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In the News   From the Executive Director . . . . . . . . . . . . . . . . . . . 7 Orchestra News . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Fate and Freedom: Exploring the Legacies and Music of Beethoven and Shostakovich . . . . . . . . . . . . . . 59


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


Concert — Week 2     Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . .   Program: September 26, 27. . . . . . . . . . . . . . . . . Introducing the Program . . . . . . . . . . . . . . . . . . . . .  liadov   Eight Russian Folk Songs . . . . . . . . . . . . . . . . . .  tchaikovsky   Piano Concerto No. 1 . . . . . . . . . . . . . . . . . . . . .  prokofiev   Symphony No. 3 . . . . . . . . . . . . . . . . . . . . . . . . . .

11 15 22 88 92

33 35 37 39 43 51

   Conductor: Vassily Sinaisky . . . . . . . . . . . . . . . . . . 56    Soloist: Kirill Gerstein . . . . . . . . . . . . . . . . . . . . . . . . 57


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

48 64 69 73 75 76


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


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.


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

90 Future Concerts  

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


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


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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



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


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


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

A Ministry of the Sisters of Charity of St. Augustine


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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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


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.


Music Director

The Cleveland Orchestra


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

    —The Guardian (London)


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

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




DIRECTOR Kelvin Smith Family Chair


Blossom-Lee Chair

Yoko Moore


Clara G. and George P. Bickford Chair

Peter Otto


Jung-Min Amy Lee


Gretchen D. and Ward Smith Chair

Alexandra Preucil


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



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


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


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


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




Anna Stowe


ENDOWED CHAIRS CURRENTLY UNOCCUPIED Sidney and Doris Dworkin Chair Sunshine Chair

* Principal ° Acting Principal § Associate Principal 1 2

First Assistant Princi pal Assistant Principal


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


Brett Mitchell


Elizabeth Ring and William Gwinn Mather Chair

Robert Porco


Frances P. and Chester C. Bolton Chair

CONTRABASSOON Jonathan Sherwin

Severance Hall 2013-14

Rudolf Serkin Chair

Carolyn Gadiel Warner

The Orchestra


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.

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Severance Hall 2013-14






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



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 Shostako­ vich 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



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






OrchestraNews Two new appointments to Orchestra’s management team

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.


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

Following last 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



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



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.

“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

Courtesy of L. Subramaniam

Come see amazing

Severance Hall 2013-14

Cleveland Orchestra News



L. Subramaniam


OrchestraNews Orchestra’s recording of Bruckner 4th receives praise and awards The Cleveland Orchestra and Music Director Franz Welser-Möst’s live recording of Bruckner’s Symphony No. 4, released earlier this year, is receiving wide acclaim in reviews from around the world — including a new award announced this month. The Bruckner Society of America has just announced that it is giv giving this DVD its “best video of the year” designation, lauding the performance and the presentation. per The performance was filmed in 2012 at the beautiful 17th-century tu baroque Abbey of St. Florian in Austria. Emmy Award-winner Brian Large directed the video B recording. This is the first video r produced of the recent critical edition of the 1888 version of Bruckner’s Fourth Symphony, edited by Benjamin Korstvedt and published publish in 2004 as part of the Bruckner Collected Works edition. Reviewers’ praise includes: “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.




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 beginning later this month.

Cleveland Orchestra News

The Cleveland Orchestra



OrchestraNews H.A.I.L A.N.D F.A.R.E.W.E.L.L Longtime house manager at Severance Hall retires The Cleveland Orchestra family extends gratitude and extraordinary best wishes to Judy Diehl as she prepares to step down from being Severance Hall house manager following this weekend’s concerts. While deftly managing the Orchestra’s largest department of volunteers and part-time staff, Judy has run countless laps around Severance Hall, always with a smile and ever toward creating the best possible patron experience — across countless concerts, graduations, and special events. Judy is the author of the Orchestra’s first Front of House Personnel Handbook. “The love and respect Judy has for The Cleveland Orchestra and Severance Hall are evident in everything she does,” says Mary Ann Makee, director of facilities. “Her dedication over the past sixteen years, and her investment of time and thought in important initiatives such as the Sever-

ance Hall Americans with Disabilities Committee, have been extraordinary.” Judy and her husband, George, are world travelers — and have enjoyed experiencing The Cleveland Orchestra in concert halls across Europe (where Judy examines the front-of-house staffing and services with a careful eye). She was a professional dancer earlier in her career, and leads movement classes for people with Parkinson’s disease at the JCC. She plans to continue her involvement with Shaking with Laughter, which raises funds for the Michael J. Fox Foundation. Join us in a big round of applause for Judy!

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Severance Hall 2013-14

Cleveland Orchestra News



Just for students, grades 9-12 . . . Join Baldwin Wallace keyboard faculty and alumni beginning at 1:00 p.m. for a day of master classes, talk, tour, dinner and concert. Register online: EVERYONE INVITED 8:00 p.m., Gamble Auditorium . . . Enjoy an inventive and entertaining program of music for myriad combinations of hands and pianos. Featuring works by Mozart, Stravinsky, Prokofiev, Berlin and Gershwin. Free and open to the public.


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OrchestraNews Brett Mitchell joins Orchestra as assistant conductor and music director of Youth Orchestra With the start of the 2013-14 season, The Cleveland Orchestra welcomes new assistant conductor Brett Mitchell. As assistant conductor, he serves as cover conductor for Severance Hall and Blossom Music Festival subscription concerts, and provides assistance to music director Franz Welser-Möst. He is also serving as music director of the Cleveland Orchestra Youth Orchestra. Mitchell holds the Elizabeth Ring and William Gwinn Mather Assistant Conductor Endowed Chair. In addition to his appointment in Cleveland, Brett Mitchell is currently in his fourth season as music director of Michigan’s Saginaw Bay Symphony Orchestra. He has guest conducted widely and served as assistant conductor of the Houston Symphony (2007-11), where he concurrently held a League of American Orchestras American Conducting Fellowship. Since that



time, he has returned to lead that orchestra regularly as a guest conductor. He was also an assistant conductor to Kurt Masur at the Orchestre National de France (2006-09). A native of Seattle, Brett Mitchell holds a doctor of musical arts degree from the University of Texas at Austin, where he was also music director of the University Orchestra. He earned a bachelor of music degree in composition from Western Washington University. A complete biography can be read at

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Cleveland Orchestra News

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OrchestraNews First “Meet the Artist” luncheon of season to be held on October 11 in Orange


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



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.


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.



