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FALL SEASON

SEVERANCE HALL

October 31, November 1, 2 FRANZ WELSER-MÖST CONDUCTS BEETHOVEN AND MESSIAEN


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

THIS WEEK THE

CLEVELAND

ORCHESTRA

PAGE

WEEK 6 7

In the News

COVER PHOTOGRAPHY BY ROGER MASTROIANNI

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

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

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11 15 22 88 92

Concert — Week 6 Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . Program: October 31, November 2 . . . . . . . . Program: November 1 . . . . . . . . . . . . . . . . . . . . . Introducing the Concerts . . . . . . . . . . . . . . . . . . . .

31 33 35 37

BEETHOVEN

Mass in C major . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Sung Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 BEETHOVEN

Grosse Fuge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 MESSIAEN

Three Small Liturgies of Divine Presence . . . 53 Sung Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 BEETHOVEN

“Leonore” Overture No. 3 . . . . . . . . . . . . . . . . . . 67 BEETHOVEN

Symphony No. 5 . . . . . . . . . . . . . . . . . . . . . . . . . . 69 Conductor: Franz Welser-Möst . . . . . . . . . . . . . . . Vocal Soloists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Instrumental Soloists . . . . . . . . . . . . . . . . . . . . . . . . . Cleveland Orchestra Chorus . . . . . . . . . . . . . . . . . .

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

NATIONAL ENDOWMENT FOR THE ARTS

The Cleveland Orchestra is grateful to the following organizations for their ongoing generous support of The Cleveland Orchestra: National Endowment for the Arts, the State of Ohio and Ohio Arts Council, and to the residents of Cuyahoga County through Cuyahoga Arts and Culture. The Cleveland Orchestra is proud of its long-term partnership with Kent State University, made possible in part through generous funding from the State of Ohio. The Cleveland Orchestra is proud to have its home, Severance Hall, located on the campus of Case Western Reserve University, with whom it has a long history of collaboration and partnership.

50%

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

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15 45 63 65

Copyright © 2013 by The Cleveland Orchestra and the Musical Arts Association

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

48 73 75 76

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

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

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

Table of Contents

The Cleveland Orchestra


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“The best culture in Cleveland is in my back yard.”

—Hope Hungerford, Judson Manor resident since 2010

Hope Hungerford helped spearhead the Museum of Contemporary Art Cleveland’s move to University Circle.

VË ÜjÄË܉jÝÄ˝wË.jÜjÁ?™Wj Hall from her apartment

Living at Judson Manor, she enjoys walking to the museum, and nearby shops and restaurants in the Circle’s new Uptown district.

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This is Smart Living™ defined at Judson Manor. Call (216) 791-2004 to arrange for a tour today.

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To read more about Hope, visit www.judsonsmartliving.org/Hope


Perspectivesfrom the Executive Director October 2013 This month, we move the heart of the 2013-14 season, the twelfth of Franz Welser-Möst’s tenure as music director. The artistic excellence for which the Orchestra has long been famous is a core value that has been enhanced under his leadership.  At the same time, under Franz’s leadership, the Orchestra’s commitment to serving Northeast Ohio is stronger than ever.   Indeed, to Franz, the Orchestra’s dedication to artistic excellence can only thrive if we are committed to being relevant and vital to the community that supports us.  Music education, long one of The Cleveland Orchestra’s core pillars, is central to Franz’s vision for this institution’s future. For Franz, music brings people together — across genres, cultures, countries, and generations.  Ensemble music-making, whether by amateurs or professionals, gives meaning to the lives of those participating; for students, music helps inspire the creativity necessary for the long-term vitality of society.  To inspire music-making among young people, Franz and the Orchestra’s musicians perform in local schools and share their knowledge and enthusiasm across a range of programs and offerings. Taking the Orchestra into local neighborhoods, Franz will be at the forefront of the Orchestra’s next “At Home” neighborhood residency, just announced for May 2014 in partnership with Lakewood community businesses and organizations. Like last season’s inaugural event, “The Cleveland Orchestra at Home in Gordon Square,” the 2014 program will be a week-long residency that immerses the Orchestra in a neighborhood, offering a series of events — from musicians visiting area schools, to ensemble performances in local hot spots, to a public concert featuring the entire Orchestra.  All free and open to everyone. Looking even further ahead, to the Orchestra’s 100th Season in 2017-18, Franz has articulated a vision for our Centennial that celebrates the community that has nurtured the Orchestra since its founding and continues to support it through extraordinary generosity, alongside a series of programs and initiatives that look forward, laying a foundation for our second century. Through excellence, innovation, and collaboration, and by focusing on producing artistic and educational experiences of the highest quality, Franz is leading this institution as an example for our industry worldwide, while serving the interests and needs of the Orchestra’s hometown. 

Gary Hanson P.S. Included in this fall’s elections is Issue 1, a replacement levy for services to our community's most vulnerable citizens through Cuyahoga County Health and Human Services. This funding helps ensure a safety net across our community for children, families, and seniors. Every vote can make a critical difference in this election. For further information, visit www.CuyahogaHHS.org. Severance Hall 2013-14

Perspectives

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CLEVELAND ORCHESTRA ARCHIVES

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

NOVEMBER 1929 — Just two weeks after the Stock Market Crash, and still wearing a black armband in mourning for the death of his wife, Elisabeth, earlier in the year, John L. Severance breaks ground for the construction of Severance Hall.

and around the globe, The Cleveland Orchestra 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 Festival, in residencies from Miami to Vienna, and on tour around the world, The Cleveland Orchestra sets standards of artistic excellence, creative programming, and active community engagement. With the 2013-14 season, Franz Welser-Möst enters his twelft h year leading the ensemble, with a commitment extending to the Orchestra’s centennial in 2018. This artistic partnership continues to move the ensemble forward through a series of new and ongoing initiatives, including: IN PE RFORMANCE S AT HOME

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

8

About the Orchestra

The Cleveland Orchestra


for an intensive week of special activities and performances, as well as the broadening 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 demonstrated results at Severance Hall and Blossom; a variety of new concert offerings (including KeyBank Fridays@7 and Celebrity 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 ongoing 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 appearances 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 orchestras. Over the ensuing decades, the Orchestra quickly grew from a fine regional organization to being one of the most admired symphony orchestras in the world. The opening in 1931 of Severance Hall as the Orchestra’s home brought a special pride to the ensemble and its hometown, as well as providing an enviable and intimate acoustic environment in which to develop and refine the Orchestra’s artistry. Year-round performances became a reality in 1968 with the opening of Blossom Music Center, one of the most beautiful and acoustically admired outdoor concert facilities in the United States. Severance Hall 2013-14

The Orchestra Today

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T H E M U S I C AL AR TS ASSOCIATION

as of August 2013

operating The Cleveland Orchestra, Severance Hall, and Blossom Music Festival O F F I C E R S A ND E X E C UT IVE C O MMI T T E E Dennis W. LaBarre, President Richard J. Bogomolny, Chairman The Honorable John D. Ong, Vice President

Norma Lerner, Honorary Chair Raymond T. Sawyer, Secretary Beth E. Mooney, Treasurer

Jeanette Grasselli Brown Alexander M. Cutler Matthew V. Crawford David J. Hooker Michael J. Horvitz

Douglas A. Kern Virginia M. Lindseth Alex Machaskee Nancy W. McCann John C. Morley

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

R E S I D E NT TR U S T E E S George N. Aronoff Dr. Ronald H. Bell Richard J. Bogomolny Charles P. Bolton Jeanette Grasselli Brown Helen Rankin Butler Scott Chaikin Paul G. Clark Owen M. Colligan Robert D. Conrad Matthew V. Crawford Alexander M. Cutler Terrance C. Z. Egger Hiroyuki Fujita Paul G. Greig Robert K. Gudbranson Iris Harvie Jeffrey A. Healy Stephen H. Hoffman David J. Hooker Michael J. Horvitz Marguerite B. Humphrey David P. Hunt Christopher Hyland

James D. Ireland III Trevor O. Jones Betsy Juliano Jean C. Kalberer Nancy F. Keithley Christopher M. Kelly Douglas A. Kern John D. Koch S. Lee Kohrman Charlotte R. Kramer Dennis W. LaBarre Norma Lerner Virginia M. Lindseth Alex Machaskee Robert P. Madison Milton S. Maltz Nancy W. McCann Thomas F. McKee Beth E. Mooney John C. Morley Donald W. Morrison Meg Fulton Mueller Gary A. Oatey Katherine T. O’Neill

The Honorable John D. Ong Larry Pollock Alfred M. Rankin, Jr. Clara T. Rankin Audrey Gilbert Ratner Charles A. Ratner James S. Reid, Jr. Barbara S. Robinson Paul Rose Steven M. Ross Raymond T. Sawyer Luci Schey Neil Sethi Hewitt B. Shaw, Jr. Richard K. Smucker R. Thomas Stanton Thomas A. Waltermire Geraldine B. Warner Jeffrey M. Weiss Norman E. Wells Paul E. Westlake Jr. David A. Wolfort

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

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

Ludwig Scharinger (Austria)

TR U S TE E S E X- O FFIC 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 TR U S TE E S E M ERIT I Clifford J. Isroff Samuel H. Miller David L. Simon PA S T PR E S I D E NT S D. Z. Norton 1915-21 John L. Severance 1921-36 Dudley S. Blossom 1936-38 Thomas L. Sidlo 1939-53

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

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

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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PH OTO G R APH Š BY H E D R I CH B LE SSI N G

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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 Orchestra, with a long-term commitment extending to the Orchestra’s centennial in 2018. Under his direction, the Orchestra is acclaimed for its continuing artistic excellence, is 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 historic championship of new composers through commissions and premieres, and has re-established itself as an important operatic ensemble. Concurrently with his post in Cleveland, Mr. Welser-Möst 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 performances 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 conservatories, 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 Festival and Carnegie Hall. In addition, the Daniel R. Lewis Young Composer Fellow program has brought new voices to the repertoire, including Pintscher, Marc-André Dalbavie, Susan Botti, Julian Anderson, Johannes Maria Staud, Jörg Widmann, Sean Shepherd, and Ryan Wigglesworth. Franz Welser-Möst has led a series of opera performances during his tenure P H OTO BY S ATO S H I AOYAG I

THE 2013 -14 SEASON

Severance Hall 2013-14

Music Director

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in Cleveland, re-establishing the Orchestra as an important operatic ensemble. Following six seasons of opera-in-concert presentations, he brought fully staged opera back to Severance Hall with a three-season cycle of Zurich Opera productions of the MozartDa Ponte operas. He led concert performances of Strauss’s Salome at Severance Hall and at Carnegie Hall in May 2012 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 company 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 Philharmonic. Recent performances with the Philharmonic include appearances in concert 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 director (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 recordings of live performances of five of Bruckner’s symphonies, presented in three acoustically distinctive venues (the Abbey of St. Florian in Austria, Vienna’s Musikverein, and Severance Hall). With Cleveland, he has also released a recording of Beethoven’s Ninth Symphony as well as an all-Wagner album featuring soprano Measha Brueggergosman. DVD releases on the EMI label have included Mr. Welser-Möst leading Zurich Opera productions of The Marriage of Figaro, Così fan tutte, Don Giovanni, Der Rosenkavalier, Fierrabras, and Peter Grimes. For his talents and dedication, Mr. Welser-Möst has received honors that include recognition from the Western Law Center for Disability Rights, honorary membership in the Vienna Singverein, appointment as an Academician of the European Academy of Yuste, a Gold Medal from the Upper Austrian government for his work as a cultural ambassador, a Decoration of Honor from the Republic of Austria for his artistic achievements, and the Kilenyi Medal from the Bruckner Society of America. He is the co-author of Cadences: Observations and Conversations, published in a German edition in 2007.

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Music Director

The Cleveland Orchestra


THE CLEVELAND ORCHESTRA Franz Welser-Möst MUSIC DIREC TOR

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

—The Guardian (London)

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

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


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Franz Welser-MĂśst and The Cleveland Orchestra, performing Brucknerâ&#x20AC;&#x2122;s Fourth Symphony in concert at Severance Hall in April 2012.


