The Cleveland Orchestra September 19-21 Concerts

FALL SEASON

SEVERANCE HALL

September 19, 21 BEETHOVEN’S EMPEROR CONCERTO September 20 KEYBANK FRIDAYS@7: BEETHOVEN’S EMPEROR

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

THIS WEEK page

THE

CLEVELAND

ORCHESTRA

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In the News

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

8 About the Orchestra

Musical Arts Association. . . . . . . . . . . . . . . . . . . . .

Music Director. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . .

Severance Hall. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Guest Information. . . . . . . . . . . . . . . . . . . . . . . . . . .

34 Concert — Week 1

11 15 22 88 92

Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Program: September 19, 21. . . . . . . . . . . . . . . . .

Fridays@7 Program: September 20. . . . . . . . .

Introducing the Program . . . . . . . . . . . . . . . . . . . . .

KeyBank Fridays@7: The Evening . . . . . . . . . . . . . beethoven Piano Concerto No. 5 (“Emperor”) . . . . . . . . .

mahler Symphony No. 4 . . . . . . . . . . . . . . . . . . . . . . . . . .

schumann Symphony No. 1 (“Spring”) . . . . . . . . . . . . . . . .

33 34 35 37 39

Conductor: Fabio Luisi . . . . . . . . . . . . . . . . . . . . . . .

Piano Soloist: Hélène Grimaud . . . . . . . . . . . . . . .

Soprano Soloist: Maureen McKay . . . . . . . . . . . .

Fridays@7 Guest Artists. . . . . . . . . . . . . . . . . . . . . . .

38 47 55 66

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Support Sound for the Centennial . . . . . . . . . . . . . . . . . . . . .

Endowed Funds . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Corporate Annual Support. . . . . . . . . . . . . . . . . . . .

Foundation / Government Annual Support . . . .

Individual Annual Support . . . . . . . . . . . . . . . . . . .

41 51 59

48 69 73 75 76

COVER PHOTOGRAPHY BY ROGER MASTROIANNI

Copyright © 2013 by The Cleveland Orchestra and the Musical Arts Association Eric Sellen, Program Book Editor

e-mail: esellen@clevelandorchestra.com Program books for Cleveland Orchestra concerts are produced by The Cleveland Orchestra and are distributed free to attending audience members.

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

NATIONAL ENDOWMENT FOR THE ARTS

The Cleveland Orchestra 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.

50%

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

90 Future Concerts

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

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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.

Table of Contents

The Cleveland Orchestra

Exceptional

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

Chicago Houston

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“The “The best best culture culture in in Cleveland Cleveland “The “Thebest bestculture culturein inCleveland Cleveland my back yard. isisisinininmy ””” myback backyard. yard.

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Perspectivesfrom the Executive Director September 2013 The Cleveland Orchestra launches its 96th season this month with wide-ranging repertoire and collaborations with six renowned guest artists. We are excited to welcome back to Severance Hall Fabio Luisi, Hélène Grimaud, Kirill Gerstein, and Itzhak Perlman, and we are equally delighted to have with us Maureen McKay and Vassily Sinaisky, who are making their Severance Hall debuts.

Each of these wonderful artists marked their calendars for these engagements up to three years ago. And this is quite normal. In planning collaborations between worldclass orchestras, conductors, and soloists, schedules are completed two, three, and even four years in advance. Even as we begin The Cleveland Orchestra’s 2013-14 season, we are putting the finishing touches on the 2014-15 season. At the same time, we are finalizing the outlines of the Orchestra’s schedule for 2016 and 2017 — working carefully to fit together a calendar that supports ongoing commitments for concert performances and education programming here at home alongside available dates for concert tours in Europe, for our Miami residency, and for new initiatives in serving Northeast Ohio.

In that context, planning for the Orchestra’s Centennial is now upon us. Our 100th season, 2017-18, begins in just four years. This month, we are beginning to set the framework for this celebration, together with Franz and the members of our Board of Trustees. Franz has articulated his vision: in our 100th season, The Cleveland Orchestra will look to the future and, in doing so, we will celebrate the community that gave birth to the institution and has generously supported the Orchestra across ten decades.

Every voice, every constituency will be important in helping set our course for celebrating this milestone.

As we look toward the Centennial and beyond, our goal is to lay the foundation for The Cleveland Orchestra’s next 100 years. I’ve written much in this column about the importance of creating a solid financial foundation in the form of a greatly increased endowment — and the Sound for the Centennial Campaign is beginning to make progress toward that ambitious goal, while also growing annual support. But we must also lay a solid foundation artistically and programmatically, to serve Northeast Ohio through diversified concert activities and institutional partnerships, to increase the Orchestra’s value to this community, and, through innovation and excellence, to set an example for the world as an institution that fully serves the art of music and the interests and expectations of our hometown.

To keep The Cleveland Orchestra vital, our focus must always be on tomorrow, toward a second century of changing lives through the power of music. The greatest honor we can pay to this institution’s storied and acclaimed past is to build upon it as a prelude to a future in which we serve our community to the fullest.

Gary Hanson Executive Director Severance Hall 2013-14

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

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

Cleveland Orchestra cellist Paul Kushious talking with some interested customers at Stockyard Meats before sitting down to play a free solo cello recital in this unusual setting as part of the Orchestra’s inaugural neighborhood residency, “At Home in Gordon Square,” in May 2013.

and around the globe, The Cleveland Orch­ estra remains Northeast Ohio’s most visible international ambassador and 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 Music Festi­ val, in residencies from Miami to Vienna, and on tour around the world, The Cleveland Orchestra sets standards of artistic excellence, creative program­ ming, and active community engagement. With the 2013-14 season, Franz Welser-Möst enters his twelfth year leading the ensemble, with a commitment extending to the Orchestra’s centennial in 2018. This artistic partnership con­ tinues to move the ensemble forward through a series of new and ongoing ini­ tiatives, including: IN PE RFORMANC E S AT HOME

expansion of education and community programs in Northeast Ohio to fea­ ture music as an integral and regular part of everyday life for more people, in­ cluding the launch this past spring of an “At Home” neighborhood residency program that brings The Cleveland Orchestra to a single neighborhood or town

8

About the Orchestra

The Cleveland Orchestra

for an intensive week of special activities and performances, as well as the broaden­ ing of the Orchestra’s ongoing education and community engagement initiatives to include Make Music!, a program of active and participatory experience and learning; the establishment of residencies around the world, fostering creative artistic growth and an expanded financial base — including ongoing residencies at the Vienna Musik­verein (the first of its kind by an American orchestra) and in Florida under the name Cleveland Orch­estra Miami (featuring an annual series of concerts and community activities, coupled with educational presentations and collaborations based on successful programs pioneered at home in Cleveland); creative new artistic collaborations with arts institutions in Northeast Ohio, including staged works, concerts, and chamber music performances; a concentrated and successful effort to develop future generations of audiences for Cleveland Orchestra concerts in Northeast Ohio, through research, targeted discounts, social media promotion, and student ticket programs, with demonstrat­ ed results at Severance Hall and Blossom; a variety of new concert offerings (including KeyBank Fridays@7 and Celebri­ ty Series at Severance Hall as well as movie, themed, and family presentations at Blossom) to play more music for more people; the return of ballet as a regular part of the Orchestra’s presentations, featuring on­ going collaborations with Chicago’s Joffrey Ballet; continuing and expanded educational partnerships with schools, colleges, and universities across Northeast Ohio and beyond; concert tours from coast to coast in the United States, including regular appear­ ances at Carnegie Hall; ongoing recording activities, including new releases under the direction of Franz Welser-Möst, Mitsuko Uchida, and Pierre Boulez, as well as a series of acclaimed DVD concert presentations of symphonies by Anton Bruckner led by Welser-Möst.

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 or­ chestras. 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 inti­ mate 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 Mu­ sic Center, one of the most beautiful and acoustically admired outdoor concert facili­ ties in the United States.

Severance Hall 2013-14

The Orchestra Today

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we light the way To health and wellness for individuals, families and communities

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 • Cleveland, Ohio • Columbia, South Carolina

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T H E M U SI C AL AR TS AS SOCIATION

as of August 2013

operating The Cleveland Orchestra, Severance Hall, and Blossom Music Festival

O F F I C ER S A ND EXEC UT IVE C O MMI T T EE 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

R E S I D ENT TR U S T EES 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

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

Richard C. Gridley (SC) Loren W. Hershey (DC) Herbert Kloiber (Germany)

TR U S TEES EX- OFFIC IO Faye A. Heston, President, Volunteer Council of The Cleveland Orchestra Shirley B. Dawson, President, Women’s Committee of The Cleveland Orchestra Claire Frattare, State Chair, Blossom Women’s Committee

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

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

Ludwig Scharinger (Austria)

Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee Dr. Lester Lefton, President, Kent State University Barbara R. Snyder, President, Case Western Reserve University

TR U S TEES EM ERIT I Clifford J. Isroff Samuel H. Miller David L. Simon

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

PA S T PR ES I D EN T S D. Z. Norton 1915-21 John L. Severance 1921-36 Dudley S. Blossom 1936-38 Thomas L. Sidlo 1939-53

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 2013-14

Gary Hanson, Executive Director

Musical Arts Association

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1923_FM13

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

marks Franz Welser-Möst’s twelfth year as music director of The Cleveland Or­ chestra, with a long-term commitment extending to the Orchestra’s centennial in 2018. Under his di­ rection, the Orchestra is acclaimed for its continu­ ing artistic excellence, is extending and enhancing its community programming at home in Northeast Ohio, is presented in a series of ongoing residencies in the United States and Europe, continues its his­ toric championship of new composers through com­ missions and premieres, and has re-established itself as an important operatic ensemble. Concurrently with his post in Cleveland, Mr. Welser-Möst is general music director of the Vienna State Opera.

With a committed focus on music education in Northeast Ohio, Franz Welser-Möst has taken The Cleveland Orchestra back into public schools with per­ formances in collaboration with the Cleveland Metropolitan School District. Mr. Welser-Möst’s championship of community music-making expands upon his active participation in educational programs and collaborative programming, including the Cleveland Orchestra Youth Orchestra and partnerships with music conservato­ ries, universities, and other arts institutions 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 regular new 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 Festi­ val and Carnegie Hall. In addition, the Daniel R. Lewis Young Composer Fellow program has brought new voices to the repertoire, including Pintscher, Marc-An­ dré Dalbavie, Susan Botti, Julian Anderson, Johannes Maria Staud, Jörg Widmann, Sean Shepherd, and Ryan Wigglesworth.

Franz Welser-Möst has led a series of opera performances during his tenure P H OTO BY S ATO S H I AOYAG I

THE 2013 -14 SEASON

Severance Hall 2013-14

Music Director

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in Cleveland, re-establishing the Orchestra as an important oper­ atic ensemble. Following six seasons of opera-in-concert presen­ tations, 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 and in May 2014 brings an innovative made-for-Cleveland production of Leoš Janáček’s The Cunning Little Vixen to Northeast Ohio.

Franz Welser-Möst became general music director of the Vienna State Opera in 2010. His long partnership with the com­ pany has included acclaimed performances of Tristan and Isolde, a new production of Wagner’s Ring cycle with stage director Sven-Eric Bechtolf, and critically praised new productions of Hindemith’s Cardillac and Janáček’s Katya Kabanova and From the House of the Dead. During the 201314 season, his Vienna schedule includes a new production of Puccini’s The Girl of the Golden West, as well as performances of Tristan and Isolde, Verdi’s Don Carlo, Beethoven’s Fidelio, and Richard Strauss’s Ariadne auf Naxos and Der Rosenkavalier.

Mr. Welser-Möst also maintains an ongoing relationship with the Vienna Phil­ harmonic. Recent performances with the Philharmonic include appearances in con­ cert at La Scala Milan, at New York’s Carneige Hall, and in opera presentations at the Salzburg Festival. He also led the Philharmonic’s New Year’s Day concert, viewed by telecast in seventy countries worldwide in 2011 and again in 2013. Across a decadelong tenure with the Zurich Opera, culminating in three seasons as general music di­ rector (2005-08), Mr. Welser-Möst led the company in more than 40 new productions.

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 re­ cordings of live performances of five of Bruckner’s symphonies, presented in three acoustically distinctive venues (the Abbey of St. Florian in Austria, Vienna’s Musik­ verein, 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. Wels­ er-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, honor­ ary 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 So­ ciety of America. He is the co-author of Cadences: Observations and Conversations, published in a German edition in 2007.

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Music Director

The Cleveland Orchestra

THE CLEVELAND ORCHESTRA Franz Welser-Möst MUSIC DIREC TOR

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

—Wall Street Journal

—The Guardian (London)

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

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

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

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

T H E

C L E V E L A N D

FRANZ WELSER-MÖST MUSIC

DIRECTOR Kelvin Smith Family Chair

FIRST VIOLINS William Preucil CONCERTMASTER

Blossom-Lee Chair

Yoko Moore

ASSISTANT CONCERTMASTER

Clara G. and George P. Bickford Chair

Peter Otto

FIRST ASSOCIATE CONCERTMASTER

Jung-Min Amy Lee

ASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith Chair

Alexandra Preucil

ASSISTANT CONCERTMASTER

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

Takako Masame

Paul and Lucille Jones Chair

Wei-Fang Gu

Drs. Paul M. and Renate H. Duchesneau Chair

Kim Gomez

Elizabeth and Leslie Kondorossy Chair

Chul-In Park

Harriet T. and David L. Simon Chair

Miho Hashizume

Theodore Rautenberg Chair

Jeanne Preucil Rose

Dr. Larry J.B. and Barbara S. Robinson Chair

Alicia Koelz

Oswald and Phyllis Lerner Gilroy Chair

Yu Yuan

Patty and John Collinson Chair

Isabel Trautwein

Trevor and Jennie Jones Chair

Mark Dumm

Gladys B. Goetz Chair

Katherine Bormann

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SECOND VIOLINS Stephen Rose *

Alfred M. and Clara T. Rankin Chair

CELLOS Mark Kosower*

Louis D. Beaumont Chair

Richard Weiss 1

The GAR Foundation Chair

Emilio Llinas 2

Charles Bernard 2

Eli Matthews 1

Bryan Dumm

James and Donna Reid Chair 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 Yun-Ting Lee 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

Helen Weil Ross Chair 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

O R C H E S T R A FLUTES Joshua Smith *

PERCUSSION Marc Damoulakis°

HORNS Richard King *

Margaret Allen Ireland Chair

Elizabeth M. and William C. Treuhaft Chair

Michael Mayhew §

Donald Miller Tom Freer

Saeran St. Christopher Marisela Sager 2

Jesse McCormick Hans Clebsch Alan DeMattia

KEYBOARD INSTRUMENTS Joela Jones *

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

Barrick Stees

2

Sandra L. Haslinger Chair

Jonathan Sherwin

George Szell Memorial Chair Knight Foundation Chair

TRUMPETS Michael Sachs *

Robert and Eunice Podis Weiskopf Chair

Marjory and Marc L. Swartzbaugh Chair

Jack Sutte Lyle Steelman2

LIBRARIANS Robert O’Brien Donald Miller

Michael Miller

ORCHESTRA PERSONNEL Carol Lee Iott

James P. and Dolores D. Storer Chair

CORNETS Michael Sachs *

Mary Elizabeth and G. Robert Klein Chair

Michael Miller TROMBONES Massimo La Rosa*

Gilbert W. and Louise I. Humphrey Chair

Richard Stout

Alexander and Marianna C. McAfee Chair

Shachar Israel

2

BASS TROMBONE Thomas Klaber EUPHONIUM AND BASS TRUMPET Richard Stout

DIRECTOR

Karyn Garvin MANAGER

ENDOWED CHAIRS CURRENTLY UNOCCUPIED Sidney and Doris Dworkin Chair Sunshine Chair

* Principal ° Acting Principal § Associate Principal 1 2

First Assistant Princi pal Assistant Principal

CONDUCTORS Christoph von Dohnányi MUSIC DIRECTOR LAUREATE

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

TIMPANI Paul Yancich *

Otto G. and Corinne T. Voss Chair

Tom Freer 2

Giancarlo Guerrero

PRINCIPAL GUEST CONDUCTOR, CLEVELAND ORCHESTRA MIAMI

Brett Mitchell

ASSISTANT CONDUCTOR

Elizabeth Ring and William Gwinn Mather Chair

Robert Porco

DIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

CONTRABASSOON Jonathan Sherwin

Severance Hall 2013-14

Rudolf Serkin Chair

Carolyn Gadiel Warner

The Orchestra

23

Whether you’re traveling for business or pleasure, Cleveland Hopkins International Airport understands you like to move at an upbeat tempo.