The Women’s Committee’s annual series of Meet the Artist luncheons begins on Friday, October 11. The guest artist for the season’s first event will be Richard King, principal horn of The Cleveland Orchestra, who is performing as soloist in that week’s concerts. King will discuss his career with Randy Elliot, assistant artistic administrator, and perform a short program during the event. The Meet the Artist luncheon takes place at Beechmont Country Club (26900 Chagrin Blvd). A reception begins at 11:30 a.m., with lunch following at noon, and then the program with Richard King at 1 p.m. The cost is $35 for Women’s Committee memebers; $38 for non-members. Reservations are suggested. Please call 440-460-0789.




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The Cleveland Orchestra Severance.indd 1

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

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


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Severance Hall

Thursday evening, September 26, 2013, at 7:30 p.m. Friday morning, September 27, 2013, at 11:00 a.m. * Friday evening, September 27, 2013, at 8:00 p.m.

Vassily Sinaisky, conductor Eight Russian Folk Songs, Opus 58 *

anatoly liadov (1855-1914)

Religious Chant: Moderato Christmas Song “Kolyada”: Allegretto Plaintive Song: Andante Dance of the Gnat: Allegretto Tale of the Birds: Allegretto Lullaby: Moderato Round Dance: Allegro Village Dance Song: Vivo

Piano Concerto No. 1

pyotr ilyich tchaikovsky (1840-1893)

1. 2. 3. 4. 5. 6. 7. 8.

in B-flat major, Opus 23

1. Allegro non troppo e molto maestoso 2. Andantino semplice 3. Allegro con fuoco



sergei prokofiev

Symphony No. 3 in C minor, Opus 44


1. 2. 3. 4.


Moderato Andante Allegro agitato Andante mosso — Allegro moderato

Kirill Gerstein’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from The Julia Severance Millikin Fund. Thursday’s concert will end at about 9:20 p.m. Friday evening’s concert will end at approximately 9:50 p.m.

The Cleveland Orchestra’s Friday Morning Concert Series is endowed by the Mary E. and F. Joseph Callahan Foundation.

Severance Hall 2013-14

* The Friday morning concert is performed without intermission and

features the works by Tchaikovsky and Prokofiev, ending at about 12:15 p.m.

Concert Program — Week 2


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Russian Sounds & Songs

offers an all-Russian theme, with three pieces and two guest artists born and raised there. The musical works range from a very well-known concerto to two rarities infrequently performed in The Cleveland Orchestra’s history. The evening concerts open with a brief suite of Russian dances created by Anatoly Liadov. This composer’s output retains a certain mystery, in that he only created short pieces, but he spun them with such mastery that one wonders what prevented him from going bigger. Nonetheless, his Eight Russian Folk Songs provide a perfect appetizer for any concert. Tchaikovsky’s First Piano Concerto ranks among the most well-known and loved works in the repertoire. Its opening phrases signal both style and statement — with the concerto continuing to give pleasure and musical insight with every hearing. Guest soloist Kirill Gerstein brings a new generation’s perspective to this powerful evergreen. To close, guest conductor Vassily Sinaisky has chosen Prokofiev’s Third Symphony. Here the composer took themes from an unproduced opera and convincingly reworked them into symphonic form. But this is not an “operatic” symphony, for Prokofiev merely used his earlier work as source material, creating a well-crafted and traditionally built symphony. It gets a rare but well-deserved Cleveland hearing with this week’s concerts. Not surprisingly, these composers were connected to one another across everyday life. Liadov taught Prokofiev and knew Tchaikovsky well. Liadov had, in turn, been a pupil of Rimsky-Korsakov, who, although he advocated the idea of a uniquely Russian style of music, also clearly understood and mastered the Western orchestra that Tchaikovsky utilized in his own art. Russian classics, classically Russian. THIS WEEK’S PROGRAM

—Eric Sellen

Severance Hall 2013-14

Introducing the Concerts














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Eight Russian Folk Songs, Opus 58 composed 1906

of musical miniatures is by a composer who only did miniatures. The Eight Russian Folk Songs are not an aberra­ tion in his output. None of Liadov’s orchestral works run more than 15 or 20 minutes at the most. Explanations (or excuses) run the gamut from laziness or lack of focus to fear of commit­ ting toward any large-scale structure. One enjoys his mastery of the small form, but is left wondering what might have been. Although he is sometimes best known as “the composer who didn’t write The Firebird,” there appears to be little truth to the story. Yes, Liadov had completed a few orchestrations for Diaghilev for Les Sylphides. And Diaghilev had asked Li­ adov about the possibility of a ballet score for the 1910 season, but no evidence of an actual contract or commission exists. Stravinsky may not have been the impresario’s first choice, but Liadov — more than twice Stravinsky’s age at the time (he had taught Stravinsky at school) — was equally unproven in writ­ ing at length and to deadline. The young up-and-comer was a much more likely bet. Liadov came by his musical talents naturally. Both his father and grandfather were noted conductors at the Mariinsky Theater in St. Petersburg. Young Anatoly was early on accepted at the St. Petersburg Conservatory and studied with RimskyKorsakov — who found him promising as a composer but was forced to expel him for repeated unexplained absences. Liadov nevertheless passed the graduation exam when given the chance, and then went on to become a teacher at the Conservatory in his own right. His pupils included Prokofiev and Stravinsky. Liadov married into wealth, acquiring a pleasant country estate where he could spend time composing — and, apparently, even more time not composing anything at all. His social con­ nections also helped bring together the wealth of Mitrofan Be­ lyayev (who had made a fortune de-timbering Russia’s forests) with several of the country’s nationalist composers, including Glazunov and Rimsky-Korsakov, and helping to cause the cre­ ation of the Glinka Prize, for a time Russia’s highest honor for composers. In the 1890s, Liadov helped spearhead the study of eth­ nomusicology in Russia, spending extensive time and effort roaming across parts of the country to copy down traditional THIS SET



LIADOV born May 11, 1855 St. Petersburg died August 28, 1914 Polynovka, Novgorod, Russia