T H E

C L E V E L A N D

FRANZ WELSER-MÖST MUSIC

DIRECTOR Kelvin Smith Family Chair

FIRST VIOLINS William Preucil CONCERTMASTER

Blossom-Lee Chair

Yoko Moore

ASSISTANT CONCERTMASTER

Clara G. and George P. Bickford Chair

Peter Otto

FIRST ASSOCIATE CONCERTMASTER

Jung-Min Amy Lee

ASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith Chair

Alexandra Preucil

ASSISTANT CONCERTMASTER

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

Takako Masame Paul and Lucille Jones Chair

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

Kim Gomez Elizabeth and Leslie Kondorossy Chair

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

Miho Hashizume Theodore Rautenberg Chair

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

Alicia Koelz Oswald and Phyllis Lerner Gilroy Chair

Yu Yuan Patty and John Collinson Chair

Isabel Trautwein Trevor and Jennie Jones Chair

Mark Dumm Gladys B. Goetz Chair

Katherine Bormann

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

Emilio Llinas 2 James and Donna Reid Chair

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

Elayna Duitman Ioana Missits Carolyn Gadiel Warner Stephen Warner Sae Shiragami Vladimir Deninzon Sonja Braaten Molloy Scott Weber Kathleen Collins Beth Woodside Emma Shook Jeffrey Zehngut 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

CELLOS Mark Kosower* Louis D. Beaumont Chair

Richard Weiss 1 The GAR Foundation Chair

Charles Bernard 2 Helen Weil Ross Chair

Bryan Dumm Muriel and Noah Butkin Chair

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

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

Mark Atherton Thomas Sperl Henry Peyrebrune Charles Barr Memorial Chair

Charles Carleton Scott Dixon Derek Zadinsky HARP Trina Struble * Alice Chalifoux Chair

The Cleveland Orchestra


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

PERCUSSION Marc Damoulakis°

HORNS Richard King *

Margaret Allen Ireland Chair

George Szell Memorial Chair

Donald Miller Tom Freer

Elizabeth M. and William C. Treuhaft Chair

Michael Mayhew §

Saeran St. Christopher Marisela Sager 2

Jesse McCormick Hans Clebsch Alan DeMattia

KEYBOARD INSTRUMENTS Joela Jones *

TRUMPETS Michael Sachs *

Carolyn Gadiel Warner

Austin B. and Ellen W. Chinn Chair

Mary Kay Fink PICCOLO Mary Kay Fink Anne M. and M. Roger Clapp Chair

OBOES Frank Rosenwein * Edith S. Taplin Chair

Mary Lynch Jeffrey Rathbun 2 Everett D. and Eugenia S. McCurdy Chair

Robert Walters ENGLISH HORN Robert Walters Samuel C. and Bernette K. Jaffe Chair

CLARINETS Franklin Cohen * Robert Marcellus Chair

Robert Woolfrey Daniel McKelway 2 Robert R. and Vilma L. Kohn Chair

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

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

Barrick Stees

2

Sandra L. Haslinger Chair

Knight Foundation Chair

Robert and Eunice Podis Weiskopf Chair

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

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

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

Marjory and Marc L. Swartzbaugh Chair

LIBRARIANS Robert O’Brien Donald Miller ORCHESTRA PERSONNEL Karyn Garvin DIRECTOR

Anna Stowe

ACTING MANAGER

ENDOWED CHAIRS CURRENTLY UNOCCUPIED Sidney and Doris Dworkin Chair Sunshine Chair

Richard Stout Alexander and Marianna C. McAfee Chair

Shachar Israel

2

BASS TROMBONE Thomas Klaber EUPHONIUM AND BASS TRUMPET Richard Stout

* Principal

° Acting Principal § 1 2

Associate Principal First Assistant Princi pal Assistant Principal

CONDUCTORS Christoph von Dohnányi MUSIC DIRECTOR LAUREATE

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

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

Tom Freer 2

Jonathan Sherwin

Giancarlo Guerrero

PRINCIPAL GUEST CONDUCTOR, CLEVELAND ORCHESTRA MIAMI

Brett Mitchell

ASSISTANT CONDUCTOR

Elizabeth Ring and William Gwinn Mather Chair

Robert Porco

DIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

CONTRABASSOON Jonathan Sherwin

Severance Hall 2013-14

Rudolf Serkin Chair

The Orchestra

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Going more places, more often.


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

<18s

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 fall. The Bruckner Society of America has just announced that it is giving this DVD its “best video of the year” ear designation, lauding the performance and the presentation. The performance was filmed in 2012 at the beautiful 17th-century baroque Abbey of St. Florian in Austria. Emmy Award-winner Brian Large directed the video recording. This is the first video produced of thee recent critical edition of the 1888 8 version of Bruckner’s Fourth Symmphony, edited by Benjamin Korsttvedt and published in 2004 as part art 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.

Cleveland Orchestra News

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THE CLEVELAND ORC

Severance Hall 2013-14

Orchestra’s recording of Bruckner 4th receives praise and awards

THE CLEVELAND ORCHESTRA

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 for some series are available online.

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News


THE CLEVELAND ORCHES-

News

OrchestraNews Two new appointments to Orchestra’s management team

A

CLEVELAND ORCHESTRA THE CLEVELAND ORCHESTRA THE CLEVELAND ORCHE

THE CLEVELAND ORCHESTRA

Gary Hanson, executive director of The Cleveland Orchestra, has announced two new appointments to the Orchestra’s management team. Jennifer Barlament has been appointed to the position of General Manager effective September 23, overseeing Orchestra operations, concert production, collective bargaining, electronic media, and facilities (Severance Hall and Blossom). “It is a great pleasure to welcome Jennifer Barlament to the staff of The Cleveland Orchestra,” said Hanson in making the appointment. “Her strong musical background and record of achievement are among the terrific portfolio of skills and talent she will bring to us.” Barlament has served as executive director of the Kalamazoo Symphony Orchestra since 2009, and was general manager of the Omaha Symphony, 2002-09. She was the 2013 recipient of the Orchestra League’s Helen M. Thompson Award for extraordinary achievement and commitment in the field of orchestra management. Carol Lee Iott, who has served as Director of Orchestra Personnel since 2005 and as Acting General Manager this year, is taking on the new position of Director of Strategy and Special Initiatives, overseeing institutional strategy, major cross-departmental initiatives, Orchestra personnel, and education and community programs. “I’m delighted that Carol Lee has accepted my invitation to create this new position,” said Hanson. “In this role, Carol Lee’s portfolio of initiatives will include planning our Centennial celebration, establishing programs to realize Franz’s ‘Make Music!’ vision, and leading an expansion of our neighborhood residencies initiative.” Prior to coming to Cleveland, Iott served as director of orchestra personnel with the Chicago Symphony Orchestra, 1995-2005.

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Post-concert performers chosen for spring concerts in KeyBank Fridays@7 series Following the first performance in September, 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 onehour concerts include the early 7 p.m. start time, plus extra music both before and after. The post-concert presentations in the spring will be: March 7 — New York Gypsy All-Stars. Back by popular demand to Fridays@7, the New York Gypsy All-Stars jump the turnstiles of Balkanalia, Turkish roots, and gypsy soul with funky refinement. April 11 — The Medicine Show reaches people in hard-to-get places. The international group made up of players from Brazil, America, Japan, and Germany who are inspired by the intersection of their collective desire to play music that is a passport into another dimension. May 2 — Requiem to Resurrection. Gospel legend Theresa Thomason and the Mt. Zion Congregational Church gospel choir will lift the rafters in a musical journey for the soul. Let the spirit move you! Special three-concert series packages are available for the spring KeyBank Fridays@7 performances. Contact Severance Hall Ticket Services for complete details, or purchase online at clevelandorchestra.com.

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FRIDAYS@

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

Cleveland Orchestra News

The Cleveland Orchestra


THE CLEVELAND ORCHESTRA THE CLEVELAND ORCHEST TRA THE CLEVELAND ORCHESTRA

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OrchestraNews New album being released by Orchestra musician; featuring trombone hits and transcriptions

Women’s Committee Fall Benefit features evening of music and food at Nighttown on November 7

Massimo La Rosa, principal trombone of The Cleveland Orchestra, is releasing a new album on October 24 titled Sempre Espressivo. The album features works for trombone, including J.S. Bach’s Suite No. 1 in G major for solo cello (performed on trombone) and a new arrangement of the Intermezzo from Puccini’s opera Manon Lescaut. The CD is available for purchase through the Cleveland Orchestra Store at Severance Hall.

The Women’s Committee’s Fall Benefit event takes place on Thursday evening, November 7, at Nighttown restaurant in Cleveland Heights. The evening includes dining and socializing, plus a musical performance by the Oberlin Conservatory of Music Improvisation Ensemble under the direction of Jamey Haddad — exploring a range of musical genres and styles from around the world. Reservations are $75 per person, or $100 for the patron-level ticket. Reservations can be made by calling Cleveland Orchestra Ticket Services at 216-231-1111.

CMA Performing Arts Series Kayhan Kalhor Wednesday, November 20, 7:30 p.m. “When Kalhor performed, it sounded like a conversation among several instruments, with the varying timbres at times evoking the wailing pleas of disconsolate lovers.”—The New York Times “When Kalhor performed, it sounded like a conversation among several instruments, with the Three-time Grammy nominee Kayhan Kalhor is an internationally acclaimed virtuoso on the kamancheh (Persian spiked fiddle) who through his many musical collaborations has been instrumental in popularizing Persian music in the West and is a creative force in today’s music scene.

Come see amazing.

Tickets on sale now ClevelandArt.org/performingarts

Severance Hall 2013-14

Cleveland Orchestra News

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THE CLEVELAND OR-

OrchestraNews F.A.M.I.L.Y N.E.W.S 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. Charles Bernard (cello) and Jeff Williams, who were married on September 5. Lyle Steelman (trumpet) and Leslie Brown, who were married on September 14.

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

News

Franklin Cohen serves on competition jury and teaches in China, Japan, and Korea Franklin Cohen, principal clarinet of The Cleveland Orchestra, is on a foururweek trip to Asia during which he has been invited to serve on the jury, with other prominent clarinetists from around the world, for the 2013 Beijing ng International Clarinet Competition. After the competition, he will give masterclasses for the international contestants who have come to par-ticipate. Cohen will then visit Seoul,l, Osaka, and Tokyo, where he will present concerts, seminars, and classes at several of Japan and Korea’s major conservatories.

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

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Orchestra announces “At Home” neighborhood residency in Lakewood for May 2014 The Cleveland Orchestra and Lakewood have anat home nounced a new partnership to present the Orchestra’s next “At Home” neighborhood residency in May 2014. The centerpiece of this week of activities, education programs, and public performances will be a free Cleveland Orchestra concert at the Civic Auditorium in Lakewood on Saturday evening, May 24. The concert will be recorded for a delayed broadcast on WVIZ/PBS ideastream, and a radio broadcast on WCLV 104.9. The television broadcast will also feature a segment about the Orchestra’s performances, collaborations, and events in Lakewood. “Creating a grassroots opportunity for Lakewood to experience perhaps the greatest orchestra in the world at a very personal level is a cultural experience that we will remember for years to come,” commented Lakewood Mayor Michael P. Summers in announcing the collaboration. “Our increasingly vibrant commercial corridors and neighborhoods will be made ever-more-so by the music and the musicians.” Ian Andrews, executive director of LakewoodAlive, Lakewood’s nonprofit economic development organization, added, “Lakewood is known for its commitment to the arts.  The Orchestra’s events will strengthen this commitment and showcase the city’s great quality of life, local organizations, restaurants, schools, and businesses that make our community special.” The Cleveland Orchestra introduced its “At Home” neighborhood residency program in May 2013 with a week of performances and activities in the Gordon Square community of Cleveland. Events include free performances by Orchestra musicians and education programs for children, students, and families. Details of The Cleveland Orchestra’s Lakewood neighborhood residency will be announced in March 2014, along with information about acquiring tickets for the free Cleveland Orchestra concerts.

Cleveland Orchestra News

The Cleveland Orchestra


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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 clevelandorchestra.com.

Part Emotion, Part Memory

THE CLEVELAND ORCHESTRA

All Magic

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

Go to: www.clevelandcarousel.org Or call: 216-752-1505 Severance Hall 2013-14

Cleveland Orchestra News

north W point portfolio managers c o r p o r a t i o n Ronald J. Lang Diane M. Stack Daniel J. Dreiling

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THE CLEVELAND ORCHE

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


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LEARNING MORE ABOUT THE MUSIC

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

Severance Hall 2013-14

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. October 31, November 2 “Two Visions of the Divine” with Michael Strasser, professor of musicology, Baldwin Wallace University Conservatory of Music

November 1 “Beethoven: Evolution of Genius” with Michael Strasser,

November 29, December 1 “A Symphony Masquerading as a Concerto” with Pierre van der Westhuizen, executive director of the Cleveland International Piano Competition

December 5, 6, 7 “Beethoven and the Piano Concerto” with David J. Rothenberg, associate professor of musicology, Case Western Reserve University

January 9, 10, 11, 12 “Brahms: Tragic or Academic?”

Concert Previews

with David J. Rothenberg

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

in pursuit of harmony.