That’s why we offer more non-stop flights than any airport in the region.

So you can experience a medley of destinations, without an intermission. www.clevelandairport.com

Going more places, more often.

AND

FRANZ WELSER-MÖST

IN PARTNERSHIP WITH THE CLEVELAND MUSEUM OF ART AND CLEVELAND CINEMATHEQUE

OCTOBER 22-26

assistant professor of Russian/Soviet history at Oberlin College) on Friday, October 25. Cleveland Orchestra musicians perform chamber music by Beethoven and Shostakovich in Reinberger Chamber Hall at Severance Hall prior to the Orchestra’s concert on Saturday, October 26.

The Cinematheque screens Stanley Kubrick’s classic film A Clockwork Orange to open the Festival on Tuesday, October 22. The movie prominently features music from Beethoven’s Ninth Symphony. John Ewing (Cinematheque co-founder and director and curator of film at the Cleveland Museum of Art) will introduce the film. The movie, based on the novel by Anthony Burgess, depicts a violent Orwellian future showing conflicts between conformity and personal freedoms.

The Cleveland Museum of Art screens The New Babylon, a revolutionary 1929 silent film featuring Shostakovich’s first film score, on October 23. Set at the time of the Franco-Prussian War, the movie views the era’s clash of social classes in Paris in 1871. Frank J. Oteri will discuss the film, the politics of the time, and the music in a pre-screening talk with Ewing, moderated by James Krukones (associate professor of history and associate academic vice president at John Carroll University).

Cleveland Orchestra News

25

THE CLEVELAND ORCH

Severance Hall 2013-14

MUSIC OF

BEETHOVEN SHOSTAKOVICH

THE CLEVELAND ORCHESTRA

The Cleveland Orchestra explores the music, times, and politics of two of western music’s most profound and controversial composers in “Fate and Freedom: Music of Beethoven and Shostakovich,” October 22-26. The Festival — featuring orchestra concerts, film screenings, pre-film and pre-concert talks, and a chamber music performance by members of The Cleveland Orchestra — is presented in partnership with the Cleveland Museum of Art and the Cleveland Institute of Art Cinematheque.

Music Director Franz Welser-Möst conceived the Festival to look more closely at landmark symphonies by Beethoven and Shostakovich and to provide context around their creation, while examining the ever-relevant themes of personal and societal freedom they express.

“Beethoven and Shostakovich were very political composers,” says Welser-Möst. “Their music was written to express the feeling of the times they lived in — there were new feelings about how to live. Beethoven’s Third Symphony was the first big musical and philosophical statement by a composer about what freedom can mean, both individually and collectively.

Shostakovich lived under a suppressive regime.

His symphonies represent personal despair. The symphonies of Beethoven and Shostakovich can teach us so much about our lives.”

In a unique juxtaposition, Welser-Möst leads three distinct Cleveland Orchestra concerts on three consecutive evenings, pairing Beethoven Symphonies Nos. 3, 4, and 5 with Shostakovich Symphonies Nos. 6, 8, and 10, respectively, on Thursday, Friday, and Saturday, October 24-26.

Insight into the music will be provided in a pre-concert interview with Franz Welser-Möst on Thursday, October 24, and in a pre-concert talk with guest speaker Frank J. Oteri (New Music USA’s composer advocate and the senior editor of NewMusicBox) and Rebecca Mitchell (visiting

FATE F R E E D OM

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

Fall Festival explores music and politics with Beethoven and Shostakovich, October 22-26

THE CLEVELAND ORCHESTRA THE CLEVELAND ORCHESTRA TRA THE CLEVELAND ORCHESTRA

OrchestraNews

News

THE CLEVELAND ORCHES-

News

OrchestraNews Two new appointments to Orchestra’s management team

A

CLEVELAND ORCHESTRA THE CLEVELAND ORCHESTRA THE CLEVELAND ORCHE

THE CLEVELAND ORCHESTRA

Gary Hanson, executive director of The Cleveland Orchestra, has announced two new appointments to the Orchestra’s management team.

Jennifer Barlament has been appointed to the position of General Manager effective September 23, overseeing Orchestra operations, concert production, collective bargaining, electronic media, and facilities (Severance Hall and Blossom).

“It is a great pleasure to welcome Jennifer Barlament to the staff of The Cleveland Orchestra,” said Hanson in making the appointment. “Her strong musical background and record of achievement are among the terrific portfolio of skills and talent she will bring to us.” Barlament has served as executive director of the Kalamazoo Symphony Orchestra since 2009, and was general manager of the Omaha Symphony, 2002-09. She was the 2013 recipient of the Orchestra League’s Helen M. Thompson Award for extraordinary achievement and commitment in the field of orchestra management.

Carol Lee Iott, who has served as Director of Orchestra Personnel since 2005 and as Acting General Manager this year, is taking on the new position of Director of Strategy and Special Initiatives, overseeing institutional strategy, major cross-departmental initiatives, Orchestra personnel, and education and community programs.

“I’m delighted that Carol Lee has accepted my invitation to create this new position,” said Hanson. “In this role, Carol Lee’s portfolio of initiatives will include planning our Centennial celebration, establishing programs to realize Franz’s ‘Make Music!’ vision, and leading an expansion of our neighborhood residencies initiative.” Prior to coming to Cleveland, Iott served as director of orchestra personnel with the Chicago Symphony Orchestra, 1995-2005.

26

Post-concert performers chosen for spring concerts in KeyBank Fridays@7 series

Following this weekend’s first performance, The Cleveland Orchestra’s Fridays@7 series continues in 2014 with three popular concert offerings, pairing orchestral favorites with an array of post-concert world music presentations. The three spring concerts (March 7, April 11, and May 2) feature popular works for piano and orchestra by Rachmaninoff, plus Mozart’s Requiem. The one-hour concerts include the early 7 p.m. start time, plus extra music both before and after. The post-concert presentations in the spring will be: March 7 — New York Gypsy All-Stars.

Back by popular demand to Fridays@7, the New York Gypsy All-Stars jump the turnstiles of Balkanalia, Turkish roots, and gypsy soul with funky refinement.

April 11 — The Medicine Show reaches people in hard-to-get places. The international group made up of players from Brazil, America, Japan, and Germany who are inspired by the intersection of their collective desire to play music that is a passport into another dimension.

May 2 — Requiem to Resurrection.

Gospel legend Theresa Thomason and the Mt. Zion Congregational Church gospel choir will lift the rafters in a musical journey for the soul.

Let the spirit move you!

Special three-concert series packages are available for the spring KeyBank Fridays@7 performances. Contact Severance Hall Ticket Services for complete details, or purchase online at clevelandorchestra.com.

7

FRIDAYS@

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.

Cleveland Orchestra News

The Cleveland Orchestra

THE CLEVELAND ORCHESTRA THE CLEVELAND ORCHESTRA TRA THE CLEVELAND ORCHESTRA

News

OrchestraNews The Eric & Jane Nord Family Fund pledges $2.5 million toward Orchestra’s education programming for students The Eric & Jane Nord Family Fund has pledged a gift of $2.5 million to sustain The Cleveland Orchestra’s education programming for students of all ages across Northeast Ohio.

The contribution is one of the largest the Orchestra has received to date for education. The gift also supports the Sound for the Centennial Campaign, the Orchestra’s ten-year comprehensive campaign to increase the endowment and grow the Annual Fund.

“This generous endowment gift from the Nord Family Fund helps to ensure that music education and community engagement programs remain available for future generations,“ said Franz Welser-Möst. “You can’t take it for granted anymore that young people are exposed to great art, so we have to reach out. . . . We want to be present in the schools, in the lives of Clevelanders, so they not only experience the joy of music, but

also that we become a part of their lives.” Since 1918, the Orchestra has introduced more than four million Cleveland-area schoolchildren to symphonic music.

The Eric & Jane Nord Family Fund is contributing a total of $250,000 toward annual operating costs associated with delivering education and community programs, and has pledged $2.25 million to create an endowment fund. The gift follows major grant awards this year from The Cleveland Foundation, George Gund Foundation, John S. and James L. Knight Foundation, Kulas Foundation, Andrew W. Mellon Foundation, and John P. Murphy Foundation. The Cleveland Orchestra’s Sound for the Centennial Campaign is building the Orchestra’s endowment through its centennial in 2018, while securing broad-based annual support from across Northeast Ohio.

THE CLEVELAND ORCHESTRA

Collecting for clients is music to our ears.

Severance Hall 2013-14

Cleveland Orchestra News

27

THE CLEVELAND ORCHE

Call Alan ScottWeinberg, Weltman, Managing Partner, at 216-685-1100.

216-685-1032.

Weltman, Weinberg & Reis Co., LPA

THE CLEVELAND OR-

OrchestraNews Orchestra’s newest DVD recording of Bruckner 4th receiving strong reviews

The Cleveland Orchestra and Music Director Franz Welser-Möst’s live recording of Bruckner’s Symphony No. 4, made available on DVD in the United States at the end of April, is receiving wide acclaim in reviews from around the world.

The performance was filmed in 2012 the beautiful 17th-century at th baroque Abbey of St. Florian in baro Austria. Emmy Award-winner Aus Brian Bri Large directed the video recording.

This is the first video re produced of the recent critical pr edition of the 1888 version of e Bruckner’s Fourth Symphony, B edited

by Benjamin Korstvedt e and published in 2004 as part of the Bruckner Collected Works edition.

Reviews include: “How does one approach Anton Bruckner and his exuberant Fourth Symphony distinctively? Franz Welser-Möst and his fellow Clevelanders accomplished it. And in such a way!” —Vienna Zeitung, June 2013 “A great orchestra, a Bruckner expert. . . .

Five out of five stars.” —Kurier (Austria), May 2013 “In St. Florian, Franz Welser-Möst and The Cleveland Orchestra breathed new life into this version. A glorious concert.” —Die Presse (Austria), May 2013 Clasart produced the recording, which is being distributed by Arthaus and Naxos.

The Cleveland Orchestra’s long-term partnership with Clasart has resulted in five Bruckner DVDs to date. Founded in Munich in 1977, Clasart is part of the Tele München Group. The Cleveland Orchestra extends special thanks to Raiffeisenlandesbank Oberösterreich and Tele München Group for their ongoing support for electronic media projects.

THE CLEVELAND ORCHESTRA CLEVELAND O30RCHESTRA THE CLEVELAND ORCHESTRA ESTRA THE CLEVELAND ORCHE

News

28

Under 18s Free ticketing program extended to new series and concerts at Severance Hall

Committed to welcoming more young people and families, The Cleveland Orchestra has significantly expanded its “Under 18s Free” program for the 2013-14 season at Severance Hall — to include forty-six concerts from September to May, an increase from just fourteen “Under 18s Free” concerts in the 2012-13 season. “Under 18s Free” tickets will be available for all family programming at Severance Hall, along with Cleveland Orchestra concerts on Fridays and Sundays. The concerts include the Family Concert Series, PNC Musical Rainbows, Cleveland Orchestra Youth Orchestra and Youth Chorus concerts, as well as The Cleveland Orchestra’s Friday morning and evening concerts and Sunday matinees.

“We’re dedicated to serving more people in our community,” says Gary Hanson, the Orchestra’s executive director. “The expansion of our ‘Under 18s Free’ program will provide access to more than three times as many performances for families and young people this season.”

Since the creation of the Center for Future Audiences in 2010, funding from the Center has helped enable nearly 60,000 young people to attend Blossom Music Festival concerts and performances at Severance Hall. The Center’s ticket initiatives include “Under 18s Free,” Student Advantage, and Student Ambassadors programs. The Center for Future Audiences, created with a lead endowment gift from the Maltz Family Foundation, was established to fund programs to develop new generations of audiences for Cleveland Orchestra concerts in Northeastern Ohio.

The “Under 18s Free” program offers free tickets (one per regular-priced adult paid admission) to young people ages 7-17. (Holiday concerts and Celebrity Series concerts are excluded from the “Under 18s Free” offer.) Individual free tickets for Severance Hall concerts for this program must be purchased through the Severance Hall Ticket Office; series purchases can be made online beginnining later this month.

Cleveland Orchestra News

The Cleveland Orchestra

Part Emotion, Part Memory

The Cleveland Carousel Society is bringing back the Grand Carousel from Euclid Beach Park’s historic past for all to ride again.

You can be a part of this historic restoration by becoming a member, naming donor or sponsor of the Carousel horses right now.

Go to: www.clevelandcarousel.org Or call: 216-752-1505

TOWN HALL SPEAKER SERIES 2013-2014

All Magic

OCT 7, 2013

William F. Baker, Ph. D. “Every Leader is an Artist”

NOV 4, 2013

Martin Jacques “When China Rules the World”

DEC 9, 2013

Capitol Steps Political Satire Group

JAN 27, 2014

Jeff Hoffman

“The DNA Needed to Succeed as an Entrepreneur”

FEB 24, 2014

Michael Ruhlman

“America: Too Stupid to Cook”

APR 7, 2014

Bob Woodward

“The Price of Politics”

north � point portfolio managers c o r p o r a t i o n Ronald J. Lang Diane M. Stack Daniel J. Dreiling Severance Hall 2013-14

440.720.1102 440.720.1105 440.720.1104

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

Call for tickets at 216.241.1919 www.townhallofcleveland.org

Academic Sponsor

29

Chopin for Lovers

Celebra

Every work on the program is inspired by a different woman in the composer’s love life!

December 6, 2009 ® Kulas Chopin the Series Patriot of Keyboard Conversations with The heroic Polonaises, the Jeffrey poignant Siegel and bouyant Season 2013-2014 Mazurkas, and the26th vivacious Waltzes.

Presented by Cleveland State University’s Center for Arts and Innovation

March 14, 2010 Masterly Chopin the Storyteller

Sunday, September 29, 2013 The Miraculous Mozart

Enthralling Epic poems and short stories in tone. Ballades of Sunday, December 15, 2013 Chopin and Brahms, Novelettes of Schumann.

Charming The Glory of Beethoven

“An Afternoon and exhilarati The Romantic Music of Chopin “An afternoon entertaining talk caress and Worksofof Chopin that the ear and point to exhilarating music.” the future.

- The Sunday, May 4, 2014 – The Washington Post April 25, 2010 Scintillating Chopin and the Future

Sunday, January 26, 2014

Mistresses and Masterpieces

All Concerts take place at 3:00 pm at Cl All concerts begin at 3:00 pm in Waetjen Auditorium, Euclid Ave. & E. 2 Cleveland State University’s Waetjen Auditorium, Euclid Ave. and E. St. www.csuohi Call (216) 687.5018 or 21st visit For more information call 216.687.5018 for more information. or visit www.csuohio.edu/concertseries/kc

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30

The Cleveland Orchestra

OrchestraNews Read and learn about events across Northeast Ohio at ClevelandClassical.com

F.A.M.I.L.Y N.E.W.S

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.

Committed to Accessibility

Severance Hall 2013-14

Cleveland Orchestra News

31

THE CLEVELAND OR-

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.

The Cleveland Orchestra notes the death on July 25 of retired Orchestra tuba player Ronald Bishop. He served as principal tuba of The Cleveland Orchestra for 38 years, 1967-2005.

Ron was born in Rochester, New York, and earned a bachelor of music degree and performer’s certificate from the Eastman School of Music and a master of science degree from the University of Illinois.

In addition to his role as principal tuba, Ron performed as a soloist with The Cleveland Orchestra on many occasions, and performed in recitals and gave masterclasses throughout the world. He inspired generations of students as a faculty member of the Cleveland Institute of Music and the Oberlin Conservatory of Music. He was also an avid supporter and performer with Performers and Artists for Nuclear Disarmament.

Ron’s artistry, humanity, and sense of humor were priceless, and will be missed.