Severance Hall 2013-14

About the Music


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The Cleveland Orchestra

folksongs of differing ethnic groups and tribes. Working for the Russian Imperial Geographic Society, he eventually pub­ lished several volumes of such songs. In his Eight Russian Folk Songs, Liadov chose to orchestrate a sequence of these authentic melodies, artistically turning his found indigenous music into a series of contrasting symphonic forms. The eight pieces of the suite fall naturally into three groupings, each beginning with a slower song. The first two songs are seemingly religious in character, beginning with the moderately-paced “Religious Chant” and continuing with the somewhat merrier “Christmas Song.” Each is built as a short set of variations. The “kolyada” carol is part of traditional celebrations across a section of land extending from Russia into Central Europe, and is as much about winter as about Christmas itself, however. The “Plaintive Song” is just that, featuring a meditative solo cello against a backdrop of strings, and then adding wood­ winds to the mix. While still quite short, it is nevertheless the longest of these eight brief pieces. The next number is often called “Dance of the Gnat” in the West, but its original name of “Humorous Song: I Danced with a Mosquito” is perhaps more telling of its storyline. A buzzing of the flute predominates, against flapping strings. “Tale of the Birds” depicts a feeling of fleeting and sweeping, replete with birdcalls. “Lullaby” (or “Cradle Song”) returns us to a quieter mood, with a gentle melody over a soft, rocking figure. The “Round Dance” (or “Roundel”) picks up the pace, with pizzicato strings imitating the native balalaika and domra instruments, and the piccolo jumping in with a bright tune on top. The suite ends with the “Village Dance Song,” utilizing the entire orchestra in a festive smalltown celebration. —Eric Sellen © 2013

At a Glance Liadov composed his Eight Russian Folk Songs in 1906, using eight melodies from his own published collections of indigenous folksongs. It is believed that the first performance was given by the St. Petersburg Conservatory orchestra sometime in 1907 or 1908. This suite runs almost 15 minutes in performance. Liadov scored it for 2 flutes, piccolo, 2 oboes, english horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, percussion (tambourine, triangle), and strings. The Cleveland Orchestra first presented this music in December 1922 under Nikolai Sokoloff’s direction. A few excerpts were performed in the 1930s and ’40s, but the last full presentation by the Orchestra was as part of the 1984 Blossom Festival, conducted by Leonard Slatkin.

Eric Sellen serves as program book editor for The Cleveland Orchestra. His program notes have appeared in program books of orchestras and music festivals across North America and Europe. 1.855.GO.STORM 1.855.GO.STORM Severance Hall 2013-14

About the Music


Most of us know and love these four notes. Allegro con brio

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Piano Concerto No. 1 in B-flat major, Opus 23 composed 1874

S T R A N G E LY E N O U G H , Tchaikovsky’s First Piano Concerto


Pyotr Ilyich

TCHAIKOVSKY born May 7, 1840 near Votkinsk, Russia died November 6, 1893 St. Petersburg

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was given its world premiere in 1875 in Boston, Massachusetts, half a world removed from the composer and his earlier hopes for a splashy premiere in Moscow by one of Russia’s leading pianists. So what happened? Tchaikovsky wrote the concerto in late 1874. It had been nearly a decade since the composer had graduated from the St. Petersburg Conservatory, where he was strongly swayed in his musical approach by the Conservatory’s director, Anton Ru­ binstein. After graduating, he was hired to teach at the Mos­ cow Conservatory, where Anton’s brother Nikolai also taught. And, in fact, Nikolai became a strong champion of the young composer’s music and over the next dozen years conducted the premieres of a number of Tchaikovsky’s new works. Un­ like many of their contemporaries, both Rubinsteins favored a more Western approach to music, following in the grand Ger­ manic traditions of Beethoven, Schubert, and Schumann. This, against a strong movement within Russia to create and nurture a new Russian style of classical music. In the late afternoon on Christmas Eve, Tchaikovsky took his just-completed First Piano Concerto and played it through (on piano alone) for Nikolai Rubinstein in an empty classroom. The usually supportive Rubinstein surprised Tchaikovsky, how­ ever, first with his silence and then with a long tirade against the piano concerto, saying that it was unplayable and then de­ tailing a hundred things that needed to be fixed. The composer stormed off, saying words to the effect of “I don’t care what you think, I won’t change a note.” The two later reconciled, and Rubinstein continued to conduct new works by Tchaikovsky and eventually even played the “unplayable” concerto — and Tchaikovsky did, in fact, make a few changes to the score over the next half-dozen years. That spring of 1875, the great German conductor and pia­ nist Hans von Bülow was touring through Russia. Tchaikovsky seized the moment and showed the German celebrity his new concerto. Bülow happened to be looking for “something new” for his next tour, to the United States that autumn, and agreed to perform the work. Thus the premiere came to Boston, where the concerto was About the Music


A portrait of Tchaikovsky, painted in 1893 at the height of his fame, by Nikolai Kuznetsov.


Undoubtedly I should have gone mad but for music. Music is indeed the most beautiful of all Heaven’s gifts to humanity wandering in the darkness. Alone it calms, enlightens, and stills our souls. It is not the straw to which the drowning man clings — but a true friend, refuge, and comforter, for whose sake life is worth living.


—Pyotr Ilyich Tchaikovsky

enthusiastically received — the first-night audience demanded that the entire third movement be repeated as an encore. The success was soon repeated across Europe and back in Russia. The concerto begins with what has become one of the most-recognized openings of any musical work. Strong brass statements are answered with a series of big chords in the pia­ no, accompanying a splendid melody in the strings. The piano next grabs the tune and almost immediately (quite atypical for any concerto) presents a solo cadenza in the midst of what is, in fact, merely a lengthy introduction to the first movement itself. The great melody disappears after the introduction, but is suc­ ceeded in all three movements with equally distinguished and hummable tunes. After the brash opening and dashing first movement, the quieter, lyrical mood of the second movement offers a particu­ larly graceful main melody, announced tenderly by solo flute and then taken up by the piano. The third movement takes off promptly with a strong beat and sense of rhythm that carries across more lyrical ideas to a grand, exciting ending. The concerto has been criticized over the years for its proportions — the first movement is as long as the second and third combined — as well as for what some see as the composer’s greatest strength and others his strongest weakness, of build­ ing whole swaths of music from smallish musical ideas through extended incremental evolution via continually crafted, devel­ oped and devised, extended and elongated, recurring, reiterated, and repeated variation. In this concerto, however, as in all his greatest works, it becomes clear early on that Tchaikovsky has created a logical architecture throughout. And his mastery of evolving ideas gives both the piano and the orchestra a pleasing variety of roles, textures, and exchanges — deftly explored in traditional classical forms, with enough innovation to be cre­ ative without being radical, and presenting musical ideas as a masterful solution to the form rather than merely an exercise. Additionally, for this concerto Tchaikovsky worked the out­ lines of several folksongs into the music, one in each movement (two Ukrainian, one French). These tunes or rhythms would have drawn a sense of extra emotional response from audience members during the concerto’s early Russian performances, and may still work an undertow of connection for many listeners worldwide. —Eric Sellen © 2013 Severance Hall 2013-14

About the Music

At a Glance Tchaikovsky composed his Piano Concerto No. 1 during 1874-75. The work was first performed on October 25, 1875, in Boston’s Music Hall, with Hans von Bülow as soloist and Benjamin Lang conducting. Tchaikovsky revised the concerto in 1879, and again in 1889. This concerto runs about 30 minutes in performance. Tchaikovsky scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, strings, and solo piano. The Cleveland Orchestra first presented this concerto in December 1920 at Masonic Auditorium, with Benno Moiseiwitsch as soloist and Nikolai Sokoloff conducting. Since that time, it has been presented quite frequently, with many leading pianists (and in summer piano competitions) at Severance Hall.