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The Cleveland Orchestra


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

W E L S E R - M Ö ST M U S I C

D I R E C T O R

Severance Hall

Thursday evening, October 31, 2013, at 7:30 p.m. Saturday evening, November 2, 2013, at 8:00 p.m.

Franz Welser-Möst, conductor LUDWIG VAN BEETHOVEN (1770-1827)

Mass in C major, Opus 86 1. 2. 3. 4. 5.

Kyrie: Andante con moto assai vivace Gloria: Allegro con brio Credo: Allegro con brio Sanctus: Allegro Agnus Dei: Poco Andante

LUBA ORGONÁŠOVÁ, soprano KELLEY O’CONNOR, mezzo-soprano HERBERT LIPPERT, tenor RUBEN DROLE, baritone CLEVELAND ORCHESTRA CHORUS Robert Porco, director

INTERMISSION BEETHOVEN

Grosse Fuge in B-flat major, Opus 133

OLIVIER MESSIAEN

Three Small Liturgies of the Divine Presence

(1908-1992)

1. Anthem for the Interior Conversation 2. Sequence of the Word, A Divine Canticle 3. Psalm of Ubiquity Through Love JOELA JONES, piano CYNTHIA MILLAR, ondes martenot Women of the CLEVELAND ORCHESTRA CHORUS

Thursday’s concert is sponsored by Litigation Management, Inc. Joela Jones’s solo appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from Dr. and Mrs. Sam I. Sato. With this weekend’s concerts, The Cleveland Orchestra gratefully honors The Helen Wade Greene Charitable Trust for its generous support. The concert will end on Thursday evening at about 9:40 p.m. and on Saturday evening at approximately 10:10 p.m.

Severance Hall 2013-14

Concert Program — Week 6

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Act one begins

Beck Center for the Arts

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


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

W E L S E R - M Ö ST M U S I C

D I R E C T O R

Severance Hall

Friday evening, November 1, 2013, at 8:00 p.m.

Franz Welser-Möst, conductor LUDWIG VAN BEETHOVEN (1770-1827)

BEETHOVEN

“Leonore” Overture No. 3, Opus 72b Grosse Fuge in B-flat major, Opus 133 (for string orchestra) INTERMISSION

BEETHOVEN

Symphony No. 5 in C minor, Opus 67 1. 2. 3. 4.

Allegro con brio Andante con moto Scherzo: Allegro — Trio — Finale: Allegro

The concert will end at approximately 9:35 p.m. CLEVELAND ORCHESTRA RADIO BROADCASTS

Current and past Cleveland Orchestra concerts are broadcast as part of regular weekly programming on WCLV (104.9 FM), on Saturday evenings at 8:00 p.m. and Sunday afternoons at 4:00 p.m.

Severance Hall 2013-14

Concert Program — Week 6a

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INTRODUCING THE CONCERTS

Human&Divine

T H U R S D AY A N D S A T U R D AY — Franz Welser-Möst leads a program featuring two composers’ very different takes on religious devotion and meaning. Beethoven, who was not a regular churchgoer, believed strongly in human knowledge and reason, balanced against a benign divinity of grace and wisdom. His mass, written on commission, shines with the godliness of music as an artform, transcending words and belief. In contrast, Olivier Messiaen’s fervent and devout Catholicism was one of the pillars of his life and of his musical compositions. In Three Small Liturgies, his beliefs are not just in the musical sounds, but in the poetic and mystical texts that he wrote. F R I D AY

— Friday’s concert offers a full evening of Beethoven, with two well-known Middle Period works — the energetic “Leonore” Overture No. 3 and the ravishingly thrilling dark-to-light Fifth Symphony — sharing the evening with a much later, but equally sensational piece. Played here by full string orchestra, the Grosse Fuge was created in 1825 as the final movement of Beethoven’s last string quartet. Early audiences found it puzzlingly dense, while performers were put off by its challenging writing. Modern musicians (and audiences) have come to admire its contours and fugue, and its ability to showcase the expert artistry it requires. “All-Beethoven” is not too much of one thing — it is a fully diverse offering of monumental portions. —Eric Sellen

Program Notes begin on page: BEETHOVEN - Mass in C major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 BEETHOVEN - Grosse Fuge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 MESSIAEN - Three Small Liturgies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 BEETHOVEN - “Leonore” Overture No. 3 . . . . . . . . . . . . . . . . . . . . . . . 67 BEETHOVEN - Symphony No. 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

LIVE RADIO BROADCAST

Saturday evening’s concert is being broadcast live on WCLV (104.9 FM). The concert will be rebroadcast as part of regular weekly programming on WCLV on Sunday afternoon, December 1, at 4:00 p.m.

Severance Hall 2013-14

Introducing the Concerts

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THUR SDAY AND SATURDAY

Mass in C major, Opus 86 composed 1807 THE NAME ESTERHÁZY

by

Ludwig van

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

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is well known to the world of music from the family’s association with Haydn, who served four Princes of that name and devoted over forty years of his life to that employment. The last of the series was Prince Nikolaus, who succeeded to the title in 1794 at the age of 28. Like his grandfather Prince Nikolaus “the Magnificent,” the new Prince was devoted to music, but unlike his grandfather his passion was for sacred choral music rather than for the symphonies and operas that Haydn had turned out in profusion. For the nameday of his wife, Princess Maria, which fell on September 8, he regularly commissioned Haydn to compose a Mass. There are thus six great Haydn Masses from the years 1796 to 1802, all written for this celebration. Haydn retired from the Prince’s service in 1804 at the age of 72. He was quite the most celebrated musician in Vienna, held in universal respect. Beethoven, whose relationship with Haydn was never as close as one would expect, considering their proximity in the same city, was already an extremely prominent figure with a reputation for stepping audaciously outside the norms of musical and social convention. It was just at this period that he was composing the great heroic works that we treasure today as the foundation stones of almost all 19th-century symphonic music. In 1807, Prince Nikolaus turned to Beethoven with the commission for a September Mass. Beethoven had not composed a Mass before. In fact, he had written relatively little church or choral music of any kind, but he hated to turn down paid work. He devoted the summer months, when he liked to leave the city for the outlying villages, to this work, but was distracted by a complicated but profitable deal with a London publisher, and by squabbles with his brother that never seemed to get resolved. The only solid information we have about the composition of the Mass is found in a letter to the Prince on July 26 in which Beethoven offered these excuses for the late delivery of his work, enclosing a doctor’s note to certify that he had been ill. The composer concluded: “May I add that I shall hand you the Mass with considerable apprehension, since you, most excellent Prince, are accustomed to having the inimitable masterpieces of the great Haydn performed for you.” About the Music

The Cleveland Orchestra


In that year, September 8 fell on a Tuesday, so the Mass was performed at the Esterházy hereditary castle at Eisenstadt, 25 miles from Vienna, on Sunday, September 13, instead. Beethoven conducted. It was not the happiest occasion. Beethoven was housed not in the castle itself but in an outlying building, and the Prince made an unfortunate remark that implied that the work was not original, sufficient for the often temperamental composer to feel humiliated and hurt. When the Mass was published, the Prince did not receive the dedication, which would have been normal if all had gone well. Beethoven was certainly treading carefully in Haydn’s footsteps when he composed this Mass. The array of soloists and the division of the text into five main movements follows that precedent. But he was also — inevitably — reaching out into bold forms of expression that leap out of almost every movement. The Mass — again inevitably — hardly matches the immensity of Beethoven’s Missa solemnis, composed more than a decade and a half later, for which no precedent applied. Following tradition, a number of passages in the Mass in C major are set as choral fugues, always with considerable vigor, while the more reflective sections allowed Beethoven to explore that gift for intense expression which he had already displayed in his symphonies and quartets, not to mention the opera Fidelio. The range of expression is wide, with Beethoven more than once giving way to high spirits, as when releasing a speedy opening to the Gloria, or concluding the Credo with a brilliant Amen. Exceptional in its beauty is the Benedictus section of the Sanctus movement, and the closing Agnus Dei has a dramatic solemnity that recalls musical moments written by Gluck or Mozart. Prince Nikolaus lived until 1833, but he never again commissioned so fine a Mass as this. —Hugh Macdonald © 2013

At a Glance Beethoven wrote his Mass in C major in 1807 at the request of Prince Nikolaus Esterházy, for the name day of the prince’s wife, Maria. The first performance took place on September 13 at the prince’s country estate of Eisenstadt, with Beethoven conducting the court orchestra. This mass runs about 45 minutes in performance. Beethoven scored it for an orchestra of 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, organ, and strings, plus four vocal soloists and four-part chorus. The Cleveland Orchestra has presented Beethoven’s complete Mass in C major on only one previous set of concerts, in April 1982 at Severance Hall conducted by Colin Davis. In 1997, Leonard Slatkin led a performance of the first two movements as part of that summer’s Blossom Music Festival.

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

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Severance Hall 2013-14

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THURSDAY AND SATURDAY

Mass in C major, Opus 86 music by Ludwig van Beethoven

I. Kyrie Kyrie eleison. Christe eleison. Kyrie eleison.

Kyrie Lord, have mercy upon us. Christ, have mercy upon us. Lord, have mercy upon us.

II. Gloria Gloria in excelsis Deo. Et in terra pax hominibus bonae voluntatis. Laudamus te. Benedicimus te. Adoramus te. Glorificamus te. Gratias agimus tibi propter magnam gloriam tuam. Domine Deus, rex coelestis, Deus pater omnipotens. Domine Fili unigenite, Jesu Christe. Domine Deus, Agnus Dei, Filius Patris. Qui tollis peccata mundi, miserere nobis. Qui tollis peccata mundi, suscipe deprecationem nostram. Qui sedes ad dexteram Patris, miserere nobis. Quoniam tu solus sanctus. Tu solus Dominus. Tu solus altissimus, Jesu Christe Cum sancto spiritu in gloria Dei Patris. Amen.

Gloria Glory be to God on high. And on earth, peace to men of good will. We praise You. We bless You. We adore You. We glorify You. We give thanks to You for Your great glory. Lord God, Heavenly King, God the Father Almighty. Lord the only-begotten son, Jesus Christ. Lord God, Lamb of God, Son of the Father. You who takes away the sins of the world, have mercy upon us. You who takes away the sins of the world, receive our prayer. You who sit at the right hand of the Father have mercy upon us. For you alone are holy. You alone are the Lord. You alone are the most high, Jesus Christ. With the Holy Ghost in the glory of God the Father. Amen.

III. Credo Credo in unum Deum. Patrem omnipotentem, factorem coeli et terrae, visibilium omnium, et invisibilium. In unum Dominum, Jesum Christum Filium Dei unigenitum, ex Patre natum ante omnia saecula.

Credo I believe in one God, Father Almighty maker of heaven and earth, and of all things visible, and invisible. In one Lord, Jesus Christ, the only-begotten Son of God, born of the Father before all ages. TEX TS CONTINUE â&#x20AC;&#x201D; PLEASE TURN PAGE QUIETLY

Severance Hall 2013-14

Sung Texts: Beethoven Mass in C major

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

No one cares how long it took Beethoven to compose them. Accomplishments are what matter. How long it takes to achieve them does not.

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THURSDAY AND SATURDAY

Deum de Deo, lumen de lumine, Deum verum de Deo vero. Genitum, non factum, consubstantialem Patri; per quem omnia facta sunt. Qui propter nos homines, et nostram salutem, descendit de coelis. Et incarnatus est de Spiritu Sancto ex Maria Virgine; et homo factus est. Crucifi xus etiam pro nobis: sub Pontio Pilato, passus, et sepultus est. Et resurrexit tertia die, secundum scripturas; et ascendit in coelum; sedet ad dexteram Patris. Et iterum venturus est cum gloria, judicare vivos et mortuos, cujus regni non erit finis. Et in Spiritum Sanctum, Dominum, et vivificantem: qui ex Patre et Filio procedit, qui cum Patre et Filio simul adoratur et conglorificatur; qui locutus est per Prophetas, Et unam sanctam catholicam et apostolicam ecclesiam. Confiteor unum baptisma in remissionem peccatorum. Et expecto resurrectionem mortuorum, Et vitam venturi saeculi. Amen.

