time he took up residence in England, in 1712, the composer already held the post of Kapellmeister, or music director, at the court of Georg Ludwig, Elector of Hanover. He had obtained leave to visit London with the understanding that he would return to Hanover within a reasonable time. But his rising fortunes in England gave Handel little incentive to leave, and his stay in London became a matter not of weeks or months but of years. We do not know whether the truant Kapellmeister ignored calls to return to Hanover or, indeed, what the state of his relationship with Georg Ludwig was at this time. If, in fact, it was strained, Handel may well have felt some apprehension when, in August 1714, England’s Queen Anne died without leaving an heir and the English crown passed to the House of Hanover. In September, his nominal employer arrived in London as King George I. Handel’s earliest biographers proposed that the composer was in disfavor with the new monarch until the composition of the Water Music restored him to His Majesty’s graces. Although this story has acquired the force of legend, there is little evidence to support it and a good deal to contradict it. George I certainly had more important concerns than holding a grudge against a mere composer. Moreover, he attended performances of Handel’s works shortly after arriving in England and readily renewed the stipend Queen Anne had granted Handel before her death. Some biographers detail a barge trip in 1715, for which there About the Music — May 9, 10


A 2005 documentary by BBC Television worked to recreate the “water party” on the River Thames in 1717 that featured the premiere of Handel’s Water Music. The barge of musicians is pictured here in front of the modern Palace of Westminster. In 1717, a royal flotilla of barges sailed on the river with King George I accompanied by a performance of the new music led by Handel.


May 9, 10 — About the Music

The Cleveland Orchestra

is little real evidence. In any case, most of Handel’s Water Music was probably written for and first heard during a second river trip, on the evening of July 17, 1717. This occasion was amply documented in contemporary newspapers and letters. One report offers these details: “Next to the King’s barge was that of the musicians, about fifty in number, who played on all kinds of instruments. . . . The music had been composed specially by the famous Mr. Handel . . . [and] His Majesty approved of it so greatly that he caused it to be repeated three times in all.” Precisely how Handel grouped the movements that comprised his aquatic serenade, and in what order, is not known, for the work was published in bits and pieces over the course of the next half century. Various factors suggest an arrangement of three suites, and this has become the accepted form for presenting the music. The first suite, written in the key of F major, is sometimes called the “horn suite” for its prominent use of a pair of that instrument. The Water Music consists mostly of movements based on popular court and ballroom dances of the day. These pieces provide a variety of tunes and sonorities, but Handel further enriches the complexion of the work through overtures, fanfare-like numbers, and instrumental airs. The F-major suite begins with a stirring overture, which follows Handel’s typical pattern of a ceremonious introduction in slow tempo leading to a contrapuntal Allegro. This was not Handel’s invention, but represents the form of the “French overture,” one of the most common compositional designs in use during the Baroque period. This suite also includes several particularly fine examples of the Handelian instrumental aria. The first, which follows the overture, features the oboe. Here and in the “Air” that follows later, the music’s melodic lines and harmonies combine dignity and tenderness in equal measure, a singularly Handelian trait. Between these two gentle movements comes a variegated movement with brilliantly robust Allegro passages framing a poignant central Andante. The dances feature the characteristic rhythms of the minuet, bourrée, and others well known to the aristocratic guests aboard King George’s barge. Most of the music is ideally suited for outdoor performance, and one delights in imagining how it must have sounded to its first audience, floating on the Thames on that warm summer evening in 1717.

At a Glance Handel most likely wrote his Water Music in 1717. The first documented performance took place during a “water party” for King George I on the Thames River, near London, on July 17, 1717. Handel probably directed the musicians, who sat together on a river barge. The full Water Music runs about 45 minutes in performance. Handel’s score is usually interpreted for a modern orchestra of 1 or 2 flutes (sometimes with one player doubling on piccolo), 2 oboes, bassoon, 2 horns, 2 trumpets, harpsichord, and strings. Some related wind instruments, such as recorders, were probably used in performances during Handel’s lifetime. The Cleveland Orchestra first presented selections from Handel’s Water Music during the 1926-27 season. A number of performances have taken place since that time, most recently at Severance Hall in spring 2010, when Bernard Labadie led performances of all three suites, and as part of the 2008 Blossom Festival, when Nicholas McGegan led a selection of movements from the second and third suites.

—Paul Schiavo © 2013 Severance Hall 2012-13

About the Music — May 9, 10


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Zadok the Priest, Coronation Anthem No. 1 composed 1727


George Frideric


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

Severance Hall 2012-13

W H E T H E R B E C A U S E T H E K I N G took pleasure in the Water Music or for some other reason, Handel enjoyed an unusually good relationship with George I for a decade after 1717. Among other things, the monarch gave generous financial support to the opera company in which Handel served as music director and for which he composed his most ambitious works during his first fifteen years in London. But in 1727, King George suddenly and unexpectedly died, and his son, George II, succeeded to the English throne. Like the original Hanover Succession, in 1714, this situation may have posed difficulties for Handel. The younger George’s relationship with his father was strained and often quarrelsome, and the favor the elder king had shown Handel might well have guaranteed the new ruler’s hostility. We do not know what diplomatic skills and maneuvering Handel used to place himself in the second George’s grace, but they were certainly effective. Early in September 1727, a newspaper reported that “Mr. Hendel [sic], the famous Composer to the Opera, is appointed by the King to compose the Anthem at the Coronation which is to be sung in Westminster Abbey at the Grand Ceremony.” That “Grand Ceremony” was nothing less than King George II’s coronation, which took place on October 11, with all the pomp and ceremony befitting the event. For the occasion, Handel wrote not one but four different anthems, a term that here describes choral settings of biblical verses. These four works were performed at different times during the elaborate proceedings. The composer scored them for full chorus and orchestra, and he clearly conceived them with sonic splendor in mind. Their melodic lines and harmonies are generally of a majestic character, and they use larger vocal and instrumental forces than Handel had employed in any of his previous church compositions. For the performance, Handel was able to amass an exceptionally large ensemble. Once again, the London press provides valuable information. One newspaper, reporting on the public rehearsal of the coronation music in Westminster Abbey, observed that the orchestra numbered “about 160 Violins, Trumpets, Hautboys, Kettle-Drums, and Bass’s proportionable; About the Music — May 9, 10