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1. Tchaikovsky at the age of twenty in 1860. 2. The three Tchaikovsky brothers in 1875. Family friend Nikolai Dmitrievich Kondratiev (standing at left), Anatoli Tchaikovsky (seated), Modest Tchaikovsky, and Pyotr. 3



3. With his wife Antonina Miliukova, during their brief marriage in 1877. 4. His patroness, Nadezhda von Meck. 5. Late in life, in the early 1890s.

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Tchaikovsky About the Composer


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Symphony No. 3 in C minor, Opus 44 composed 1928-29, from musical material created 1919-27

in Prokofiev’s life when success came to him easily. As a young man in Russia, he created a furor with his early works. During his years in Paris, he was a protégé of Sergei Diaghilev of the Ballets Russes. And after his return to his homeland, he was instantly acknowl­edged as one of the leading Soviet composers. Yet Prokofiev also had his share of failures, such as his sojourn in the United States (1918-22) or in the last years of his life, after the 1948 attack on his music by the Communist Party. One of Prokofiev’s greatest ambitions — and one that constantly eluded him — was to become a successful opera composer. He had written his first opera at the age of nine, and wrote about ten more (some incomplete) over the years. Only one of these, The Love for Three Oranges, has entered the standard repertory. There was, in fact, hardly a time in his life when he was not occupied by operatic plans. Two of these plans were par­ ticularly close to his heart: The Fiery Angel and War and Peace. He spent about a decade working on each opera, but never lived to see a complete performance of either. Prokofiev began The Fiery Angel in the United States in 1919, and worked on the opera, with interruptions, until 1927. The libretto, written by Prokofiev himself, was based on the novel of the same title by the Russian symbolist writer Valery Bryusov (1873-1924). The novel takes place in 16th-century Germany, and, in Prokofiev’s own words, “is about a young girl who as a child sees a vision of an angel, coming to her and comforting her in the difficult moments of her life. When sixteen years of age, the girl begins to feel love for the angel. But he in anger disappears, telling her that if she wants to love him as a human being, she must meet him in that form. Here begins the operatic action — the girl is trying to find the mystic visitor incarnate among the men she meets.” For a while, the conductor Bruno Walter was contemplating a production of Prokofiev’s opera in Berlin, but he later backed out. A few selections were given in a concert performance, led by Serge Koussevitzky, in Paris in 1928. Prokofiev told the rest of the story in his autobiography: “The selections were well received and I was sorry the opera had not been staged and that THERE WERE TIMES



PROKOFIEV born April 23, 1891 Sontsovka, Russia (now Krasnoye in Ukraine) died March 5, 1953 Moscow

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About the Music




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the score lay gathering dust on the shelf. I was about to make a suite out of it when I remembered that for one of the entr’actes I had used the development of themes from the preceding scene, and it occurred to me that this might serve as the kernel for a symphony. I examined the themes and found that they would make a good exposition for a movement in sonata allegro form. I found the same themes in other parts of the opera differently expressed and quite suitable for the movement’s recapitulation. In this way, the plan for the first movement of the symphony worked out quite simply. The material for the Scherzo and Andante movements was also found without difficulty. The finale took a little longer. I spent far more time whipping the thing into final shape, tying up all the loose ends and doing the orchestration. But the result — the Third Symphony — I consider to be one of my best compositions. I do not like it to be called the “Fiery Angel” Symphony. The main thematic material was composed quite independently of the opera. Used in the opera, it naturally acquired its coloring from the plot, but being transferred from the opera to the symphony, it lost that coloring, I believe, and I should therefore prefer the Third Symphony to be re­garded as pure symphony.” Thus, since Prokofiev wanted the Third Symphony to be appreciated on its own terms, it is better to refrain from a de­ tailed account of what comes from where in the opera. Yet the music frequently betrays the operatic connection — and this despite the fact that some of the material was first used in an unfinished string quartet, conceived before the opera. Proko­ fiev treated some of the familiar symphonic patterns with more freedom than ever, with many unexpected tempo and character changes (one is tempted to say “scene changes”) in each move­ ment. In addition, the first movement begins with what seems a true “curtain” effect, with a stormy opening motif gradually subsiding to make room for the actual first theme, which will then be developed. The style of the Third Symphony will greatly surprise lis­ teners familiar with such early works as the “Classical” Sym­ phony or the masterpieces of his later Soviet period (Romeo and Juliet or the Fifth Symphony). Prokofiev, however, also had some definitely avant-gardistic colors in his musical palette, as shown by several works starting with the Scythian Suite of 1915. During the years of his emigra­tion, he actively experimented with new harmonies and instrumental colors, tendencies that Severance Hall 2013-14

About the Music

At a Glance Prokofiev composed this symphony in 1928, basing its themes on music from his opera The Fiery Angel, which he had written in 1919-27. (At least one theme had also appeared in an unfinished string quartet from the years just before he began writing the opera.) The work was first performed on May 17, 1929, in Paris, with Pierre Monteux leading the Orchestre Symphonique de Paris. The score was published in 1931 with a dedication to Nikolai Miaskovsky, a close friend of the composer. This symphony runs approximately 35 minutes in performance. Prokofiev scored it for 2 flutes, piccolo, 2 oboes, english horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, snare drum, tam-tam, tambourine, castanets, cymbals, bell), 2 harps, and strings. The Cleveland Orchestra has presented this symphony on only two previous occasions, for a weekend of concerts in March 1976 led by Kirill Kondrashin and again in February 1994 with conductor Valery Gergiev.