God of God, light of light True God of true God. Begotten, not made, of one substance with the Father; by whom all things were made. Who for us all, and for our salvation, came down from heaven. And became incarnate by the Holy Ghost of the Virgin Mary; and was made man. And was crucified also for us: under Pontius Pilate, suffered and was buried. And the third day he rose again, according to the Scriptures, and ascended into heaven; and sits at the right hand of the Father. And he shall come again in glory, to judge the living and the dead, whose kingdom shall have no end. And in the Holy Ghost, the Lord and life-giver; who proceeds from the Father and the Son, who with the Father and the Son together is adored and glorified; who spoke through the prophets, And in one holy catholic church and apostolic Church. I acknowledge one baptism for the remission of sins. And I expect the resurrection of the dead. And the life of the world to come. Amen. TEX TS CONTINUE â&#x20AC;&#x201D; PLEASE TURN PAGE QUIETLY

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

Sung Texts: Beethoven Mass in C major

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THURSDAY AND SATURDAY

IV. Sanctus Sanctus, sanctus, sanctus, Dominus Deus Saboath. Pleni sunt coeli et terra gloria tua Osanna in excelsis.

Sanctus Holy, holy, holy, Lord God of hosts. Heaven and earth are full of Your glory. Hosanna in the highest.

Benedictus Benedictus qui venit in nomine Domini.

Benedictus Blessed is He who comes in the name of the Lord.

Osanna Osanna in excelsis

Hosanna Hosanna in the highest.

V. Agnus Dei Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus Dei, qui tollis peccata mundi, dona nobis pacem.

Agnus Dei Lamb of God, who takes away the sins of the world, have mercy upon us. Lamb of God, who takes away the sins of the world, have mercy upon us. Lamb of God, who takes away the sins of the world, give us peace.

FINI

In appreciation of their support, The Cleveland Orchestra extends a special welcome to Park-Ohio Holdings Corporation, whose guests are enjoying a special evening at Severance Hall this weekend.

Oberlin College & Conservatory Artist Recital Series 2013-14 RAVEL: INTIMATE MASTERPIECES Yolanda Kondonassis, harp

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8 PM, NOVEMBER 5 Subscriptions and single tickets: oberlin.edu/arseries or 800-371-0178

Sung Texts: Beethoven Mass in C major

The Cleveland Orchestra


THURSDAY AND SATURDAY

Luba Orgonášová Born in Bratislava, Slovakia, soprano Luba Orgonášová is among today’s most sought-after lyric sopranos. She made her Cleveland Orchestra debut this past summer at Blossom. She studied piano and singing in her hometown before beginning her career in Germany in 1983. Ms. Orgonášová joined the Vienna Volksoper in 1988 and, since that time, has performed with major opera houses and orchestras in Europe and the United States, including engagements with Lyric Opera of Chicago, London’s Royal Opera House, Barcelona Liceu, Vienna State Opera, and Zurich Opera, as well as with the Berlin Philharmonic, London Philharmonic, Chamber Orchestra of Europe, English Baroque Soloists, Orchestra of the Age of Enlightenment, Orchestre de la Suisse Romande, Amsterdam’s Royal Concertgebouw Orchestra, Vienna Philharmonic, and Zurich’s Tonhalle Orchestra. She has also sung recitals throughout Europe in many of the continent’s leading venues. Her discography includes operas by Bellini, Mozart, Puccini, and Verdi, as well as orchestral works by Beethoven, Britten, Handel, Rossini, Schubert, and Zemlinsky. She has recorded for Archiv, Naxos Records, and Teldec.

Kelley O’Connor American mezzo-soprano Kelley O’Connor has emerged among the most compelling performers of her generation. She has sung with major orchestras across America and Europe, including engagements in Atlanta, Berlin, Chicago, London, Los Angeles, New York, St. Louis, San Francisco, Seattle, Toronto, and Zurich. She has also appeared with the Canadian Opera Company, Lyric Opera of Chicago, Opera Boston, Santa Fe Opera, and the Teatro Real Madrid. Ms. O’Connor gained international acclaim for her portrayal of Federico García Lorca in Golijov’s Ainadamar, in the opera’s world premiere and in subsequent performances. She has also performed new works by John Adams, John Harbison, Peter Lieberson, and Steven Stucky. Her discography on Deutsche Grammophon includes the Grammy Award-winning Ainadamar, Beethoven’s Symphony No. 9 with Franz Welser-Möst and The Cleveland Orchestra, and Lieberson’s Neruda Songs with the Atlanta Symphony Orchestra. Ms. O’Connor earned a bachelor of music degree from the University of Southern California and a master’s degree from UCLA, while studying with Nina Hinson. Since her Cleveland Orchestra debut in 2005, she has performed with the Orchestra at home in Cleveland as well as in Europe and Miami. Severance Hall 2013-14

Soloists

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Academic Sponsor

The Cleveland Orchestra


THURSDAY AND SATURDAY

Herbert Lippert Austrian tenor Herbert Lippert is making his Cleveland Orchestra debut with this weekend’s performances. As a boy, he was a member of the Vienna Boys Choir. Early recognition of his vocal abilities came from Georg Solti and Wolfgang Sawallisch, with whom he worked on a number of performances and recordings. He portrayed David in Solti’s 1997 Grammy Award-winning recording of Wagner’s Die Meistersinger von Nürnberg. Throughout his career, Herbert Lippert has appeared in operas, concerts with the Vienna Philharmonic, and operettas with members of the Vienna Philharmonic Ensemble. He is also known for his art song repertoire, recitals with Sawallisch and Maurizio Pollini, and, more recently, with pianist Eduard Kutrowatz. Highlights of Mr. Lippert’s current season include performances with Nikolaus Harnoncourt and Fabio Luisi, as well as with Franz Welser-Möst at the Musikverein, London Proms, and Carnegie Hall. He is singing in works ranging from Beethoven’s Fidelio to Wagner’s The Flying Dutchman with the Vienna State Opera; he has been a soloist in the Vienna State Opera ensemble since 2010.

Ruben Drole Swiss baritone Ruben Drole was born to Spanish-Slovenian parents. He studied voice at the Musikhochschule Zürich with Jane Thorner Mengedoht, and is a prizewinner of the Carl-Heinrich-Ernst, Friedl Wald, and the Pro Europa foundation competitions. After a season with the International Opera Studio Zurich, he has been engaged by Zurich Opera since 2005. In the Zurich cycle of Mozart/Da Ponte operas, he sang in Così fan tutte and The Marriage of Figaro; in the Severance Hall cycle of these Zurich productions, he also appeared in Don Giovanni. He has also appeared as soloist in concert with The Cleveland Orchestra at Severance Hall and at Vienna’s Musikverein. His other engagements have included performances with Amsterdam’s Royal Concertgebouw Orchestra and the Zurich Chamber Orchestra, a tour of Japan with Nikolaus Harnoncourt and the Concentus Musicus, and appearances at the Salzburg, Spoleto USA, and Styriarte festivals. His 2013-14 season includes performances at the Angers Nantes Opera and Theater an der Wien, and a recital in Ljubljana. Mr. Drole’s artistry can be seen on a number of DVDs, including Mozart’s The Magic Flute, Rossini’s L’ italiana in Algeri, and Schubert’s Fierrabras, all conducted by Franz Welser-Möst.

Severance Hall 2013-14

Soloists

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

In anticipation of The Cleveland Orchestra’s 100th anniversary in 2018, we have embarked on the most ambitious fundraising campaign in its history. The Sound for the Centennial Campaign seeks to build the Orchestra’s Endowment through THE cash gifts and legacy commitments, while also securing broad-based and increasCLEVELAND ORCHESTRA ing annual support from across Northeast Ohio. The generous individuals and organizations listed on these pages have made long-term commitments of annual and endowment support, and legacy declarations to the Campaign as of October 20, 2013. We gratefully recognize their extraordinary commitment toward the Orchestra’s future success. Your participation can make a crucial difference in helping to ensure that future generations of concertgoers experience, embrace, and enjoy performances, collaborative presentations, and education programs by The Cleveland Orchestra. To join this growing list of visionary contributors, please contact Jon Limbacher, Chief Development Officer, at 216-231-7520. GIFTS OF $5 MILLION AND MORE

The Cleveland Foundation Mr. and Mrs. Alexander M. Cutler

Maltz Family Foundation Anonymous

GIFTS OF $1 MILLION TO $5 MILLION

Art of Beauty Company, Inc. BakerHostetler Mr. William P. Blair III Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mrs. M. Roger Clapp Eaton FirstEnergy Foundation Forest City Enterprises, Inc. The George Gund Foundation Hyster-Yale Materials Handling NACCO Industries, Inc. Mr. and Mrs. Michael J. Horvitz The Walter and Jean Kalberer Foundation Mr. and Mrs. Joseph P. Keithley KeyBank Kulas Foundation Mr. and Mrs. Dennis W. LaBarre Mrs. Norma Lerner The Lubrizol Corporation

The Andrew W. Mellon Foundation Ms. Beth E. Mooney Sally S. and John C. Morley John P. Murphy Foundation David and Inez Myers Foundation The Eric & Jane Nord Family Fund PNC Julia and Larry Pollock Mrs. Alfred M. Rankin, Sr. Mr. and Mrs. Alfred M. Rankin, Jr. Mr. and Mrs. Albert B. Ratner James and Donna Reid Barbara S. Robinson The Sage Cleveland Foundation The Ralph and Luci Schey Foundation The Kelvin and Eleanor Smith Foundation The J. M. Smucker Company Joe and Marlene Toot Anonymous (3)

GIFTS OF $500,000 TO $1 MILLION

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

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

Sound for the Centennial Campaign

The Cleveland Orchestra


GIFTS OF $250,000 TO $500,000

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

Randall and Virginia Barbato John P. Bergren* and Sarah S. Evans The William Bingham Foundation Mr. and Mrs.* Harvey Buchanan Cliffs Natural Resources Mr. and Mrs. Matthew V. Crawford Nancy and Richard Dotson Sidney E. Frank Foundation David and Nancy Hooker Mrs. Marguerite B. Humphrey James D. Ireland III Trevor and Jennie Jones Mr. Clarence E. Klaus, Jr. Giuliana C. and John D. Koch GIFTS OF $100,000 TO $250,000

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

Severance Hall 2013-14

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

Sound for the Centennial Campaign

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Where you turn after you turn oďŹ&#x20AC; the day. Now with more news and information programming during the day and more of your classical music favorites in the evening.

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THURSDAY, FRIDAY, AND SATURDAY

Grosse Fuge in B-flat major, Opus 133 composed 1825 E V E N BY B E E T H OV E N ’ S S TA N DA R D S ,

by

Ludwig van

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

Severance Hall 2013-14

the Grosse Fuge is an extraordinary work. On its own, it has a puzzling intensity, and in its original context as the finale of a long, complicated, profound string quartet, it is even more mystifying. That quartet, the Quartet in B-flat major, Opus 130, is a six-movement work that embodies all the richness and complexity of Beethoven’s late years. Its fifth movement is the famous Cavatina, a piece that leaves very few of us anywhere but in a remote heaven of emotion. To follow it, Beethoven originally conceived of an enormous fugue, far surpassing any fugue he had ever written in its many-layered design — and in the tough demands he makes on players and listeners alike. The quartet was written rapidly between July and November 1825, at a time when Beethoven’s obsessively paternal regard for his nephew Karl was leading inexorably to the point of crisis. It was performed a few months later, when the public and Beethoven’s publisher found the finale incomprehensible. The composer was persuaded to detach it from the rest of the work, publish it separately and put another, less ambitious finale in its place. He may have agreed to do so, not so much because the quartet was disfigured or overburdened by it, but because it contains so many facets and contrasts that it makes a remarkably whole and complete work on its own. The fugue theme is drawn from the four notes that featured prominently in the previous Quartet in A minor, Opus 132. The chromatic contour becomes insistently familiar as the fugue proceeds. Several clearly separate sections can be identified when listening. The opening, headed Overtura, is a forceful unison statement of the theme, followed by brief foretastes of sections to come — like a table of contents in a book, or a movie preview. The first main section is furiously loud and emphatic for an almost unendurable length, or so it seems. There is no relief until a complete change of key and character appears (marked Meno mosso e moderato) like a central slow movement. This moves directly into a brisk Allegro molto, much more tuneful and exultant, although it passes through innumerable complex corridors, with much trilling and erupting, before finally exorcising all memories, and closing with youthful gaiety — like a About the Music

51


return to the distant world of Beethoven’s earliest music. It was Hans von Bülow, a formidable pianist and champion of Beethoven’s music, who first arranged the Grosse Fuge for string orchestra, when he was serving as music director to the Duke of Meiningen from 1880 to 1885, introducing the weight of the double bass section to the original four instrumental parts. He instilled such discipline in his orchestra that he had the entire string section playing the work from memory, standing up! They performed it this way in Berlin soon after and caused a sensation. Many conductors have programmed the work in this form, including Furtwängler, Klemperer, and Toscanini — but allowing the players to use the music, and to sit down. —Hugh Macdonald © 2013 At a Glance

A drawing of Beethoven out walking, circa 1815, by Johann Theodor Lyser.