At a Glance Handel wrote this and three additional “Coronation Anthems� in 1727 for the coronation of King George II of England. It was first performed on October 11, 1727, at Westminster Abbey. This work runs about 5 minutes in performance. Handel scored it for 2 oboes, 2 bassoons, 2 horns, 3 trumpets, timpani, organ, strings, and continuo, plus seven-part chorus. The Cleveland Orchestra first performed the “Zadok the Priest� Coronation Anthem in July 1985. It was most recently presented as part of the 2011 Blossom Festival, conducted by Nicholas McGegan.

besides an Organ, which was erected behind the Altar: And both the Musick and the Performers, were the Admiration of all the Audience.� Of Handel’s four Coronation Anthems, the first, “Zadok the Priest,� is the most outwardly brilliant. It was sung during the ceremonial crowning of George II, and it has been performed at the coronation of every English monarch since 1727. Handel took its text from the first Book of Kings, in the King James version of the Bible. The verses describe the anointing of King Solomon and the consequent rejoicing of the Israelite people, a narrative eminently appropriate to the occasion for which the composer was writing. By the time he wrote the anthems for the coronation of George II, Handel had made composing operas his principal endeavor for nearly twenty years. It is not surprising, then, that he drew on his dramatic experience to make sure Zadok the Priest created a stirring effect. The work’s opening moments, in which the music of the orchestral introduction builds inexorably to the entrance of the chorus, is particularly imposing, but the whole composition creates a magnificent impression. —Paul Schiavo Š 2013

Sung Text Zadok the Priest, and Nathan the Prophet anointed Solomon King. And all the people rejoic’d, and said: God save the King! Long live the King! May the King live for ever, Amen, Allelujah. —after I Kings, 1:38-40

13th Annual

Salute to our Armed Forces

Featuring the Cleveland POPS Chorus, The Mutual Gifts Gospel Choir Austin Carr (Mr. Cavalier) narrates Copland’s “Lincoln Portrait,� Gates Keystone Police Club Pipes & Drums “1821 Overture� with POPS Chorus

Severance Hall

Friday, May 17th ~ 8:00 P.M.




May 9, 10 — About the Music

The Cleveland Orchestra

Te Deum in D major (“Dettingen”) composed 1743 I N O C T O B E R 1 74 0 , Charles VI, Holy Roman Emperor and


George Frideric


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

Severance Hall 2012-13

Archduke of Austria, died without leaving a male heir. He was succeeded on the Austrian throne by his daughter, Maria Theresa. This gave pretext to a series of tangled international conflicts known as the War of the Austrian Succession, which eventually engulfed most of the European nations. France, Prussia, Bavaria, and Spain allied themselves against Austria. England, ever the enemy of France, joined Holland and several German principalities in coming to Austria’s aid. The fighting would rage over much of the continent for eight years, ending inconclusively in 1748. From time to time, however, one side or another seemed to gain an advantage. Such an occasion occurred late in June 1743, when an army of English and allied soldiers under King George II of England met a French force near the town of Dettingen, on the Main River. Despite superior field position, the French suffered heavy losses and a thorough defeat. George II, who had personally led his troops into the fight, emerged as the hero of the day, and his return to England was planned as a triumphal event. Handel, who by this time held the official post of Composer of the Musick to the Chapel Royal, was commissioned to write a pair of pieces for the occasion. One was a short anthem, in the manner of Zadok the Priest. The other was a setting of the Te Deum, a hymn of praise and thanksgiving whose words mirrored the prevailing mood in England. (Handel used the English translation of the text in The Book of Common Prayer.) The music was performed at the Chapel Royal of Saint James’s Palace, then the principal residence of the British monarchy, on November 27, 1743. Owing to other commitments, Handel completed what has come to be known as the “Dettingen” Te Deum over the course of less than two weeks. The speed with which he had to work prompted him to “borrow” from a Te Deum setting by another musician, an obscure Italian monk and composer named Francesco Antonio Urio. This was not the first time Handel had availed himself of melodies by one of his colleagues, and his music was similarly used by other composers. While this seems, by present-day standards, a dubious practice bordering on plagiarism, it was About the Music — May 9, 10


At a Glance Handel wrote this work in November 1743 for a special commemoration of the English victory over the French on June 27, 1743, at the Battle of Dettingen. It was first performed on November 27, 1743, in the Chapel Royal at St. James’s Palace in London. This setting of the Te Deum runs about 50 minutes in performance. Handel scored it for 2 oboes, bassoon, 3 trumpets, timpani, organ, strings, and continuo, plus four-part chorus. Ton Koopman is utilizing the Peter Edition of this work. The Cleveland Orchestra is performing this work for the first time with this weekend’s concerts.


common and widely accepted in the early 18th century. And in Handel’s case, his gleanings from fellow composers nearly always resulted in a noticeable improvement on their original ideas. In the “Dettingen” Te Deum, as in other works with passages based on extant material, Handel so thoroughly absorbed and transformed Urio’s music that there is nothing about the composition that does not sound authentically Handelian. The work begins with a concerted passage whose celebratory character carries distinct martial overtones, courtesy of Handel’s vigorous writing for trumpets and timpani. Thereafter, the tone becomes more varied, as the text alternates among the vocal soloists (singing individually and together) and the chorus. Handel’s setting includes several winsome vocal arias, and another with a stirring trumpet solo. The character of the music turns somber at several points, most notably late in the composition, at the bass aria “Vouchsafe, O Lord, to Keep us This Day.” But the final chorus builds to a brilliant conclusion in which any hint of darkness vanishes before the brilliant sonority of trumpets and the entire ensemble united in bright D-major harmonies. —Paul Schiavo © 2013 Paul Schiavo is program annotator for the Saint Louis Symphony Orchestra and Seattle Symphony, as well as a frequent contributor to the program magazines of Lincoln Center, Carnegie Hall, and other organizations. He has lectured on musical subjects at festivals across the United States.

