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February 19, 20, 21, 22 BRONFMAN PLAYS BRAHMS — page 32







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Proud supporters of The Cleveland Orchestra’s music education programs for children, making possible the rewards and beneďŹ ts of music in their lives. AUTO GROUP










In the News


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


About the Orchestra About the Orchestra . . . . . . . . . . . . . . . . . . . . . . . . . 8 Musical Arts Association . . . . . . . . . . . . . . . . . . . . . 13 Music Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . 22 Young Audiences . . . . . . . . . . . . . . . . . . . . . . . . . 72-E Guest Information . . . . . . . . . . . . . . . . . . . . . . . . . . . 92


Copyright © 2015 by The Cleveland Orchestra and the Musical Arts Association Eric Sellen, Program Book Editor E-MAIL: Program books for Cleveland Orchestra concerts are produced by The Cleveland Orchestra and are distributed free to attending audience members. Program book advertising is sold through Live Publishing Company at 216-721-1800

Week 14 BRONFMAN PL AYS BR AHMS Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . Program: February 19, 20, 21, 22 . . . . . . . . . Introducing the Concerts . . . . . . . . . . . . . . . . . . . About Johannes Brahms . . . . . . . . . . . . . . . . . . .

31 32 35 36


Variations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 BRAHMS

Tragic Overture . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 BRAHMS AND BACH

Organ Preludes . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 BRAHMS

Piano Concerto No. 1 . . . . . . . . . . . . . . . . . . . . . 61 BRAHMS

Piano Concerto No. 2 . . . . . . . . . . . . . . . . . . . . . 69 Conductor: Franz Welser-Möst . . . . . . . . . . . . . . . Piano Soloist: Yefim Bronfman . . . . . . . . . . . . . . . Organ Soloist: Paul Jacobs . . . . . . . . . . . . . . . . . . . About the Norton Memorial Organ . . . . . . . . . . .



17 41 50 58


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.

This program is printed on paper that includes 50% recycled content.

50% All unused books are recycled as part of the Orchestra’s regular business recycling program.

Support Sound for the Centennial . . . . . . . . . . . . . . . . . . . 52 Artistic Initiatives . . . . . . . . . . . . . . . . . . . . . . . . . 72-B Corporate Annual Support . . . . . . . . . . . . . . . . . . 73 Foundation/Government Annual Support . . . 75 Individual Annual Support . . . . . . . . . . . . . . . . . . 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


Table of Contents

The Cleveland Orchestra

Photo credit: Roger Mastroianni


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Perspectivesfrom the Executive Director February 2015 Lights, cameras . . . music! As will be apparent from the presence of cameras and lighting at this weekend’s evening concerts, we are recording these performances — featuring the two Brahms piano concertos with soloist Yefim Bronfman — as part of an ongoing project to record Brahms’s major orchestral works for telecast and DVD release. (Sunday afternoon’s concert is not being recorded.) Our Brahms project began a year ago here at Severance Hall, and continued on tour this past September in London and Vienna, with Franz Welser-Möst leading performances of all four symphonies and the Violin Concerto. Our producing partners include Munichbased Clasart, who created our set of highly-praised Bruckner DVDs, and the Orchestra’s long-standing local partner, WVIZ/ideastream. This weekend’s filming is a continuation of The Cleveland Orchestra’s historic recorded legacy. From the ensemble’s first radio broadcast in 1922 and its first recording (of Tchaikovsky’s “1812” Overture) in 1924, the Orchestra has benefited over the decades from the advancement of recording technologies, brought forward to include digital sound in the 1980s, and from LPs and CDs to today’s internet streaming. All of these evolving media have offered people across the globe the opportunity to hear Cleveland’s Orchestra — and created enthusiastic fans worldwide. Our recording catalog continues to grow, through projects such as the Bruckner and Brahms, along with the ongoing Mozart piano concertos with Mitsuko Uchida. And, in addition to these commercial recordings, each season’s concerts here at Severance Hall are recorded and many can be heard live via radio station WCLV — on air locally and through the internet around the world. In addition, on WCLV’s website, two Orchestra radio concerts are posted each week for on-demand listening — and, according to tracking statistics, heard in over 100 countries each season. This coming autumn, we will celebrate the 50th anniversary of live broadcasts on WCLV from Severance Hall. These fifty seasons of broadcasts represent an unparalleled documentation of the extraordinary artistry of The Cleveland Orchestra. As we approach the Orchestra’s Centennial in 2018, we are working to restore, digitize, and catalog many of the archival gems in our treasure trove of broadcast recordings. Working with Cleveland Orchestra archivist Deborah Hefling, Robert Woods, the well-known cofounder of Beachwood’s Telarc Records, has already prepared more than 550 concert recordings with the view of eventually making them accessible to music lovers and music historians. At the same time, a small group of Cleveland Orchestra board members, musicians, and staff has convened as a Media Technology Task Force under the leadership of trustee John Koch and general manager Jennifer Barlament. The task force is exploring how the future of The Cleveland Orchestra can best be served and guided by the digital revolution. The storied past of this great institution can only be partially told in words and photographs. The true and illustrious history is represented by the extraordinary recorded performances of The Cleveland Orchestra’s wonderful musicians and conductors, past and present.

Severance Hall 2014-15

Gary Hanson


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


Since its first recording session in 1924, The Cleveland Orchestra has been among the most acclaimed and recorded orchestras in the world. The Orchestra’s performances have been heard by millions through radio and television broadcasts, on LPs, CDs, DVDs, and via internet downloads. CLEVELAND ORCHESTRA ARCHIVES

In this photograph, founding music director Nikolai Sokoloff inspects a fresh pressing of the Orchestra’s very first recording, of Tchaikovsky’s “1812” Overture, in 1924.

of its founding in 2018, The Cleveland Orchestra is undergoing a new transformation and renaissance. Universallyacknowledged among the best ensembles on the planet, its musicians, staff, board of directors, volunteers, and hometown are working together on a set of enhanced goals for the 21st century — to develop the youngest audience of any orchestra, to renew its focus on fully serving the communities where it performs through engagement and education, to continue its legendary command of musical excellence, and to move forward into the Orchestra’s next century with a strong commitment to adventuresome programming and new music. The Cleveland Orchestra divides its time each year across concert seasons at home in Cleveland’s Severance Hall and each summer at Blossom Music Center. Additional portions of the year are devoted to touring and to a series of innovative and intensive performance residencies. These include an annual set of concerts and education programs and partnerships in Florida, a recurring residency at Vienna’s Musikverein, and regular appearances at Switzerland’s LuAS IT NEARS THE CENTENNIAL


About the Orchestra

The Cleveland Orchestra


cerne Festival, at New York’s Lincoln Center Festival, and at Indiana University. Musical Excellence. Under the leadership of Franz Welser-Möst, now in his thirteenth season as the ensemble’s music director, The Cleveland Orchestra is acknowledged among the world’s handful of best orchestras. Its performances of standard repertoire and new works are unrivalled at home in Ohio, in residencies around the globe, on tour across North America and Europe, and through recordings, telecasts, and radio and internet broadcasts. Its longstanding championship of new composers and commissioning of new works helps audiences understand music as a living language that grows and evolves with each new generation. Recent performances with Baroque specialists, recording projects with internationally-renowned soloists, fruitful re-examinations and juxtapositions of the standard repertoire, and acclaimed collaborations in 20th and 21st century masterworks together enable The Cleveland Orchestra the ability to give musical performances second to none in the world. Serving the Community. Programs for students and community engagement activities have long been part of the Orchestra’s commitment to serving Cleveland and surrounding communities, and have more recently been extended to its touring and residencies. All are designed to connect people to music in the concert hall, in classrooms, and in everyday lives. Recent seasons have seen the launch of a unique “At Home” neighborhood residency program, designed to bring the Orchestra and citizens together in new ways. Additionally, a new Make Music! initiative is taking shape, championed by Franz Welser-Möst in advocacy for the benefits of direct participation in making music for people of all ages. Future Audiences. Standing on the shoulders of ninety years of presenting quality music education programs, the Orchestra made national and international headlines through the creation of its Center for Future Audiences in 2010. Established with a significant endowment gift from the Maltz Family Foundation, the Center is designed to provide ongoing funding for the Orchestra’s continuing work to develop interest in classical music among young people. The flagship “Under 18s Free” program has seen unparalleled success in increasing attendance and interest, and was recently extended to the Orchestra’s concerts in Miami. Innovative Programming. The Cleveland Orchestra was among the first American orchestras heard on a regular series of radio broadcasts, and its Severance Hall home was one of the first concert halls in the world built with recording and broadcasting capabilities. Today, Cleveland Orchestra concerts are presented in a variety of formats for a variety of audiences — including a popular Fridays@7 series (mixing onstage symphonic works with post-concert world music performances), film scores performed live by the Orchestra, collaborations with pop and jazz singers, ballet and opera presentations, and standard repertoire juxtaposed in meaningful contexts with new and older works. Franz Welser-Möst’s creative vision has Severance Hall 2014-15