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Beethoven composed the Grosse Fuge as the last movement of his String Quartet in B-flat major (Opus 130) in the late summer and early autumn of 1825. It was first performed — with the preceding five movements of that quartet — on March 21, 1826, by the Schuppansigh Quartet of Vienna. The publisher Artaria, however, requested a new finale for Opus 130, one that would be easier to perform. Beethoven wrote a new finale in November 1826; it was the last completed music that he wrote and was not performed until after his death in 1827. The Great Fugue was published separately in May 1827 and bears a dedication to the

About the Music

Archduke Rudolph, Beethoven’s patron, pupil, and friend. This work runs nearly 20 minutes in performance. Beethoven’s original scoring for string quartet is enlarged and augmented in this weekend’s performances for string orchestra, including doubling of sections of the bass line by double basses. The Cleveland Orchestra first presented the Grosse Fuge in November 1964, conducted by Lukas Foss. The most recent performances were during the 2000-01 season at Severance Hall and on tour in Europe and the United States, conducted by Christoph von Dohnányi.

The Cleveland Orchestra


THURSDAY AND SATURDAY

Trois Petites Liturgies de la Présence Divine [Three Small Liturgies of the Divine Presence] composed 1943-44 AC RO S S M E S S I A E N ’ S VA S T O U T P U T

by

Olivier

MESSIAEN born December 10, 1908 Avignon, France died April 28, 1992 Paris

Severance Hall 2013-14

of music, a number of features and obsessions are regularly to be found. The primacy of his religious faith is perhaps the most obvious, but his music has extraordinary appeal even for those who have no interest in religion or at least no taste for the elevated mystical realms that he chose to return to again and again. The Trois Petites Liturgies de la Présence Divine [Three Small Liturgies of the Divine Presence], thrusts his faith firmly forward in three poems that are, as the composer himself admitted, surreal rather than orthodox in their imagery and language — and tinged with echoes of the Bible and the writings of St. Thomas Aquinas, which Messiaen had absorbed since childhood. Their purpose was not as part of church ritual, which a liturgy implies, but to “transport a sort of office, a sort of organized praise into the concert hall,” in the composer’s words. Praise is the unmistakable tone of the women’s chorus entrusted with these three modern psalms. Unusually, the singers (there are two versions of the score, calling for either 36 voices or 18 voices) are required to sing in unison almost throughout, resolving into pure triadic harmony only at the end of main sections of the movements. For much of the third Liturgy, they are called upon to speak their lines at least at a level that will enable them to be heard over the orchestra, which, while actually not large, is capable of brilliance and density thanks to its unusual make-up. In this instrumental ensemble, there are strings, but no wind instruments. The most prominent sounds come from the solo piano and three ethereal-sounding instruments — celesta, vibraphone, and ondes martenot. This last instrument was invented in the 1920s by a French engineer whose electronic method for managing pitch and sonority produced an instrument that can sound like a celestial soprano (angelic voices perhaps) with an enormous range. In addition, there are two unpitched percussion: a pair of maracas (far from their Latin American origins) and a tam-tam (gong). Messiaen’s other signature concerns — birdsong, vivid colors, and asymmetric rhythms — all have their place in this work, but none with the emphasis that he places on the intensity About the Music

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Strange Sounds: Ondes Martenot On April 20, 1928, the French musician and inventor Maurice Martenot unveiled his new electronic instrument at the Paris Opera. The ondes martenot (“ondes” is the French word for “waves”), as it came to be known, was quickly recognized as an important advance over other electronic instruments of the time, particularly the theremin (popular in the scores for horror films), which essentially played only a single kind of sound. The ondes martenot is played in two ways, either using a seven-octave keyboard, or au ruban, meaning that it is played sliding a metal ring along a metallic ribbon. The first method is similar to playing the piano, except that quarter-tones and wide vibrato are both possible. The ribbon method produces a continuous glissando — a wailing sound of penetrating potential, of varying sound colors and sliding pitch. Messiaen remains the most prominent composer to have used the ondes martenot extensively in his music.

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Audrey & Albert Ratner

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BENEFACTOR SPONSORS

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About the Music

The Cleveland Orchestra


of his belief in the Divine Presence. The musical structures are relatively simple, for there is much repetition, and the chorus repeats a number of phrases that linger readily in the mind. The first Liturgy, for example, has a beautiful prefatory invocation “Mon Jésus,” then a series of four stanzas, before returning to the opening in a full da capo (literally “from the head” or starting again at the beginning). The second Liturgy is more lively with a catchy recurrent refrain “Il est parti.” After a huge climax and a long silence, the refrain takes on a broad chordal character supported by strings and ondes martenot alone, before a loud joyous ending “Pour nous!” The third Liturgy also includes an extensive repeat, and an elegant phrase for “Posez-vous comme un sceau sur mon cœur” (“Place yourself, like a seal, on my heart”) acts as a marker at intervals. Trois Liturgies was written during World War II. Messiaen was held prisoner in Germany for a while, but once released he entered into an immensely productive period in which his mature style took permanent shape. He wrote his dense and difficult piano parts for one of his students, Yvonne Loriod, who eventually became his second wife and who appeared in most of the early performances of this work. The first performance of Trois Liturgies in 1945, just before the end of the war, baffled many of the critics, who found the text incomprehensible, the religious intensity oppressive, and the musical style a disconcerting mixture of mayhem and saccharine sweetness. But Messiaen was above such complaints, being always completely comfortable with his own style and with his busy, productive life, passed in a kind of “hectic joy,” as he called it, divided between teaching, composing, and organplaying — and firmly dedicated to a higher existence. Over all the music lingers an aura of “exotic sensuality” (Paul Griffiths’s description) and a burning conviction that his music was part of the divine order of things. —Hugh Macdonald © 2013

Severance Hall 2013-14

About the Music

At a Glance Messiaen composed his Trois Petites Liturgies de la Présence Divine (“Three Small Liturgies of the Divine Presence”) between November 1943 and March 1944, to his own texts. The first performance took place in Paris on April 21, 1945; Roger Désormiere conducted the Chorale Yvonne Gouverné and the Orchestre de la Société des Concerts du Conservatoire. The piano soloist was Yvonne Loriod; the ondes martenot was played by Ginette Martenot (sister of the instrument’s inventor). This work in three movements runs about 35 minutes in performance. Following the premiere, Messiaen chose to offer two versions of the performing score, one calling for 32 string players and 36 women’s voices, the other for 16 string players and 18 women’s voices, plus, in each version, celesta, percussion (vibraphone, maracas, Chinese cymbals, tam-tam), and the solo piano and solo ondes martenot. Franz Welser-Möst has chosen to use the scoring for larger forces for this weekend’s performances. The Cleveland Orchestra has presented this work on only one previous occasion, for a weekend of concerts at Severance Hall in November 2002, conducted by George Benjamin, with Joela Jones and Cynthia Millar as the soloists.

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THURSDAY AND SATURDAY

Trois Petites Liturgies de la Présence Divine [Three Small Liturgies of the Divine Prescence] text and music by Olivier Messiaen

I. Antienne de la Conversation intérieure (Dieu présent en nous . . . )

Anthem for the Interior Conversation (God’s presence in us . . . )

Mon Jésus, mon silence, restez en moi. Mon Jésus, mon royaume de silence, parlez en moi. Mon Jésus, nuit d’arc-en-ciel et de silence, priez en moi. Soleil de sang, d’oiseaux, mon arc-en-ciel d’amour, Désert d’amour. Chantez, lancez l’auréole d’amour, mon amour, Mon Dieu.

My Jesus, my stillness, remain within me. My Jesus, my kingdom of stillness, speak within me. My Jesus, night of rainbow and silence, pray within me. Sun of blood, of birds, my rainbow of love, wilderness of love. Sing, cast the halo of love, my Love, my God.

Ce oui qui chante comme un écho de lumière, mélodie rouge et mauve en louange du Père, d’un baiser votre main dépasse le tableau, paysage divin, renverse-toi dans l’eau.

This “Yes” that sings like an echo of light, red and mauve melody in praise of the Father, by a kiss, your hand extends beyond here and now, divine landscape, spill your reflection onto the water.

Louange de la Gloire à mes ailes de terre, mon Dimanche, ma Paix, mon Toujours de lumière, que le ciel parle en moi, rire, ange nouveau, ne me réveillez pas: c’est le temps de l’oiseau!

Praise of Glory my earthbound wings, my Sunday, my Peace, my Everlasting light, let Heaven speak within me, smile, new angel, do not wake me: it is the birds’ time!

Ce oui qui chante comme un écho de lumière . . . etc.

This “Yes” that sings like an echo of light . . . etc.

Mon Jésus, mon silence, restez en moi . . . etc.

My Jesus, my stillness, remain within me . . . etc. PLEASE TURN PAGES QUIETLY FO R NE X T PO EM

Severance Hall 2013-14

Sung Texts: Messiaen

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THURSDAY AND SATURDAY

II. Séquence du Verbe, Cantique Divin (Dieu présent en lui-même . . . )

Sequence of the Word, a Divine Canticle (God’s presence within himself . . . )

Il est parti, le Bien Aimé, c’est pour nous! Il est monté, le Bien Aimé, c’est pour nous! Il a prié, le Bien Aimé, c’est pour nous!

He has departed, the Beloved, It’s for us! He has ascended, the Beloved, It’s for us! He has prayed, the Beloved, It’s for us!

Il a parlé, il a chanté, le Verbe était en Dieu! Il a parlé, il a chanté, et le Verbe était Dieu! Louange du Père, substance du Père, empreinte, rejaillissement toujours, dans l’Amour, verbe d’Amour!

He has spoken, he has sung, the Word was in God! He has spoken, he has sung, and the Word was God! Praise of the Father, substance of the Father, impressed in memory, always rushing forth in Love, the Word of Love!

(refrain) Il est parti, le Bien Aimé, . . . etc.

(refrain) He has departed, the Beloved, etc.

Par lui le Père dit: c’est moi, Parole de mon sein! Par lui le Père dit: c’est moi, le Verbe est dans mon sein! Le Verbe est la louange, modèle en bleu pour anges, trompette bleue qui prolonge le jour, Par Amour, chant de l’Amour!

Through Him the Father says: It is Me, word of my breast! Through Him the Father says: It is Me, the Word is in my heart! The Word is praise, a model for angels in the blue, a blue trumpet that prolongs the day, for Love, song of Love!

(refrain) Il est parti, le Bien Aimé, . . . etc.

(refrain) He has departed, the Beloved, etc.

Il était riche et bienheureux, il a donné son ciel! Il était riche et bienheureux, pour compléter son ciel! Le Fils c’est la Présence, l’Esprit c’est la Présence, Les adoptes dans la grâce toujours, pour l’Amour, enfants d’Amour! (refrain) Il est parti, le Bien Aimé, . . . etc.

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He was rich and blessed, he gave away his heaven! He was rich and blessed, to complete his heaven! The Son is the presence, the Spirit is the presence! Those held forever in grace, through Love, children of Love! (refrain) He has departed, the Beloved, etc.

Sung Texts: Messiaen

The Cleveland Orchestra


THURSDAY AND SATURDAY

Il a parlé, il a chanté, le Verbe était en Dieu! Il a parlé, il a chanté, et le Verbe était Dieu! Louange du Père, substance du Père, empreinte, rejaillissement toujours, dans l’Amour, verbe d’Amour! (refrain) Il est parti, le Bien Aimé, . . . etc.

He has spoken, he has sung, The Word was in God! He has spoken, he has sung, and the Word was God! Praise of the Father, substance of the Father, hold in memory, always rushing forth in Love, the Word of Love! (refrain — very slowly) He has departed, the Beloved, etc.

Il est vivant, il est présent, et Lui se dit en Lui! Il est vivant, il est présent, et Lui se voit en Lui! Présent au sang de l’âme, etoile aspirant l’âme, présent partout, miroir ailé des jours, par Amour, le Dieu d’Amour!

He is living, he is present, and He has spoken in Him! He is living, he is present, and He sees himself in Him! Present to the blood of the soul, star that draws the soul, everywhere present, winged mirror of days, through Love, the God of Love!

(refrain) Il est parti, le Bien Aimé, . . . etc. Il est monté, le Bien Aimé, . . . etc. Il a prié, le Bien Aimé, . . . etc. . . . pour nous! Pour Nous! Pour Nous!

(refrain) He has departed, the Beloved, etc. He has ascended, the Beloved, etc. He has prayed, the Beloved, etc. . . . for us! For us! For us!