May 9, 10 — About the Music

The Cleveland Orchestra


music by George Frideric Handel (1685-1759) written to commemorate the victory of the English at the Battle of Dettingen, 1743

sinfonia and chorus — We praise thee, O God, We acknowledge thee to be the Lord. alto solo and bass, and chorus — All the earth doth worship thee the Father everlasting. chorus — To thee all Angels cry aloud the Heavens, and all the Powers therein. chorus — To thee Cherubim and Seraphim continually do cry, Holy, Holy, Holy, Lord God of Sabaoth; Heaven and earth are full of the Majesty of thy glory. chorus — The glorious company of the Apostles praise thee. The goodly fellowship of the Prophets praise thee. The noble army of Martyrs praise thee. The holy Church throughout all the world doth acknowledge thee; The Father of an infinite Majesty; Thine honourable, true and only Son; Also the Holy Ghost the Comforter. bass solo and chorus — Thou art the King of Glory, O Christ. Thou art the everlasting Son of the Father. bass aria — When thou tookest upon thee to deliver man thou didst not abhor the Virgin’s womb. chorus — When thou hadst overcome the sharpness of death thou didst open the Kingdom of Heaven to all believers. trio — Thou sittest at the right hand of God in the glory of the Father. We believe that thou shalt come to be our Judge. sinfonia chorus — We therefore pray thee, help thy servants whom thou hast redeemed with thy precious blood. chorus — Make them to be numbered with thy Saints in glory everlasting. O Lord, save thy people and bless thine heritage. Govern them and lift them up for ever. chorus — Day by day we magnify thee; And we worship thy Name ever world without end. bass aria — Vouchsafe, O Lord to keep us this day without sin. O Lord, have mercy upon us, have mercy upon us. O Lord, let thy mercy lighten upon us as our trust is in thee. alto solo and chorus — O Lord, in thee have I trusted, let me never be confounded.

Severance Hall 2012-13

Te Deum — Sung Text















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Ton Koopman Dutch conductor Ton Koopman is founding music director and conductor of the Amsterdam Baroque Orchestra and Choir. He is in his third and final year as artist-in-residence with The Cleveland Orchestra. He has led two weeks of concerts each season. The position is made possible by the Malcolm E. Kenney Artist-in-Residence Fund, created through a generous endowment gift to The Cleveland Orchestra. Mr. Koopman first conducted the Orchestra in February 2008. Born in Zwolle, The Netherlands, in 1944, Ton Koopman has enjoyed a lifelong fascination with authentic instruments and a scholarship-based performance style. After a classical education, he studied musicology, organ, and harpsichord in Amsterdam and received the Prix d’excellence for both instruments. During his career, Mr. Koopman has appeared at the world’s most important concert halls and festivals, and has performed on Europe’s prestigious historical instruments. He founded the Amsterdam Baroque Orchestra in 1979, and the Amsterdam Baroque Choir in 1992. As harpsichordist and conductor of these ensembles, he has been a regular guest across Europe and the United States. Ton Koopman has appeared as a guest conductor with the Berlin Philharmonic, Boston Symphony Orchestra, Chicago Symphony Orchestra, New York Philharmonic, Royal Concertgebouw Orchestra, San Francisco Symphony, Zurich Tonhalle Orchestra, and the Vienna Symphony, among others. As soloist, accompanist, and conductor, Ton Koopman has recorded for DG, Erato, Philips, Sony, and Teldec. In 2003, he founded his own record label, Antoine Marchand. Between 1994 and 2004, he led the Amsterdam Baroque Orchestra and Choir in recordings of Bach’s secular and sacred cantatas. These albums received the 2008 BBC Award, Deutsche Schallplattenpreis Echo Klassik, and the Prix Hector Berlioz. Mr. Koopman currently is recording the complete works of Dietrich Buxtehude. To date, works for organ and harpsichord, along with vocal and chamber compositions, have been released. Also active as an editor, Ton Koopman is reviewing the complete Handel organ concertos for Breitkopf & Härtel. Carus Verlag recently published his new editions of Handel’s Messiah and Buxtehude’s Das Jüngste Gericht. In addition to leading the harpsichord class at the Royal Conservatory in The Hague, Mr. Koopman is a professor at the University in Leiden and an honorary member of London’s Royal Academy of Music. He serves as artistic director of the Itinéraire Baroque and as president of the International Dietrich Buxtehude Society. In 2012, he received the BuxtehudePreisträger der Stadt Lübeck and the Bach-Preisträger der Stadt Leipzig. Mr. Koopman is married to harpsichordist Tini Mathot.

Severance Hall 2012-13



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Paul Yancich

Principal Timpani Otto G. and Corinne T. Voss Endowed Chair The Cleveland Orchestra

Appointed principal timpani of The Cleveland Orchestra by Lorin Maazel in 1981, Paul Yancich first appeared as soloist with the Orchestra in May 1990, performing the world premiere of James Oliverio’s Timpani Concerto No. 1. In June 2011, he performed the world premiere of Oliverio’s Double Dynasty timpani concerto with his brother, Mark Yancich, with the Atlanta Symphony Orchestra, and played it again in September that year with The Cleveland Orchestra. A native of Rochester, New York, Paul Yancich comes from a long line of professional musicians on both sides of his family, including renowned cornetist Bohumir Kryl, conductor and composer Paul White, horn playing parents and uncle, and brother timpanist. He began weekly snare drum lessons at age nine with William Street, professor of percussion at the Eastman School of Music. Studies continued with a list of Who’s Who of the percussion world, including William Cahn of the Rochester Philharmonic and Saul Goodman, timpanist of the New York Philharmonic. As a high school student, he participated in the Rochester Philharmonic Youth Orchestra, Monroe High School’s orchestras and bands, and the school’s swim, soccer, and golf teams. Mr. Yancich earned a bachelor of arts degree from Case Western Reserve University and a bachelor of music from the Cleveland Institute of Music, where he was a student of Cloyd Duff and Richard Weiner, principal timpani and principal percussion of The Cleveland Orchestra, respectively. Upon graduation, Paul Yancich joined the Atlanta Symphony Orchestra under Robert Shaw’s direction and became a timpani instructor at Georgia State University. He currently co-chairs the Cleveland Institute of Music’s percussion department and serves as director of the CIM Percussion Ensemble. His timpani and percussion students perform in more than forty orchestras in the U.S. and abroad. Mr. Yancich is a regular clinician at leading conservatories and with the New World Symphony, and teaches as a faculty member of the Aspen Music Festival. Mr. Yancich suggested the work by Johann Carl Christian Fischer for this weekend’s performances because it is the first known timpani concerto and has never been performed in the Cleveland area.