The entire Orchestra family extends its condolences to Ron’s wife, Marie, and to all his family and friends.

A group of friends, family, and colleagues from Oberlin College and the Cleveland Institute of Music gathered at Blossom for one of the Orchestra’s performances this summer of Stravinsky’s The Rite of Spring with the Joffrey Ballet, remembering especially Ron’s particular love of this great work — and of his playing in the two recordings with The Cleveland Orchestra under the direction of Pierre Boulez, including the Grammy-winning 1969 version. A second Grammy-winning album also stands testament to Ron’s collaborative artistry — Antiphonal Music of Gabrieli, recorded in 1969 featuring members of the brass sections of the orchestras of Cleveland, Chicago, and Philadelphia. Ron, we’ll miss you, but your legacy lives on.

THE CLEVELAND ORCHESTRA

Please join in extending congratulations and warm wishes to: Sonja Braaten Molloy (violin) and her husband, Owen Molloy, whose baby boy, Cormac Henry, was born June 22.

Lyle Steelman (trumpet) and Leslie Brown, who were married on September 14.

I.N M.E.M.O.R.I.A.M

THE CLEVELAND ORCHESTRA

ClevelandClassical.com was created in 2008 to enhance the information available about classical music across Northeast Ohio.

The website 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.

T HE CLEVELAND ORCHESTRA CHESTR

News

Nov 5 Yolanda Kondonassis, harp Nov 20 Yo-Yo Ma, cello Dec 3 The Cleveland Orchestra

ARTIST RECITAL SERIES 2013-14

Feb 9 Imani Winds Feb 14 & 16 Marilyn Horne master classes

A celebration of the arts at Oberlin since 1878

Mar 1 George Li, piano Apr 6 Susan Graham, mezzo-soprano Apr 13 Takács Quartet

Subscriptions and single tickets: www.oberlin.edu/arseries 800-371-0178 With support from: Riverside WCLV 104.9 FM WCPN 90.3 FM WKSU 89.7 FM

The Cleveland Orchestra guide to

Fine Shops & Services The World’s Finest Chamber Music Susanna Phillips, soprano Anne Marie McDermott, piano Paul Neubauer, viola 15 October 2013 Plymouth Church, UCC, 2860 Coventry Rd. Shaker Heights, OH 44120

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32

The Cleveland Orchestra

LEARNING MORE ABOUT THE MUSIC

The Cleveland Orchestra offers a variety of options for learning more about the music before each concert begins.

For each concert, the program book includes program notes commenting on and providing background about the composer and his or her work being performed that week, along with biographies of the guest artists and other information. You can read these before the concert, at intermission, or afterward. (Program notes are also posted ahead of time online at clevelandorchestra.com, usually by the Monday directly preceding the concert.)

The Orchestra’s Music Study Groups also provide a way of exploring the music in more depth. These classes, professionally led by Dr. Rose Breckenridge, meet weekly in locations around Cleveland to explore the music being played each week and the stories behind the composers’ lives.

Free Concert Previews are presented one hour before most subscription concerts throughout the season at Severance Hall. The previews (see listing at right) feature a variety of speakers and guest artists speaking or conversing about that weekend’s program, and often include the opportunity for audience members to ask questions.

Severance Hall 2013-14

Concert Previews 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.

September 19, 21 “Season Overview”

a discussion of the new season with Gary Hanson, executive director (Thursday) Mark Williams, director of artistic planning Mark Kosower, principal cello (Saturday)

September 26, 27 (evening) “Between the Sacred and the Diabolical” with Polina Dimova, visiting assistant professor of Russian and comparative literature, Oberlin College

September 27 (morning) “Opera or Not?” with Rose Breckenridge, Cleveland Orchestra Music Study Groups administrator and lecturer

October 10, 12, 13 “Suite, Symphony, and Serenade” with Michael Strasser, professor of musicology, Baldwin Wallace University Conservatory of Music

October 17, 18, 19 “The Czech Connection” with Rose Breckenridge, Cleveland Orchestra Music Study Groups administrator and lecturer

Concert Previews

33

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

W E L S E R - M Ö ST M U S I C

D I R E C T O R

Severance Hall

Thursday evening, September 19, 2013, at 7:30 p.m.

Saturday evening, September 21, 2013, at 8:00 p.m.

Fabio Luisi, conductor ludwig van beethoven (1770-1827)

Piano Concerto No. 5 (“Emperor”) in E-flat major, Opus 73

1. Allegro 2. Adagio un poco mosso — 3. Rondo: Allegro

HÉLÈNE GRIMAUD, piano

INTERMISSION

gustav mahler

Symphony No. 4 in G major

(1860-1911)

1. Bedächtig. Nicht eilen. [Deliberately. Not rushed.]

2. In gemächlicher Bewegung, ohne Hast [In easy motion, without haste] 3. Ruhevoll [Serene] 4. Sehr behaglich [Very leisurely]

MAUREEN McKAY, soprano

Thursday’s concert is sponsored by FirstMerit Bank.

Fabio Luisi’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from James and Donna Reid.

Maureen McKay’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from the Margaret R. Griffiths Trust.

With this weekend’s concerts, The Cleveland Orchestra gratefully honors the Ann and Gordon Getty Foundation for its generous support.

Thursday’s concert will end at about 9:30 p.m.

Saturday’s concert will end at approximately 10:00 p.m. live radio broadcast

Saturday evening’s concert is being broadcast live on WCLV (104.9 FM).

The concert will be rebroadcast as part of regular weekly programming on WCLV on Sunday afternoon, October 27, at 4:00 p.m.

34

Concert Program — Week 1

The Cleveland Orchestra

Severance Hall

Friday evening, September 20, 2013, at 7:00 p.m.

Fabio Luisi, conductor ludwig van beethoven (1770-1827)

Piano Concerto No. 5 (“Emperor”) in E-flat major, Opus 73

1. Allegro 2. Adagio un poco mosso — 3. Rondo: Allegro

HÉLÈNE GRIMAUD, piano

robert schumann

Symphony No. 1 (“Spring”)

(1810-1856)

in B-flat major, Opus 38

1. Andante un poco maestoso — Allegro molto vivace 2. Larghetto 3. Scherzo: Molto vivace — Molto più vivace — Tempo I 4. Allegro animato e grazioso

7

FRIDAYS@

The Cleveland Orchestra’s Fridays@7 series is sponsored by KeyBank, a Cleveland Orchestra Partner in Excellence.

The concert is performed without intermission and will end at about 8:15 p.m.

Additional information about the Fridays@7 evening can be found on page 39.

Severance Hall 2013-14

Concert Program — Week 1 Fridays@7

>

> >

35

A great performance requires experience, skill, and timing.

Thank you for all your efforts to further the appreciation of music, one great performance at a time.

personal business commercial privatebank 888-554-4362 • firstmerit.com

A proud supporter of The Cleveland Orchestra Member FDIC

INTRODUCING THE CONCERTS

Emperors & Angels

T H E S E A S O N O P E N S this week with concerts featuring pairs of works, created by three master composers who worked in and directly influenced the mainstream of European classical music.

Guest conductor Fabio Luisi leads these performances, of pieces important to his own understanding of the art of symphonic music.

On Thursday and Saturday, Beethoven and Mahler are represented by works from the middle of their careers. With his last piano concerto, written in 1809 and often known by the nickname “Emperor,” Beethoven reached the pinnacle of his own journey in the concerto form. He’d built on Mozart’s model of sublime entertainment and artistic sentiment to create a new form of emotional statement — paving the way for many of the great and formidable piano concertos of the 19th century. For our performances this week, Hélène Grimaud takes on the soloist’s role.

The Thursday and Saturday concerts conclude with Mahler’s sometimes gentle, Schumann, sometimes clangorous, at times oddly humorBeethoven, and Mahler ous Fourth Symphony. Melodic and evocative, this work from 1899-1900 encapsulates much of Mahler’s ideas about what a symphony could be, especially as a form for beauty. The final movement is a song of the naive delights of heaven . . . simple pleasures . . . food and wine . . . bringing an unexpectedly joyful and serene close to this music. Soprano Maureen McKay is the soloist.

On Friday night, Beethoven is paired with Schumann’s First Symphony, nicknamed “Spring.” This exuberant work burst upon the composer as if in a spell — written from start to finish in four sleepless and cold winter nights. It is an exhilarating journey of musical energy. Of course, the KeyBank Fridays@7 evening also features music both before and after the concert, from classical to acoustic jazz. (Fridays@7 continues in the spring with three diverse concerts and an array of post-concert offerings; see page 26 for more details.)

—Eric Sellen

Severance Hall 2013-14

Introducing the Concerts

37

Fabio Luisi

BY B A LU P H OTO G R A P H Y

Italian conductor Fabio Luisi currently serves as principal conductor of the Metro­ politan Opera in New York, chief conductor of the Vienna Symphony Orch­estra, and general music director of the Zurich Opera. Since 2010, he has also served as music director of the Pacific Music Festival in Sapporo, Japan. He made his Cleveland Or­ chestra debut in November 2011.

Born in Genoa in 1959, Fabio Luisi began studying pia­ no at age four. He received his diploma in piano in 1978 from the Conservatorio Niccolò Paganini, and later studied con­ ducting with Milan Horvat at the Graz Conservatory.

Mr. Luisi was named principal guest conductor of the Metropolitan Opera in 2010 and became principal conduc­ tor a year later. He has held his position as the Vienna Sym­ phony’s chief conductor since 2005. He began his tenure with the Zurich Opera in 2012, where he leads a growing number of orchestral performances with the renamed Philharmonia Zürich (formerly the Orchester der Oper Zürich). His previ­ ous posts include music director of the Dresden Staatskapelle and Saxon State Opera (2007-2010), artistic director of the MDR Sinfonieorchester in Leipzig (1999-2007), music di­ rector of the Orchestre de la Suisse Romande (1997-2002), chief conductor of the Tonkünstler Orchestra in Vienna (1995-2000), and artistic director of the Graz Symphony (1990-1996). He also maintains an active international schedule of guest engagements with orchestras and opera companies.

Mr. Luisi made his American debuts in 2000, with the New York Philhar­ monic and the Lyric Opera of Chicago. His subsequent guest engagements in this country have included appearances with the Boston Symphony Orchestra, Chicago Symphony Orchestra, Philadelphia Orchestra, and San Francisco Symphony. Inter­ nationally, his guest appearances have included Amsterdam’s Royal Concertgebouw Orchestra, Bavarian Radio Symphony Orchestra, Mahler Chamber Orchestra, Mu­ nich Philharmonic, NHK Symphony, Orchestre de Paris, London’s Philharmonia Orchestra, Rome’s Santa Cecilia Orchestra, and the Vienna Philharmonic. He is a frequent guest at the Bavarian State Opera, Berlin State Opera, Deutsche Oper, and the Vienna State Opera. He has also conducted at London’s Royal Opera House, at the Salzburg Festival, and with Milan’s Teatro alla Scala.

Fabio Luisi’s discography includes Bellini’s I Puritani, Rossini’s William Tell, Salieri’s La Locandiera, a number of rare Verdi operas (Alzira, Aroldo, Jérusalem), and symphonic repertoire of Honegger, Liszt, and Respighi. He has also recorded all the symphonies and the oratorio The Book of the Seven Seals by Franz Schmidt, works by Richard Strauss, and Bruckner’s Ninth Symphony.

38

Conductor

The Cleveland Orchestra

7

D N A A R L E V E ST FRIDAYS H E T LE H C RC O September 20 friday evening SEVERANCE HALL

@

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

doors open, snacks and drinks available

6:00 p.m.

the evening begins in Reinberger Chamber Hall: featuring pianist Gregory Wang

6

— with a mix of traditional classical with some Argentinian inspiration and classically-inspired improvisations read about the performer on page 66 > > >

clevel@nd orchestra concert THE CLEVELAND ORCHESTRA

7:00 p.m.

7

@

conducted by Fabio Luisi < < <

biographical information on page 38

“Beethoven’s Emperor Concerto”

featuring works by Beethoven and Schumann < < < musical selection details listed on page 35 read commentary about the music: < < < Introduction (page 37), Beethoven (page 41), Schumann (page 59) > > >

@fterparty after the concert ends, the evening continues . . . in the Bogomolny-Kozerefski Grand Foyer: 8:15 p.m. — performing contemporary acoustic jazz . . .

Trio Globo

8

bio information on page 67 > > >

@

bars are open around the performance

Severance Hall 2013-14

KeyBank Fridays@7 — September 20

39

Piano Concerto No. 5 (“Emperor”) in E-flat major, Opus 73 composed 1809

before him, Beethoven wrote his concertos for piano and orchestra as vehicles for displaying his own dazzle as a performer. In those times — before radio and recordings and copyright, and when public concerts were less frequent than today — new music was all the rage. Composing your own ensured that you had fresh, unique material to perform.

Your biggest hits, from last year or last week, were meanwhile quickly appropriated by others through copied scores — and with the best tunes arranged for street organ grinders and lo­ cal wind ensembles. It is little wonder, then, that Mozart kept some scores under lock and key, and left the cadenzas for many of his concertos blank, so that only he could fill them in au­ thentically with his own brand of extemporaneous perfection.

Beethoven moved to Vienna at the age of 22 in 1792. He’d hoped to get to Europe’s musical capital sooner and to study with Mozart, but family circumstances had kept him at home in Bonn helping raise his two younger brothers (around a fa­ ther who . . . simply drank too much). It was as a performer that Beethoven forged his reputation in Vienna, and within a year he was widely known as a red-hot piano virtuoso.

This set the stage for writing his own concertos. For the first three, written between 1795 and 1802, he followed very much in Mozart’s footsteps with the form. In the 1780s, Mozart had turned the concerto into a fully-realized and independent genre, sometimes churning out three or four each season.

But whereas Mozart, over the course of thirty or more works for solo piano or violin, had developed the concerto into sublime products, Beethoven (with just five works for piano and one for violin) strived to make the form individual and handmade again. Mozart created the molds and set the stan­ dards, and only occasionally over-filled or over-flowed them.

Beethoven at first worked within and around those earlier definitions, but the thrust of his musical creativity eventually shattered tradition in order to offer up the first magnificently supercharged concertos of the Romantic 19th century.

Beethoven’s last piano concerto (No. 5) marked a change in the composer’s life onstage. The Fourth was the last concerto LIKE MOZART

by

Ludwig van

BEETHOVEN born December 16, 1770 Bonn died March 26, 1827 Vienna

Severance Hall 2013-14

About the Music

41

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that Beethoven premiered publicly. By the time of the Fifth’s debut, his hearing was so far gone that, even if able to play the solo part, he could no longer hear and coordinate the orchestra playing around him. For the premiere in November 1811, the solo part was handled by Friedrich Schneider in Leipzig, and for the first Viennese performance Beethoven’s student Carl Czerny played it, in February 1812.

But between the Fourth and Fifth concertos, something even more important happened than the further closing off of Beethoven’s hearing. In 1809, he was given a brand new piano (the manufacturer saw it as a promotional opportunity), which, despite his increasing deafness, helped paved the way for the overwhelming grandness of his last concerto.

The fortepiano as an instrument had been invented at the start of the 18th century, transforming the earlier harpsichord and clavichord, which could play each note at one set volume, into a sensitive and dynamic instrument that could play any note softly or loudly or anywhere in between. While the new instrument took some time to catch on, it also underwent some evolutionary changes in design at the end of the century (in­ cluding the introduction of an iron sounding board and steel strings), which gave it an expanded range of notes and dynam­ ics. Mozart had written his concertos very carefully, so that the piano would not be drowned out by too many instruments playing at the same time. But Beethoven, concerto by concerto, was able to write more and more for an instrument that could play directly against a full orchestra.

And in the Fifth Piano Concerto, the first movement opens big — with orchestral chords and piano flourishes. This is not, however, just ornamentation, for the thematic material of the entire movement derives out of these opening calls and response. Ingeniously, Beethoven builds the movement (the longest he wrote in any concerto) on a sense of increasing ten­ sion and climax, and with notable use of rhythms of two beats set against three.