later completely disappeared from his music. Yet Prokofiev was a writer of melodies even during the experimental phase of his ca­ reer. Expansive lyrical melodies abound in the Third Symphony, though their “environment” is unusual. The first theme of the first movement (which follows the raising of the “curtain”) is a good example. It is played by the violins and the horns in unison, to a highly complex accompani­ ment in the rest of the orchestra. It is presented four times in a row, each time in a different key. The orchestration gets thinner and thinner — by the last time, the theme is played by a single instrument (oboe). Now Prokofiev moves on to a new section, based on two new themes — a lyrical idea for strings and a more martial melody for brass (the two themes are actually related in their melodic shapes). Starting slow and soft, this section gradu­ ally reaches a fortissimo climax, at which point the first theme and the brass melody return simultaneously. After this moment, the movement gradually un­winds. We hear the first theme in yet another form, played by the flutes and piccolo to a very subtle or­ chestral accompaniment (harps and cello harmonics). The move­ ment ends with a pianissimo return of the “curtain” motif, fading

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About the Music

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away into silence in the lowest registers of the orchestra. Melodically speaking, the second movement, marked Andante, is in a regular A-B-A form (with the second “A” section much shorter than the first). Through some subtle changes of orchestration, however, the sections are made to overlap, and the result is a movement that is anything but conventional. The main theme — a quiet, diatonic melody with asymmetrical inner divisions — is first presented by the muted lower strings and immediately repeated by two flutes and bassoon. Then the tempo becomes Poco più mosso (“a little faster”). String tremolos, rapid woodwind scales, a characteristic two-note harp figure, and some violin glissandos in a high register add considerable excitement. The middle section has a lyrical theme whose chromaticism (half-step motion) contrasts with the diatonic first idea. It also features a dolcissimo (“extremely tender”) violin solo. A brief recapitulation of the first melody concludes the movement. The third movement is a scherzo with an agitated introduction and a solemn epilog that frame one of Prokofiev’s most stunning musical statements. Prokofiev’s Soviet biographer Israel Nestyev quoted the composer to the effect that “the tempestuous motion of the demonic scherzo was suggested by the finale of Chopin’s B-flat minor sonata.” Like the Chopin, Prokofiev’s movement is a musical whirlwind, but much more eerie due to the innovative instrumental effects used. Each string section (except the basses) is divided into three subsections, playing complex interlocking rhythmic figures, dominated by the muted glissandos of the first violins. This whole complex is constantly moving along a dynamic scale, from soft to loud and back again. A flute solo eventually joins in, anticipating the movement’s Trio section, a much more conventional Allegretto, after which the scherzo is repeated. The solemn epilog is, in fact, a slower version of the first movement’s “curtain” idea. The finale fourth movement is filled with intense drama expressed in many contrasting sections in different tempos. It begins with an energetic Andante mosso section for full orchestra, whose power Prokofiev managed to intensify even more for the ensuing frenzied measures (marked Allegro moderato), with an ecstatic violin theme in the highest register. This section culminates in a slower, and extremely powerful, passage in triple meter. A series of brief episodes follows; one of them is identical to the chromatic theme heard previously in the second movement, only this time it is played fortissimo by the full orchestra against a menacing background. The next episode is Tranquillo (“quiet”) and mysterious; but it is not long before the Allegro moderato returns with even more “bite” than the first time (the trumpet parts are even more piercing than before). The work ends dramatically with a recall of the solemn passage in triple meter. —Peter Laki Copyright © Musical Arts Association

Peter Laki is a musicologist and frequent lecturer on classical music. He is a visiting associate professor at Bard College.

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About the Music


Vassily Sinaisky


Russian conductor Vassily Sinaisky is music director and chief conductor of Mos­ cow’s Bolshoi Theatre. He also holds the title of conductor emeritus with the BBC Philharmonic, where he served as principal guest conductor (1996-2012) and hon­ orary conductor of Sweden’s Malmö Symphony, where he was principal conductor (2007-11). He made his Cleveland Orch­ estra debut at the 2012 Blossom Music Festival.    Mr. Sinaisky’s international career was launched in 1973 when he won the Gold Medal at the prestigious Karajan Competition in Berlin. His early studies and learning in­ cluded work with Kirill Kondrashin at the Moscow Philhar­ monic and with Ilya Musin at the Leningrad Conservatory. He subsequently served as chief conductor of the Latvian National Symphony Orchestra (1976-87), as music director and principal conductor of the Moscow Philharmonic (199196), and principal guest conductor of the Netherlands Phil­ harmonic (1992-97).    Vassily Sinaisky became conductor-in-residence with the Bolshoi Theatre in 2009, and was named music director a year later. His ap­ pointment coincided with preparations for the reopening of the Bolshoi’s main stage in 2011, following a five-year renovation. Highlights of his first seasons there have included new productions of Rimsky-Korsakov’s The Golden Cockerel and Richard Strauss’s Der Rosenkavalier (in its first staging in Moscow). As a guest conductor, Vassily Sinaisky has led performances with orchestras across Europe and North America, including Amsterdam’s Royal Concertgebouw Orchestra, Berlin Radio Symphony Orchestra, Czech Philharmonic, Orchestre Philharmonique de Radio France, Leipzig Gewandhaus Orchestra, Los Angeles Phil­harmonic, NHK Symphony, North German Radio Symphony Orchestra, Oslo Philharmonic, Philadelphia Orchestra, Saint Louis Symphony, and the Stutt­ gart Radio Symphony. In addition to his many projects at the Bolshoi Theatre, Mr. Sinaisky’s oper­ atic work has included performances with English National Opera, Komische Oper Berlin, San Francisco Opera, Vienna’s Theater an der Wien, and Zurich Opera. Vassily Sinaisky’s discography includes the symphonies of Franz Schmidt with the Malmö Symphony Orchestra for Naxos, as well as many recordings with the BBC Philharmonic, including works by Glinka, Liadov, Rimsky-Korsakov, Schreker, Shchedrin, Shostakovich, Szymanowski, and Tchaikovsky. His artistry can be heard on albums on the BBC label, Campion Cameo, Chandos Records, and Russian Disc. Mr. Sinaisky holds the position of professor of conducting at the St. Peters­ burg Conservatory.