If the last note of your marriage has been played . . . call us. 216.363.1313 Severance Hall 2012-13 Soloist — May 3, 4, 5


Jay Carter American countertenor Jay Carter is praised for his interpretations of Bach, Bernstein, Handel, and Purcell, as well as Brahms, Britten, Hahn, and Quilter. He has performed with the Choral Arts Society of Washington, Houston Symphony Orchestra, Louisville Bach Society, and Musica Sacra. He is making his Cleveland Orchestra debut with this weekend’s concerts. Mr. Carter has appeared in Purcell’s The Faerie Queene and Cavalli’s Giasone, and is in demand as a guest lecturer on countertenor technique and repertory. His discography includes works by Bach, Caldara, Handel, and Mendelssohn, along with an album of Italian madrigals. Jay Carter earned a master’s degree from the Yale School of Music and Institute of Sacred Music, where he worked with Simon Carrington, Judith Malafronte, and James Taylor, and was awarded the Louise E. McClain scholarship. At William Jewel College, he studied voice with Arnold Epley and received his undergraduate degree. Jay Carter was a 2008 regional finalist in the Metropolitan Opera National Council Auditions. He lives in Missouri with his wife and children, and serves as artist-in-residence at William Jewell College.

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Guest Artists — May 9, 10

The Cleveland Orchestra

Steven Soph American tenor Steven Soph is an active performer in chamber music and oratorio. He sings with Blue Heron, Boston Secession, Church of the Advent Choir, Cut Circle, Exsultemus, Philovox, and Schola Cantorum in Boston. While studying at the University of North Texas with Julie McCoy and David Sundquist, he performed with the Chancel Choir of the Episcopal Church of the Incarnation, Dallas Bach Society, Helios Ensemble, Orchestra of New Spain, Orpheus Chamber Singers, Paradigm Singers, and the Texas Choral Artists. Mr. Soph can be heard on recordings on the Arsis, Edition Lilac, and Pro Organo labels. His recent solo engagements include Bach’s St. John Passion with New Trinity Baroque of Atlanta and Musikanten Montana, Schütz’s Musikalische Exequien with the Providence Singers, and Bach’s cantatas BWV148 and BWV76 with Musica Maris. Mr. Soph earned his master of music degree from Yale University. When not singing, he restores electro-pneumatic organs for Spencer Organ Company in Waltham, Massachusetts. Steven Soph is making his Cleveland Orchestra debut with this weekend’s concerts.

Klaus Mertens German bass-baritone Klaus Mertens received his first singing lessons when still at school. After graduation, he worked as a teacher before deciding on a singing career, for which he studied with Else Bischof-Bornes, Peter Massmann, and Jakob Stämpfli. Since then, Mr. Mertens has worked with renowned early music specialists and conductors of the classical repertoire. His collaborations have included performances with the Amsterdam Baroque Orchestra, Berlin Philharmonic, Chicago Symphony Orchestra, Dresden Philharmonic, Jerusalem Symphony Orchestra, Leipzig Gewandhaus Orchestra, Saint Louis Symphony Orchestra, and the Tokyo Metropolitan Symphony Orchestra. He is also a regular guest at international festivals, including the BBC Proms, Lucerne, Mostly Mozart, and Salzburg. Mr. Mertens has a discography of more than 120 albums, including the complete cantatas of J.S. Bach with the Amsterdam Baroque Orchestra conducted by Ton Koopman. The first and only singer to have performed all of J.S. Bach’s vocal works on recordings and in concert, Mr. Mertens also sings songs and lieder from early to modern times. This weekend’s concerts mark his Cleveland Orchestra debut.

Severance Hall 2012-13

Guest Artists — May 9, 10


60 TH

Robert Porco

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



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

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

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Cleveland Orchestra Chorus

The Cleveland Orchestra

60 TH


Cleveland Orchestra Chorus Robert Porco, Director


Lisa Wong, Assistant Director Joela Jones, Principal Accompanist

Celebrating its 60th anniversary throughout the 2012-13 season, the Cleveland Orchestra Chorus is one of the few professionally-trained, all-volunteer choruses sponsored by a major American orchestra. Founded at the request of George Szell in 1952 and following in the footsteps of a number of earlier community choruses, the Cleveland Orchestra Chorus has sung in hundreds of performances at home, at Carnegie Hall, and on tour, as well as in more than a dozen recordings. Its members hail from nearly fifty Cleveland-area communities and together contribute over 15,000 volunteer hours to the Orchestra’s music-making each year. CLEVELAND ORCHESTR A CHAMBER CHORUS SOPRANOS



Emily Bzdafka Mary Jane Carlin Susan Cucuzza Rosie Gellott Danielle Greenway Debbie Gutowski Lisa Hrusovsky Shannon R. Jakubczak Julie Myers-Pruchenski Sarah Osburn Melissa Patton Lenore M. Pershing Cassandra E. Rondinella Jennifer R. Sauer Monica Schie Samantha J. Smith Carole Weinhardt

Julie A. Cajigas Carolyn Dessin Betty Huber Jenna Kirk Ginger Mateer Danielle S. McDonald Karla McMullen Shanely Rae Niemi Marta Perez-Stable Cindy Pitera Ina Stanek-Michaelis Martha Cochran Truby Sarah B. Turell

Brent Chamberlin Peter Kvidera Tod Lawrence Steve Lawson Tremaine Oatman Matthew Rizer Lee Scantlebury James Storry William Venable Chester F. Willey


Craig Astler Paul Hubbard Joel Kincannon Jason Levy Shaun McGrath Roger Mennell Corey Rubin Robert Seaman Daniel J. Singer Steven Skaggs

Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee

Jill Harbaugh, Manager of Choruses Rachel Novak, Assistant to the Manager of Choruses 1.855.GO.STORM