After this big opening comes one of the most heavenly of slow middle movements ever written, with the orchestra integrally interwoven into the piano’s lovely, lovingly, long­ ing, lingering phrases. This is directly connected to the thirdmovement finale, which features one of classical music’s most irresistible and memorable tunes — although this character­ ization is not to suggest that it would be easy to sing a song to Severance Hall 2013-14

About the Music

Mozart had written his concertos very carefully, so that the piano would not be drowned out by too many instruments playing at the same time. Because of changes to the instrument itself, however, Beethoven, concerto by concerto, was able to write more and more for an instrument that could play directly against a full orchestra.

43

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the jaunty stepping phrases of this movement’s main theme.

Orchestra and piano share a discourse over this compelling material and its derivations, bringing the work to a close with requisite bluster and bang, and showing off soloist, orchestra, and Beethoven in equal proportions.

N A M E S A N D I N N OVAT I O N S

The origins of the nickname “Emperor” for this concerto are uncertain. Until the latter half of the 20th century, the name was not well-known or often-used outside of English speak­ ing countries. Handed-down explanations for the nickname include a story that at the first Viennese performance (Febru­ ary 12, 1812) a French officer was: 1.) so overwhelmed by the concerto that he proclaimed it “an emperor among concertos” (or words to that effect), or 2.) that the same mythical (or in­ toxicated) French soldier was so moved by some of the marchlike music in the concerto or recognized a short phrase in the concerto so similar to La Marseillaise that he stood up and/or proclaimed that Emperor Napoleon’s presence was in the music.

An early publisher or performer is a more likely, if less poetic, source for the name, which, whatever its origins, seems well justified by the concerto’s size and grandeur.

In the context of listening to any of Beethoven’s five piano concertos (and The Cleveland Orchestra is presenting all five during the course of the 2013-14 season) and while contemplat­ ing the composer’s innovations and evolution in the artform, it is occasionally worthwhile noting that there is a sixth piano concerto by Beethoven. This is an arrangement that he made (or helped supervise) of his own Violin Concerto, Opus 61, for a generous Italian publisher. Known as Opus 61a, it is infre­ quently programmed. Few soloists have bothered to learn the part, and, admittedly, some portions of it don’t really work. It is, nonetheless, a strangely interesting work to hear in perfor­ mance or recording — and a sure way for many modern listen­ ers who feel too well-acquainted with Beethoven’s concertos to be startled again, as his audiences were, on hearing something unexpectedly familiar but different.

—Eric Sellen © 2013

Severance Hall 2013-14

About the Music

At a Glance Beethoven composed his Piano Concerto No. 5 in 1809.

The first known performance was given in Leipzig on November 28, 1811, with Friedrich Schneider as soloist and Johann Philipp Christian Schulz leading the Gewandhaus Orchestra.

This concerto runs about 40 minutes in performance.

Beethoven scored it for solo piano, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings.

The “Emperor” Concerto was the first of Beethoven’s five piano concertos to be performed by The Cleveland Orchestra, in January 1922, with pianist Josef Hofmann under the direction of Nikolai Sokoloff. Since that time, it has been a frequent work on the Orchestra’s programs, at home and on tour, with many of the world’s greatest pianists, including Arthur Rubinstein, Artur Schnabel, Claudio Arrau, Rudolf Serkin, Rudolf Firkusny, Robert Casadesus, Leon Fleisher, Daniel Barenboim, Emil Gilels, Alicia de Larrocha, Murray Perahia, Vladimir Ashkenazy, Horacio Gutiérrez, and Radu Lupu.

The Cleveland Orchestra has recorded this concerto three times: in 1961 with Leon Fleisher under the direction of George Szell, in 1968 with Emil Gilels (again under Szell), and in 1986 with Vladimir Ashkenazy as both soloist and conductor.

45

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The Cleveland Orchestra Severance.indd 1

9/11/13 1:01 PM

Hélène Grimaud French pianist Hélène Grimaud’s focus and career embrace a wide range of interests and endeavors. She is a deeply pas­ sionate and committed musical artist whose pianistic ac­ complishments play a central role in her life. But she has also established herself as a wildlife conservationist, human rights activist, and writer. She made her Cleveland Orchestra debut in August 1990. She last played here in November 2001.

Hélène Grimaud was born in 1969 in Aix-en-Provence, where she began piano studies at the conservatory with Jac­ queline Courtin. She subsequently worked with Pierre Barbi­ zet in Marseille, was accepted into the Paris Conservatoire at the age of 13, and won first prize in piano performance three years later. She also studied with György Sándor and Leon Fleisher. Ms. Grimaud’s professional career was launched in 1987 with her debut recital in Tokyo and debut concert with the Orchestre de Paris. Since that time, she has performed with major orchestras across the world.

Brahms features prominently in Ms. Grimaud’s repertoire throughout 2013, including the release of a double album of both piano concertos. Working exclusive­ ly with Deutsche Grammophon since 2002, she has recorded a range of works, from Beethoven and Liszt to Bartók, Mozart, and Rachmaninoff. Her concert and recit­ al performances this season include engagements across Europe, North and South America, and Asia — including appearances with the Czech Philharmonic, Los An­ geles Philharmonic, Orquestra Sinfônica do Estado de São Paulo, Philadelphia Or­ chestra, London’s Philharmonia Orchestra, and the St. Petersburg Philharmonic.

As an ardent chamber musician, Ms. Grimaud has performed frequently with collaborators including Truls Mørk, Thomas Quasthoff, Rolando Villazón, Sol Gabetta, Clemens Hagen, and the Capuçon brothers.

Between her 1995 debut with the Berlin Philharmonic and first performance with the New York Philharmonic in 1999, Ms. Grimaud made an entirely different kind of debut — founding the Wolf Conservation Center in Upstate New York. “To be involved in direct conservation and being able to put animals back where they belong,” she says, “there’s just nothing more exciting.” She is also a member of Musicians for Human Rights. Her first book, Variations Sauvages, was published in French in 2003 and subsequently translated into English, Japanese, Dutch, and German.

Leçons particulières, which is part novel and part autobiography, followed in 2005.

For more information, visit www.helenegrimaud.com.

Hélène Grimaud will sign compact discs following the concerts on Thursday and Saturday in the Lerner Lobby at the Cleveland Orchestra Store on the ground floor of Severance Hall. A selection of her albums are available for sale through the Cleveland Orchestra Store.

Severance Hall 2013-14

Guest Artist

47

Sound for the Centennial TH E C A M PAI G N FO R TH E C LE V EL A N D O RC H ES TR A

In anticipation of The Cleveland Orchestra’s 100th anniversary in 2018, we have embarked on the most ambitious fundraising campaign in its history. The Sound for the Centennial Campaign seeks to build the Orchestra’s Endowment through THE cash gifts and legacy commitments, while also securing broad-based and increasCLEVELAND ORCHESTRA ing annual support from across Northeast Ohio.

The generous individuals and organizations listed on these pages have made long-term commitments of annual and endowment support, and legacy declarations to the Campaign as of September 10, 2013. We gratefully recognize their extraordinary commitment toward the Orchestra’s future success. Your participation can make a crucial difference in helping to ensure that future generations of concertgoers experience, embrace, and enjoy performances, collaborative presentations, and education programs by The Cleveland Orchestra. To join this growing list of visionary contributors, please contact Jon Limbacher, Chief Development Officer, at 216-231-7520.

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The Andrew W. Mellon Foundation Ms. Beth E. Mooney Sally S. and John C. Morley John P. Murphy Foundation David and Inez Myers Foundation The Eric & Jane Nord Family Fund PNC 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 The Ralph and Luci Schey Foundation The Kelvin and Eleanor Smith Foundation The J. M. Smucker Company Joe and Marlene Toot Anonymous (3)

GIFTS OF $500,000 TO $1 MILLION

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

48

Medical Mutual of Ohio The Honorable and Mrs. John Doyle Ong Parker Hannifin Corporation The Payne Fund Charles and Ilana Horowitz Ratner Mr. and Mrs. Lawrence M. Sears Mr. and Mrs. Richard K. Smucker Anonymous

Sound for the Centennial Campaign

The Cleveland Orchestra

GIFTS OF $250,000 TO $500,000

Randall and Virginia Barbato John P. Bergren* and Sarah S. Evans The William Bingham Foundation Mr. and Mrs.* Harvey Buchanan Cliffs Natural Resources Mr. and Mrs. Matthew V. Crawford Nancy and Richard Dotson Sidney E. Frank Foundation David and Nancy Hooker Mrs. Marguerite B. Humphrey James D. Ireland III Trevor and Jennie Jones Mr. Clarence E. Klaus, Jr. Giuliana C. and John D. Koch

Dr. Vilma L. Kohn Mr. and Mrs. Alex Machaskee Robert M. Maloney and Laura Goyanes Elizabeth Ring Mather and William Gwinn Mather Fund Mr. Donald W. Morrison Margaret Fulton-Mueller William J. and Katherine T. Oâ&#x20AC;&#x2122;Neill Mr. and Mrs. James A. Saks Hewitt and Paula Shaw The Skirball Foundation Mr. and Mrs. Jules Vinney* David A. and Barbara Wolfort

GIFTS OF $100,000 TO $250,000

Mr. and Mrs. George N. Aronoff Ben and Ingrid Bowman Dr. Christopher P. Brandt and Dr. Beth Sersig George* and Becky Dunn Mr. Allen H. Ford Dr. and Mrs. Hiroyuki Fujita Albert I. and Norma C. Geller Hahn Loeser + Parks LLP Iris and Tom Harvie Jeff and Julia Healy Mr. Daniel R. High Mr. and Mrs. S. Lee Kohrman Mrs. Emma S. Lincoln Dr. and Mrs. Sanford E. Marovitz The Nord Family Foundation Mr. Gary A. Oatey

Severance Hall 2013-14

Polsky Fund of Akron Community Foundation Helen Rankin Butler and Clara Rankin Williams RPM International Inc. Mrs. David Seidenfeld Naomi G. and Edwin Z. Singer Ms. Lorraine S. Szabo Virginia and Bruce Taylor Ms. Ginger Warner The Denise G. and Norman E. Wells, Jr. Family Foundation Mr. Max W. Wendel Paul and Suzanne Westlake Marilyn J. White Katie and Donald Woodcock William Wendling and Lynne Woodman * deceased

Sound for the Centennial Campaign

49

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THURSDAY AND SATURDAY

Symphony No. 4 in G major composed 1899-1900

V E N I S O N , A S PA R A G U S , eleven thousand virgins . . .

by

Gustav

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

Severance Hall 2013-14

Who would have thought that these apparently un-sym­ phonic items would have their special place in the best-loved and most frequently played of Mahler’s symphonies?

The Fourth Symphony is “about” childhood, in the sense that most of Mahler’s music seems to be “about” profound is­ sues of life and death. Perhaps we are more willing to identify with the child’s world than to face the numberless existential issues that haunted Mahler throughout his life. At all events, there is a directness and charm in the Fourth Symphony that is missing from the others, with their often sprawling explora­ tion of good and evil, heaven and hell.

The Fourth Symphony adopts the standard classical fourmovement design and uses a modest orchestra heavy on wood­ winds but light on brass (no trombones or tuba); there are no formidable thunderbolts and no tense musical arguments that defy the listener’s comprehension. We emerge from the sym­ phony in a glow of serenity and peace.

Its origin — and a clue to its understanding — lies in Mahler’s preoccupation with the folk world of Des Knaben Wunderhorn (“The Youth’s Magic Horn”), a collection of poetry pub­ lished nearly a hundred years earlier purporting to be German folk poetry, but often half genuine, half invented. Between 1888 and 1899, Mahler set over a dozen poems from this collection for voice and piano or orchestra, some of which found their way into the symphonies he was composing at the same time.

Both the Second and Third Symphonies included settings of these verses, and in the very long Third Symphony Mahler originally planned to include, as a seventh movement, a setting of a song he had written in 1892 to the Wunderhorn poem “Der Himmel hängt voller Geigen” (“Heaven is Full of Violins”). Be­ fore the Third Symphony was published (in 1898), this song was taken out and set aside as the basis of a symphony of its own.

Mahler titled the song “Das himmlische Leben” (“The Heavenly Life”) and composed three new movements to precede the song, all creating an image of childhood sealed by the child’s vision of heaven in the song.

When he began this Fourth Symphony, Mahler had been music director at the Vienna Opera for a little over a year, an About the Music

51

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intense commitment that allowed him freedom to compose only in the summer months. In 1899, he bought a plot of land at Maiernigg on the Wörther Lake near the southernmost point of Austria for the express purpose of building a second home for his annual break far from the cutthroat musical politics of the capital. While his chalet was being built, Mahler began work on the Fourth Symphony at Altaussee, a similar lakeside resort in the Austrian province of Styria, where he spent the summer. By the time he resumed composition the following year, the chalet at Maiernigg was ready, and it was there that he finished the symphony on August 5, 1900. It was first performed in November 1901, at which time he had just met, but not yet married, Alma Schindler. The child’s dreams were therefore largely drawn on his own.

The opening movement, in traditional symphonic form, has a disarming tunefulness, occasionally colored by jingling sleigh-bells. The clarity of Mahler’s orchestration, even when several counterpoints are heard at once, is amazing. One good tune follows another, all seeming to smile, never to grimace, and the close is exquisite.

The second movement, a kind of scherzo, features a solo violin tuned higher than normal tuning to suggest a country fiddler. There are ghostly shadows in this music, mildly threat­ ening perhaps, but set aside by the gemütlich (“pleasant or con­ genial”) quality of the pulse. As so often in Mahler, he is never done until he has exhausted the implications of his material — if there are new permutations and combinations to discover, he will discover them.

The third movement is a calm Adagio, particularly gen­ erous to the cellos, who present the first theme. After a while, the tempo suddenly quickens, recalling the pulse of the scherzo, with the main theme dragged into new disguises. Just when the pace seems to be running out of control, the horns put on the brakes and calm returns. But a new surprise arrives in the form of a gigantic chord of E major, important for the harp and then the timpani, which casts an ambiguous shadow over the end of the movement. The musical implications of this chord are not made clear until the end of the symphony, which will eventually end in the key of E major, as if the child’s dream has led, like a yellow brick road, to that particular vision of heaven.

The last movement entrusts the vision to the soprano solo­ ist. The child imagines a carefree life in heaven, full of dancing Severance Hall 2013-14

About the Music

At a Glance Mahler composed the first three movements of his Fourth Symphony during the summers of 1899 and 1900.

The fourth movement, written in 1892 as a song under the title “Das himmlische Leben” (“The Heavenly Life”) and performed in the following year, was originally intended for inclusion in the Third Symphony.

The first performance of the Fourth Symphony took place on November 23, 1901, in Munich under the composer’s direction; the soprano soloist was Margarete Michalek. The United States premiere was given by Walter Damrosch and the New York Symphony Society with soprano Etta de Montjau on November 6, 1904.

This symphony runs approximately 55 minutes in performance. Mahler scored it for 4 flutes (third and fourth doubling piccolo), 3 oboes (third doubling english horn), 3 clarinets (second doubling small clarinet in E-flat, third doubling bass clarinet), 3 bassoons (third doubling contrabassoon), 4 horns, 3 trumpets, timpani, percussion (bass drum, triangle, sleigh bells, glockenspiel, cymbals, tamtam), harp, and strings, with the addition — in the fourth movement — of a solo soprano voice.

53

and playing, good music and good food (asparagus, beans, hare, fish, wine), and full of saints and martyrs, too. The child has no qualms about imagining King Herod butchering a lamb or St. Luke slaughtering an ox. St. Peter catches fish, of course, and St. Martha, the patron saint of cooks, serves the dish. Why Mahler retained the three lines that mention St. Ursula, martyred along with eleven thousand virgins, is a mystery. Afterall, he did omit one verse of the poem, where it mentions St. Lawrence, another martyr who is also regarded as a patron saint of cooks because he was himself . . . cooked.

—Hugh Macdonald © 2013 Hugh Macdonald is Avis H. Blewett Professor of Music at Washington University in St. Louis and is an authority on French music. He has written books on Beethoven, Berlioz, and Scriabin.

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54

BENEFACTOR SPONSORS

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About the Music

The Cleveland Orchestra

THURSDAY AND SATURDAY

Maureen McKay American soprano Maureen McKay is making her Cleveland Orchestra debut with this weekend’s performances. She is a former member of Seattle Opera’s Young Artists Program and Filene Young Artist with Wolf Trap Opera Company, and a Komische Oper Berlin ensemble member. The Atlanta native earned her bachelor of music degree at Columbus State University in Georgia and her master of music degree at Ohio State University.