The Cleveland Orchestra

Kirill Gerstein


Pianist Kirill Gerstein is known for his technique and artistry in both classical music and jazz. He made his Cleveland Orchestra debut in July 2008 and most recently performed here in October 2010.    Kirill Gerstein was born in 1979 in Voronezh, Russia, where he attended a school for gifted children. After teaching himself to play jazz by listening to his parents’ record collection, he was admitted, at age 14, to Boston’s Berklee College of Music. He also spent two seasons at Tanglewood Music Center, and studied with Solomon Mikowsky at the Manhattan School of Music. By the age of 20, he had earned bachelor and master of music degrees. He continued his studies with Dmitri Bashkirov in Madrid and Ferenc Rados in Budapest. He has been a professor of piano at the Muiskhochschule in Stuttgart since 2006. He became a United States citizen in 2003. Kirill Gerstein was the sixth recipient of the Gilmore Artist Award, in 2010, and has also been awarded an Avery Fisher Career Grant. He won first prize at the 2001 Arthur Rubinstein Piano Competition and a 2002 Gilmore Young Artist Award, and was a Carnegie Hall “Rising Star” during the 2005-2006 season. Kirill Gerstein has appeared with orchestras throughout the United States, including those of Atlanta, Baltimore, Chicago, Dallas, Detroit, Houston, Los Angeles, Philadelphia, San Diego, and San Francisco. Internationally, his appearances have included engagements with the Danish National Symphony Orchestra, Dresden Philharmonic, Finnish Radio Symphony Orchestra, Janáček Philharmonic Orchestra, London’s Philharmonic and Philharmonia orchestras, Melbourne Symphony, Munich Philharmonic, NHK Symphony, Royal Liverpool Philharmonic, Santa Cecilia Orchestra, Simón Bolívar Youth Orchestra of Venezuela, and the Tonhalle Orchestra, among others. He has also performed at the Aix-en-Provence, Delft, Lucerne, Salzburg, and Verbier festivals. In chamber music, Kirill Gerstein’s collaborations include appearances with cellist Stephen Isserlis, in a trio with Kolja Blacher and Clemens Hagen, and with pianist András Schiff. He has appeared in recitals throughout the world, from Budapest’s Liszt Academy to London’s Wigmore Hall and Washington’s Kennedy Center. For Myrios Classics, Mr. Gerstein has recorded solo works by Oliver Knussen, Liszt, and Schumann, and two albums of sonatas for viola and piano with Tabea Zimmerman. For more information, visit Kirill Gerstein will sign compact discs following the evening concerts on Thursday and Friday in the Lerner Lobby at the Cleveland Orchestra Store on the ground floor of Severance Hall. A selection of his albums are available for sale through the Cleveland Orchestra Store.

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photo: Roger Mastroianni


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F ex leg E E



VI CH BY FRANK J. OTERI Severance Hall 2013-14

between the death of Ludwig van Beethoven and the emergence of Dmitri Shostakovich as a composer was a time of transformative change — from the advent of electricity, recorded sound, and motion pictures to the unleashing of the destructive power of modern warfare, the globalization of the world, and an enlarging struggle for human rights, liberty, and freedoms. Even so, Beethoven and Shostakovich’s music and their shared outlook on humanity’s place in the world show a remarkable kinship. Beethoven and Shostakovich both began their compositional careers as child prodigies and were also formidable piano virtuosos. They both shared their most private thoughts in their string T H E C E N T U RY T H AT T R A N S P I R E D

Fate and Freedom




Beethoven and Shostakovich were consummate musical dramatists, yet opera proved to be something of a quagmire in both of their careers.


quartets, but made their most important public musical statements with their symphonies. In fact, both took the abstract instrumental genre of the symphony and used it to tell compelling narratives. For example, both composers created symphonies that attempted to sonically convey the concept of fate — perhaps most notably for Beethoven in his Fift h Symphony and for Shostakovich in his tragic Eighth Symphony, which he composed during the Second World War. (Both of these symphonies are among those being performed as part of The Cleveland Orchestra’s “Fate and Freedom” Festival, October 22-26.) Works such as these reveal that Beethoven and Shostakovich were consummate musical dramatists, yet opera proved to be something of a quagmire in both of their careers. The strained relationships both composers had with the politically powerful are also equally legendary — Beethoven’s disdain for authority and aristocracy perhaps best exemplified by his crossing out the dedication of his Third Symphony, the “Eroica” (or “heroic”), to Napoleon upon learning that that small man had declared himself an emperor; and Shostakovich’s run-ins with a dictator even more ruthless than Napoleon, Joseph Stalin. A curious correlation to Beethoven’s abandoned Eroica dedication is Shostakovich’s abortive attempt at creating a “Lenin Symphony,” which he described working on 1938. Such a symphony never materialized; in its place was the purely instrumental Sixth Symphony in 1939. (The Cleveland Orchestra pairs the Eroica with this Sixth Symphony on Thursday, October 24.) Beethoven and Shostakovich also both suffered from chronic poor health in their later years, yet their final compositions seem to transcend the vagaries of human existence. After their deaths, each was hailed as a champion for individual artistic freedom who triumphed despite often adverse personal conditions. Nowadays musicologists as well as avid fans are still attempting to find hidden meanings buried in their scores — such as the allusions to Freemasonry in Beethoven’s Fourth Symphony (performed on October 25) or secret autobiographical ciphers in Shostakovich’s Tenth Symphony (performed on October 26). But the parallels run much deeper than that. While Haydn and Mozart both hinted at it, Beethoven was the first composer to fully imbue the symphony with the same narrative and emotional heft as a novel, play, or epic poem. Shostakovich, while certainly not the only significant symphonist of his era, was among the few composers who remained steadfastly committed Fate and Freedom

The Cleveland Orchestra

Beethoven’s abrasiveness was notorious and he never apologized; Shostakovich reinvented his outward musical persona simply to survive.


to creating large musical statements in this medium at a time when most composers rejected the symphony as an anachronism. Shostakovich completed a total of fifteen symphonies over the course of nearly half a century. For Shostakovich, like many Soviet musicians, Beethoven’s music remained the pre-eminent role model — the greatest repertoire an instrumentalist or a conductor could interpret and the standard bearer for what music was to be. A bust of this key compositional hero was a fi xture of Shostakovich’s writing studio. And, fittingly, the Soviet quartet that premiered nearly all of Shostakovich’s string quartets (13 of the 15) was named the Beethoven Quartet. So deep was the influence of Beethoven on the young Shostakovich that the central theme for his earliest multi-movement orchestral work, the Theme and Variations in B-flat minor, Opus 3, which he composed at the age of 15, bears an uncanny resemblance to the most famous theme of Beethoven’s Ninth Symphony. Following Beethoven’s precedent in that monumental symphony, Shostakovich also added a chorus to the final movements of his Second and Third symphonies — although both of these early compositions take nascent Soviet patriotism to an almost unbearably propagandistic level. (There is, however, a later work that clearly echoes the pathos of Beethoven’s setting of Schiller’s paean to universal brotherhood, Shostakovich’s controversial Symphony No. 13, “Babi Yar,” a work which also sets the words of a major poet, Yevgeny Yevtushenko, an outspoken critic of injustice in the Soviet Union. But Shostakovich’s 13th Symphony, which was virtually banned in the Eastern Bloc for nearly a decade after its first performance and finally entered the repertoire after a copy of the score was smuggled into the West, is a far cry from an Ode to Joy; if anything, it is an Ode to Despair!) D E S P I T E T H E D E E P C O N N E C T I O N S between these two composers, there are also some stark differences between Beethoven and Shostakovich which are equally fascinating. Beethoven was a lifelong bachelor whose romantic liaisons will forever be