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H E R I TAGE S O C I ET Y The Heritage Society honors donors who support the Orchestra through their wills, life income gifts, or other types of deferred giving. The following listing of members is current as of March 2013. The Cleveland Orchestra and Musical Arts Association thank those members below in bold who have declared to us their specific estate intentions. For more information, please call Bridget Mundy, Legacy Giving Officer, at 216-231-8006. Lois A. Aaron Leonard Abrams Shuree Abrams* Gay Cull Addicott Stanley and Hope Adelstein Sylvia K. Adler Gerald O. Allen Norman and Marjorie* Allison George N. Aronoff Herbert Ascherman, Jr. Jack and Darby Ashelman Mr. and Mrs. William W. Baker Ruth Balombin* Mrs. Louis W. Barany* D. Robert* and Kathleen L. Barber Jack Barnhart Margaret B. and Henry T.* Barratt Norma E. Battes* Rev. Thomas T. Baumgardner and Dr. Joan Baumgardner Fred G. and Mary W. Behm Bertram H. Behrens* Dr. Ronald and Diane Bell Bob Bellamy Joseph P. Bennett Ila M. Berry Howard R. and Barbara Kaye Besser Dr.* and Mrs. Murray M. Bett Dr. Marie Bielefeld Raymond J. Billy (Biello) Dr. and Mrs. Harold B. Bilsky* Robert E. and Jean Bingham* Claudia Bjerre Mr. William P. Blair III Mrs. Flora Blumenthal Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. and Mrs. Charles P. Bolton Kathryn Bondy* Loretta and Jerome* Borstein Mr. and Mrs.* Otis H. Bowden II Ruth Turvy Bowman* Drs. Christopher P. Brandt and Beth Brandt Sersig Mr. D. McGregor Brandt, Jr. David and Denise Brewster Richard F. Brezic* Robert W. Briggs Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Ronald and Isabelle Brown* Mr. and Mrs. Clark E. Bruner* Mr. and Mrs.* Harvey Buchanan


Rita W. Buchanan* Joan and Gene* Buehler Gretchen L. Burmeister Stanley and Honnie* Busch Milan and Jeanne* Busta Mrs. Noah L. Butkin* Mr. and Mrs. William C. Butler Minna S. Buxbaum* Gregory and Karen Cada Roberta R. Calderwood* Jean S. Calhoun* Harry and Marjorie M. Carlson Janice L. Carlson Dr. and Mrs. Roland D. Carlson Mr. and Mrs. George P. Carmer* Barbara A. Chambers, D. Ed. Arthur L. Charni* Ellen Wade Chinn* NancyBell Coe Kenneth S. and Deborah G. Cohen Ralph M. and Mardy R. Cohen Victor J. and Ellen E. Cohn Robert and Jean* Conrad Mr. and Mrs. Gerald A. Conway James P. and Catherine E. Conway* Rudolph R. Cook The Honorable Colleen Conway Cooney John D. and Mary D.* Corry Dr.* and Mrs. Frederick S. Cross Martha Wood Cubberley Dr. William S. Cumming* In Memory of Walter C. and Marion J. Curtis Mr. and Mrs. William W. Cushwa Howard Cutson Mr. and Mrs. Don C. Dangler Mr. and Mrs. Howard J. Danzinger Barbara Ann Davis Carol J. Davis Charles and Mary Ann Davis William E. and Gloria P. Dean, Jr. Mary Kay DeGrandis and Edward J. Donnelly Neeltje-Anne DeKoster Carolyn L. Dessin William R. Dew Mrs. Armand J. DiLellio James A. Dingus, Jr. Dr. and Mrs. Richard C. Distad Maureen A. Doerner and Geoffrey T. White Henry and Mary Doll Gerald and Ruth Dombcik

Legacy Giving

Mr.* and Mrs. Roland W. Donnem Nancy E. and Richard M. Dotson Mrs. John Drollinger Drs. Paul M.* and Renate H. Duchesneau George* and Becky Dunn Warren and Zoann Dusenbury* Mr. and Mrs. Robert Duvin Paul and Peggy Edenburn Robert and Anne Eiben Mr. and Mrs. Alfred M. Eich, Jr. Mr. and Mrs. Ramon Elias* Roger B. Ellsworth Oliver and Mary Emerson Lois Marsh Epp Patricia Esposito Margaret S. Estill* Dr. Wilma McVey Evans* C. Gordon and Kathleen A.* Ewers Patricia J. Factor Susan L. Faulder* Dr. and Mrs. Frederick Fennell* Mrs. Mildred Fiening Gloria and Irving B. Fine Jules and Lena Flock* Joan Alice Ford Dr. and Mrs. William E. Forsythe* Mr.* and Mrs. Ralph E. Fountain Gil and Elle Frey Arthur and Deanna Friedman Mr.* and Mrs. Edward H. Frost Dawn Full Henry S. Fusner Dr. Stephen and Nancy Gage Charles and Marguerite C. Galanie* Barbara and Peter Galvin Mr. and Mrs. Steven B. Garfunkel Donald* and Lois Gaynor Barbara P. Geismer* Albert I. and Norma C. Geller Carl E. Gennett* John H.* and Ellen P. Gerber Frank and Louise Gerlak Dr. James E. Gibbs In Memory of Roger N. Gifford Dr. Anita P. Gilger* S. Bradley Gillaugh Mr. and Mrs. Robert M. Ginn Fred and Holly Glock Ronald* and Carol Godes William H. Goff Mr. and Mrs. Henry J. Goodman John and Ann Gosky Mrs. Joseph B. Govan*