III. Psalmodie de l’Ubiquité par amour (Dieu présent en toutes choses . . . )

Psalm of Ubiquity Through Love (God’s presence in all things . . . )

Tout entier, en tous lieux, tout entier en chaque lieu, eonnant l’être à chaque lieu, à tout ce qui occupe un lieu, le successif vous est simultané, dans ces espaces et ces temps que vous avez créés, satellites de votre Douceur. posez-vous comme un sceau sur mon coeur.

All encompassing in all places, all encompassing in each place, bestowing existence upon each place, on all that occupies a place, the sequence of time for You is simultaneous, in these spaces and times that You created, these satellites of your Gentleness. Place yourself, like a seal, on my heart. PLEASE TURN PAGES QUIETLY FO R NE X T PO EM

Severance Hall 2013-14

Sung Texts: Messiaen

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THURSDAY AND SATURDAY

Temps de l’homme et de la planète, temps de la montagne et de l’insecte, bouquet de rire pour le merle et l’alouette, eventail de lune au fuschia, à la balsamine, au begonia; de la profondeur une ride surgit, la montagne saute comme une brebis et devient un grand océan. Présent,Vous êtes présent. imprimez votre nom dans mon sang.

Time of humanity and of the planet, time of the mountain and of the insect, burst of laughter for the blackbird and the lark, crescent fan of fuchsia, of impatiens and begonia; from the depths, a ripple rises, the mountain skips like a lamb and becomes a great ocean. Now, always, you are present. Inscribe your name in my blood.

Dans le mouvement d’Arcturus, présent, dans l’arc-en-ciel d’une aile après l’autre (écharpe aveugle autour de Saturne), dans la race cachée de mes cellules, présent dans le sang qui répare ses rives, dans vos Saints parla grace, présent, (interpretations de votre Verbe, pierres précieuses au mur de la Fraîcheur.) posez-vous, comme un sceau, sur mon coeur.

In the movement of Arcturus, you are present, in the rainbow, with one wing after another, (blindfold around Saturn), in the hidden ancestry of my cells, present, in the blood that repairs its banks, through Grace, in your Saints, present. (Interpretations of your Word, gemstones in the wall of freshness.) Place yourself, like a seal, on my heart.

Un Coeur pur est votre repos, lis en arc-en-ciel du troupeau, vous vous cachez sous votre Hostie, frère silencieux dans la Fleur-Eucharistie, pour que je demeure en vous comme une aile dans le soleil, vers la résurrection du dernier jour. il est plus fort que la mort, votre Amour. Mettez votre caresse tout autour.

A pure heart is your repose, rainbow-colored lily of the flock, you hide within your host, a silent brother in the Eucharist-flower, that I may dwell within you like a wing in the sun, awaiting the resurrection at the last day. It is stronger than death, your Love. Enfold us all within your embrace.

Violet-jaune, vision, voile blanc, subtilité, orange-bleu, force et joie, flêche-azur, agilité, donnez-moi le rouge et le vert de votre amour, feuille-flamme-or, clarté, plus de langage, plus de mots, plus de prophêtes ni de science. (c’est l’Amen de l’espérance, silence mélodieux de l’Éternité.)

Yellow-violet, vision, veil-white, subtlety, orange-blue, strength and joy, arrow-blue, agility, give me the red and green of your love, flaming gold, clarity, no more language, no more words, no more prophets, nor science. (It is the Amen of hope, the melodious silence of Eternity.)

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Sung Texts: Messiaen

The Cleveland Orchestra


THURSDAY AND SATURDAY

Mais la robe lavée dans le sang de l’Agneau, mais la pierre de neige avec un nom nouveau, les éventails, la cloche et l’ordre des claretés, et l’échelle en arc-en-ciel de la Vérité, mais la porte qui parle et le soleil qui s’ouvre, l’auréole tête de rechange qui délivre, et l’encre d’or ineffaceable sur le livre; mais le face à face et l’Amour.

But the robe washed in the blood of the Lamb, but the snow-white stone with a new name, the cooling fans, the bells of time, the order of light, and the rainbow-ladder of Truth, But the door that speaks and the sun that opens, the difference of a haloed face who redeems, and the golden ink, indelible on the book; but to see you face to face, and love.

Vous qui parlez en nous, vous qui vous taisez en nous, et gardez le silence dans votre Amour, vous êtes près, vous êtes loin, vous êtes près, vous êtes loin, vous êtes la lumière et les ténèbres, vous êtes si complique et simple, vous êtes infiniment simple. L’arc-en-ciel de l’Amour, c’est vous, l’unique oiseau de l’Éternité, c’est vous! Elles s’alignent lentement, les cloches de la profondeur. Posez-vous comme un sceau sur mon coeur.

You who speak within us, you who stay silently within us, and maintain your silence in your Love, you are close, you are far away, you are near, you are distant, you are the light and the darkness, you are so complex and simple, you are infinitely simple. The rainbow of love, it is you! The single bird of eternity, that is you! They align themselves slowly, the bells sounding time’s eternal depth. Place yourself, like a seal, on my heart.

Tout entier, en tous lieux, . . . etc.

All encompassing in all places, . . . etc.

Temps de l’homme et de la planète, . . . etc.

Time of humanity and of the planet, . . . etc.

Dans le mouvement d’Arcturus, présent, . . . etc.

In the movement of Arcturus, you are present, . . . etc.

Un Coeur pur est votre repos, . . . etc.

A pure heart is your repose, . . . etc.

Violet-jaune, vision, . . . etc.

Yellow-violet, vision, . . . etc.

Mais la robe lavée dans le sang de l’Agneau, . . . etc.

But the robe washed in the blood of the Lamb, . . . etc.

Vous qui parlez en nous, vous qui vous taisez en nous, et gardez le silence dans votre Amour, enfoncez votre image dans la durée de mes jours.

You who speak within us, you who stay silently within us, and maintain your silence in your love, implant your image throughout the rest of my life.

Severance Hall 2013-14

Sung Texts: Messiaen

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The Cleveland Orchestra


THURSDAY AND SATURDAY

Joela Jones

Principal Keyboard Rudolf Serkin Endowed Chair The Cleveland Orchestra

An artist of exceptional versatility, Joela Jones plays piano, organ, harpsichord, celesta, synthesizer, and accordion with The Cleveland Orchestra. As soloist with the Orchestra, she has performed more than fift y different concertos across more than 200 performances at Severance Hall and Blossom, as well as on tour in Europe and Asia. A native of Miami, Florida, Joela Jones studied as a child with Ernst von Dohnányi. Recognized as a prodigy, she made her New York debut with Arthur Fiedler and the Metropolitan Opera Orchestra. Ms. Jones has appeared as soloist with orchestras across the United States and has performed extensively in solo and chamber music recitals in Northeast Ohio and beyond. She teaches advanced orchestral keyboard classes at the Cleveland Institute of Music, chairs collaborative piano with the Kent/Blossom Music Festival, and is visiting coach for the New World Symphony in Miami. As a soloist, she can be heard on a variety of recordings with the London Symphony Orchestra and The Cleveland Orchestra, as well as a number of chamber music albums.

Cynthia Millar Cynthia Millar first studied the ondes martenot with John Morton in England and later with Jeanne Loriod. Since her first performance of Messiaen’s Turangalîla-Symphonie at the BBC Proms with the National Youth Orchestra of Great Britain, she has participated in more than 100 performances of the work with many of the world’s leading orchestras. Cynthia Millar has appeared at the Aspen Festival, Lucerne Festival, Maggio Musicale Fiorentino, and Oregon Bach Festival. Her recordings include Turangalîla with the Bergen Symphony Orchestra for Hyperion, and Honegger’s Jeanne d’Arc au Bûcher with the London Sinfonietta on the Virgin Classics Label. Ms. Millar has played in more than 100 film and television scores, most notably for composer Elmer Bernstein, who encouraged her to learn the ondes martenot and for whom she often recorded as piano soloist. She performed the world premiere of his Ondine at the Cinema for his 80th birthday. Ms. Millar also composes for film, television, and theater. She made her Cleveland Orchestra debut in March 2002, performing the ondes martenot in Messiaen’s Turangalîla-Symphonie under Franz Welser-Möst’s direction.

Severance Hall 2013-14

Soloists

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THURSDAY AND SATURDAY

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

Robert Porco became director of choruses for The Cleveland Orchestra in 1998. In addition to overseeing choral activities and preparing the Cleveland Orchestra Chorus and the Blossom Festival Chorus for a variety of concert programs each season, Mr. Porco conducts the Orchestra’s annual series of Christmas concerts at Severance Hall and regularly conducts subscription concert programs both at Severance Hall and Blossom. He has also served as director of choruses for the Cincinnati May Festival since 1989. In 2011, Mr. Porco was honored by Chorus America with its annual Michael Korn Founders Award for a lifetime of significant contributions to the professional choral art. The Ohio native served as chairman of the choral department at Indiana University 1980-98, and in recent years has taught doctoral-level conducting at the school. As teacher and mentor, Mr. Porco has guided and influenced the development of hundreds of musicians, many of whom are now active as professional conductors, singers, or teachers. As a sought-after guest instructor and coach, he has taught at Harvard University, Westminster Choir College, and the University of Miami Frost School of Music.

Lisa Wong

Assistant Director of Choruses

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

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Cleveland Orchestra Chorus

The Cleveland Orchestra


THURSDAY AND SATURDAY

Cleveland Orchestra Chorus Robert Porco, Director

Lisa Wong, Assistant Director Joela Jones, Principal Accompanist Now in its seventh decade, the Cleveland Orchestra Chorus is one of the few professionallytrained, all-volunteer choruses sponsored by a major American orchestra. Founded at the request of George Szell in 1952 and following in the footsteps of a number of earlier community choruses, the Cleveland Orchestra Chorus has sung in hundreds of performances at home, at Carnegie Hall, and on tour, as well as in more than a dozen recordings. Its members hail from nearly fifty Cleveland-area communities and together contribute over 15,000 volunteer hours to the Orchestra’s music-making each year. SOPRANOS

ALTOS

TENORS

BASSES

Amy F. Babinski* Cathleen R. Bohn Emily Bzdafka* Merissa Coleman* Susan Cucuzza* Carrie Culver Emily Engle* Lisa Rubin Falkenberg* Samantha Garner* Rosie Gellott* Danielle Greenway* Rebecca S. Hall Lisa Hrusovsky* Shannon R. Jakubczak* Sarah Jones* Hope Klassen-Kay* Kate Macy* Lisa Manning* Julie Myers-Pruchenski* Jennifer Heinert O’Leary* Sarah Osburn* Melissa Patton Lenore M. Pershing* Joy Powell* Roberta Privette* Cassandra E. Rondinella* Jennifer R. Sauer* Monica Schie* Laura Schupbach* Sharon Shaffer* Samantha J. Smith Sidney Storry* Jane Timmons-Mitchell* Sarah Tobias* Melissa Vandergriff * Sharilee Walker* Carole Weinhardt* Kiko Weinroth* Marilyn Wilson* Mary Wilson* Constance Wolfe*

Alexandria L. Albainy Dani Arndt Emily Austin Beth Bailey Mariann Bjelica Katherine Brown Lydia Chamberlin Barbara J. Clugh Janet Crews Carolyn Dessin Marilyn Eppich Amanda Evans Nancy Gage Diana Weber Gardner Ann Marie Hardulak Betty Huber Karen Hunt Sarah N. Hutchins Jenna Kirk Lucia Leszczuk Ginger Mateer Danielle S. McDonald Karla McMullen Mary-Francis Miller Peggy Norman Marta Perez-Stable Ginny Roedig Becky A. Seredick Peggy Shumate Shari Singer Shelley B. Sobey Ina Stanek-Michaelis Martha Cochran Truby Sarah B. Turell Laure Wasserbauer Meredith Sorenson Whitney Flo Worth Debra Yasinow

Nathan Bachofsky Eric H. Berko Gerry C. Burdick Robert Cannon Brent Chamberlin Mist’a Craig Thomas Glynn William Hamilton Michael J. Hives Daniel M. Katz Peter Kvidera Tod Lawrence Steve Lawson Rohan Mandelia James Newby Tremaine Oatman Robert Poorman Matthew Rizer John Sabol Lee Scantlebury Jarod Shamp James Storry Charles Tobias William Venable Steven Weems Chester F. Willey

Christopher Aldrich Craig Astler Jack Blazey Nikola Budimir Charles Carr Peter B. Clausen Dwyer Conklyn Chris Dewald Steve diLauro Jeffrey Duber Matthew Englehart Thomas E. Evans Richard Falkenberg Robert Higgins Kurtis B. Hoffman Paul Hubbard Thomas Hull Joshua Jones Joel Kincannon Sam Kitzler Jason Levy Tim Manning Scott Markov Shaun McGrath Roger Mennell Robert Mitchell Tom Moormann Keith Norman Glenn Obergefell John Riehl Steven Ross Robert Seaman Michael Seredick Steven Skaggs Matt Skitzki Jayme Stayer S. David Worhatch Caleb A. Wright Paul Zeit