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Fate and Freedom


For Shostakovich, like many Soviet musicians, Beethoven’s music remained the pre-eminent role model — the greatest repertoire an artist could interpret and the standard bearer for what music was to be.

shrouded in mystery; Shostakovich was married three times. Beethoven was notorious for his abrasiveness and never apologized; the castigated Shostakovich reinvented his compositional persona several times during his life to survive the cultural purges that Stalin unleashed and ultimately triumphed because of this — Shostakovich famously declared his masterful Fift h Symphony to be “a Soviet artist’s reply to just criticism” and the work was an instant sensation both at home and abroad and it remains so to this day. Perhaps most strikingly, cinema did not exist during Beethoven’s lifetime and writing music for movies was an important revenue stream for Shostakovich throughout his career — in fact his 35 film soundtracks dwarf the combined total of his number of symphonies and string quartets. Shostakovich’s film scores also allowed him greater freedom to experiment than he had most of the time with his music for the concert hall; several of his soundtracks include music featuring the theremin, an early electronic instrument that would become a hallmark of American horror and sci-fi movie scores years after Shostakovich pioneered its use in motion pictures. Beethoven, of course, did not live into the age of electricity and therefore could never have tinkered with a theremin. He did, however use a glass armonica (a musical curiosity that sounds similarly otherworldly) for the incidental music he composed for the 1814 production of Johann Friedrich Duncker’s play Leonore Prohaska, music that is rarely revived nowadays. During the week-long Fate and Freedom Festival, The Cleveland Orchestra’s juxtaposition of some of the greatest works by Beethoven and Shostakovich — along with a rare screening of the 1929 silent film The New Babylon featuring Shostakovich’s very first film score — offers audiences a unique opportunity to reflect on how each of these composers responded to the central concerns of their respective eras and how their now timeless work continues to have a deep impact on all of us. ASCAP award-winning composer and music journalist Frank J. Oteri is the composer advocate at New Music USA and senior editor of its web magazine “NewMusicBox.”


Fate and Freedom

The Cleveland Orchestra








Experience a week of exploration across 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. Pre-film and pre-concert talks, and a chamber music performance by members of The Cleveland Orchestra, are also featured.

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Tuesday October 22 at 7:00 p.m. FILM: A CLOCKWORK ORANGE at the Cleveland Institute of Art Cinematheque Opening 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, co-founder of the Cinematheque.

Wednesday October 23 at 6:30 p.m. FILM: THE NEW BABYLON at the Cleveland Museum of Art Shown as part of The Cleveland Orchestra’s “Fate and Freedom” festival, the revolutionary silent lm The New Babylon (1929) features Shostakovich’s rst lm score. Preceded by a discussion between Frank J. Oteri and John Ewing moderated by James Krukones, associate professor of history at John Carroll University.

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

BEETHOVEN Symphony No. 3 (“Eroica”) SHOSTAKOVICH Symphony No. 6

PRE-CONCERT: Franz Welser-Möst discusses Shostakovich and Beethoven and their symphonies with Mark Williams, the Orchestra’s director of artistic planning, beginning at 6:30 p.m. on the stage at Severance Hall.

Friday October 25 at 8:00 p.m.

BEETHOVEN Symphony No. 4 SHOSTAKOVICH Symphony No. 8

PRE-CONCERT: Frank J. Oteri, New Music USA’s composer advocate and senior editor of NewMusicBox, presents a pre-concert talk with Rebecca Mitchell, visiting assistant professor of Russian/Soviet history at Oberlin College, at 7 p.m. in Reinberger Chamber Hall at Severance Hall.

Saturday October 26 at 8:00 p.m.

BEETHOVEN Symphony No. 5 SHOSTAKOVICH Symphony No. 10

PRE-CONCERT: Cleveland Orchestra musicians perform chamber music works by Beethoven and Shostakovich at 7 p.m. in Reinberger Chamber Hall at Severance Hall.

Related Event OPERA: SHOSTAKOVICH’S THE NOSE Saturday October 26 at 1:00 p.m. The Metropolitan Opera, Live in HD in select Northeast Ohio movie theaters

For Tickets:




The Heritage Society honors those individuals who are helping to ensure the future of The Cleveland Orchestra with a Legacy gift. Legacy gifts come in many forms, including bequests, charitable gift annuities, and insurance policies. The following listing of members is current as of September 2013. For more information, please call Bridget Mundy, Legacy Giving Officer, at 216-231-8006.

Lois A. Aaron Leonard Abrams Shuree Abrams* Gay Cull Addicott Stanley and Hope Adelstein Sylvia K. Adler Gerald O. Allen* Norman and Marjorie* Allison George N. Aronoff Herbert Ascherman, Jr. Jack and Darby Ashelman Mr. and Mrs. William W. Baker Ruth Balombin* Mrs. Louis W. Barany* D. Robert* and Kathleen L. Barber Jack Barnhart Margaret B. and Henry T.* Barratt Norma E. Battes* Rev. Thomas T. Baumgardner and Dr. Joan Baumgardner Fred G. and Mary W. Behm Bertram H. Behrens* Dr. Ronald and Diane Bell Bob Bellamy Joseph P. Bennett Ila M. Berry Howard R. and Barbara Kaye Besser Dr.* and Mrs. Murray M. Bett Dr. Marie Bielefeld Raymond J. Billy (Biello) Dr. and Mrs. Harold B. Bilsky* Robert E. and Jean Bingham* Claudia Bjerre Mr. William P. Blair III Mrs. Flora Blumenthal Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. and Mrs. Charles P. Bolton Kathryn Bondy* Loretta and Jerome* Borstein Mr. and Mrs.* Otis H. Bowden II Ruth Turvy Bowman* Drs. Christopher P. Brandt and Beth Brandt Sersig Mr. D. McGregor Brandt, Jr. David and Denise Brewster Richard F. Brezic* Robert W. Briggs Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Ronald and Isabelle Brown* Mr. and Mrs. Clark E. Bruner* Mr. and Mrs.* Harvey Buchanan