In concert, Maureen McKay’s performances have in­ cluded engagements with the Los Angeles Philharmonic, Washington D.C.’s National Symphony Orchestra, Saint Louis Symphony Orchestra, Oregon Symphony, and Utah Sympho­ ny, as well as internationally with Rome’s Santa Cecilia Or­ chestra and the Royal Liverpool Philharmonic. She has also sung with Seattle’s Music of Remembrance, the Seattle Cham­ ber Players, and the Seattle Symphony.

Ms. McKay has appeared in operas ranging from Beethoven’s Fidelio to Poulenc’s Dialogues of the Carmelites and Richard Strauss’s Der Rosenkavalier. She frequently performs as Gretel in Humperdinck’s Hänsel and Gretel. In addition to her work in Berlin, Seattle, and at Wolf Trap, she has sung with opera companies across the United States, including those in Anchorage, Atlanta, Central City, Kansas City, New Orleans, Philadelphia, Omaha, St. Louis, and Tulsa, as well as with New York City Opera and the Metropolitan Opera. Her current schedule includes debuts with the Ba­ varian State Opera, Opera Colorado, Saito Kinen Festival, San Diego Opera, and Washington National Opera.

Maureen McKay’s recordings include Lori Laitman’s song cycle I Never Saw Another Butterfly and Hans Krasa’s opera Brundibár on the Naxos label.

For more information, visit www.maureenmckay.com.

At historic White North Stables, Hunting Valley

Saturday, September 28 at 5:30 pm ncch.org

216.622.1880

Where people with disabilities 216.662.1880 ncch.org thrive Severance Hall 2013-14

Guest Artist

55

Symphony No. 4 H E AV E N LY L I F E

text adapted by Gustav Mahler from Des Knaben Wunderhorn (“The Youth’s Magic Horn”) collected and adapted by Achim von Arnim and Clemens Brentano

Wir geniessen die himmlischen Freuden, D’rum thun wir das Irdische meiden.

Kein weltlich’ Getümmel Hört man nicht im Himmel!

Lebt alles in sanftester Ruh’.

Wir führen ein englisches Leben!

Sind dennoch ganz lustig daneben, Wir tanzen und springen, Wir hüpfen und singen.

Sankt Peter im Himmel sieht zu!

We revel in heavenly pleasures, From everyday cares we fly away.

None of the world’s tumult do we hear in heaven!

Everyone lives in absolute peace.

We lead an angelic life!

And are quite merry together, We dance and leap, We hop and sing, With Saint Peter in heaven looking on!

Johannes das Lämmlein auslasset, Der Metzger Herodes drauf passet!

Wir führen ein unschuldig’s, Unschuldig’s, geduldig’s, Ein liebliches Lämmlein zu Tod! Sankt Lukas den Ochsen tät schlachten Ohn’ einig’s Bedenken und Achten.

Saint John releases the young lamb, Herod the Butcher is ready!

We’re leading an innocent, blameless yet willing, a delicious young lamb to its death!

Saint Luke is now slaying the ox without a thought or care.

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Sung Text — Mahler Symphony No. 4

The Cleveland Orchestra

Der Wein kost kein Heller, Im himmlischen Keller Die Englein, die backen das Brot.

The wine costs not a penny in our heavenly cellar, The angels are baking bread.

Gut Kräuter von allerhand Arten, Die wachsen im himmlischen Garten!

Gut Spargel, Fisolen, Und was wir nur wollen!

Ganze Schüsseln voll sind uns bereit!

Gut Apfel, gut Birn, und gut Trauben, Die Gärtner die alles erlauben!

Willst Rehbock, willst Hasen, Auf offener Strassen Sie laufen herbei.

Good herbs of all varieties are grown in heaven’s garden.

Good asparagus, French beans, and whatever else we might desire!

Whole platefuls are prepared for us!

Good apples, good pears, and good grapes, The gardeners give us anything!

If you want deer, if you’d like rabbit, out in our streets they are all running nearby.

Sollt ein Fasttag etwa kommen Alle Fische gleich mit Freuden angeschwommen!

Dort läuft schon Sankt Peter Mit Netz und mit Köder Zum himmlischen Weiher hinein.

Sankt Martha die Köchin muss sein!

Should a fasting-day come ’round, All the fish come joyfully swimming to us!

Already Saint Peter is running — with his net and his bait — out to the heavenly fishpond.

Saint Martha will have to be the cook!

Kein’ Musik ist ja nicht auf Erden, Die uns’rer verglichen kann werden.

Elftausend Jungfrauen Zu tanzen sich trauen!

Sankt Ursula selbst dazu lacht!

None of earth’s music can be compared to ours.

Eleven thousand young maidens dare to dance together!

Saint Ursula herself laughs with them!

Cäcilia mit ihren Verwandten Sind treffliche Hofmusikanten!

Die englischen Stimmen Ermuntern die Sinnen, Das alles für Freuden.

Cecilia and her relations are exquisite court musicians!

The angelic voices gently stir our minds so that everyone awakens refreshed.

(English translation by Eric Sellen)

The Cleveland Orchestra is pleased to welcome The Leakey Foundation to Saturday evening’s concert.

Severance Hall 2013-14

Sung Text — Mahler Symphony No. 4

57

“

I’ve

tortoise

Have

never

seen

with

hair

?

you

a

.

”

Committed

to classical around the clock.

WCLV…now also heard on 90.3 WCPN HD2 WCLV.org

FRIDAY EVENING

Symphony No. 1 (“Spring”) in B-flat major, Opus 38 composed 1841

was an awkward and paradoxical man.

Introverted, yet passionate. Particular, yet at times uncon­ cerned. Prone to too much drinking, lazy in his studies, and yet utterly consumed and focused on his music writing when an idea hit him. Willing to buck convention, but tempering of those around him. Critical of others, but understanding. Tan­ talized by many women, yet loving just one as a soul-mate who he only partially understood. A dreamer looking for his own dream, but sometimes acting as if in a nightmare.

From the evidence of his life, it now seems clear that Schumann had a manic-depressive personality. His contradic­ tory mood swings, his periods of great productivity followed by weeks of not caring. His over-working to exhaustion, his deep depressions. That he wasn’t born in a later generation where understanding and treatment might have helped, we may regret. If the journey between up and down helped give him his creative perspective, we can be thankful. Certainly his art (composing and writing) gave him an outlet into which he poured his thoughts, his demons, his passion.

Schumann came to a musical career choice late. Although music had always been part of his family’s life, and he was en­ couraged to enjoy it, he did not begin playing piano until age 10 — and only later got really serious about it. At university and with his private teachers, he studied music theory and harmony for the first time in his later teens. Thus was his upbringing far from that of a young prodigy, like Mozart or Mendelssohn, bathed in a musical glow from the beginning.

His father and brothers were in the publishing business, and his family wanted Robert to study law in order to guaran­ tee a satisfactory income. But he studied only half-heartedly.

He dreamed more of being a great writer, a novelist — though he never committed himself to the idea. Later, his skills as a writer and editor about music contributed greatly to his small income as a fledgling composer, but sapped his time away from composing.

Schumann showed some early promise in his ability to play the piano, and regularly participated in chamber music ROBERT SCHUMANN

by

Robert

SCHUMANN born June 8, 1810 Zwickau, Saxony died July 29, 1856 Endenich, near Bonn

Severance Hall 2013-14

About the Music

59

At a Glance Schumann composed this symphony in B-flat major in the course of four sleepless days and nights in January 1841. He orchestrated it over the following month. The first performance took place on March 31, 1841, with Felix Mendelssohn conducting the Leipzig Gewandhaus Orchestra. The score was dedicated to Friedrich August, King of Saxony, who sent the composer a golden snuffbox as a token of his appreciation.

This symphony runs about 30 minutes in performance. Schumann scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, percussion (triangle) and strings.

The Cleveland Orchestra has recorded this symphony three times: in 1946 with Erich Leinsdorf, in 1958 with George Szell, and in 1986 with Christoph von Dohnányi.

60

Two portraits of Schumann, at age sixteen in 1826 and in a pensive mood in 1847. above : In Hamburg in 1850, with Clara his wife (one of the great pianists of the 19th century). left :

performances as a student. But he had started learning later than most virtuosos, and although he harbored a desire to be­ come a concert soloist, his lackadaisical practicing (combined paradoxically, perhaps, with too ardent work with a finger stretching machine) left him at the age of 22 without sufficient promise (and one hand less useful than the other). (There are other possible explanations for the problem with his hand, but the stretching machine amplified the defect.)

Thus was Schumann the composer born . . . of necessity.

He wasn’t interested enough in law, he wasn’t willing to commit himself as an author, he wasn’t focused enough on anything really, and his hands weren’t good enough as a concert pianist.

Still, the piano was his instrument — just as it was the focus for many composers in the first half of the 19th century. Its sound and range had been strengthened by the advent of steel sounding boards, and its mass production had made it ubiqui­ tous for musical gatherings and towns both large and small. If there was a Piano Age, Schumann lived during it.

After some early work on songs and other pieces, Schumann devoted most of a decade almost exclusively to writing piano About the Music

The Cleveland Orchestra

music. His works were unusual and different. Neither showy nor inscrutably passionate, but more personal sketches of emo­ tion. Think of them as the scrapbooks of an apprentice, for he was still learning — although some of them, such as Kreisleriana and Carnaval, are among his greatest masterpieces.

The “Spring” Symphony, premiered in 1841 and subse­ quently published as No. 1, was not Schumann’s first attempt at large symphonic scale. He’d begun writing a symphony at least three times earlier, something in G minor in 1833, a couple of movements in D minor in 1835 or 1836, and sketches for a work in C minor in 1840. He abandoned each, however, unsure of his own worth as a composer or distracted by life’s day-to-day challenges.

One of Schumann’s distractions — and perhaps his great­ est struggle — was how to marry Clara Wieck, the daughter of one of his piano teachers, Friedrich Wieck. Father Wieck opposed their marriage, offering constantly changing reasons — she was too young, she was too good a pianist to give up her own career, Robert couldn’t support her. Finally, after several years of negotiating, pleading, and cajoling, Robert and Clara

L. Subramaniam “Greatest of classical Indian violinists, he was both Paganini and Poet.”

—San Francisco Chronicle South Indian Carnatic music performed with his son Ambi Subramaniam and percussionist.

Friday, October 4, at 7:30 p.m. in Gartner Auditorium Tickets available at

ClevelandArt.org/PerformingArts

Courtesy of L. Subramaniam

Come see amazing Severance Hall 2013-14

About the Music

61

A Rich Inheritance

Caring for those in need never goes out of style.

Whether helping people in crisis, ensuring dignity for the elderly, or working to alleviate poverty â&#x20AC;&#x201C; our values have always inspired us to act. Those same values teach us to care for the next generation. By making a legacy gift, you leave your children and grandchildren a precious inheritance, and a lasting testimony to your values.

To learn about making a legacy gift, contact Carol Wolf at 216.593.2805 or cwolf@jcfcleve.org.

Jewish Federation OF CLEVELAND

Mandel Building | 25701 Science Park Drive | Cleveland, Ohio 44122 www.jewishcleveland.org 1083

literally took her father to court. And it was only after a longdrawn and successful case that they were granted legal permis­ sion to marry a day before her twenty-first birthday in 1840.

As marriage approached — slowly — Schumann spent a year writing songs, completing 120 lieder. This was a mag­ nificent and marvelous outpouring of talent (and masterpieces), but also a practical means of de­ riving quick income as a composer toward sup­ porting his family-to-be. One of father Wieck’s constant objections to Schumann as a son-inlaw was that not just Robert but composing in general didn’t earn enough money.

One great spur to Schumann the com­ poser was his discovery in 1839 of Franz Schubert’s C-major Symphony (later given the nickname “The Great”) among post­ humous manuscripts left with friends.

Schubert arranged for its public premiere, under Felix Mendelssohn’s direction in Leipzig, and was greatly impressed with Schubert’s unknown “Great” opus. The cogs in Schumann’s mind once again turned to­ ward larger symphonic forms, through which he could claim his own rightful place among the pantheon of composers — to earn more A silhouette of respect and more money. This, perhaps even Schumann made during his lifetime. more than his own evolution as a composer, spurred him toward larger composition.

The “Spring” Symphony’s nickname is Schumann’s own, although he did not directly call it that. It was, however, very much part of how he talked about the symphony to others.

He told Louis Spohr, a well-known but conservative and old­ er composer colleague, that the symphony was created “with a vernal passion . . . that always sways men even into old age and surprises them anew each year. Description and painting were not part of my intention, but I do believe that the season in which the symphony was born influenced its structure and helped make it what it is.”

Schumann may have felt the cyclic reinvigoration of Springtime even more intensely than many people, given his own manic-depressive cycles and their reflection in the annual progress of seasons. In a burst of creativity, Schumann penned Severance Hall 2013-14

About the Music

In a burst of creativity, Schumann penned the entire symphony in four very intense (and largely sleepless) days and nights in January 1841.

Thus, if spring was the inspiration, it was the longing for spring rather than the season itself that inspired him.

63

the entire symphony in four very intense (and largely sleepless) days and nights in January 1841. Thus, if spring was the inspiration, it was the long­ ing for spring rather than the season itself that inspired him. After years of half-hearted attempts, the symphony sprang forth realized in full, just as Spring can replace Winter with sudden abandon and purpose.

Schumann’s connection between the season and the symphony intensified as he orchestrated it over the next four weeks, and he even considered naming each of the work’s four movements: 1. Beginning of Spring, 2. Evening, 3. Merry Playmate, and 4. Spring at Its Height. In the end, he left the storyline “behind the work” to inform audiences through the music alone — although he frequently mentioned the season connec­ tions to potential conductors.

The “Spring” Symphony was premiered in March 1841, just two months after it was conceived, conducted in Leipzig by Felix Mendels­ sohn, who had been appointed to lead the city’s orchestra (and had be­ come Schumann’s friend). Mendelssohn’s best symphonies (Nos. 3, 4, and 5) were still in the future, so let us not ever judge Schumann for at times sounding like Mendelssohn.

A horn call opens the symphony, followed almost immediately with a burst of energy that carries through all four movements. The music repeatedly gathers new drive, reinforcing the appropriateness of the symphony’s nickname. The second movement is lyric rather than languorous, as Schumann pushes us through, movement by movement, headlong toward an earnest and happy close. Few first symphonies have been created in such quick and white-hot conception. Its few potential flaws are those of youth and inexperience, rather than in lacking daring or confidence.

—Eric Sellen © 2013

Eric Sellen serves as program editor for The Cleveland Orchestra.

His writings have appeared in program books of orchestras and music festivals across North America and Europe.

Robata Grill and Raw Bar

64

About the Music

Japanese Tapas

The Cleveland Orchestra

D N A RA L E 20 E ST r H V T E E be L H m C RC te p

e O S

PRE-CONCER T

st@rters

Gregory Wang piano

with special guest Peter Takács

Gregory Wang’s range of repertoire and in­ terests spans several centuries. In 2013, he represented the Oberlin Conservatory of Music at the Kennedy Center, playing origi­ nal transcriptions from Stravinsky’s Petrouchka. A few months later, a star-crossed affair with historical performance culminated in a debut at the harpsichord during the Montecito International Music Festival.

Gregory holds a bachelor’s degree from Oberlin under the tutelage of Peter Takács. He is currently a student of Jean-Louis Haguenauer at Indiana University, where he is an associate instructor in music theory. He has had success in both national and international competitions, including his sec­ ond prize (and a full scholarship for study in Vienna the next summer) at the 2011 International Russian Music Competition.

For this evening’s Fridays@7 presentation, he is presenting a mix of traditional classical works (Ginastera and Ravel) with some Argentinian inspiration along with some classically-induced improvisations.

6

6 p.m.

We believe in working for the greater good of all and we are proud to support any organization that shares this value.

We thank The Cleveland Orchestra for its commitment to excellence!