The Cleveland Orchestra


H E R I TAGE S O C I ET Y Elaine Harris Green Richard and Ann Gridley Nancy Hancock Griffith David E.* and Jane J. Griffiths David G. Griffiths* Ms. Hetty Griffiths Margaret R. Griffiths* Bev and Bob Grimm Judd and Zetta Gross* Candy and Brent Grover Mrs. Jerome E. Grover* Thomas J.* and Judith Fay Gruber Mr. and Mrs. David H. Gunning Mr. and Mrs. William E. Gunton Joseph E. Guttman* Mrs. John A Hadden Jr. Richard and Mary Louise Hahn James J. Hamilton Kathleen E. Hancock Douglas Peace Handyside* Holsey Gates Handyside Norman C. and Donna L. Harbert Mary Jane Hartwell William L.* and Lucille L. Hassler Peter and Gloria Hastings* Mrs. Henry Hatch (Robin Hitchcock) Virginia and George Havens Gary D. Helgesen Clyde J. Henry, Jr. Ms. M. Diane Henry Wayne and Prudence Heritage Rice Hershey* T. K. and Faye A. Heston Gretchen L. Hickok Mr. and Mrs.* Daniel R. High Edwin R. and Mary C. Hill* Ruth Hirshman-von Baeyer* Mr.* and Mrs. D. Craig Hitchcock Bruce F. Hodgson Goldie Grace Hoffman* Mary V. Hoffman Feite F. Hofman MD Mrs. Barthold M. Holdstein Leonard* and Lee Ann Holstein David and Nancy Hooker Gertrude S. Hornung* Patience Cameron Hoskins Elizabeth Hosmer Dorothy Humel Hovorka Dr. Christine A. Hudak and Mr. Marc F. Cymes Dr. Randal N. Huff Mrs. Marguerite B. Humphrey Adria D. Humphreys* Ann E. Humphreys and Jayne E. Sisson Karen S. Hunt Ruth F. Ihde Mr. and Mrs. Jonathan E. Ingersoll Pamela and Scott Isquick Mr. and Mrs.* Clifford J. Isroff Mr. and Mrs. Donald M. Jack, Jr. Carol S. Jacobs

Milton* and Jodith Janes Alyce M. Jarr* Jerry and Martha* Jarrett Merritt Johnquest Allan V. Johnson E. Anne Johnson Nancy Kurfess Johnson, M.D. Paul and Lucille Jones* Mrs. R. Stanley Jones* William R. Joseph* David and Gloria Kahan Julian and Etole Kahan Drs. Julian* and Aileen Kassen Milton and Donna* Katz Patricia and Walter* Kelley Bruce and Eleanor Kendrick Malcolm E. Kenney Nancy H. Kiefer Charles M. and Janet G. Kimball* James and Gay Kitson Mr. Clarence E. Klaus, Jr. Mary Elizabeth and G. Robert Klein* Julian H. and Emily W. Klein* Thea Klestadt* Paul and Cynthia Klug Martha D. Knight Mr. and Mrs. Robert Koch Dr. Vilma L. Kohn Elizabeth Davis Kondorossy* Mr. and Mrs. James G. Kotapish, Sr. LaVeda Kovar* Margery A. Kowalski Bruce G. Kriete* Mr. and Mrs. Gregory G. Kruszka Thomas and Barbara Kuby Eleanor and Stephen Kushnick Mr. and Mrs. Dennis W. LaBarre James I. Lader Mr. and Mrs. David A. Lambros Dr. Joan P. Lambros* Mrs. Carolyn Lampl Marjorie M. Lamport Louis Lane Anthony T. and Patricia Lauria Charles K. László and Maureen O’Neill-László Charles and Josephine Robson Leamy Fund Teela C. Lelyveld Mr. and Mrs. Roger J. Lerch Gerda Levine Dr. and Mrs. Howard Levine Bracy E. Lewis Mr. and Mrs. Thomas A. Liederbach Rollin and Ledda Linderman Ruth S. Link Dr. and Mrs. William K. Littman Jeff and Maggie Love Dr. Alan and Mrs. Min Cha Lubin Ann B. and Robert R. Lucas* Kate Lunsford Mr. and Mrs. Thomas E. Lynch* Patricia MacDonald Alex and Carol Machaskee

Jerry Maddox Mrs. H. Stephen Madsen Alice D. Malone Mr. and Mrs. Donald Malpass, Jr. Lucille Harris Mann Mr. and Mrs. Richard A. Manuel Clement P. Marion Mr. Wilbur J. Markstrom* Dr. and Mrs. Sanford E. Marovitz David C. and Elizabeth F. Marsh Duane and Joan* Marsh Florence Marsh, Ph.D.* Mr. and Mrs. Anthony M. Martincic Kathryn A. Mates Dr. Lee Maxwell and Michael M. Prunty Alexander and Marianna* McAfee Nancy B. McCormack Mr. William C. McCoy Marguerite H. McGrath* Dorothy R. McLean Jim* and Alice Mecredy James and Virginia Meil Mr. and Mrs.* Robert F. Meyerson Brenda Clark Mikota Christine Gitlin Miles Chuck and Chris Miller Edith and Ted* Miller Leo Minter, Jr. Mr. and Mrs. William A. Mitchell Robert L. Moncrief Ms. Beth E. Mooney Beryl and Irv Moore Ann Jones Morgan Mr. and Mrs. Stanley L. Morgan* George and Carole Morris Mr. and Mrs. Thomas W. Morris Mr. and Mrs.* Donald W. Morrison Joan R. Mortimer, PhD Florence B. Moss Susan B. Murphy Dr. and Mrs. Clyde L. Nash, Jr Deborah L. Neale David and Judith Newell Dr.* and Mrs. S. Thomas Niccolls Russell H. Nyland* Katherine T. O’Neill Mr. and Mrs. John D. Ong Aurel Fowler-Ostendorf* Mr. J. William and Dr. Suzanne Palmer R. Neil Fisher and Ronald J. Parks Nancy and W. Stuver Parry Mrs. John G. Pegg* Dr. and Mrs. Donald Pensiero Mary Charlotte Peters Mr. and Mrs. Peter Pfouts* Janet K. Phillips* Florence KZ Pollack Julia and Larry Pollock Victor and Louise Preslan Mrs. Robert E. Price* Lois S.* and Stanley M. Proctor Mr. David C. Prugh LISTING CONTINUES

Severance Hall 2012-13

Legacy Giving



H E R I TAGE S O C I ET Y Be forever a part of what the world is talking about! LISTING CONTINUED