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

Legacy Giving

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

The Cleveland Orchestra


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

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

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

Severance Hall 2013-14

Legacy Giving



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

l i s t i n g c o n t i n u ed

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


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

Legacy Giving

Elliot Veinerman* Nicholas J. Velloney* Steven Vivarronda Hon. William F. B. Vodrey Pat and Walt* Wahlen Mrs. Clare R. Walker John and Deborah Warner Mr. and Mrs. Russell Warren Joseph F. and Dorothy L. Wasserbauer Charles D. Waters* Reverend Thomas L. Weber Etta Ruth Weigl Lucile Weingartner Eunice Podis Weiskopf* Max W. Wendel William Wendling and Lynne Woodman Marilyn J. White Robert and Marjorie Widmer* Yoash and Sharon Wiener Alan H. and Marilyn M. Wilde Elizabeth L. Wilkinson* Helen Sue* and Meredith Williams Carter and Genevieve* Wilmot Miriam L. and Tyrus W.* Wilson Mr. Milton Wolfson* and Mrs. Miriam Shuler-Wolfson Nancy L. Wolpe Mrs. Alfred C. Woodcock Katie and Donald Woodcock Dr.* and Mrs. Henry F. Woodruff Marilyn L. Wozniak Nancy R. Wurzel Michael and Diane Wyatt Mary Yee Emma Jane Yoho, M.D. Libby M. Yunger Dr. Norman Zaworski* William L.* and Joan H. Ziegler Carmela Catalano Zoltoski* Roy J. Zook* Anonymous (105)



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

The Cleveland Orchestra

The Cleveland Orchestra

Guide to Fine Schools Consistently ranked among “Best Communities for Music Education” in the Nation!


Consistently ranked among “Best Communities for Other fine schools advertising in The Cleveland Orchestra’s Music Education” 216-898-8300 Severance Hall programs include: in the Nation!

Baldwin Wallace University Conservatory of Music 440-826-2369 Cleveland Institute of Music 216-791-5000 Cleveland State University Kulas Series of Keyboard Conversations with Jeffrey Siegel 216-687-5018 Lake Erie College 1-855-GO-STORM

Part Emotion, Part Memory

All Magic

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: Or call: 216-752-1505

Larchmere Boulevard is Cleveland’s premier arts and antiques district, featuring over 40 eclectic and independent shops & services. Located one block north of Historic Shaker Square.

Elegant Extras Antiques for the art of entertaining 12900 Larchmere Boulevard Cleveland, Ohio 44120 216-791-3017


Fine & Decorative Arts

Appraisals for all purposes Old paintings wanted

12736 Larchmere Boulevard, Cleveland, Ohio 44120 216.721.6945 –


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wearable art, contemporary craft, gifts One-of-a-kind and limited edition clothing

12712 Larchmere Blvd. 216-229-5770 Call for upcoming events



Mon.-Fri. 11 a.m. to 6 p.m. · Sat. 11 a.m. to 5 p.m. · Sun. 1 to 5 p.m.

Severance Hall 2013-14


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

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


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

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


 for helping develop   tomorrow’s audiences today. 68

Center for Future Audiences

The Cleveland Orchestra



Endowed Funds


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


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 — The Cleveland Orchestra’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




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


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

Severance Hall Preservation Severance family and friends

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

Landscaping and Maintenance

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

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


Endowed Funds

The Cleveland Orchestra

Robata Grill and Raw Bar

Japanese Tapas

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


Michael Hauser DMD MD

Implants and Oral Surgery For Music Lovers Beachwood 216-464-1200


The Cleveland School of Etiquette and Corporate Protocol Choose to be Excellent! Group & individual training • Adults & children Speaking engagements contact: Colleen Harding • 216-970-5889

Training Future Leaders

Severance Hall 2013-14


4600_OAC_B&W_5x8 7/17/08 2:45 PM Page 1


The Cleveland Orchestra


Corporate Support

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

Cumulative Giving



Annual Support

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


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)


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.


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 | Groups of 10 or more save up to 40% by callinG 216.400.7027


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


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



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.


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



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


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)


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


Individual Annual Support

The Cleveland Orchestra

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Severance Hall 2013-14


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


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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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)


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


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


Individual Annual Support

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Severance Hall 2013-14



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


Individual Annual Support



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 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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216.791.8000 Severance Hall 2013-14


11001 Euclid Avenue Cleveland, Ohio 44106



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


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

Chopin for Lovers


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 26th Season 2013-2014 Mazurkas, and the 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, Ave. and or E. 21st St. www.csuohi Call (216)Euclid 687.5018 visit For more information call 216.687.5018 for more information. or visit EXQUISITE PIECES IN A SURPRISING SETTING

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Be a part of one of northeast Ohio’s favorite holiday traditions. Reserve your space in the

2013 Holiday Festival Program Book. Call John Moore, 216-721-4300

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 Severance Hall 2013-14




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


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 Nutcracker, 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 Sponsor: BakerHostetler

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 rst lm score. Preceded by a discussion between Frank J. Oteri and John Ewing with James Krukones.

Concert Calendar

The Cleveland Orchestra





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 Sponsor: PNC

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 Sponsor: Litigation Management, Inc.

A Gala Evening

with The Cleveland Orchestra and Itzhak Perlman

Saturday Sep 28 at 7:00 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.

Welser-Möst: All-Beethoven Friday November 1 at 8:00 p.m. THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor


BEETHOVEN “Leonore” Overture No. 3 BEETHOVEN Grosse Fuge BEETHOVEN Symphony No. 5 Severance Hall 2013-14

Concert Calendar


216 - 231-1111 800-686-1141 91

11001 Euclid Avenue, Cleveland, Ohio 44106 CLEVELANDORCHESTRA.COM


Severance Restaurant at Severance Hall is open for pre-concert dining. For reservations, call 216-231-7373, or make your plans on-line by visiting Concert concession service of beverages and light refreshments is available before most concerts and at intermissions in the Smith Lobby on the street level, in the Bogomolny-Kozerefski Grand Foyer, and in the Dress Circle Lobby.


Free public tours 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.


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


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


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.


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

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



ATM — Automated Teller Machine

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


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

Guest Information

The Cleveland Orchestra


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.


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.


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.


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.


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.


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.


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.


Subscribers unable to attend on a particular concert date can exchange their tickets for a different performance of the same week’s program. Subscribers may exchange their subscription tickets for another subscription program up to five days prior to a performance. There will be no service charge for the five-day advance ticket exchanges. If a ticket exchange is requested within 5 days of the performance, there is a $10 service charge per concert. Visit for details and blackout dates.


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.






William Preucil




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

  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




  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.




Upcoming Concerts

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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 there’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 — dedicated to enhancing the lives of all Clevelanders now and for generations to come.

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

The Cleveland Orchestra September 26-27 Concerts  

Tchaikovsky's First Piano Concerto