The Orchestra Today



given the Orchestra an unequaled opportunity to explore music as a universal language of communication and understanding. Origins and Evolution. 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. Seven music directors have guided and shaped the ensemble’s growth and sound: Nikolai Sokoloff, 1918-33; Artur Rodzinski, 193343; Erich Leinsdorf, 1943-46; George Szell, 1946-70; Lorin Maazel, 1972-82; Christoph von Dohnányi, 1984-2002; and Franz Welser-Möst, since 2002. The opening in 1931 of Severance Hall as the Orchestra’s permanent home, with later acoustic refinements and remodeling of the hall under Szell’s guidance, 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. Touring performances throughout the United States and, beginning in 1957, to Europe and across the globe have confirmed Cleveland’s place among the world’s top orchestras. 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. Today, concert performances, community presentations, touring residencies, broadcasts, and recordings provide access to the Orchestra’s acclaimed artistry to an enthusiastic, generous, and broad constituency around the world.

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


About the Orchestra

The Cleveland Orchestra


Seven music directors have led the Orchestra, including George Szell, Christoph von Dohnányi, and Franz Welser-Möst.


1l1l 11l1 1l1

The 2014-15 season marks Franz Welser-Möst’s 13th year as music director.

SEVERANCE HALL, “America’s most beautiful concert hall,” opened in 1931 as the Orchestra’s permanent home.


120,000 young people have attended Cleveland Orchestra symphonic concerts via programs funded by the Center for Future Audiences since 2011, through student programs and Under 18s Free ticketing.


Over half of The Cleveland Orchestra’s funding each year comes from thousands of generous donors and sponsors, who together make possible our concert presentations, community programs, and education initiatives.


Likes on Facebook (as of Jan. 1, 2015)

The Cleveland Orchestra has introduced over 4 million children in Northeast Ohio to symphonic music through concerts for children since 1918.

The Cleveland Orchestra performs over



concerts each year.

The Orchestra was founded in 1918 and performed its first concert on December 11.




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

Norma Lerner, Honorary Chair Hewitt B. Shaw, Secretary Beth E. Mooney, Treasurer

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 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 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 Zoya Reyzis Barbara S. Robinson Paul Rose Steven M. Ross Raymond T. Sawyer Luci Schey Hewitt B. Shaw Richard K. Smucker James C. Spira R. Thomas Stanton Joseph F. Toot, Jr. Daniel P. Walsh Thomas A. Waltermire Geraldine B. Warner Jeffery J. Weaver 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 FFI C I O Faye A. Heston, President, Volunteer Council of The Cleveland Orchestra Shirley B. Dawson, President, Women’s Committee of The Cleveland Orchestra Claire Frattare, President, Blossom Women’s Committee

Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee Beverly J. Warren, President, Kent State University Barbara R. Snyder, President, Case Western Reserve University

H O NO R A RY TR U S T E E S FO R L IFE Robert W. Gillespie Gay Cull Addicott Dorothy Humel Hovorka Oliver F. Emerson Robert P. Madison Allen H. Ford 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

Percy W. Brown 1953-55 Frank E. Taplin, Jr. 1955-57 Frank E. Joseph 1957-68 Alfred M. Rankin 1968-83

Robert F. Meyerson James S. Reid, Jr.

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 2014-15

Gary Hanson, Executive Director

Musical Arts Association




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MAY 27 Wednesday MAY 30 Saturday

Franz Welser-Möst leads The Cleveland Orchestra in performances of Richard Strauss’s captivating opera about Daphne, a young woman who must choose between the love of men and her love for nature. Composed during the politically perilous period after the Nazis came to power and first performed in 1938, the opera had deep personal significance to the composer. Strauss knew that the myth of Daphne was the subject of the very first opera ever composed — and his own version can be viewed as a guarded demand for creative freedom in the face of political and worldly hindrances. Sung in German with projected English supertitles. Sponsored by Litigation Management, Inc.

Apollo and Daphne, marble statue by Gian Lorenzo Bernini, 1625.

Regine Hangler (soprano) as Daphne Andreas Schager (tenor) as Apollo Norbert Ernst (tenor) as Leukippos Ain Anger (bass) as Peneios Nancy Maultsby (mezzo-soprano) as Gaea Men of the Cleveland Orchestra Chorus with The Cleveland Orchestra conducted by Franz Welser-Möst


18 East Orange Street Chagrin Falls, Ohio (440) 247-2828


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

marks Franz Welser-Möst’s thirteenth year as music director of The Cleveland Orchestra, with the future of this acclaimed partnership now extending into the next decade. Under his direction, the Orchestra is hailed for its continuing artistic excellence, is broadening and enhancing its community programming at home in Northeast Ohio, is presented in a series of ongoing residencies in the United States and Europe, and has re-established itself as an important operatic ensemble. With a commitment to music education and the Northeast Ohio community, Franz Welser-Möst has taken The Cleveland Orchestra back into public schools with performances in collaboration with the Cleveland Metropolitan School District. He has championed new programs, such as a community-focused Make Music! initiative and a series of “At Home” neighborhood residencies designed to bring the Orchestra and citizens together in new ways. Under Mr. Welser-Möst’s leadership, The Cleveland Orchestra has established a recurring biennial residency in Vienna at the famed Musikverein concert hall and appears regularly at Switzerland’s Lucerne Festival. Together, they have also 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, an annual multi-week Cleveland Orchestra residency in Florida was inaugurated in 2007 and an ongoing relationship with New York’s Lincoln Center Festival began in 2011. To the start of this season, The Cleveland Orchestra has performed fourteen world and fifteen United States premieres under Franz Welser-Möst’s direction. In partnership with the Lucerne Festival, he and the Orchestra have premiered works by Harrison Birtwistle, Chen Yi, Hanspeter Kyburz, George Benjamin, Toshio Hosokawa, and Matthias Pintscher. 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 annual opera performances during his tenure 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 Mozart-Da Ponte operas. He led concert performances of Strauss’s Salome at Severance Hall and at Carnegie Hall in May 2012 and in May 2014 led an innovative madeP H OTO BY S ATO S H I AOYAG I