Ken Lanci, Chairman & CEO Consolidated Solutions 66

Guest Artists — Fridays@7

The Cleveland Orchestra

POS T-CONCER T

@fterparty

Trio Globo

Eugene Friesen, cello Howard Levy, piano and harmonica Glen Velez, percussion

7

S@ Y A D I FR

Trio Globo has crafted a totally origi­ nal voice in contemporary acoustic jazz. With roots in jazz, classical, and sacred music, rhythmic influ­ ences derived from travels on six continents, and a combus­ tible spontaneity, cellist Eugene Friesen (Paul Winter Consort), pianist and master harmonica player Howard Levy (Béla Fleck and the Flecktones, Kenny Loggins, Paquito d’Rivera), and percussionist Glen Velez (Paul Winter Consort, Steve Reich) epitomize the quintessential trio for the 21st century. They are true originals re-inventing their instruments in new music both personal and global.

To learn and hear more, visit www.trioglobo.com.

8

8:15 p.m.

Jamey Haddad has curated and planned the world music perfor-

mances for The Cleveland Orchestra’s Fridays@7 concerts since the series began in 2009. Born in Cleveland, Ohio, he holds a unique position in the world of jazz and contemporary music, with his musical voice transcending styles and trends. Regarded as one of the foremost world music and jazz percussionists in the United States, Mr. Haddad is an associate professor at the Cleveland Institute of Music, Oberlin Conservatory of Music, Boston’s Berklee College of Music, and the New England Conservatory. To learn more, visit www.jameyhaddadmusic.com.

lec.edu lec.edu 1.855.GO.STORM 1.855.GO.STORM Severance Hall 2013-14

Guest Artists — Fridays@7

67

PLACE YOUR AD:

photo: Roger Mastroianni

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WHY ISN’T YOUR AD HERE? ADVERTISE IN THE CLEVELAND ORCHESTRA SEVERANCE HALL PROGRAM BOOKS The Cleveland Orchestra is an extraordinary engine of promotion and a justifiable source of great civic pride. Every year The Cleveland Orchestra draws a local, national and international audience to Severance Hall to hear “the sound the world is talking about.”

We invite you to be a part of this amazing experience by advertising in the Severance Hall printed programs. It’s a smart way to put yourself in front of 150,000+ of northeast Ohio’s most influential consumers and business decision-makers.

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THE

CLEVELAND

Endowed Funds

ORCHESTRA

funds established as of August 2013

The generous donors listed here have made endowment gifts to support specific artistic initiatives, education and community programming and performances, facilities maintenance costs, touring and residencies, and more. (Additional endowment funds are recognized through the naming of Orchestra chairs, listed on pages 22-23.) Named funds can be established with new gifts of $250,000 or more. For information about making your own endowment gift to The Clevelamd 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

Guest Artists Fund

George Gund III Fund

Artistic Collaboration

Joseph P. and Nancy F. Keithley

Artist-in-Residence Malcolm E. Kenney

Young Composers

Jan R. and Daniel R. Lewis

Friday Morning Concerts

Mary E. and F. Joseph Callahan Foundation

Radio Broadcasts

Robert and Jean Conrad Dr. Frederick S. and Priscilla Cross

Cleveland Orchestra Chorus

Jerome and Shirley Grover Meacham Hitchcock and Family

American Conductors Fund Douglas Peace Handyside Holsey Gates Handyside

Severance Hall Guest Conductors Roger and Anne Clapp James and Donna Reid

Cleveland Orchestra Soloists Julia and Larry Pollock Family

The Eleanore T. and Joseph E. Adams Fund Mrs. Warren H. Corning The Gerhard Foundation, Inc. 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

Concert Previews

Dorothy Humel Hovorka

International Touring

Frances Elizabeth Wilkinson

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Art of Beauty Company, Inc. William P. Blair III Fund for Orchestral Excellence John P. Bergren and Sarah S. Evans Nancy McCann Margaret Fulton-Mueller Virginia M. and Jon A. Lindseth

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

Center for Future Audiences Maltz Family Foundation

Student Audiences

Alexander and Sarah Cutler

Endowed Funds listing continues

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Endowed Funds

69

THE

CLEVELAND ORCHESTRA

Endowed Funds continued from previous page EDUCATION AND COMMUNITY endowed funds help support programs that deepen con-

nections 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 H. Cull Memorial Frank and Margaret Hyncik Junior Committee of The Cleveland Orchestra Mr. and Mrs. David T. Morgenthaler John and Sally Morley The Eric & Jane Nord Family Fund The William N. Skirball Endowment

Education Concerts Week

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 Alex and Carol Machaskee

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

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

70

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THE CLEVELAN D ORCHESTRA

Corporate Support

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

Cumulative Giving

JOHN L. SEVERANCE SOCIETY $5 MILLION AND MORE

KeyBank PNC $1 MILLION TO $5 MILLION

Annual Support

gifts of $2,500 or more during the past year, as of September 5, 2013 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.

PARTNERS IN EXCELLENCE $300,000 AND MORE

BakerHostetler Bank of America Eaton FirstEnergy Foundation Forest City Enterprises, Inc. The Goodyear Tire & Rubber Company Hyster-Yale Materials Handling NACCO Industries, Inc. The Lubrizol Corporation / The Lubrizol Foundation Merrill Lynch Parker Hannifin Corporation The Plain Dealer PolyOne Corporation Raiffeisenlandesbank Oberösterreich (Europe) The J. M. Smucker Company

Hyster-Yale Materials Handling NACCO Industries, Inc. KeyBank The Lubrizol Corporation Raiffeisenlandesbank Oberösterreich (Europe) The J. M. Smucker Company

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

Listing as of September 2013.

$50,000 TO $99,999

PARTNERS IN EXCELLENCE $200,000 TO $299,999

BakerHostetler Eaton 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 Jones Day Quality Electrodynamics (QED) voestalpine AG (Europe) Anonymous $25,000 TO $49,999 Dix & Eaton The Giant Eagle Foundation Litigation Management, Inc. Northern Trust Bank of Florida (Miami) Park-Ohio Holdings Corp.

The Plain Dealer RPM International Inc. Squire Sanders (US) LLP Thompson Hine LLP

$2,500 TO $24,999 AdCom Communications Akron Tool & Die Company AkronLife Magazine American Fireworks, Inc.

Severance Hall 2013-14

Corporate Annual Support

American Greetings Corporation BDI Bank of America Brouse McDowell Eileen M. Burkhart & Co LLC Buyers Products Company Cleveland Clinic The Cleveland Wire Cloth & Mfg. Co. Cohen & Company, CPAs Community Behavioral Health Center Conn-Selmer, Inc. Consolidated Graphics Group, Inc. Dollar Bank Dominion Foundation Ernst & Young LLP Evarts-Tremaine-Flicker Company Feldman Gale, P.A. (Miami) Ferro Corporation FirstMerit Bank Frantz Ward LLP Victor Kendall, Friends of WLRN Gallagher Benefit Services Great Lakes Brewing Company Gross Builders Hahn Loeser + Parks LLP Hyland Software The Lincoln Electric Foundation Littler Mendelson, P.C. C. A. Litzler Co., Inc. Live Publishing Company 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 Pricewaterhouse Coopers LLP The Prince & Izant Company Richey Industries, Inc. The Sherwin-Williams Company Stern Advertising Agency Swagelok Company TriMark S.S. Kemp Tucker Ellis Ulmer & Berne LLP University Hospitals Ver Ploeg & Lumpkin, P.A. (Miami) WCLV Foundation Westlake Reed Leskosky Anonymous (2)

73

2013-14 season Woody sez:

the life & music of Woody Guthrie

september 13 – october 6, 2013

Experience the life of America’s greatest folk singer through riveting stories and over 25 of his legendary songs.

venus in fur november 1–24, 2013

Blurring the line between fantasy and reality, this electrifying and seductive comedy was lauded by The New York Times as “seriously smart and very funny.”

a christmas story november 29 – december 22, 2013

An all-new production in honor of the 30th anniversary of the beloved film. The perfect holiday treat for the entire family.

yentl

January 10 – february 2, 2014

A startlingly modern love story and a magical comedy that will win your heart.

breath and imaGination february 14 – march 9, 2014

This musical tale of faith, hope, and family traces African-American tenor Roland Hayes’ remarkable journey from rural Georgia to Carnegie Hall and Buckingham Palace.

clybourne park march 21 – april 13, 2014

A ferociously smart and pulverizingly funny satire that reveals the lives in one house through 50 years of societal changes.

informed consent april 23 – may 18, 2014

This world premiere takes us into the personal and national debate about science vs. belief and whether our DNA is our destiny. maurice hines is

tappin’ thru life may 30 – June 22, 2014

A celebration of Mr. Hines’ life and showbiz forerunners, including Frank Sinatra, Duke Ellington, and Nat King Cole. This feel-good show will have you tappin’ through the night.

216.241.6000 | clevelandplayhouse.com Groups of 10 or more save up to 40% by callinG 216.400.7027

THE CLEVELAN D ORCHESTRA

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

Cumulative Giving

JOHN L. SEVERANCE SOCIETY $10 MILLION AND MORE

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

The George Gund Foundation Knight Foundation (Cleveland, Miami) The Andrew W. Mellon Foundation John P. Murphy Foundation $1 MILLION TO $5 MILLION

The William Bingham Foundation The George W. Codrington Charitable Foundation GAR Foundation Ann and Gordon Getty Foundation The Louise H. and David S. Ingalls Foundation Martha Holden Jennings Foundation David and Inez Myers Foundation National Endowment for the Arts The Eric & Jane Nord Family Fund The Payne Fund The Reinberger Foundation The Sage Cleveland Foundation

Annual Support

gifts of $2,000 or more during the past year, as of September 5, 2013 $1 MILLION AND MORE

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

Kulas Foundation John P. Murphy Foundation The Eric & Jane Nord Family Fund Ohio Arts Council $100,000 TO $249,999

Sidney E. Frank Foundation GAR Foundation Elizabeth Ring Mather and William Gwinn Mather Fund David and Inez Myers Foundation $50,000 TO $99,999

The George W. Codrington Charitable Foundation Martha Holden Jennings Foundation Myra Tuteur Kahn Memorial Fund of The Cleveland Foundation The Mandel Foundation National Endowment for the Arts Donald and Alice Noble Foundation, Inc. The Nord Family Foundation 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 Mary and Dr. George L. Demetros Charitable Trust Fisher-Renkert Foundation The Harry K. Fox and Emma R. Fox Charitable Foundation The William O. and Gertrude Lewis Frohring Foundation Funding Arts Network (Miami) The Hankins Foundation The Muna & Basem Hishmeh Foundation Richard H. Holzer Memorial 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 Kenneth W. Scott Foundation The Sherwick Fund Lloyd L. and Louise K. Smith Memorial Foundation The South Waite 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 and 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 September 2013.

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 John S. and James L. Knight Foundation The Margaret Clark Morgan Foundation The Frederick and Julia Nonneman Foundation William J. and Dorothy K. O’Neill Foundation Peacock Foundation, Inc. (Miami) Polsky Fund of Akron Community Foundation The Reinberger Foundation The Sisler McFawn Foundation

Severance Hall 2013-14

Foundation/Government Annual Support

75

THE CLEVELAN D ORCHESTRA

Individual Support

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

Lifetime Giving

JOHN L. SEVERANCE SOCIETY Daniel R. and Jan R. Lewis (Miami, Cleveland) $5 MILLION TO $10 MILLION

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

Irma and Norman Braman (Miami) 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 The Ralph and Luci Schey Foundation Anonymous (3) The Severance Society recognizes generous contributors of $1 million or more in lifetime giving to The Cleveland Orchestra.

As of September 2013.

76

gifts during the past year, as of September 5, 2013 INDIVIDUAL GIFTS OF $500,000 AND MORE

$10 MILLION AND MORE

$1 MILLION TO $5 MILLION

Annual Support

Daniel R. and Jan R. Lewis (Miami) Peter B. Lewis and Janet Rosel (Miami) Mr. and Mrs. Albert B. Ratner INDIVIDUAL GIFTS OF $200,000 TO $499,999

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

James D. Ireland III Mr. and Mrs. Joseph P. Keithley Dr. and Mrs. Herbert Kloiber (Europe) Mrs. Emma S. Lincoln Elizabeth F. McBride Mr. and Mrs. Franz Welser-Mรถst Janet and Richard Yulman (Miami) INDIVIDUAL GIFTS OF $75,000 TO $99,999

Mr. and Mrs. Douglas A. Kern Mr. and Mrs. Dennis W. LaBarre 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 Mr. Allen H. Ford Hector D. Fortun (Miami) Mr. and Mrs. Michael J. Horvitz Elizabeth B. Juliano (Cleveland, Miami) R. Kirk Landon and Pamela Garrison (Miami) Toby Devan Lewis Mr. and Mrs. Edward A. Lozick

Individual Annual Support

The Cleveland Orchestra

Leadership Council

Robert M. Maloney and Laura Goyanes Ms. Beth E. Mooney Mr. Patrick Park (Miami) Charles and Ilana Horowitz Ratner James and Donna Reid Barbara S. Robinson Mr. and Mrs. Lawrence M. Sears Hewitt and Paula Shaw Mr. and Mrs. Richard K. Smucker Mary M. Spencer (Miami) Barbara and David Wolfort Anonymous

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

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

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 Judith and George W. Diehl Mr. and Mrs. Geoffrey Gund George Gund* Trevor and Jennie Jones Giuliana C. and John D. Koch Dr. Vilma L. Kohn Charlotte R. Kramer Ms. Nancy W. McCann Sally S. and John C. Morley Mrs. Jane B. Nord Julia and Larry Pollock Mrs. Alfred M. Rankin, Sr. Luci and Ralph* Schey R. Thomas and Meg Harris Stanton

Gay Cull Addicott Mr. and Mrs. William W. Baker Randall and Virginia Barbato Jill and Paul Clark Mr. and Mrs. Matthew V. Crawford Do Unto Others Trust (Miami) Esther L. and Alfred M. Eich, Jr. Jeffrey and Susan Feldman (Miami) Dr. Edward S. Godleski Andrew and Judy Green Gary Hanson and Barbara Klante Mr. and Mrs. Jack Hoeschler Richard and Erica Horvitz (Cleveland, Miami) Mr. and Mrs. Christopher Kelly Jonathan and Tina Kislak (Miami) Joy P. and Thomas G. Murdough, Jr. (Miami) William J. and Katherine T. O’Neill Mr. and Mrs. James A. Saks Marc and Rennie Saltzberg Raymond T. and Katherine S. Sawyer Mr. and Mrs. Donald Stelling (Europe) Mr. Joseph F. Tetlak Tom and Shirley Waltermire Mr. Gary L. Wasserman and Mr. Charles A. Kashner (Miami) The Denise G. and Norman E. Wells, Jr. Family Foundation Women’s Committee of The Cleveland Orchestra Anonymous gift from Switzerland (Europe)

INDIVIDUAL GIFTS OF $25,000 TO $29,999

INDIVIDUAL GIFTS OF $15,000 TO $19,999

Dr. and Mrs. Hiroyuki Fujita Mr. and Mrs. Jeffrey Healy Mrs. Marguerite B. Humphrey Junior Committee of The Cleveland Orchestra Dr. David and Janice Leshner Mr. and Mrs. Jon A. Lindseth Maltz Family Foundation Margaret Fulton-Mueller Mr. and Mrs. James A. Ratner Richard and Nancy Sneed (Cleveland, Miami) Paul and Suzanne Westlake

Dr. Christopher P. Brandt and Dr. Beth Sersig Mr. and Mrs. David J. Carpenter Scott Chaikin and Mary Beth Cooper Martha and Bruce Clinton (Miami) Mr. Peter and Mrs. Julie Cummings (Miami) Mr. and Mrs. Peter O. Dahlen George* and Becky Dunn Colleen and Richard Fain (Miami) Joyce and Ab* Glickman Richard and Ann Gridley Mrs. John A Hadden Jr. Jack Harley and Judy Ernest

INDIVIDUAL GIFTS OF $30,000 TO $49,999

listings continue

Severance Hall 2013-14

Individual Annual Support

77

THE CLEVELAN D ORCHESTRA listings continued

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

Mary and Jon Heider (Cleveland, Miami) David and Nancy Hooker Tati and Ezra Katz (Miami) Mr.* and Mrs. Arch J. McCartney Mr. Thomas F. McKee Mr. and Mrs. Stanley A. Meisel Miba AG (Europe) Lucia S. Nash Mr. Gary A. Oatey (Cleveland, Miami) Claudia and Steven Perles (Miami) Steven and Ellen Ross Mr. and Mrs. David A. Ruckman Mrs. David Seidenfeld Dr. and Mrs. Neil Sethi David and Harriet Simon Rick, Margarita and Steven Tonkinson (Miami) Mr. and Mrs. Jeffrey M. Weiss Anonymous INDIVIDUAL GIFTS OF $12,500 TO $14,999

Mr. and Mrs. William E. Conway Tim and Linda Koelz Mr. and Mrs. Richard A. Manuel Rachel R. Schneider Kim Sherwin Mr. and Mrs. Alfred Umdasch (Europe)

Crescendo

Annual Campaign Patrons

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

Jack Harley Iris Harvie Brinton L. Hyde Randall N. Huff David C. Lamb Raymond T. Sawyer

Ongoing annual support gifts are a critical component toward sustaining The Cleveland Orchestra’s economic health. Ticket revenues provide only a small portion of the funding needed to support the Orchestra’s outstanding performances, educational activities, and community projects.