* singing in the Messiaen

Severance Hall 2013-14

Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee

Jill Harbaugh, Manager of Choruses

Cleveland Orchestra Chorus

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FRIDAY

“Leonore” Overture No. 3, Opus 72b composed 1806 BE E THOVE N’S OPE RA

by

Ludwig van

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

Severance Hall 2013-14

Fidelio brought him endless trouble and frustration, yet he loved the work dearly and attached great importance to its music and its message. Most composers of the time wrote operas in profusion and rarely wrestled with alternative versions. But Beethoven wrote only one, and he produced at least three versions of the opera and four versions of its overture. Even the opera’s title was changed, having been Leonore in its first two forms and Fidelio in the end. To add to the confusion, the three Leonore overtures are incorrectly numbered, misnumbered when they were published, but not, as it turns out, in the order in which they were written. No. 2 was the first Beethoven wrote, No. 3 the second, and No. 1 the third, all to some extent sharing musical material. The Fidelio Overture itself, quite different from the others, came last. (The exact dating and sequence of composition was finally determined by chemical analysis in the 20th century of the differing papers on which they’d been written.) By common consent, No. 3 is the finest as a self-supporting concert work, although in the theater it is usually felt to dwarf the opening act musically and pre-empt the final act dramatically. No doubt Beethoven felt the same, for his replacement for it, No. 1, is shorter and much milder in tone. And the eventual final replacement, the Fidelio Overture, makes no reference to the opera’s music and serves simply as a curtain-raiser. In composing No. 3 in 1806 in anticipation of a revival of the opera in Vienna, Beethoven was flexing his symphonic muscles, building on themes that had served in the original overture in 1805, and expanding their reach and impact. The resulting overture became a match for any of the mighty symphonic movements that he composed in that same decade. Like the first movements of the fourth and seventh symphonies, this overture has a slow introduction and a main Allegro section that follows. In the slow section, Florestan’s aria from Act II of the opera, when he lies in a dark subterranean dungeon in mortal despair, is briefly given out by clarinets and bassoons before the music winds itself up for the transition to the Allegro. In this restless, dynamic movement three passages stand out. These include the second main theme in the bright key of E major, which is another version of Florestan’s aria sung by the About the Music

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At a Glance Beethoven composed his “Leonore” Overture No. 3 in 1806 for the revival of his opera, Fidelio, which took place at Vienna’s Theateran-der-Wien on March 29 of that year. The first known performance of this overture in the United States was given on December 7, 1850, at the Tremont Temple in Boston by the Musical Fund Society under George J. Webb’s direction. This overture runs about 15 minutes in performance. Beethoven scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, and strings. The Cleveland Orchestra first performed Beethoven’s Third “Leonore” Overture during the ensemble’s inaugural season in 19181919, with founding music director Nikolai Sokoloff, in a concert at Woodland Avenue Presbyterian Church. The Orchestra’s most recent performances were in January 2010 led by Franz Welser-Möst. (Among the Orchestra’s many performances of “Leonore” No. 3 over the years was a rain-soaked rendition in November 1929 during groundbreaking ceremonies for Severance Hall.)

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flute over the violins. Then, in the middle of the action, everything stands still as a trumpet call is heard from the distance. This is the signal, in the opera, for the arrival of the Minister who will intervene in time to stop Florestan’s murder at the hand of the evil prison governor. The trumpet call is heard a second time, confirming the prisoner’s rescue and the joy of, above all, his wife Leonore, who has contrived to get into the dungeon disguised as a young man named Fidelio. The third unforgettable moment in this thrilling overture is the rush of the violins, like thoroughbreds out of the starting gate, then gathering in the other strings in a headlong rush to the coda, a celebration of triumph as brazen and positive as anything Beethoven ever wrote. For him, it was ultimate affirmation of constancy, liberty, and human courage. —Hugh Macdonald © 2013

THEATER AN DER WIEN: This concert hall in Vienna, built in 1801, is where Beethoven's opera Fidelio was first presented — and where Beethoven lived for a time. Beethoven's Fifth and Sixth symphonies also received their premieres here.

About the Music

The Cleveland Orchestra


FRIDAY

Symphony No. 5 in C minor, Opus 67 composed 1804-08 EVERY LISTENER

by

Ludwig van

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

Severance Hall 2013-14

may feel free to interpret this immortal work in his or her own fashion. The idea that it represents the composer’s mighty but victorious struggle with destiny was put into circulation by Beethoven himself, or at least by his fantasy-spinning amanuensis Anton Schindler, who reported the composer’s explanation of the opening motif as “So pocht das Schicksal an die Pforte” (‘Thus Fate knocks at the door’). Perhaps Beethoven did say that, and it certainly offers a vivid image for an extraordinarily unconventional opening for a classical symphony. But there are so many other forces at work in this symphony, besides that of fate, that we need to open our ears and minds to every signal it sends out. Most listeners agree that the signals can be different at each hearing. Fate struck Beethoven most cruelly in about 1802 when, still in his early thirties, he acknowledged the fact of his deafness and began the long process of coming to terms with a handicap that was less of a musical disability (it did not interfere with his ability to compose) than a social one. His standing as a virtuoso pianist with excellent connections at court was seriously threatened, and his relations with friends, and especially with women, were now forever circumscribed. We might think that as a composer his reactions were far more violent than the situation warranted. The “Eroica” Symphony (No. 3), the immediate product of that profound crisis, transformed the world of classical music forever. But he did not stop there. The superhuman creative energy that produced his great heroic works of that decade had never been heard in music before. One colossal path-breaking work followed another, combining unearthly beauty of invention, technical virtuosity, vastness of conception, and a radical freedom of expression and form. Beethoven may have — privately — felt inordinately sorry for himself, but there is no self-pity in the music. Defiance, yes certainly, although the sense of triumph expressed in the conclusion of the Fifth Symphony is surely more than a tongue-sticking-out I-told-you-so addressed to fate. Beethoven’s triumph gloats not just over an unfair destiny cowering at his feet, but rather over all humanity, over all of us who have the misfortune not to measure up to his infinite creative spirit. If Beethoven gave up the unequal struggle to take care of About the Music

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At a Glance Beethoven began sketching this symphony as early as 1804, and completed it during the first months of 1808. The first performance took place on December 22, 1808, at the Theater-an-der-Wien in Vienna, at a legendary marathon concert led by the composer and devoted entirely to his works (the program also included the premiere of the Sixth Symphony, Fourth Piano Concerto, and Choral Fantasy — all in an unheated hall, and seriously under-rehearsed). This symphony runs about 35 minutes in performance. Beethoven scored it for piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 2 horns, 2 trumpets, 3 trombones, timpani, and strings. The piccolo, contrabassoon, and trombones (which Beethoven had not used in his first four symphonies) play only in the fourth movement. The Cleveland Orchestra first played Beethoven’s Fifth Symphony during its inaugural season, in April 1919. It has been performed frequently ever since — most recently conducted by Franz WelserMöst at Severance Hall in autumn 2009 and at Blossom in 2012 led by Jahja Ling.

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worldly and domestic concerns, if he lost control of his finances, if he quarreled with landlords and servants, if he felt robbed by publishers and creditors, if he lived in squalor, if he could not count on the affection and loyalty of friends, there always remained one domain in which he was the unchallenged master: music itself. He could change the world by scratching barely legible lines and dots on ruled paper, the physical manifestation of a cauldron of sound and pride that boiled in his brain. The famous four-note motif that opens the symphony is heard constantly in the first movement, but it is far from being the all-pervading idea that many people suppose. Listen out for others! The second movement deft ly and curiously blends gorgeous cantilena with military trumpets, all wrapped in variation form. The third movement is full of mystery; not defiant, not triumphant, more humorous or spectral, and out of it grows the huge shout of triumph of the fourth-movement finale, as the trombones proclaim a new order of the universe, supported by piccolo, contrabassoon, and the full weight of C major, the key that Haydn had assigned to the completion of Creation itself. The disorder and confusion that reigned at the first performance of this symphony in a famously long concert — which also included the first performances of the Fourth Piano Concerto, the Sixth Symphony, and the Choral Fantasia — perfectly illustrates the sorry mis-match between reality in Beethoven’s life, when a long, difficult concert had to be rehearsed and performed, and the sublime quality of the music itself. No wonder Viennese audiences were confused by this giant in their midst. —Hugh Macdonald © 2013

About the Music

The Cleveland Orchestra


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Severance Hall 2013-14

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The Cleveland Orchestra


THE CLEVELAN D ORCHESTRA

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

Cumulative Giving

Annual Support

JOHN L. SEVERANCE SOCIETY

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.

$5 MILLION AND MORE

KeyBank PNC $1 MILLION TO $5 MILLION

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

PARTNERS IN EXCELLENCE $300,000 AND MORE

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

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

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

$50,000 TO $99,999

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

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

The Cliffs Foundation Google, Inc. Medical Mutual of Ohio Parker Hannifin Corporation

Jones Day Quality Electrodynamics (QED) voestalpine AG (Europe) Anonymous $25,000 TO $49,999 Dix & Eaton The Giant Eagle Foundation Litigation Management, Inc. Northern Trust Bank of Florida (Miami) Park-Ohio Holdings Corp. The Plain Dealer RPM International Inc. Squire Sanders (US) LLP Thompson Hine LLP

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

Severance Hall 2013-14

Corporate Annual Support

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

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

A CHRISTMAS STORY November 29 – December 22, 2013

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

YENTL

January 10 – February 2, 2014

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

BREATH AND IMAGINATION February 14 – March 9, 2014

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

CLYBOURNE PARK March 21 – April 13, 2014

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

INFORMED CONSENT April 23 – May 18, 2014

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

TAPPIN’ THRU LIFE May 30 – June 22, 2014

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THE CLEVELAN D ORCHESTRA

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

Cumulative Giving

Annual Support

JOHN L. SEVERANCE SOCIETY

$1 MILLION AND MORE

$10 MILLION AND MORE

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

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

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

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

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THE CLEVELAN D ORCHESTRA

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

Lifetime Giving

Annual Support

JOHN L. SEVERANCE SOCIETY

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

$10 MILLION AND MORE

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 $1 MILLION TO $5 MILLION

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.

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

Irma and Norman Braman (Miami) Francie and David Horvitz Family Foundation (Miami) The Walter and Jean Kalberer Foundation Mrs. Norma Lerner and The Lerner Foundation Susan Miller (Miami) Ms. Ginger Warner (Cleveland, Miami) INDIVIDUAL GIFTS OF $100,000 TO $199,999

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

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

Sheldon and Florence Anderson (Miami) Mr. William P. Blair III Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. and Mrs. Alexander M. Cutler Mr. Allen H. Ford Hector D. Fortun (Miami) Mr. and Mrs. Michael J. Horvitz Elizabeth B. Juliano (Cleveland, Miami) R. Kirk Landon and Pamela Garrison (Miami) Toby Devan Lewis Mr. and Mrs. Edward A. Lozick

Individual Annual Support

The Cleveland Orchestra


Leadership Council

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

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

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

Mr. and Mrs. Daniel M. Bell (Miami) Dr. and Mrs. Wolfgang Berndt (Europe) Blossom Women’s Committee Mr. and Mrs. Charles P. Bolton The Brown and Kunze Foundation Jeanette Grasselli Brown and Glenn R. Brown Robert and Jean* Conrad Judith and George W. Diehl Mr. and Mrs. Geoffrey Gund George Gund* Trevor and Jennie Jones Giuliana C. and John D. Koch Dr. Vilma L. Kohn Charlotte R. Kramer Ms. Nancy W. McCann Sally S. and John C. Morley Mrs. Jane B. Nord Julia and Larry Pollock Mrs. Alfred M. Rankin, Sr. Luci and Ralph* Schey R. Thomas and Meg Harris Stanton

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

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

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

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

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

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

listings continue

Severance Hall 2013-14

Individual Annual Support

77


THE CLEVELAN D ORCHESTRA

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

listings continued

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

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

Crescendo

Annual Campaign Patrons

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

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

Ongoing annual support gifts are a critical component toward sustaining The Cleveland Orchestra’s economic health. Ticket revenues provide only a small portion of the funding needed to support the Orchestra’s outstanding performances, educational activities, and community projects. The Crescendo Patron Program recognizes generous donors of $2,500 or more to the Orchestra’s Annual Campaign. For more information on the benefits of playing a supporting role each year, please contact Elizabeth Arnett, Manager, Leadership Giving, by calling 216-231-7522.