THE 2014 -15 SEASON

Severance Hall 2014-15

Music Director


for-Cleveland production of Leoš Janáček’s The Cunning Little Vixen at Severance Hall. They present performances of Richard Strauss’s Daphne in May 2015. As a guest conductor, Mr. Welser-Möst enjoys a close and productive relationship with the Vienna Philharmonic. Recent performances with the Philharmonic include a critically-acclaimed production of Strauss’s Der Rosenkavalier at the 2014 Salzburg Festival as well as appearances at New York’s Carnegie Hall, at the Lucerne Festival, and in concert at La Scala Milan. During the 2014-15 season, he returns to Europe for a tour of Scandinavia with the Philharmonic, and will also lead them in a new production of Beethoven’s Fidelio at Salzburg in 2015. He led the Philharmonic’s celebrated annual New Year’s Day concert in 2011 and 2013, viewed by tens of millions as telecast in seventy countries worldwide. From 2010 to 2014, Franz Welser-Möst served as general music director of the Vienna State Opera. His partnership with the company included an acclaimed new production of Wagner’s Ring cycle with stage director Sven-Eric Bechtolf, and critically-praised new productions of Hindemith’s Cardillac, Janáček’s Katya Kabanova and From the House of the Dead, Puccini’s The Girl of the Golden West, and Verdi’s Don Carlo, as well as performances of a wide range of other operas, particularly of works by Wagner and Richard Strauss, including Tristan and Isolde and Parsifal, and Der Rosenkavalier and Ariadne auf Naxos. Prior to his years with the Vienna State Opera, Mr. Welser-Möst led the Zurich Opera across a decade-long tenure, leading more than forty new productions and culminating in three seasons as general music director (2005-08). Franz Welser-Möst’s recordings and videos have won major awards, including a 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, and is in the midst of a new project recording major works by Brahms. With Cleveland, he has also released a recording of Beethoven’s Ninth Symphony and an all-Wagner album. 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 the Vienna Philharmonic’s “Ring of Honor” for his longstanding personal and artistic relationship with the ensemble, as well as recognition from the Western Law Center for Disability Rights, honorary membership in the Vienna Singverein, appointment as an Academician of the European Academy of Yuste, a Gold Medal from the Upper Austrian government for his work as a cultural ambassador, a Decoration of Honor from the Republic of Austria for his artistic achievements, and the Kilenyi Medal from the Bruckner Society of America. He is the co-author of Cadences: Observations and Conversations, published in a German edition in 2007.


Music Director

The Cleveland Orchestra

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DIRECTOR Kelvin Smith Family Chair


Blossom-Lee Chair

Yoko Moore


Clara G. and George P. Bickford Chair

Peter Otto


Jung-Min Amy Lee


Gretchen D. and Ward Smith Chair

Alexandra Preucil


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

Takako Masame Paul and Lucille Jones Chair

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

Kim Gomez Elizabeth and Leslie Kondorossy Chair

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

Miho Hashizume Theodore Rautenberg Chair

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

Alicia Koelz Oswald and Phyllis Lerner Gilroy Chair

Yu Yuan Patty and John Collinson Chair

Isabel Trautwein Trevor and Jennie Jones Chair

Mark Dumm Gladys B. Goetz Chair

Katherine Bormann Analisé Denise Kukelhan


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 Thomas J. and Judith Fay Gruber Chair

Ralph Curry Brian Thornton William P. Blair III Chair

David Alan Harrell Paul Kushious Martha Baldwin 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 * Elizabeth M. and William C. Treuhaft Chair

Saeran St. Christopher Marisela Sager 2 Austin B. and Ellen W. Chinn Chair

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

OBOES Frank Rosenwein * Edith S. Taplin Chair

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

Gareth Thomas Barrick Stees 2 Sandra L. Haslinger Chair

Jonathan Sherwin CONTRABASSOON Jonathan Sherwin

Severance Hall 2014-15

HORNS Richard King * George Szell Memorial Chair

Michael Mayhew § Knight Foundation Chair

Jesse McCormick Robert B. Benyo Chair

Hans Clebsch Alan DeMattia

PERCUSSION Marc Damoulakis* Margaret Allen Ireland Chair

Donald Miller Tom Freer KEYBOARD INSTRUMENTS Joela Jones * Rudolf Serkin Chair

TRUMPETS Michael Sachs * Robert and Eunice Podis Weiskopf Chair

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

Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair

LIBRARIANS Robert O’Brien Joe and Marlene Toot Chair

Donald Miller

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


Christine Honolke

Michael Miller


TROMBONES Massimo La Rosa*


Gilbert W. and Louise I. Humphrey Chair

Richard Stout Alexander and Marianna C. McAfee Chair

Shachar Israel 2 BASS TROMBONE Thomas Klaber

Sidney and Doris Dworkin Chair Sunshine Chair

* Principal § 1 2

Associate Principal First Assistant Principal Assistant Principal


CONDUCTORS Christoph von Dohnányi

TUBA Yasuhito Sugiyama*

Giancarlo Guerrero

Nathalie C. Spence and Nathalie S. Boswell Chair



Brett Mitchell


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

Tom Freer 2

The Orchestra

Elizabeth Ring and William Gwinn Mather Chair

Robert Porco


Frances P. and Chester C. Bolton Chair




New to Severance Hall this season, you can now pre-order your beverages before the concert to enjoy during intermission. Our new pre-order option offers you the beneďŹ t of an intermission without waiting in line. Simply visit one of our conveniently located bars to place and pay for your order before the concert starts.



POST-CONCERT DINING New for the 2014-15 season, we are offering post-concert dining at Severance Restaurant. Enjoy a convenient dining experience including full-service bar, desserts and coffee, or our special Ă la carte dining choices.

Severance Restaurant is a great place to extend your night out following the concert. Come in and sit down for dinner, or stop by for drinks or dessert. No reservations required for post-concert dining. Reservations are suggested but not required for pre-concert dining. Book online by visiting the link to OpenTable at Post-concert dining is available following evening performances by The Cleveland Orchestra.

Severance Hall and The Cleveland Orchestra are proudly partnered with Marigold Catering to enhance your experience.



The Cleveland Orchestra’s third neighborhood residency will take place on Cleveland’s southeast side. The Cleveland Orchestra At Home in Broadway Slavic Village will include community activities, musical performances, and education presentations throughout the neighborhood in spring 2015, with a free community concert on April 10. Complete details will be announced in the coming weeks. Broadway Slavic Village was chosen as a Cleveland neighborhood that symbolizes both the history and the future of the city. The Broadway Historic District at the intersection of East 55th street has ethnic roots in the Czech and Polish communities with rich musical heritages. Broadway Slavic Village was not long ago a center of the foreclosure crisis, but today it is a national leader in reimagining urban land use and is home to people of all ages, races, and income levels, active families, young professionals, and empty nesters. “The diverse neighborhoods of Broadway Slavic Village are ideal settings for music and celebration,” at home says Chris Alvarado, executive director of Slavic Village Development. “We are thrilled to have been chosen to host the third annual Cleveland Orchestra neighborhood residency. We look forward to welcoming The Cleveland Orchestra and all who believe that music spans cultures and brings joy. Let’s have fun together!” The centerpiece of the Orchestra’s neighborhood residency in Broadway Slavic Village will be a free, public Cleveland Orchestra concert on Friday evening, April 10, 2015, at Our Lady of Lourdes Church. Residency activities will also include solo and chamber performances, along with education presentations and a variety of artistic collaborations. More about the neighborhood can be found at

Details of the 2015 Lincoln Center Festival this coming summer, including a week of concerts featuring The Cleveland Orchestra in residence, have been announced. Led by music director Franz Welser-Möst, The Cleveland Orchestra returns to Lincoln Center Festival with four concerts (July 15-18) focused on the exploration of the relationship of humanity with nature. The Orchestra offers two performances of Richard Strauss’s rarely-performed ”bucolic tragedy” Daphne, highlighting Franz Welser-Möst’s passion and expertise in the operatic repertory, along with two additional programs featuring works that probe humanity’s understanding of the natural world, by Messiaen, Dvořák, Beethoven, and Strauss. All of these works are being presented in concerts at Severance Hall in May. Richard Strauss’s seldom performed, one-act opera, Daphne, is among the great works of the composer’s later period. With a libretto by Joseph Gregor, the work was premiered in 1938, and retells the story of the beautiful nymph Daphne, with a plot derived from the familiar myth from Ovid’s Metamorphoses. In it, Daphne is an outsider who cherishes the beauty of nature, where she feels most at home. When the god Apollo betrays her trust and kills his rival, Daphne is inconsolable. Apollo is moved by Daphne’s profound grief and grants her immortality by transforming her into a laurel tree. This operatic gem has been called one of Strauss’s supreme love letters to the soprano voice. It is being presented at Severance Hall on May 27 and 30.