Leonard and Heddy Rabe M. Neal Rains Mr. George B. Ramsayer Joe L. and Alice* Randles Mrs. Alfred M. Rankin, Sr. Mrs. Theodore H. Rautenberg* James and Donna Reid Mrs. Hyatt Reitman* Mrs. Louise Nash Robbins* Dr. Larry J.B.* and Barbara S. Robinson Dwight W. Robinson Margaret B. Babyak* and Phillip J. Roscoe Dr. Eugene and Mrs. Jacqueline Ross Helen Weil Ross* Robert and Margo Roth Marjorie A. Rott Howard and Laurel Rowen Professor Alan Miles Ruben and Judge Betty Willis Ruben Florence Brewster Rutter Mr. James L. Ryhal, Jr. Renee Sabreen Scott Sabreen Marjorie Bell Sachs Vernon Sackman Sue Sahli Mr. and Mrs. James A. Saks Mr. and Mrs. Sam J. SanFilipo* Larry J. Santon Stanford and Jean B. Sarlson Sanford Saul Family James Dalton Saunders Patricia J. Sawvel Ray and Kit Sawyer Richard Saxton* Alice R. Sayre In Memory of Hyman and Becky Schandler Robert Scherrer Sandra J. Schlub Ms. Marian Schluembach Robert and Betty Schmiermund Mr.* and Mrs. Richard M. Schneider Lynn A. Schreiber* Jeanette L. Schroeder Mr. Frank Schultz Carol* and Albert Schupp Roslyn S. and Ralph M. Seed Nancy F. Seeley Edward Seely Oliver E. and Meredith M. Seikel Russell Seitz* Eric Sellen Andrea E. Senich Thomas and Ann Sepúlveda Elsa Shackleton* B. Kathleen Shamp Jill Semko Shane


David Shank Dr. and Mrs. Daniel J. Shapiro Norine W. Sharp Norma Gudin Shaw Elizabeth Carroll Shearer Dr. and Mrs. William C. Sheldon Frank* and Mary Ann Sheranko Kim Sherwin Mr. and Mrs. Michael Sherwin Reverend and Mrs. Malcolm K. Shields Rosalyn and George Sievila Mr. and Mrs. David L. Simon Dr.* and Mrs. John A. Sims Naomi G. and Edwin Z. Singer Lauretta Sinkosky H. Scott Sippel and Clark T. Kurtz Ellen J. Skinner Ralph* and Phyllis Skufca Janet Hickok Slade Alden D. and Ellen D.* Smith Mr.* and Mrs. Ward Smith M. Isabel Smith* Nathan Snader* Sterling A.* and Verdabelle Spaulding Barbara J. Stanford and Vincent T. Lombardo Sue Starrett and Jerry Smith Lois and Tom Stauffer Willard D. Steck* Merle Stern Dr. Myron Bud and Helene* Stern Mr. and Mrs. John M. Stickney Nora and Harrison Stine* Mr. and Mrs. Stanley M. Stone Mr.* and Mrs. James P. Storer Ralph E. and Barbara N. String The Irving Sunshine Family Vernette M. Super* Mr. and Mrs. Herbert J. Swanson* In Memory of Marjory Swartzbaugh Lewis Swingley* Lorraine S. Szabo Norman V. Tagliaferri Susan* and Andrew Talton Frank E. Taplin, Jr.* Charles H. Teare and Clifford K.* Kern Mr. Ronald E. Teare Pauline Thesmacher* Dr. and Mrs. Friedrich Thiel Mrs. William D. Tibbetts* Mr. and Mrs. William M. Toneff Alleyne C. Toppin Janice and Leonard Tower Dorothy Ann Turick Mr. and Mrs. Robert A. Urban Robert and Marti Vagi Robert A. Valente J. Paxton Van Sweringen Mary Louise and Don VanDyke Elliot Veinerman*

Legacy Giving

Nicholas J. Velloney* Steven Vivarronda Hon. William F.B. Vodrey Pat and Walt* Wahlen Mrs. Clare R. Walker John and Deborah Warner Mr. and Mrs. Russell Warren Charles D. Waters* Etta Ruth Weigl Lucile Weingartner Eunice Podis Weiskopf* Max W. Wendel William Wendling and Lynne Woodman Marilyn J. White Robert and Marjorie Widmer* Mr. Yoash and Mrs. Sharon Wiener Alan H. and Marilyn M. Wilde Elizabeth L. Wilkinson* Helen Sue* and Meredith Williams Carter and Genevieve* Wilmot Miriam L. and Tyrus W.* Wilson Mr. Milton Wolfson* and Mrs. Miriam Shuler-Wolfson Nancy L. Wolpe Mrs. Alfred C. Woodcock Mr. and Mrs.* Donald Woodcock Dr. and Mrs. Henry F. Woodruff Marilyn L. Wozniak Nancy R. Wurzel Michael and Diane Wyatt Mary Yee Emma Jane Yoho, M.D. Libby M. Yunger Dr. Norman Zaworski William L. and Joan H. Ziegler Carmela Catalano Zoltoski* Roy J. Zook* Anonymous (101)


The lotus blossom is the symbol of the Heritage Society. It represents eternal life and recognizes the permanent benefits of legacy gifts to The Cleveland Orchestra’s endowment. Said to be Elisabeth Severance’s favorite flower, the lotus is found as a decorative motif in nearly every public area of Severance Hall.

The Cleveland Orchestra


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 — The Cleveland Orchestra’s Center for Future Audiences, created with a lead gift from the Maltz Family Foundation, was established to develop new generations of audiences for The Cleveland Orchestra. Center for Future Audiences Maltz Family Foundation

Student Audiences Alexander and Sarah Cutler Fund Endowed Funds listing continues

Severance Hall 2012-13

Endowed Funds



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

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

In-School Performances Alfred M. Lerner Fund

Classroom Resources Charles and Marguerite C. Galanie

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

Musical Rainbows Pysht Fund

Community Programming Machaskee Fund

SEVERANCE HALL endowed funds support maintenance of keyboard instruments and the facilities of the Orchestra’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 Orchestra’s summer performances and maintenance of Blossom Music Center. Blossom Festival Guest Artist Dr. and Mrs. Murray M. Bett The Hershey Foundation The Payne Fund Mr. and Mrs. William C. Zekan

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

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


Endowed Funds

The Cleveland Orchestra

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

Cumulative Giving

Annual Support


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




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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The Cleveland 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




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


$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



Individual Support The Cleveland Orchestra and Musical Arts Association gratefully recognize the individuals listed here, who have provided generous gifts of cash or pledges of $2,500 or more to the Annual Fund, benefit events, tours and residencies, and special annual donations.