The Crescendo Patron Program recognizes generous donors of $2,500 or more to the Orchestra’s Annual Campaign. For more information on the benefits of playing a supporting role each year, please contact Elizabeth Arnett, Manager, Leadership Giving, by calling 216-231-7522.

Mr. and Mrs. George N. Aronoff Mr. William Berger Jayusia and Alan Bernstein (Miami) Marsha and Brian Bilzin (Miami) Mr. D. McGregor Brandt, Jr. Augustine* and Grace Caliguire Mr.* and Mrs. R. Bruce Campbell Richard J. and Joanne Clark Mrs. Barbara Cook 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 Mr. David J. Golden Elaine Harris Green Robert K. Gudbranson and Joon-Li Kim Sondra and Steve Hardis T. K. and Faye A. Heston Joan and Leonard Horvitz Pamela and Scott Isquick Mr. and Mrs. Donald M. Jack, Jr. Allan V. Johnson Andrew and Katherine Kartalis Janet and Gerald Kelfer (Miami) Mrs. Elizabeth R. Koch Mr. Jeff Litwiller Edith and Ted* Miller Mr. Donald W. Morrison Elisabeth and Karlheinz Muhr (Europe) Brian and Cindy Murphy Donald and Alice Noble Foundation, Inc. Mr. and Mrs. William M. Osborne, Jr. Brian and Patricia Ratner Audra and George Rose Dr. Tom D. Rose Dr. and Mrs. Ronald J. Ross Dr. Isobel Rutherford Mr. Larry J. Santon Dr. E. Karl and Lisa Schneider Mr. and Mrs. Oliver E. Seikel Dr. Gerard and Phyllis Seltzer and the Dr. Gerard and Phyllis Estelle Seltzer Foundation Mrs. Gretchen D. Smith Jim and Myrna Spira Lois and Tom Stauffer Charles and Rosalyn Stuzin (Miami) Mrs. Blythe Sundberg Mrs. Jean H. Taber Dr. Russell A. Trusso Sandy and Ted Wiese Anonymous (3)* INDIVIDUAL GIFTS OF $7,500 TO $9,999

Mr. and Mrs. Dean Barry Laurel Blossom Mr. and Mrs. Richard L. Bowen Mr. Robert W. Briggs Ellen E. & Victor J. Cohn Supporting Foundation Mrs. Barbara Ann Davis Henry and Mary Doll listings continue

78

Individual Annual Support

The Cleveland Orchestra

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Severance Hall 2013-14

79

THE CLEVELAN D ORCHESTRA listings continued

Nancy and Richard Dotson Mr. Paul Greig Kathleen E. Hancock Mary Jane Hartwell Iris and Tom Harvie Mrs. Sandra L. Haslinger Amy and Stephen Hoffman Joela Jones and Richard Weiss Judith and Morton Q. Levin Mr. and Mrs.* Robert P. Madison Mr. and Mrs. Thomas B. McGowan Mr. Raymond M. Murphy Pannonius Foundation Douglas and Noreen Powers Paul A. and Anastacia L. Rose Rosskamm Family Trust Patricia J. Sawvel Carol* and Albert Schupp Mr. Eric Sellen and Mr. Ron Seidman Naomi G. and Edwin Z. Singer Family Fund Mr. and Mrs. Donald W. Strang, Jr. Mrs. Marie S. Strawbridge* Bruce and Virginia Taylor Anonymous (2) INDIVIDUAL GIFTS OF $5,000 TO $7,499

Norman and Helen Allison Susan S. Angell Mr. and Mrs. Albert A. Augustus Mr. and Mrs. Robert H. Baker Stephen Barrow and Janis Manley (Miami) Fred G. and Mary W. Behm Dr. Ronald and Diane Bell Drs. Nathan A. and Sosamma J. Berger Dr. and Mrs. Eugene H. Blackstone Paul and Marilyn* Brentlinger Dr. and Mrs. Jerald S. Brodkey Dr. Ben H. and Julia Brouhard 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. Owen Colligan Marjorie Dickard Comella Mr. and Mrs. Gerald A. Conway Corinne L. Dodero Foundation for the Arts and Sciences Mr. and Mrs. Ralph Daugstrup Mr. and Mrs. Edward B. Davis Pete and Margaret Dobbins Mr. and Mrs. Terry C. Z. Egger Dr. and Mrs. Robert Elston Mary and Oliver Emerson Mr. and Mrs. Alex Espenkotter Dr. D. Roy and Diane A. Ferguson Christopher Findlater (Miami) Joy E. Garapic Mr. and Mrs. David Goldberg Mr. and Mrs. Henry J. Goodman Mr. and Mrs. Randall J. Gordon Harry and Joyce Graham David and Robin Gunning Clark Harvey and Holly Selvaggi Henry R. Hatch Robin Hitchcock Hatch

80

Barbara Hawley and David Goodman Janet D. Heil* Anita and William Heller Thomas and Mary Holmes Bob and Edith Hudson (Miami) Ms. Charlotte L. Hughes Mr. James J. Hummer Mr. and Mrs. Brinton L. Hyde Mr. and Mrs. Christopher Hyland Donna L. and Robert H. Jackson Mr. and Mrs. Richard A. Janus Rudolf D. and Joan T. Kamper Milton and Donna* Katz Dr. and Mrs. William S. Kiser Mr. and Mrs. S. Lee Kohrman Mrs. Justin Krent Mr. Donald N. Krosin Mr. and Mrs. Peter A. Kuhn Mr. and Mrs. Arthur J. Lafave, Jr. David C. Lamb Shirley and William Lehman (Miami) Mr. Lawrence B. and Christine H. Levey Mr. and Mrs. Adam Lewis Mr. Dylan Hale Lewis Ms. Marley Blue Lewis Mr. Jon E. Limbacher and Patricia J. Limbacher 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 Mr. and Mrs. James Meil Claudia Metz and Thomas Woodworth Mr. and Mrs. Abraham C. Miller (Miami) Drs. Terry E. and Sara S. Miller Mr. and Mrs. William A. Mitchell Ann Jones Morgan Richard and Kathleen Nord Mr. Henry Ott-Hansen Mr. J. William and Dr. Suzanne Palmer Nan and Bob Pfeifer Mr. and Mrs. John S. Piety Dr. and Mrs. John N. Posch William and Gwen Preucil Lois S.* and Stanley M. Proctor Mr. and Mrs. Thomas A. Quintrell Drs. Raymond R. Rackley and Carmen M. Fonseca Mr. and Mrs. Roger F. Rankin Ms. Deborah Read Mr. William J. Ross Mr. and Mrs. Robert C. Ruhl Mrs. Florence Brewster Rutter Mr. and Mrs. David R. Sawyier Bob and Ellie Scheuer David M. and Betty Schneider Linda B. Schneider Dr. and Mrs. James L. Sechler Lee G. and Jane Seidman Charles Seitz (Miami) Mrs. Frances G. Shoolroy Marjorie B. Shorrock David Kane Smith George and Mary Stark Howard Stark M.D. and Rene Rodriguez (Miami) Stroud Family Trust Ms. Lorraine S. Szabo Mr. and Mrs. Paul A. Teel, Jr.

Individual Annual Support

listings continue

The Cleveland Orchestra

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THE CLEVELAN D ORCHESTRA listings continued INDIVIDUAL GIFTS OF $5,000 TO $7,499 CONTINUED

Mr. and Mrs. Bill Thornton Mr.* and Mrs. Robert N. Trombly Robert and Marti Vagi Don and Mary Louise Van Dyke Mr. Gregory Videtic Bill Appert and Chris Wallace (Miami)

Mr. and Mrs. Fred A. Watkins Dr. Edward L. and Mrs. Suzanne Westbrook Tom and Betsy Wheeler Fred and Marcia Zakrajsek Anonymous (3)

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

Ms. Nancy A. Adams Dr. and Mrs. D. P. Agamanolis Mrs. Joanne M. Bearss Mr. and Mrs. Jules Belkin Suzanne and Jim Blaser Ms. Mary R. Bynum and Mr. J. Philip Calabrese Dr. and Mrs. William E. Cappaert Mrs. Millie L. Carlson Drs. Mark Cohen and Miriam Vishny Diane Lynn Collier Ms. Maureen A. Doerner and Mr. Geoffrey T. White Peter and Kathryn Eloff Mr. Brian L. Ewart and Mr. William McHenry Peggy and David* Fullmer Robert N. and Nicki N. Gudbranson Mr. Robert D. Hart Hazel Helgesen and Gary D. Helgesen Mr. David and Mrs. Dianne Hunt Dr. and Mrs. Scott R. Inkley Helen and Erik Jensen Barbara and Michael J. Kaplan Mr. James and Mrs. Gay* Kitson Dr. Gilles and Mrs. Malvina Klopman Mr. Thomas and Mrs. Deborah Kniesner

Cynthia Knight (Miami) Marion Konstantynovich 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 Joel and Mary Ann Makee Martin and Lois Marcus William and Eleanor McCoy Dr. Susan M. Merzweiler Bert and Marjorie Moyar Richard B. and Jane E. Nash Mr. and Mrs. Peter R. Osenar Mr. Robert S. Perry Mr. and Mrs. Richard W. Pogue In memory of Henry Pollak Dr. Robert W. Reynolds Mrs. Charles Ritchie Amy and Ken Rogat Fred Rzepka and Anne Rzepka Family Foundation Mr. Paul H. Scarbrough Ginger and Larry Shane Ms. Frances L. Sharp Mr. Richard Shirey

Howard and Beth Simon Dr. Marvin and Mimi Sobel Mr. and Mrs. William E. Spatz Dr. Elizabeth Swenson Mr. Karl and Mrs. Carol Theil Mr. and Mrs. Lyman H. Treadway Miss Kathleen Turner Mr. and Mrs. Mark Allen Weigand Robert C. Weppler Richard Wiedemer, Jr. Nancy V. and Robert L. Wilcox Mr. and Dr. Ann Williams Anonymous

Ms. Mary E. Chilcote Mr. and Mrs. Homer D. W. Chisholm Mr. and Mrs. Stanley Cohen (Miami) Dr. Dale and Susan Cowan Mr. and Mrs. Manohar Daga Mrs. Frederick F. Dannemiller Charles and Fanny Dascal (Miami) Jeffrey and Eileen Davis Mrs. Lois Joan Davis Dr. and Mrs. Richard C. Distad Dr. M. Meredith Dobyns Mr. George and Mrs. Beth Downes David and Margaret Ewart Harry and Ann Farmer Dr. Aaron Feldman and Mrs. Margo Harwood Carl and Amy Fischer Mr. Isaac Fisher Scott Foerster, Foerster and Bohnert Joan Alice Ford Mrs. Amasa B. Ford Mr. Randall and Mrs. Patrice Fortin Mr. and Mrs. John R. Fraylick Marvin Ross Friedman and Adrienne bon Haes (Miami) Arthur L. Fullmer Jeanne Gallagher Marilee L. Gallagher

Barbara and Peter Galvin Mrs. Georgia T. Garner Mr. Wilbert C. Geiss, Sr. Anne and Walter Ginn Mr. and Mrs. David A. Goldfinger Dr. and Mrs. Ronald L. Gould Mr. and Mrs. Robert T. Graf 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. Donald F. Hastings Mr. and Mrs. Jerry Herschman Mr. Robert T. Hexter Dr. and Mrs. Robert L. Hinnes Dr. Feite F. Hofman Dr.* and Mrs. George H. Hoke Peter A. and Judith Holmes Dr. Keith A. and Mrs. Kathleen M. Hoover Dr. Randal N. Huff and Ms. Paulette Beech Ms. Carole Hughes Ms. Luan K. Hutchinson Ruth F. Ihde Ms. LaVerne Jacobson

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

Mr. and Mrs. Charles Abookire, Jr. Ms. Nancy A. Adams Nancy L. Adams, PhD Stanley I. and Hope S. Adelstein Mr. and Mrs. Robert J. Amsdell Mr. and Mrs. Jeffrey R. Appelbaum Dr. Mayda Arias Agnes Armstrong Ms. Delphine Barrett Ellen and Howard Bender Mr. Roger G. Berk Kerrin and Peter Bermont (Miami) Barbara and Sheldon Berns Mrs. Marguerite S. Bertin Julia and David Bianchi (Cleveland, Miami) Bill* and Zeda Blau Mr. Doug Bletcher Dennis and Madeline Block Mr. and Mrs. Richard H. Bole John and Anne Bourassa Lisa and Ron Boyko Mrs. Ezra Bryan J. C. and Helen Rankin Butler Mr. and Mrs. Frank H. Carpenter Leigh Carter Mr. and Mrs. James B. Chaney Dr. and Mrs. Ronald Chapnick

82

Individual Annual Support

listings continue

The Cleveland Orchestra

ConCert series

Find out first. Visit cim.edu to join our mailing list.

216.791.5000 | 11021 east Boulevard | Cleveland, oH 44106

Severance Hall 2013-14

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

Dr. Michael and Mrs. Deborah Joyce Rev. William C. Keene Angela Kelsey and Michael Zealy (Miami) The Kendis Family Trust: Hilary & Robert Kendis and Susan & James Kendis Bruce and Eleanor Kendrick Fred and Judith Klotzman Mr. Ronald and Mrs. Kimberly Kolz Ellen Brad and Bart Kovac Dr. Ronald H. Krasney and Ms.* Sherry Latimer Mr. James Krohngold Mr. and Mrs. S. Ernest Kulp Mrs. Carolyn Lampl Mr. and Mrs. John J. Lane 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. Rudolf and Mrs. Eva Linnebach Martha Klein Lottman Herbert L. and Rhonda Marcus Dr. and Mrs. Sanford E. Marovitz David and Elizabeth Marsh Dr. Ernest and Mrs. Marian Marsolais Mr. Julien L. McCall Ms. Nancy L. Meacham Mr. James E. Menger Stephen and Barbara Messner Bessie Benner Metzenbaum Foundation Ms. Betteann Meyerson Mr. and Mrs. Roger Michelson (Miami) Curt and Sara Moll Joan Katz Napoli and August Napoli Mr. David and Mrs. Judith Newell Marshall I. Nurenberg and Joanne Klein Richard and Jolene O’Callaghan Mr. and Mrs. Robert D. Paddock Deborah and Zachary Paris Dr. Lewis and Janice B. Patterson Mr. Thomas and Mrs. Tommie Patton Mrs. Ingrid Petrus Drs. John Petrus and Sharon DiLauro Dr. Roland S. Philip and Dr. Linda M. Sandhaus Dale and Susan Phillip Ms. Maribel Piza (Miami) Dr. Marc and Mrs. Carol Pohl Mr. Richard and Mrs. Jenny Proeschel Kathleen Pudelski Ms. Rosella Puskas

Dr. James and Lynne Rambasek Ms. C. A. Reagan Alfonso Conrado Rey (Miami) David and Gloria Richards Carol Rolf and Steven Adler Robert and Margo Roth Miss Marjorie A. Rott Michael and Roberta Rusek Dr. Harry S. and Rita K. Rzepka Dr. and Mrs. Martin I. Saltzman Ms. Patricia E. Say Mr. James Schutte Ms. Adrian L. Scott Dr. John Sedor and Ms. Geralyn Presti Drs. Daniel and Ximena Sessler Harry and Ilene Shapiro Norine W. Sharp Dr. and Mrs. William C. Sheldon Laura and Alvin A. Siegal Robert and Barbara Slanina Ms. Donna-Rae 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 Mr. Taras G. Szmagala, Jr. Ken and Martha Taylor Greg and Suzanne Thaxton Dr. and Mrs. Thomas A. Timko Steve and Christa Turnbull Robert A. Valente Brenton Ver Ploeg (Miami) Mr. and Mrs. Joaquin Viñas (Miami) Mr. and Mrs. Les C. Vinney Dr. Michael Vogelbaum and Mrs. Judith Rosman Ms. Laure A. Wasserbauer Philip and Peggy Wasserstrom Mr. and Mrs. Jerome A. Weinberger Dr. Paul R. and Mrs. Catherine Williams Michael H. Wolf and Antonia Rivas-Wolf Mr. Robert Wolff and Dr. Paula Silverman Kay and Rod Woolsey Tony and Diane Wynshaw-Boris Rad and Patty Yates Mr. Kal Zucker and Dr. Mary Frances Haerr Anonymous (7) * member of the Leadership Council (see page 77)

* deceased

84

Individual Annual Support

THE

CLEVELAND ORCHESTRA

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 with The Cleveland Orchestra, please contact our Philanthropy & Advancement Office by calling 216-231-7545.