Cleveland Orchestra News



Cleveland Orchestra’s summer residency with Lincoln Center Festival 2015 announced for July 15-18


Cleveland Orchestra’s 2015 “At Home” neighborhood residency to take place in Broadway Slavic Village

Severance Hall 2014-15




OrchestraNews W.E.L.C.O.M.E New violinist joins Orchestra in January 2015 The Cleveland Orchestra welcomes the second of three recent hires to its ranks beginning with the concerts of January 29-31. Analisé Denise Kukelhan joins the first violin section. She was previously a member of the first violin section of the North Carolina Symphony for two seasons, and has also been a member of the Akron Symphony Orchestra, Canton Symphony Orchestra, and the West Virginia Symphony. She has participated in the Spoleto Festival USA, Schleswig-Holstein Music Festival, Pacific Music Festival, National Orchestral Institute (serving as concertmaster in 2008), and the Kent/Blossom Music Festival. Ms. Kukelhan received her bachelor of music degree from Rice University’s Shepherd School of Music, where she studied with Kathleen Winkler, and her master of music degree from the Cleveland Institute of Music, where she was a student of Cleveland Orchestra concertmaster William Preucil.



Women’s Committee benefit celebrates conductor Jahja Ling in performance and talk on March 20 A special benefit event presented by the Women’s Committee of The Cleveland Orchestra is featuring an evening with longtime Cleveland conductor Jahja Ling on Friday, March 20. The event at Canterbury Golf Club includes a cocktail hour beginning at 6 p.m. and dinner at 8 p.m. along with a silent auction. In between, there will be a solo piano performance by Ling, a duo-piano performance with his wife, Jessie Chang, and a conversation about their careers and life together. Jahja Ling served over two decades on the conducting staff of The Cleveland Orchestra, served as Festival Director for Blossom (2000-05), and returns each year to lead concerts with the ensemble. Proceeds from the evening benefit The Cleveland Orchestra. For additional information or to buy tickets, contact Pamela Elliot at 216-904-2051.

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Cleveland Orchestra Youth Orchestra preparing for second international tour, with concerts in China in June 2015

Severance Hall 2014-15

Forbidden City

National Performing Arts Center, Beijing

You can help . . . For more information about the Youth Orchestra tour or how to make a contribution to the Student Tour Scholarship Fund, please contact Katie Oppenheim by calling 216-456-8410 or via email at

Cleveland Orchestra News



CHINA TOUR SEND-OFF CONCERT Sunday, June 14, at 3:00 p.m. Severance Hall Tickets: Free admission, but tickets are required. Tickets go on sale May 4 at 9 a.m.

Grand Theater, Tianjin


Plans have been finalized for the Cleveland Orchestra Youth Orchestra to make its second international tour in 2015. The tour to China June 15-24 includes concerts in Beijing, Tianjin, Shanghai, and Hangzhou. The Youth Orchestra will be conducted by its music director, Brett Mitchell, who is also assistant conductor of The Cleveland Orchestra. The repertoire includes Dmitri Shostakovich’s Festive Overture, Wojciech Kilar’s Orawa, Samuel Barber’s Medea’s Dance of Vengeance, and Tchaikovsky’s Symphony No. 4. In addition to concerts, tour activities for the Youth Orchestra members include guided historic sightseeing tours of each city as well as visits to the Great Wall of China, the Forbidden City, Tiananmen Square, and the Temple of Heaven. The Cleveland Orchestra Youth Orchestra tour is made possible in part through the generosity of the Vinney family. In 2011, the Jules and Ruth Vinney Cleveland Orchestra Youth Orchestra Touring Fund was established to help cover costs of Youth Orchestra touring and to provide scholarships to eligible Youth Orchestra members. An endowment gift from the Jules and Ruth Vinney Philanthropic Fund, advised by their children Les Vinney, Margo Vinney, and Karen Jacobs, established this generous Touring Fund, which will provide perpetual support toward the Youth Orchestra’s ongoing touring program.


OrchestraNews M.U.S.I.C.I.A.N S.A.L.U.T.E The Musical Arts Association gratefully acknowledges the artistry and dedication of all the musicians of The Cleveland Orchestra. In addition to rehearsals and concerts throughout the year, many musicians donate performance time in support of community engagement, fundraising, education, and audience development activities. We are pleased to recognize these musicians, listed below, who have volunteered for such events and presentations during the 2013-14 and 2014-15 seasons.



Mark Atherton Martha Baldwin Charles Bernard Katherine Bormann Lisa Boyko Charles Carleton John Clouser Hans Clebsch Kathleen Collins Patrick Connolly Ralph Curry Alan DeMattia Scott Dixon Elayna Duitman Bryan Dumm Tanya Ell Scott Haigh David Alan Harrell Miho Hashizume Shachar Israel Joela Jones Richard King Alicia Koelz Stanley Konopka Mark Kosower Paul Kushious Massimo La Rosa Jung-Min Amy Lee Yun-Ting Lee Takako Masame Eli Matthews Jesse McCormick


Daniel McKelway Sonja Braaten Molloy Ioana Missits Peter Otto Chul-In Park Joanna Patterson Zakany Alexandra Preucil William Preucil Lynne Ramsey Jeanne Preucil Rose Stephen Rose Frank Rosenwein Marisela Sager Jonathan Sherwin Sae Shiragami Emma Shook Joshua Smith Saeran St. Christopher Barrick Stees Richard Stout Jack Sutte Kevin Switalski Brian Thornton Isabel Trautwein Lembi Veskimets Carolyn Gadiel Warner Stephen Warner Richard Weiss Beth Woodside Robert Woolfrey Paul Yancich Derek Zadinsky Jeffreyy Zehngut

Details and concerts for 2015 Blossom Music Festival announced; series renewals underway; season on sale The Cleveland Orchestra has announced its 2015 Blossom Music Festival season. Details and subscription renewals are being mailed out to last year’s series subscribers. Lawn Ticket Books are on sale through the Ticket Office and website, along with new subscriptions. Individual tickets for the entire season will go on sale beginning May 12. Subscribers will have the opportunity to order additional tickets in a pre-sale period beginning April 20. The season features Franz Welser-Möst conducting Beethoven’s Ninth Symphony with soloists and the Blossom Festival Chorus, and concludes Labor Day Weekend with a program devoted to the film music of John Williams. Complete details, information, and series options can be viewed at the Orchestra’s website,

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

Cleveland Orchestra News

The Cleveland Orchestra



OrchestraNews I.N M.E.M.O.R.I.A.M The entire Cleveland Orchestra family mourns the loss of our dear colleague and friend, Jamie Ireland. His death at age 65 on January 20 is an enormous loss for the Northeast Ohio community. Jamie loved this Orchestra and served and supported the institution with great distinction. He was a member of the Orchestra’s Board of Trustees for two decades and served as its President 2002-08. He loved The Cleveland Orchestra from a young age, attending his first concert at age seven, and later becoming a devoted subscriber and an Orchestra Trustee. He was a tireless fundraiser and Orchestra advocate. He chaired the search committee that identified and in 1999 chose Franz Welser-Möst as The Cleveland Orchestra’s seventh music director. As President, he was integral to creating a transformative vision for the Orchestra’s future — combining a continuity of musical excellence with a renewed commitment

to serving our region through quality programming and innovative thinking. Jamie was an effective and energetic community leader. In addition to his work with The Cleveland Orchestra, he advocated tirelessly for the community and held positions to advance that work on the boards of University Circle Inc., Great Lakes Science Center, Greater Cleveland Partnership, Northeast Ohio Regional Nonprofit Technology (NorTech), and the Opportunity Corridor Advisory Committee. Excellence and service defined him, and underscored all his work, for the orchestra he loved and for the community to which he was devoted. We mourn his loss and we pay tribute to his great legacy. We will miss Jamie very much.