Lifetime Giving

Annual Support


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


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

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


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)


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.


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

Severance Hall 2012-13

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)

listings continue


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



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:

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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


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.

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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


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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The Cleveland Orchestra

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Severance Hall 2012-13


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)


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






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.


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

Severance Hall 2012-13

Contact Brad Wanstrath 513.871.1670 x17 6270 Este Ave. Cincinnati, OH 45232



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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Severance Hall 2012-13


11001 Euclid Avenue Cleveland, Ohio 44106



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



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

Severance Hall

The Cleveland Orchestra

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




SPRING SEASON 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 James Feddeck, 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 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, bass-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

SPECTACULAR STRINGS Alexandra Preucil, violin David Alan Harrell, cello

30-minute programs for ages 3 to 6. For a complete schedule of future events and performances, or to purchase tickets online 24/ 7 for Severance Hall concerts, visit

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 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


Concert Calendar

The Cleveland Orchestra





Sunday May 12 at 7:00 p.m. CLEVELAND ORCHESTRA YOUTH ORCHESTRA James Feddeck, conductor Hannah Moses, cello

BARBER Overture to The School for Scandal DVOŘÁK Cello Concerto SZYMANOWSKI Etude R. STRAUSS Death and Transfiguration May 11 to 17 THE CLEVELAND ORCHESTRA NORTHEAST OHIO NEIGHBORHOOD RESIDENCY


The Cleveland Orchestra presents its inaugural neighborhood residency in Northeast Ohio May 11-17 in Cleveland’s Gordon Square Arts District. During this first residency, the Orchestra offers more than fifteen events for the community throughout the week, including performances by Cleveland Orchestra musicians, ensembles from the Cleveland Orchestra Youth Orchestra and Youth Chorus, a Cleveland Orchestra concert preview, and educational programs for local students. All of the events will be free and open to the public. For details, visit

Saturday May 18 at 8:00 p.m. THE CLEVELAND ORCHESTRA James Feddeck, conductor with Patti Austin

Manfred Honeck

TCHAIKOVSKY’S FIFTH Thursday May 23 at 8:00 p.m. Friday May 24 at 7:00 p.m. * Saturday May 25 at 8:00 p.m. Sunday May 26 at 3:00 p.m. THE CLEVELAND ORCHESTRA Manfred Honeck, conductor Lars Vogt, piano *


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 for a program of all-time favorites such as “Cottontail,” “I Got It Bad,” “Honeysuckle Rose,” “Mr. Paganini,” and more!

Thursday May 23 at 8:00 p.m. Friday May 24 at 7:00 p.m.* Saturday May 25 at 8:00 p.m. Sunday May 26 at 3:00 p.m. THE CLEVELAND ORCHESTRA Manfred Honeck, conductor Lars Vogt, piano *

Tchaikovsky is often considered the most Romantic of composers. His Fifth Symphony has been an audience favorite since its premiere in 1888. Here, Tchaikovsky wrestled with his musical Fate, creating soaring, memorable melodies and a deeply passionate journey to a triumphant ending. Manfred Honeck, music director of the Pittsburgh Symphony, makes his Cleveland Orchestra debut. *not included on KeyBank Fridays@7 Thurs/Sat Sponsor: Baker Hostetler

MARTINSSON Open Mind BEETHOVEN Piano Concerto No. 3 * TCHAIKOVSKY Symphony No. 5 *not included on KeyBank Fridays@7 Thursday/Saturday Sponsor: BakerHostetler


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

Concert Calendar


11001 Euclid Avenue, Cleveland, Ohio 44106 CLEVELANDORCHESTRA.COM

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

FREE PUBLIC TOURS Free public tours of Severance Hall are offered on select Sundays during the year. Free public tours of Severance Hall are being offered this season on October 14, November 25, February 10 and 24, and May 5 and 26. For additional information or to reserve you place for these tours, please call the Severance Hall Ticket Office at 216-231-1111. Private tours can be arranged for a fee by calling 216-231-7421.

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

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

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


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

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



ATM — Automated Teller Machine

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


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

Guest Information

The Cleveland Orchestra

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

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

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

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

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

Severance Hall 2012-13

Guest Information

es. If you need assistance, please contact the House Manager at 216-231-7425 in advance if possible. Service animals are welcome at Severance Hall. Please notify the Ticket Office when purchasing tickets.

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

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

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

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

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




At Severance Hall . . .



Music of Ella and Ellington Saturday May 18 at 8:00 p.m.

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

The Cleveland Orchestra’s season of Family Concerts concludes with a program of musical storytelling 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 the one-hour Orchestra concert, each Family Concert features free, pre-concert activities, including an “Instrument Discovery” in which children find their inner musicians with handson experience.

THE CLEVELAND ORCHESTRA James Feddeck, conductor with Patti Austin, vocalist

Pop-jazz superstar Patti Austin began her career as a four-year-old, onstage with the legendary Dinah Washington. Since then, she has performed hit songs all over the world — and is considered one of the most stunning interpreters of song onstage today. In a tribute to jazz giants Ella Fitzgerald and Duke Ellington. She joins with The Cleveland Orchestra for this program featuring songs from Austin’s Grammynominated album For Ella, including such favorites as “I’ve Got You Under My Skin,” “I Only Have Eyes For You,” “Mack the Knife,” and more!

Sponsor: The Giant Eagle Foundation


See also the concert calendar listing on pages 90-91, or visit The Cleveland Orchestra online for a complete schedule of future events and performances, or to purchase tickets online 24 / 7 for Severance Hall concerts.




Upcoming Concerts

The Cleveland Orchestra

If you want to 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

The Cleveland Orchestra May 3, 4, 5, 9, 10 Concerts  

Ton Koopman Conducts Mozart and Haydn Handel's Water Music

The Cleveland Orchestra May 3, 4, 5, 9, 10 Concerts  

Ton Koopman Conducts Mozart and Haydn Handel's Water Music