The Cleveland Orchestra

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

The Cleveland Orchestra’s catalog of recordings continues to grow. The newest DVD features Bruckner’s Fourth Symphony recorded live in the Abbey of St. Florian in Austria under the direction of Music Director Franz Welser-Möst in 2012 and released in May 2013.

“A great orchestra, a Bruckner expert. . . . Five out of five stars,” declared Austria’s Kurier newspaper. Released in 2012, Dvořák’s opera Rusalka on CD, recorded live at the Salzburg Festival, elicited the reviewer for London’s Sunday Times to praise 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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11890 Fairhill Road Cleveland, OH 44120

216.791.8000 www.benrose.org Severance Hall 2013-14

87

11001 Euclid Avenue Cleveland, Ohio 44106

P H OTO BY S T E V E H A L L © H E D R I C H B L E S S I N G

CLEVELANDORCHESTRA.COM

the world’s most beautiful concert halls, Severance Hall has been home to The Cleveland Or­ chestra since its opening on February 5, 1931. After that first concert, a Cleve­ land 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 Associa­ tion, 1921-1936) and his wife, Elisabeth, donated most of the funds necessary to erect this magnificent building. De­ signed by Walker & Weeks, its elegant HAILED AS ONE OF

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Georgian exterior was constructed to harmonize with the classical architec­ ture 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 Mod­ ernism. An extensive renovation, resto­ ration, 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 citi­ zens for performances, meetings, and gala events each year.

Severance Hall

The Cleveland Orchestra

A quiet park comes to life

University Circle Inc.â&#x20AC;&#x2122;s WOW! Wade Oval Wednesdays

... WITH INVESTMENT BY CUYAHOGA ARTS & CULTURE Cuyahoga Arts & Culture (CAC) uses public dollars approved by you to bring arts and culture to every corner of our County. From grade schools to senior centers to large public events and investments to small neighborhood art projects and educational outreach, we are leveraging your investment for everyone to experience.

Your Investment: Strengthening Community Visit cacgrants.org/impact to learn more.

THE CLEVELAND C O N C E R T

C A L E N D A R

Beethoven’s Emperor Concerto Thursday September 19 at 7:30 p.m.

Saturday September 21 at 8:00 p.m.

THE CLEVELAND ORCHESTRA Fabio Luisi, conductor Hélène Grimaud, piano Maureen McKay, soprano

BEETHOVEN Piano Concerto No. 5 MAHLER Symphony No. 4 Sponsor: FirstMerit Bank

KeyBank Fridays@7: Beethoven’s Emperor Concerto Friday September 20 at 7:00 p.m.

THE CLEVELAND ORCHESTRA Fabio Luisi, conductor Hélène Grimaud, piano

BEETHOVEN Piano Concerto No. 5 SCHUMANN Symphony No. 1 (“Spring”) Sponsor: KeyBank

Tchaikovsky’s First Piano Concerto Thursday September 26 at 7:30 p.m.

Friday September 27 at 11:00 a.m.* Friday September 27 at 8:00 p.m.

THE CLEVELAND ORCHESTRA Vassily Sinaisky, conductor Kirill Gerstein, piano

LIADOV Eight Russian Folk Songs* TCHAIKOVSKY Piano Concerto No. 1 PROKOFIEV Symphony No. 3 * not part of Friday Morning Matinee

2013 Gala and Dinner: Itzhak Perlman Plays Tchaikovsky Saturday September 28 at 7:00 p.m.

THE CLEVELAND ORCHESTRA Vassily Sinaisky, conductor Itzhak Perlman, violin

LIADOV Eight Russian Folk Songs RIMSKY-KORSAKOV Russian Easter Overture TCHAIKOVSKY Violin Concerto Diamond Sponsors: The Lerner Foundation KeyBank

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

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Family Concert: Tchaikovsky Discovers America Sunday October 6 at 3:00 p.m.

THE CLEVELAND ORCHESTRA William Eddins, conductor with special guests Classical Kids LIVE!

Music and drama are magically interwoven as actors recreate historical scenes from this great composer’s life.

Featuring many of his famous works, including The Nutcrack- er, Swan Lake, the “1812” Overture, and more.

Sponsor: The Giant Eagle Foundation

Franck’s Symphony in D

Thursday October 10 at 7:30 p.m.

Saturday October 12 at 8:00 p.m.

Sunday October 13 at 3:00 p.m.

THE CLEVELAND ORCHESTRA Marek Janowski, conductor Matthew Polenzani, tenor Richard King, horn

FAURÉ Suite from Pelléas and Mélisande BRITTEN Serenade for Tenor, Horn, and Strings FRANCK Symphony in D minor

William Preucil Plays Dvořák

Thursday October 17 at 7:30 p.m.

Friday October 18 at 11:00 a.m.* Saturday October 19 at 8:00 p.m.

THE CLEVELAND ORCHESTRA Jakub Hrůša, conductor William Preucil, violin

HAYDN Symphony No. 60 (“Il distratto”)* DVOŘÁK Violin Concerto JANÁČEK Taras Bulba * not part of Friday Morning Matinee Tuesday October 22 at 7:00 p.m.

FILM: A CLOCKWORK ORANGE at the Cleveland Institute of Art Cinematheque As part of The Cleveland Orchestra’s “Fate and Freedom” festival, this screening of the movie A Clockwork Orange (1971), directed by Stanley Kubrick, includes introductory remarks by John Ewing.

Wednesday October 23 at 6:30 p.m.

FILM: THE NEW BABYLON at the Cleveland Museum of Art As part of The Cleveland Orchestra’s “Fate and Freedom” festival, this screening of The New Babylon (1929) features Shostakovich’s first film score. Preceded by a discussion between James Krukones and Frank J. Oteri and John Ewing.

Concert Calendar

The Cleveland Orchestra

ORCHESTRA I N

FATE AND FREEDOM: MUSIC OF BEETHOVEN AND SHOSTAKOVICH

T H E

S P O T L I G H T

THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Thursday October 24 at 7:30 p.m.

BEETHOVEN Symphony No. 3 (“Eroica”) SHOSTAKOVICH Symphony No. 6 Friday October 25 at 8:00 p.m.

BEETHOVEN Symphony No. 4 SHOSTAKOVICH Symphony No. 8 Saturday October 26 at 8:00 p.m.

BEETHOVEN Symphony No. 5 SHOSTAKOVICH Symphony No. 10

Celebrity Concert: Preservation Hall Jazz Band Sunday October 27 at 7:00 p.m.

PRESERVATION HALL JAZZ BAND

This lauded ensemble derives its name from the venerable music venue located in the heart of the French Quarter of New Orleans. The band brings new life to hot rhythms, cool chords, and sultry Southern sounds. Don’t miss this special concert just in time for Halloween and All Souls’ Day!

Beethoven’s Mass in C major Thursday October 31 at 7:30 p.m.

Saturday November 2 at 8:00 p.m.

THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Luba Orgonášová, soprano Kelley O’Connor, mezzo-soprano Herbert Lippert, tenor Ruben Drole, baritone Joela Jones, piano Cynthia Millar, ondes martenot Cleveland Orchestra Chorus

BEETHOVEN Mass in C major BEETHOVEN Grosse Fuge MESSIAEN Three Small Liturgies of the Divine Presence

A Gala Evening

with The Cleveland Orchestra and Itzhak Perlman

Saturday Sep 28 at 7:30 p.m.

THE CLEVELAND ORCHESTRA Vassily Sinaisky, conductor Itzhak Perlman, violin

The pairing of a lifetime . . . the most famous of all violin concertos performed by one of the instrument’s legendary masters.

Tchaikovsky’s Violin Concerto is one of those great classical works one never tires of. The evening includes the gala concert and postconcert dinner, raising funds toward The Cleveland Orchestra’s Education and Community Programs.

Gala Chair: Norma A. Lerner Corporate Chair: Beth Mooney Limited seating remains.

For dinner/ticket packages, call 216-231-7547.

Sponsor: Litigation Management, Inc.

Welser-Möst: All-Beethoven Friday November 1 at 8:00 p.m.

THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor

CLEVELAND ORCHESTRA TICKETS

BEETHOVEN “Leonore” Overture No. 3 BEETHOVEN Grosse Fuge BEETHOVEN Symphony No. 5

Severance Hall 2013-14

Concert Calendar

phone

216 - 231-1111 800-686-1141

clevelandorchestra.com 91

11001 Euclid Avenue, Cleveland, Ohio 44106 CLEVELANDORCHESTRA.COM

AT SE V E R A NC E H A LL CONCERT DINING AND CONCESSION SERVICE

Severance Restaurant at Severance Hall is open for pre-concert dining. For reservations, call 216-231-7373, or make your plans on-line by visiting clevelandorchestra.com.

Concert concession service of beverages and light refreshments is available before most concerts and at intermissions in the Smith Lobby on the street level, in the Bogomolny-Kozerefski Grand Foyer, and in the Dress Circle Lobby.

FREE PUBLIC TOURS

Free public tours of Severance Hall are offered on select Sundays during the year. Free public tours of Severance Hall this season are on October 13, December 1, January 12, February 16, March 30, and May 4. For more information or to make a reservation for these tours, please call the Severance Hall Ticket Office at 216-231-1111. Private tours can be arranged for a fee by calling 216-231-7421.

THE CLEVELAND ORCHESTRA STORE

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

RENTAL OPPORTUNITIES

Severance Hall, a Cleveland landmark and home of the world-renowned Cleveland Orchestra, is the perfect location for business meetings and conferences, pre- or post-concert dinners and receptions, weddings, and social events. Catering provided by Marigold Catering. Premium dates are available.

Call the Facility Sales Office at 216-231-7420 or email to hallrental@clevelandorchestra.com

BE FO R E T H E CO NC E R T GARAGE PARKING AND PATRON ACCESS

Pre-paid parking for the Campus Center Garage can be purchased in advance through the Ticket Office for $15 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 $11 per vehicle when space in the Campus Center Garage permits. However, the garage often fills up well before concert time; only ticket holders who purchase pre-paid parking passes are ensured a parking space. Overflow parking is available in CWRU Lot 1 off Euclid Avenue, across from Severance Hall; University Circle Lot 13A on Adelbert Road; and the Cleveland Botanical Garden.

FRIDAY MATINEE PARKING

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

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

The fee for this service is $10 per car.

QUESTIONS

CONCERT PREVIEWS

ATM — Automated Teller Machine

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

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

Guest Information

The Cleveland Orchestra

AT T H E CO NC E R T COAT CHECK

Complimentary coat check is available for concertgoers. The main coat check is located on the street level midway along each gallery on the ground floor.

PHOTOGRAPHY, VIDEO, AND AUDIO RECORDING

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

REMINDERS

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

LATE SEATING

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

SERVICES FOR PERSONS WITH DISABILITIES

Severance Hall provides special seating options for mobility-impaired persons and their companions and families. There are wheelchair- and scooter-accessible locations where patrons can remain in their wheelchairs or transfer to a concert seat. Aisle seats with removable armrests are also available for persons who wish to transfer. Tickets for wheelchair accessible and companion seating can be purchased by phone, in person, or online.

As a courtesy, Severance Hall provides wheelchairs to assist patrons in going to and from their seats. Patrons can arrange a loan by calling the House Manager at 216-231-7425

TTY line access is available at the public pay phone located in the Security Office. Infrared Assistive Listening Devices are available from a Head Usher or the House Manager for most performanc-

Severance Hall 2013-14

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 E T SE RV IC ES TICKET EXCHANGES

Subscribers unable to attend on a particular concert date can exchange their tickets for a different performance of the same week’s program.

Subscribers may exchange their subscription tickets for another subscription program up to five days prior to a performance. There will be no service charge for the five-day advance ticket exchanges.

If a ticket exchange is requested within 5 days of the performance, there is a $10 service charge per concert. Visit clevelandorchestra.com for details and blackout dates.

UNABLE TO USE YOUR TICKETS?

Ticket holders unable to use or exchange their tickets are encouraged to notify the Ticket Office so that those tickets can be resold. Because of the demand for tickets to Cleve­land Orchestra performances, “turnbacks” make seats available to other music lovers and can provide additional income to the Orchestra. If you return your tickets at least 2 hours before the concert, the value of each ticket will be treated as a tax-deductible contribution.

Patrons who turn back tickets receive a cumulative donation acknowledgement at the end of each calendar year.

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THE CLEVELAND ORCHESTRA U P C O M I N G

C O N C E R T S

AND

AT SEVERANCE HALL . . .

FRANZ WELSER-MÖST

William Preucil

MUSIC OF

PREUCIL PLAYS DVOŘÁK

BEETHOVEN SHOSTAKOVICH

Thursday October 17 at 7:30 p.m.

Friday October 18 at 11:00 a.m.

Saturday October 19 at 8:00 p.m.

IN PARTNERSHIP WITH THE CLEVELAND MUSEUM OF ART AND CLEVELAND CINEMATHEQUE

OCTOBER 22-26

THE CLEVELAND ORCHESTRA Jakub Hrůša, conductor William Preucil, violin

Experience a week exploring the highly tempestuous and deeply emotional intermingling of music and politics. Music Director Franz Welser-Möst and The Cleveland Orchestra take a fascinating look at two highly autobiographical composers, whose lives and careers were separated by over a century, yet whose works demonstrate how artists of two eras wrestled with themes of freedom, as well as personal and collective liberty and politics.

The festival includes three concerts, plus two film screenings in partnership with the Cleveland Museum of Art and the Cleveland Institute of Art Cinematheque.

This program juxtaposes contrasting works from Central European composers of different centuries. Cleveland Orchestra concertmaster William Preucil serves as soloist for Antonín Dvořák’s spicy and character-filled Violin Concerto — immersed in the musical traditions of the composer’s homeland.

Rounding out the program, guest conductor Jakub Hrůša leads a classical symphony

by Haydn (evening performances only) and Janáček’s tuneful “rhapsody for orchestra” depicting the folk hero Taras Bulba.

Sponsor: BakerHostetler

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

FATE F R E E D OM

New!

See details of events in the concert calendar on pages 90-91.

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 Cleveland Orchestra concerts.

TICKETS

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216-231-1111

clevelandorchestra.com

Upcoming Concerts

The Cleveland Orchestra

Orchestrating your every need

Proud to support The Cleveland Orchestra.

If you want to change

YOUR COMMUNITY, be that change.

Isabel Trautwein, Cleveland Orchestra First Violinist, Program Director, Dreamer & Doer, Local Hero.

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

Support your passions.

Give through the Cleveland Foundation.

Please call our Advancement Team at 1.877.554.5054 ClevelandFoundation.org