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

Severance Hall 2014-15

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. February 19, 20, 21, 22 “Johannes Brahms and His Piano Concertos” with David J. Rothenberg, associate professor of musicology, Case Western Reserve University with organist Paul Jacobs in conversation on Saturday and Sunday

March 12, 14 “Mighty Liszt & Powerful Beethoven” with Marshall Griffith, faculty member, music theory and improvisation, Cleveland Institute of Music

March 19, 21, 22 “A Russian Celebration” with Jerry Wong, associate professor of piano, Kent State University

March 20 “From Trouble to Triumph” with Rose Breckenridge

April 9, 10, 11 “Mozart’s Piano Concertos”

Concert Previews

with Donna Lee, associate professor of piano, Kent State University



W E L S E R - M Ö ST M U S I C


Severance Hall

Thursday evening, February 19, 2015, at 7:30 p.m. Friday evening, February 20, 2015, at 8:00 p.m.

Franz Welser-Möst, conductor JOHANNES BRAHMS (1833-1897)

Variations on a Theme by Haydn, Opus 56a 1. 2. 3. 4. 5. 6. 7. 8. 9. 10.

Theme. Saint Anthony’s Chorale: Andante Variation I. Poco più animato Variation II. Più vivace Variation III. Con moto Variation IV. Andante con moto Variation V. Vivace Variation VI. Vivace Variation VII. Grazioso Variation VIII. Presto non troppo Finale. Andante

Tragic Overture, Opus 81 I N T E R M IS S I O N

Piano Concerto No. 2 in B-flat major, Opus 83 1. 2. 3. 4.

Allegro non troppo Allegro appassionato Andante Allegretto grazioso


P L E A S E N O T E that this weekend’s performances are being recorded for future television and DVD release. Please remember to disarm electronic alarms on watches and to turn off your cell phones prior to the start of the concert.

These concerts will end at about 9:15 p.m. on Thursday and at 9:45 p.m. on Friday.

Yefim Bronfman’s appearance with The Cleveland Orchestra on Thursday and Friday is made possible by a gift to the Orchestra’s Guest Artist Fund from The Hershey Foundation. The Thursday evening concert is dedicated to Mrs. Norma Lerner in recognition of her extraordinary generosity in support of The Cleveland Orchestra’s 2013-14 Annual Fund.


Concert Program — Week 14a

The Cleveland Orchestra

Saturday evening, February 21, 2015, at 8:00 p.m. Sunday afternoon, February 22, 2015, at 3:00 p.m.

Franz Welser-Möst, conductor


Selected Preludes (for solo organ) Prelude and Fugue in G minor, WoO.10 by JOHANNES BRAHMS from Eleven Chorale Preludes, Opus 122 by JOHANNES BRAHMS No. 6: O wie selig seid ihr doch, ihr Frommen No. 8: Es ist ein Ros’ entsprungen

Prelude and Fugue in A minor, BWV543 by J. S. BACH (1685-1750) PAUL JACOBS, organ


Tragic Overture, Opus 81 I N T E R M IS S I O N

Piano Concerto No. 1 in D minor, Opus 15 1. Maestoso 2. Adagio 3. Rondo: Allegro non troppo YEFIM BRONFMAN, piano These concerts will end at about 9:45 p.m. on Saturday evening and at 4:45 p.m. on Sunday afternoon.

This weekend’s concerts are supported through the generosity of the BakerHostetler Guest Artist Series sponsorship. Yefim Bronfman’s appearance with The Cleveland Orchestra on Saturday and Sunday is made possible by a gift to the Orchestra’s Guest Artist Fund from The Julia Severance Millikin Fund. 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 2014-15

Concert Program — Week 14b


Photo credit: Roger Mastroianni

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Melancholy& Joy Truth& Harmony

T H E I D E A T H A T B R A H M S ’ S M U S I C is fi lled with autumnal melancholy is too often and too easily embraced, while the full depth and breadth of his musical creations is equally too often forgotten and ignored. His glowing orchestral writing — in symphonies, concertos, and other works — is, in fact, filled with colors from across the emotional spectrum. And, while Brahms’s own curmudgeonly personality did tend to drive his music toward the bittersweet (not forgetting his fondness for playing practical jokes on friends and an intense interest in puns), his moments of happiest musicmaking are undeniably irresistible. With this week’s concerts, Franz WelserMöst and The Cleveland Orchestra continue a multi-year exploration and recording project of Brahms’s great orchestral scores. This weekend focuses on the two towering piano concertos, with pianist Yefim Bronfman returning to encore his insightful playing of these two great works from 2012. These concertos, from two very different points in Brahms’s life and career, lay out a microcosm of the composer’s lyrical musical language, filled with soaring melody and rapturous harmonies, searingly infused with poignant reveries and sunny outbursts. Let us enjoy the warmth of Brahms’s creations in the midst of the cold nights this winter is serving us. —Eric Sellen

program note begins on page:

Introducing Brahms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 BRAHMS - Variations on a Theme by Haydn [THU-FRI] . . . . . . . . . . . . 43 BRAHMS - Tragic Overture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 BRAHMS & BACH - Selected Preludes (for solo organ) [SAT-SUN] . . . . . 51 BRAHMS - Piano Concerto No. 1 [SAT-SUN] . . . . . . . . . . . . . . . . . . . . . . 61 BRAHMS - Piano Concerto No. 2 [THU-FRI] . . . . . . . . . . . . . . . . . . . . . . 69

Severance Hall 2014-15




Johannes Brahms Purely Classical & Clearly Romantic This week, Franz Welser-Möst and The Cleveland Orchestra continue their recording project of major orchestral works by Johannes Brahms, featuring pianist Yefim Bronfman’s return to encore his masterful performances of both piano concertos from 2012. In this article, Brahms scholar Jan Swafford discusses the composer’s place in history and musical modernism. I N H I S L I F E T I M E , the image of Johannes Brahms, for both his admirers and

his enemies, was as a backward-looking musician who upheld the old Viennese-Classical forms as a bastion against the aesthetic and social agenda of progressive composers. How one felt about Brahms in the later 19th century had much to do with how one felt about those progressives, whose most celebrated figures and leading propagandists were Richard Wagner and Franz Liszt. Under the banner “Music of the Future,” they wrote works based on stories, literature, ideas — Wagner’s music dramas, Liszt’s tone poems. Brahms, declared Liszt, belonged to “the posthumous party” in music. When Brahms died, Wagnerite critics dismissed him as an artist who lacked a “world-historical” vision. His music, said one critic, amounted to nothing more than “the private thoughts and private meanings of a clever man.” Not all these attitudes toward Brahms were wrong. But none of them encompassed the reality. One reality was that in his art Brahms was neither revolutionary nor conservative; he belonged to no party at all. “I must go my own way and in peace,” Brahms said. He refrained from public politicking or polemics. In private, he expressed great admiration for Wagner’s music, as dis-