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

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

78

Individual Annual Support

The Cleveland Orchestra


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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

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

Individual Annual Support

listings continue

The Cleveland Orchestra


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

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

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

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

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

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

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

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

Barbara and Peter Galvin Mrs. Georgia T. Garner Mr. Wilbert C. Geiss, Sr. Anne and Walter Ginn Mr. and Mrs. David A. Goldfinger Dr. and Mrs. Ronald L. Gould Mr. and Mrs. Robert T. Graf The Thomas J. and Judith Fay Gruber Charitable Foundation Nancy and James Grunzweig Mr. Davin and Mrs. Jo Ann Gustafson Dr. Phillip M. and Mrs. Mary Hall Norman C. and Donna L. Harbert Mr. and Mrs. Donald F. Hastings Mr. and Mrs. Jerry Herschman Mr. Robert T. Hexter Dr. and Mrs. Robert L. Hinnes Dr. Feite F. Hofman Dr.* and Mrs. George H. Hoke Peter A. and Judith Holmes Dr. Keith A. and Mrs. Kathleen M. Hoover Dr. Randal N. Huff and Ms. Paulette Beech Ms. Carole Hughes Ms. Luan K. Hutchinson Ruth F. Ihde Ms. LaVerne Jacobson

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

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

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Individual Annual Support

listings continue

The Cleveland Orchestra


CONCERT SERIES

Find out first. Visit cim.edu to join our mailing list. 216.791.5000 | 11021 East Boulevard | Cleveland, OH 44106

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

Dr. Michael and Mrs. Deborah Joyce Rev. William C. Keene Angela Kelsey and Michael Zealy (Miami) The Kendis Family Trust: Hilary & Robert Kendis and Susan & James Kendis Bruce and Eleanor Kendrick Fred and Judith Klotzman Mr. Ronald and Mrs. Kimberly Kolz Ellen Brad and Bart Kovac Dr. Ronald H. Krasney and Ms.* Sherry Latimer Mr. James Krohngold Mr. and Mrs. S. Ernest Kulp Mrs. Carolyn Lampl Mr. and Mrs. John J. Lane Kenneth M. Lapine Anthony T. and Patricia A. Lauria Mr. Jin-Woo Lee Michael and Lois A. Lemr Dr. Edith Lerner Dr. Stephen B. and Mrs. Lillian S. Levine Robert G. Levy Mr. Rudolf and Mrs. Eva Linnebach Martha Klein Lottman Herbert L. and Rhonda Marcus Dr. and Mrs. Sanford E. Marovitz David and Elizabeth Marsh Dr. Ernest and Mrs. Marian Marsolais Mr. Julien L. McCall Ms. Nancy L. Meacham Mr. James E. Menger Stephen and Barbara Messner Bessie Benner Metzenbaum Foundation Ms. Betteann Meyerson Mr. and Mrs. Roger Michelson (Miami) Curt and Sara Moll Joan Katz Napoli and August Napoli Mr. David and Mrs. Judith Newell Marshall I. Nurenberg and Joanne Klein Richard and Jolene O’Callaghan Mr. and Mrs. Robert D. Paddock Deborah and Zachary Paris Dr. Lewis and Janice B. Patterson Mr. Thomas and Mrs. Tommie Patton Mrs. Ingrid Petrus Drs. John Petrus and Sharon DiLauro Dr. Roland S. Philip and Dr. Linda M. Sandhaus Dale and Susan Phillip Ms. Maribel Piza (Miami) Dr. Marc and Mrs. Carol Pohl Mr. Richard and Mrs. Jenny Proeschel Kathleen Pudelski Ms. Rosella Puskas

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

* deceased

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Individual Annual Support

THE

CLEVELAND ORCHESTRA

The Cleveland Orchestra is sustained through the support of thousands of generous patrons, including members of the Crescrendo Patron Program listed on these pages. Listings of all annual donors of $300 and more each year are published in the Orchestra’s Annual Report, which can be viewed online at CLEVELANDORCHESTRA . COM For information about how you can play a supporting role with The Cleveland Orchestra, please contact our Philanthropy & Advancement Office by calling 216-231-7545.

The Cleveland Orchestra


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

The Cleveland Orchestra’s catalog of recordings continues to grow. The newest DVD features Bruckner’s Fourth Symphony recorded live in the Abbey of St. Florian in Austria under the direction of Music Director Franz Welser-Möst in 2012 and released in May 2013. W “A great orchestra, a Bruckner expert. . . . Five out of five stars,” declared Austria’s Kurier o 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 themiraculou atre or on record. . . . I doubt this music can be better played than by the Clevelanders, the most ‘European’ of the American orchestras, with wind and brass soloists to die for and a string sound of superlative warmth and sensitivity.” Other recordings released in recent years include two under the baton of Pierre Boulez and a third album of Mozart piano concertos with Mitsuko Uchida, whose first Cleveland Orchestra Mozart album won a Grammy Award in 2011. Visit the Cleveland Orchestra Store for the latest and best Cleveland Orchestra recordings and DVDs.


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11001 Euclid Avenue Cleveland, Ohio 44106

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

CLEVELANDORCHESTRA.COM

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

HAILED AS ONE OF

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

Severance Hall

The Cleveland Orchestra


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

The Cleveland Orchestra guide to

Fine Shops & Services The Cleveland School of Etiquette and Corporate Protocol Choose to be Excellent! 'ROUPINDIVIDUALTRAININGs!DULTSCHILDREN 3PEAKINGENGAGEMENTS CONTACT#OLLEEN(ARDINGs   www.clevelandschoolofetiquette.com

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THE CLEVELAND C O N C E R T

C A L E N D A R

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 Àrst Àlm score. Preceded by a discussion between Frank J. Oteri and John Ewing with James Krukones.

FATE AND FREEDOM: MUSIC OF BEETHOVEN AND SHOSTAKOVICH 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. <18s 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!

Under 18s Free FOR FAMILIES Concerts with this symbol are eligible for "Under 18s Free" ticketing. The Cleveland Orchestra is committed to developing the youngest audience of any orchestra in the United States. Our "Under 18s Free" program offers free tickets for young people attending with their families (one per paid adult admission).

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.

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

<18s

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

Cleveland Orchestra Youth Orchestra Sunday November 3 at 3:00 p.m. <18s CLEVELAND ORCHESTRA YOUTH ORCHESTRA Brett Mitchell, conductor

SHOSTAKOVICH Festive Overture STRAVINSKY Symphonies of Winds KILAR Orawa MUSSORGSKY Pictures at an Exhibition (orchestrated by Maurice Ravel)

Barber, Copland, and the Common Man Friday November 29 at 8:00 p.m. <18s Saturday November 30 at 8:00 p.m. Sunday December 1 at 3:00 p.m. <18s THE CLEVELAND ORCHESTRA Marin Alsop, conductor David Fray, piano

BARBER Essay No. 2 SCHUMANN Piano Concerto COPLAND Symphony No. 3

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Concert Calendar

The Cleveland Orchestra


ORCHESTRA I N

Beethoven, Uchida and Fleisher

T H E

S P O T L I G H T

Thursday December 5 at 7:30 p.m. Friday December 6 at 8:00 p.m. <18s Saturday December 7 at 8:00 p.m. THE CLEVELAND ORCHESTRA Leon Fleisher, conductor Mitsuko Uchida, piano

MENDELSSOHN Overture: The Hebrides BEETHOVEN Piano Concerto No. 2 BEETHOVEN Piano Concerto No. 3 Sponsor: Hyster-Yale Materials Handling

PNC Musical Rainbows for the Holidays

for young people and their families Sunday December 1 at 12:30 p.m. at The Temple-Tifereth Israel

MUSIC OF CHANUKAH H

Friday December 13 at 10 a.m. Saturday December 14 at 11 a.m. at Severance Hall

CHRISTMAS BRASS QUINTET Celebrity Concert: Natalie Cole

Wednesday December 11 at 8:00 p.m. THE CLEVELAND ORCHESTRA with Natalie Cole Nine-time Grammy-winner Natalie Cole joins The Cleveland Orchestra for a magical and memorable one-nightonly performance. For her Severance Hall concert, she performs audience favorites in an evening of sultry and sophisticated classics — plus hits for the holiday season.

Celebrity Concert: Home Alone

Wednesday December 18 at 7:30 p.m.. THE CLEVELAND ORCHESTRA David Newman, conductor A true holiday favorite, this heart-warming classic comedy comes to Severance Hall for one night only — with composer John Williams’s delightful musical score performed live by The Cleveland Orchestra. With the Àlm projected on a large screen above the Severance Hall stage.

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

Cleveland Orchestra

CHRISTMAS

Friday Dec 13 at 7:30 p.m. Saturday Dec 14 at 2:30 & 7:30 p.m. Sunday Dec 15 at 2:30 p.m. Thursday Dec 19 at 7:30 p.m. Friday Dec 20 at 7:30 p.m. Saturday Dec 21 at 2:30 & 7:30 p.m. Sunday Dec 22 at 2:30 & 7:30 p.m. p THE CLEVELAND ORCHESTRA Robert Porco, conductor Cleveland Orchestra Chorus and guest choruses

Celebrate the holiday season with a he favorite Cleveland tradition — with The Cleveland Orchestra and Chorus in these annual offerings of music for the Christmas Season. Including sing-alongs and more.

CLEVELAND ORCHESTRA TICKETS PHONE

216 - 231-1111 800-686-1141

clevelandorchestra.com Severance Hall 2013-14

Concert Calendar

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11001 Euclid Avenue, Cleveland, Ohio 44106 CLEVELANDORCHESTRA.COM

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

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

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

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

BE FO R E T H E CO NC E R T GARAGE PARKING AND PATRON ACCESS Pre-paid parking for the Campus Center Garage can be purchased in advance through the Ticket Office for $15 per concert. This pre-paid parking ensures you a parking space, but availability of pre-paid parking passes is limited. To order prepaid parking, call the Severance Hall Ticket Office at 216-231-1111. Parking can be purchased for the at-door price of $11 per vehicle when space in the Campus Center Garage permits. However, the garage often fills up well before concert time; only ticket holders who purchase pre-paid parking passes are ensured a parking space. Overflow parking is available in CWRU Lot 1 off Euclid Avenue, across from Severance Hall; University Circle Lot 13A on Adelbert Road; and the Cleveland Botanical Garden.

FRIDAY MATINEE PARKING

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

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

QUESTIONS

CONCERT PREVIEWS

ATM — Automated Teller Machine

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

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

Guest Information

The Cleveland Orchestra


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

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

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

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

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

Severance Hall 2013-14

Guest Information

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

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

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

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

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

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

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THE CLEVELAND ORCHESTRA U P C O M I N G

C O N C E R T S

AT SEVERANCE HALL . . . Julia Fischer

Mitsuko Uchida

BEETHOVEN, JULIA FISCHER UCHIDA & FLEISHER PLAYS BRAHMS Thursday December 5 at 7:30 p.m. Friday December 6 at 8:00 p.m. Saturday December 7 at 8:00 p.m. THE CLEVELAND ORCHESTRA Leon Fleisher, conductor Mitsuko Uchida, piano

In the 1960s, Leon Fleisher performed in what are regarded among the finest recordings of the Beethoven piano concertos — with The Cleveland Orchestra under the baton of George Szell. Now, for these oneof-a-kind concerts in Cleveland, Fleisher returns as conductor with a remarkable pianist and Cleveland favorite, Mitsuko Uchida, for not-to-be-missed performances of two of Beethoven’s towering concertos. Sponsor: Hyster-Yale Materials HandlingNew!

Thursday January 9 at 7:30 p.m. Friday January 10 at 8:00 p.m. Saturday January 11 at 8:00 p.m. Sunday January 12 at 3:00 p.m. THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Julia Fischer, violin

Franz Welser-Möst begins the new year with a special weekend of Brahms symphonies, overtures, and the Violin Concerto with guest soloist Julia Fischer. Two different programs (Thursday and Friday, Saturday and Sunday) present Brahms’s Second and Fouth Symphonies paired with either his Tragic or Academic Festival Overture. Plus the beauty of one of the greatest concertos ever written — expansive, melodious, bright-eyed, and magnificent. Sponsor: Medical Mutual of OhioN

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

TICKETS

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216-231-1111

clevelandorchestra.com

Upcoming Concerts

The Cleveland Orchestra


If you want to change

YOUR COMMUNITY, be that change.

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

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

The Cleveland Orchestra October 31, November 1, 2 Concerts  

Franz Welser-Most conducts Beethoven and Messiaen