About the Music

The Cleveland Orchestra

tinct from Wagner the polemicist and the man. (For his part, Wagner had nothing but contempt for Brahms.) Like all geniuses, Brahms was not a simple artist or person. His work encompasses large, paradoxical territories. He was trained in Hamburg and imbued with the doctrine of Haydn, Mozart, and Beethoven. His mentors taught him that the forms of music used by those giants — sonata form, above all — were eternal and incorruptible models. Along with that doctrine came a sense of awe. “As much as we men are above the creeping things of the earth,” Brahms told his disciple Georg Henschel (later the first conductor of the Boston Symphony), “so these gods are above us.” He meant this literally. He predicated his career on working in the shadow of giants. As far as Brahms was concerned, the job of a composer was to master the forms and genres of the past. So he did master them, patiently and painstakingly, one after another — piano sonata, theme and variations, scherzo, concerto, piano trio and quartet, string quintet and sextet, string quartet, and finally symphony. (Despite years of trying, he produced no opera.) It was exactly those genres, in their traditional forms, that Wagner and Liszt had declared dead and buried. En route, Brahms destroyed more music than he released. He claimed that, before publishing his First String Quartet, he threw out twenty quartets. He spent over fifteen years working, off and on, at his First Symphony (then wrote the next two in a summer each). The world never saw a second violin concerto or second double concerto, and who knows how many other works he drafted. He liked to tear up the pages of rejected pieces and throw them in the nearest river, so he could watch them disappear downstream. But if Brahms was the hero of musical conservatives in the 19th century, that was not his doing. He took it for granted that he would bring something new and personal to the tradition he worshipped. That, too, was part of how he conceived his job. He was one of the few composers of his time who understood how freely the old masters handled their forms; he handled them more freely still. Some of his restless harmonies were shocking to the ears of his day. His innovations in rhythm in some ways anticipated jazz and Stravinsky. His involvement with popular music, especially what was called “Hungarian” (a.k.a. “Gypsy”) style, gave some of his work an exotic and popularistic cast. He invented unprecedented kinds of pieces. His German Requiem is not a cantata or an oratorio but something unique, and one of the few large choral works of the time not dominated by echoes of Handel. The Haydn Variations are the first freestanding variations for orchestra. For the end of the Fourth Symphony, he made the old Baroque idea of a chaconne, a piece based on a repeating bass line, into a singular and searing finale. There, in a nutshell, is Brahms’s highly personal melding of tradition and innovation. From his own time to the present, it has been said of Brahms that he joined the Classical forms of the 18th century to Romantic emotionalism. That is true as far as it goes, but it does not go far enough. He fashioned his music from influences stretching back through Schubert, Schumann, and the Viennese Classicists, Severance Hall 2014-15

Johannes Brahms


through Bach, Handel, and beyond, all the way back to the Renaissance contrapuntalists. In other words, Brahms was an utter eclectic. At the same time, no composer ever had a more individual voice. From early on, he wrote few if any pages that could be mistaken for anybody else. It remained for one of his greatest admirers of the 20th century, Arnold Schoenberg, to remake Brahms’s reputation. In a famous article called “Brahms the Progressive,” Schoenberg showed how much of Brahms’s singular handling of musical material (such as saturating the music with continuously-evolving motifs) prophesied Modernism. Scholar Malcolm MacDonald compares Brahms to the ancient two-faced god Janus, a figure who looks backward and forward at once. Brahms was an artist filled with the past who helped inspire the future. In temperament, he was in many ways a pedant, but he was a pedant of genius who never took up a rule or a genre without making it his own. His admirers proclaimed his work as the epitome of “abstract,” “pure” instrumental music, free of programmatic or autobiographical elements. But Brahms himself never proclaimed any such ideal. In private he made it clear that his music came from his life and his heart. After a bitter romantic disappointment, he called the threatening despair of the Alto Rhapsody his “bridal song.” In relation to his C-minor Piano Quartet, he compared himself to Goethe’s tragic hero Werther, who killed himself over love of another man’s betrothed. In the notes of a lilting and lovely theme, the G-major String Sextet names a woman Brahms loved and left. The German Requiem and the Four Serious Songs rose from deep-lying losses — his mother, and Robert and Clara Schumann. One of the signs of genius in a creator is one who succeeds in putting together things assumed to be antithetical — such as Classic and Romantic. Brahms’s fascinating paradoxes are very much on display in his two Piano Concertos Brahms, 1874. and Violin Concerto. Written for himself in his twenties, the First Piano Concerto in D minor was a fiasco in its second performance because it contradicted nearly everything the time thought a concerto should be: relatively light and lively, popularistic, virtuosic. Nevertheless, the next two concertos followed suit. The overriding idea is that Brahms’s conception of a concerto was symphonic, on the grandest of scales. All the pieces are supremely demanding on the soloist, but the piano concertos have little conventional virtuosic showing-off. Nor is the soloist always the center of attention. Asked why he had never played the Brahms, virtuoso Pablo de Sarasate said, “Does anyone imagine that I’m going to stand, violin in hand, and listen to the oboe play the only tune in the adagio?” In fact, the soloist never does get to play that tune, and that’s not the only such instance in the concertos. Instead, in Brahms’s concertos the soloist is a participant in a dialogue — a


About the Composer

The Cleveland Orchestra

spotlighted and nearly nonstop participant, but still part of a dialogue that is fundamentally symphonic. In the two piano concertos, the keyboard style is grand and two-fisted, orchestral in itself. This approach is set in the first pages of the First Concerto. It is massive, dramatic, its sound and its juxtaposition of D minor and B-flat major echoing Beethoven’s Ninth. The First Concerto amounts to the First Symphony that Brahms wanted to write, but could not pull together for another eighteen years. Here is a final paradox: As man and musician, Brahms was at once a loner and absolutely part of the musical mainstream. As far as he was concerned, his work was directed primarily to the music-loving middle class; if that class rejected his work, then he was a failure and deserved to be. At the same time, as the concertos show, he was fearless in issuing challenges to his public and his performers. His independence is shown in the fact that he never accepted a commission for a work, something that would have been incomprehensible to most earlier composers. He emulated and worshipped the past, but in the end he recognized only one way to do things — his way. And Brahms, 1891. unlike Wagner, he did not consider it the artist’s job to save the world, no matter how much the Germanic world around him, with its mounting militarism and anti-Semitism, needed to be saved. So his critics were again partly right; Brahms had no world-historical agenda. For him, music was a language spoken from the heart that goes to the heart of each listener. It is in those terms that this intensely private man, who loved few and was himself hard to love, is entering his second century as one of the most beloved of composers. —Jan Swafford © 2015 Jan Swafford is an award-winning composer and author whose books include biographies of Johannes Brahms and Charles Ives, and “The Vintage Guide to Classical Music.” A graduate of Tanglewood Music Center, where he studied composition, he teaches at the Boston Conservatory and is currently working on a biography of Beethoven for Houghton Mifflin.

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Wednesday, February 25, 2015 Executive Caterers of Landerhaven 6:00 PM

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Johannes Brahms


ARE YOU READY TO START A CONVERSATION? YOU TOO CAN MASTER CHAMBER MUSIC LIKE A PRO! “Chamber music— a conversation between friends.” Catherine Drinker Bowen, American violinist, writer (1897-1973)

Sunday, March 8 9 a.m.–4:30 p.m. Case Western Reserve University, Harkness Chapel Cost: $175 (includes lunch) Amateur adult musicians who want to refine their skills in Chamber Music can join us for an opportunity to perform and work with a star-studded faculty of chamber music professionals and recording artists.

Register today at or call 216.368.2090 to start your conversation!

Yefim Bronfman Russian-American pianist Yefim Bronfman is regarded as one of the most talented piano virtuosos performing today. His commanding technique and exceptional lyrical gifts have won him consistent acclaim and enthusiastic audiences worldwide. Mr. Bronfman made his Cleveland Orchestra debut in April 1986, and performed here most recently in January 2014. Yefim Bronfman was born in 1958 in Tashkent, in the Soviet Union. After moving to Israel with his family in 1973, he worked with Arie Vardi at Tel Aviv University. Following his family’s relocation to the United States in 1976, he studied at the Curtis Institute, Juilliard School, and Marlboro, with Rudolf Firkusny, Leon Fleisher, and Rudolf Serkin. Mr. Bronfman made his international debut in 1975 with the Montreal Symphony, and his New York Philharmonic debut in 1978. In 1991, he returned to Russia for the first time since emigrating, to perform a series of joint recitals with Isaac Stern. That same year, Mr. Bronfman was awarded the Avery Fisher Prize. Last season, Yefim Bronfman served as artist-in-residence with the New York Philharmonic, including a complete Beethoven concerto cycle to close the season in June 2014. As a guest artist, he appears regularly with the world’s most esteemed ensembles, from North America’s major orchestras to those of Amsterdam, Berlin, Dresden, Israel, London, Paris, Vienna, and Zurich, among others. He is a frequent guest at international summer festivals, and has served as artist-in-residence with Carnegie Hall and the Los Angeles Philharmonic, and as artiste étoile in Switzerland. A devoted chamber musician, Mr. Bronfman has collaborated with the Cleveland, Emerson, Guarneri, and Juilliard quartets, as well as the Chamber Music Society of Lincoln Center. He has also performed with Emanuel Ax, Joshua Bell, Lynn Harrell, Magdalena Kožená, Yo-Yo Ma, Shlomo Mintz, Jean-Pierre Rampal, Pinchas Zukerman, and many other artists, and presents solo recitals throughout Asia, Europe, and North America. This season he returns to Japan, China, and Australia for recitals and orchestral concerts with London’s Philharmonia Orchestra, and also joins Anne-Sophie Mutter and Lynn Harrell for a United States tour. Mr. Bronfman’s recordings are highly praised — his album of Bartók’s three piano concertos won a 1997 Grammy Award, and his album featuring Esa-Pekka Salonen’s piano concerto received a Grammy nomination. His discography also includes the complete Prokofiev piano sonatas and concertos, Beethoven’s five piano concertos and triple concerto, Tchaikovsky’s Piano Concerto No. 1, and sonatas by Bartók, Brahms, and Mozart recorded with Isaac Stern. For more information, visit

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Variations on a Theme by Haydn, Opus 56a [a.k.a. Variations on the St. Anthony Chorale] composed 1873 C O N F U S I O N W I L L A L W AY S E X I S T



BRAHMS born May 7, 1833 Hamburg died April 3, 1897 Vienna

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over the title of this work, because the theme on which Brahms’s variations are based was thought at the time they were composed to be by Haydn — but later discovered not to be. It came from a set of six Divertimentos for wind instruments and was known to Brahms through the scholar Carl Ferdinand Pohl, archivist to the Gesellschaft der Musikfreunde in Vienna (of which Brahms was then artistic director). At the time, Pohl had almost completed his biography of Haydn, the first major study of that composer’s life. Unfortunately, like so many works attributed by dishonest publishers to Haydn because of his great celebrity, these pieces were almost certainly not by him, although neither Pohl nor Brahms were to know it at the time. For convenience the alternative title is Variations on the St. Anthony Chorale, since the tune also carries that name, probably derived from an old pilgrims’ song. The music was composed at a particularly fruitful period in Brahms’s career. After a series of choral works, he was turning more to songs and chamber music. It was some time since he had written anything for orchestra, for which, because his fame was now well established, there was a ready demand all over Germany. The two early Serenades and the First Piano Concerto were thirteen years in the past when, in the summer of 1873, Brahms took his summer holiday in Tutzing, near Munich. There he composed two string quartets, both of which satisfied him sufficiently to be passed for publication, all previous string quartets having fallen victim to his merciless self-criticism (and destruction). Then, instead of completing his First Symphony, which was long overdue and had been on his desk for many years, he composed the Haydn Variations, using a small standard orchestra without trombones. This work was written in two forms: for orchestra, and for two pianos, for Brahms was always inclined to arrange his chamber music for two pianos and liked to play them in this form. Clara Schumann, on seeing the two-piano version, declared at once that the work was “quite wonderful.” The opening statement of the theme is scored for winds, About the Music


At a Glance Brahms wrote his “Haydn Variations” in 1873, creating two versions, one for two pianos (Opus 56b) and one for orchestra (Opus 56a). The first performance of the orchestral version was given by the Vienna Philharmonic under Brahms’s direction on November 2, 1873. The United States premiere took place five months later, on April 11, 1874, with Theodore Thomas leading the New York Philharmonic. This work runs just under 20 minutes in performance. Brahms scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons and contrabassoon, 4 horns, 2 trumpets, timpani, triangle, and strings. The Cleveland Orchestra first performed Brahms’s Variations on a Theme by Haydn in October 1922 under founding music director Nikolai Sokoloff’s direction. It has been presented with some frequency since that time, most recently at a Blossom concert in July 2002, when Yefim Bronfman and Jahja Ling played the version for two pianos during the concert’s first half, followed by Ling’s conducting the orchestral version after intermission. Franz Welser-Möst had led performances at Severance Hall the previous autumn.


as a reflection of the form in which Brahms encountered it, its two halves each repeated. The fact that the initial phrases occupy five bars, rather than the usual four, must have appealed to Brahms, who liked certain kinds of musical irregularity. There follow eight variations, each of which reflect the bipartite form of the theme, and then a free finale built on a repeating bass (thus it takes the form of a passacaglia, though Brahms did not label it as such). Throughout the work, the melodic shape of the theme and its harmonic structure are never entirely out of sight, while Brahms finds ingenious ways to make something new out of each variation. The first three preserve the key and the shape of the original. The fourth slows the tempo and moves to minor, and he creates an equal balance by exchanging high for low every time a repeat is due. The fift h variation is a speedy scherzo, and the sixth sets the horns loose, suggesting music of the chase. Of the beautiful seventh variation, a siciliana marked Grazioso, the composer George Dyson once said: “If they don’t play that in heaven, I won’t go.” Beneath its serenely elegant exterior, this variation displays masterly ingenuity in combining and inverting themes. The eighth variation inhabits a mysterious world of whispers and hasty exchanges, again in the minor key, so that the Finale, stepping firmly forward with its five-bar bass figure, can build a series of ten-bar groupings, each resembling a new variation. These culminate in a grand conclusion, with the original theme returning in full orchestral colors. —Hugh Macdonald © 2015

About the Music

The Cleveland Orchestra

Brahms in 1889, from a series of photographs by C. Brasch

It is not in fact so hard to compose. But what is fabulously difficult is to leave the superfluous notes under the table. —Johannes Brahms


Tragic Overture, Opus 81 composed 1880



BRAHMS born May 7, 1833 Hamburg died April 3, 1897 Vienna

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B R A H M S never attended a university, but in the summer of 1853, when he was twenty, he spent a month with his new friend Joseph Joachim, who was enrolled at the University of Göttingen for the summer session. They joined a club known as the Saxonia Corps, which met every Tuesday and Saturday at a local bar. Here they sat in a cramped room drinking beer, smoking cigars and pipes, and singing jolly German student songs like “Mein Lebenslauf ist Lieb’ und Lust” [“My Character is Love and Joy”] and “Ach, du liebe Augustin” [“Oh, Your Dear Augustin”]. Brahms and Joachim would perform their party trick, the “foxride,” galumphing noisily around a table astride a chair. In 1879, twenty-six years later, a now world-famous Brahms received an honorary doctorate from the University of Breslau (now Wrocław in Poland). The director of music at the University was Bernhard Scholz. The three of them had signed the famous manifesto in 1860 in protest against the view that the New German School (i.e. the musical ideas and evolving tonalities of Richard Wagner) represented the leadership of German music. In the long run, the protest probably did more harm than good, since Brahms normally preferred to stand aloof from partisan debates of this kind. Scholz asked Brahms to compose a “doctoral symphony” as a thank you to the university for the doctorate, adding “we expect a Festal Ode at the very least.” Working during his summer vacation, as he always liked to do, at Bad Ischl, a popular Austrian spa, Brahms instead offered Scholz an overture. And, in fact, he wrote two overtures, one after the other, neatly balanced in character and effect. The two were performed for the first time in December 1880 in Vienna (Tragic) and January 1881 (Academic Festival), in Breslau in the marvelously ornate baroque university hall, the Aula Leopoldina, which still stands in the city of Wrocław. “One is full of tears, the other full of laughter,” wrote Brahms. The Tragic Overture is not a gloomy work, but it clearly carries the weighty burden of tragedy in its minor key and somber themes — and great warmth too. The variety of material is remarkable, even including an episode where the tempo slows down and the oboes perform a stately old-fashioned dance, soon treated to discussion as if it were a point of obscure philosophical deAbout the Music


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bate. Brahms was always at his best when displaying a serious frown, as so often in his symphonies and chamber music. [On the other hand, the Academic Festival Overture is wonderful precisely because it shows the composer in a genuinely smiling mood, rare in his instrumental music (though often found in his songs). He called it his “Janissary� overture because of the percussion (thought to be of Turkish origin) he so rarely used elsewhere, but which here gives a truly popular flavor to the hearty songs, especially the noisy “Gaudeamus igitur� at the end. He also calls for a contrabassoon so that the bassoons can form a clownish trio as if the whole thing is to be taken with a nudge and a wink. If the mood of the Academic Festival Overture is light-hearted, its workmanship, as always with Brahms, is exemplary, which is only fitting for a work with the word “academic� in its title.] —Hugh Macdonald Š 2015 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. His latest book, on Bizet, was published at the end of 2014.


At a Glance Brahms wrote his Tragic Overture in 1880. It was first performed in Vienna on December 26 of that year, with Hans Richter conducting the Vienna Philharmonic Orchestra. This overture runs about 10 minutes in performance. Brahms scored it for piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, and strings. The Cleveland Orchestra first played the Tragic Overture during its third season (1920-21) under Nikolai Sokoloff, and has presented it regularly since that time. The Orchestra most recently performed it at Severance Hall in January 2014, and on tour across Europe in September 2014, conducted by Franz Welser-MĂśst.

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About the Music



Paul Jacobs American organist Paul Jacobs has garnered strong praise from audiences and critics alike for his technical skills and the depth of his musical performances. He is making his Severance Hall debut with this weekend’s concerts. At the age of 15, Paul Jacobs was appointed head organist of a parish of 3,500 in his hometown of Washington, Pennsylvania. He later studied at the Curtis Institute of Music, double-majoring in organ with John Weaver and on the harpsichord with Lionel Party, and studying at Yale University with Thomas Murray. He made musical history at the age of 23 when he played J. S. Bach’s complete organ works in an 18-hour marathon performance on the 250th anniversary of the composer’s death. He has also performed the complete organ works of Olivier Messiaen, and recently reached the milestone of having performed in each of the 50 United States. Recent and upcoming performances include appearances at the Juilliard School, and with the orchestras of Chicago, Cincinnati, Kansas City, Philadelphia, Phoenix, San Francisco, and Washington D.C., as well as with Miami’s New World Symphony. In recital, he has performed on major instruments in the United Kingdom, and in Atlanta, Dallas, San Francisco, and Washington D.C., as well as at the Lucerne Festival and Oregon Bach Festival.         Paul Jacobs’s album of Messiaen’s Livre du Saint Sacrement for Naxos received the 2010 Best Solo Instrumental Grammy of the Year. For the San Francisco Symphony Orchestra’s label, he has recorded Lou Harrison’s Organ Concerto with Percussion and Copland’s Organ Symphony.         One year after joining the Juilliard School’s faculty in 2003, Mr. Jacobs was named chair of the organ department. He was awarded Juilliard’s William Schuman Scholar’s Chair in 2007.         In addition to his concert appearances and teaching, Paul Jacobs has appeared on American Public Media’s Pipedreams, Performance Today, and Saint Paul Sunday, as well as NPR’s Morning Edition. His 2011 recital for NPR’s Tiny Desk Concerts remains available for viewing through NPR’s website.  For more information, visit



The Cleveland Orchestra


Brahms & Bach: Selected Works for Solo Organ Prelude and Fugue in G minor, WoO.10 composed 1856-57 by JOHANNES BRAHMS

from Eleven Chorale Preludes, Opus 122 composed 1897 by JOHANNES BRAHMS No. 6: O wie selig seid ihr doch, ihr Frommen No. 8: Es ist ein Ros’ entspringen

Prelude and Fugue in A minor, BWV543 by JOHANN SEBASTIAN BACH



BRAHMS 1833-1897


Johann Sebastian



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A F T E R R O B E R T S C H U M A N N ’ S confinement to an asylum in Bonn in February 1854, Clara, who had been advised by the doctors not to visit her husband, remained in Düsseldorf with her children. Brahms was enjoying the sudden celebrity caused by Schumann’s extravagant appraisal of the young composer in the Neue Zeitschrift für Musik [“New Journal of Music”] the previous October — and he felt an undying gratitude for that generous act, on top of the great affection he had developed for both Robert and Clara during the month he spent with them in Düsseldorf. Brahms spent much of the following two years in Düsseldorf to be near Clara, and it was during this time that he played the organ a good deal and also intensified his studies in counterpoint. These occupations naturally turned his mind to the music of Bach, for whom he felt an instinctive devotion. (Later on, Brahms famously served on the editorial board for the first complete edition of all of Bach’s works.) Some smaller organ pieces survive from this phase of Brahms’s life, including two Preludes and Fugues written especially for Clara. Normally Brahms destroyed works that he did not consider worthy of publication, but these pieces survived in Clara’s possession and were published in 1927, thirty years after Brahms’s death. The second of the two, the Prelude and Fugue in G minor being performed at this weekend’s concerts, is clearly indebted to Bach in the improvisatory character of the Prelude. The Fugue also adopts a Bachian subject, well designed for the organ pedals, with a rest before each phrase, and it displays an earnest respect for the rules of fugue as understood in Brahms’s time. This is a lovely piece to hear and contemplate — and to realize the sad fact that Brahms would probably have destroyed this About the Music


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 Dennis W. LaBarre, President, Musical Arts Association Richard J. Bogomolny, MAA Chairman and Fundraising Chair Nancy W. McCann, Fundraising Vice Chair Alexander M. Cutler, Special Fundraising John C. Morley, Legacy Giving Hewitt B. Shaw, Annual Fund

In anticipation of The Cleveland Orchestra’s 100th anniversary in 2018, we have embarked on the most ambitious fundraising campaign in our history. The Sound for the Centennial Campaign seeks to build the Orchestra’s Endowment through cash gifts and THE legacy commitments, while also securing broad-based and increasing annual support CLEVELAND ORCHESTRA from across Northeast Ohio. The generous individuals and organizations listed on these pages have made long-term commitments of annual support, endowment funds, and legacy declarations to the Campaign. 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. Listing as of January 20, 2015. GIFTS OF $5 MILLION AND MORE

The Cleveland Foundation Cuyahoga County residents through Cuyahoga Arts and Culture Mr. and Mrs. Alexander M. Cutler

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Sally S.* and John C. Morley John P. Murphy Foundation David and Inez Myers Foundation The Eric & Jane Nord Family Fund Ohio Arts Council The Honorable and Mrs. John Doyle Ong The Payne Fund PNC Bank Julia and Larry Pollock Mrs. Alfred M. Rankin, Sr. Mr. and Mrs. Alfred M. Rankin, Jr. James and Donna Reid Barbara S. Robinson The Leighton A. Rosenthal Family Foundation 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)

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Gay Cull Addicott Darby and Jack Ashelman Claudia Bjerre Jeanette Grasselli Brown and Glenn R. Brown Robert and Jean* Conrad GAR Foundation Richard and Ann Gridley The Louise H. and David S. Ingalls Foundation Martha Holden Jennings Foundation Mr. and Mrs. Douglas A. Kern James and Gay* Kitson

Virginia M. and Jon A. Lindseth Ms. Nancy W. McCann Nordson Corporation Foundation Charles and Ilana Horowitz Ratner Sally and Larry Sears Mr. and Mrs. Richard K. Smucker Squire Patton Boggs (US) LLP Thompson Hine LLP Anonymous (2)

GIFTS OF $250,000 TO $500,000

Randall and Virginia Barbato John P. Bergren* and Sarah S. Evans The William Bingham Foundation Mr. and Mrs.* Harvey Buchanan Cliffs Natural Resources The George W. Codrington Charitable Foundation Mr. and Mrs. Matthew V. Crawford William and Anna Jean Cushwa Nancy and Richard Dotson Patricia Esposito Sidney E. Frank Foundation Albert I. and Norma C. Geller The Gerhard Foundation Mary Jane Hartwell David and Nancy Hooker Mrs. Marguerite B. Humphrey James D. Ireland III* Trevor and Jennie Jones Myra Tuteur Kahn Memorial Fund of The Cleveland Foundation

Mr. Clarence E. Klaus, Jr. Giuliana C. and John D. Koch Dr. Vilma L. Kohn* Mrs. Emma S. Lincoln 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 National Endowment for the Arts William J. and Katherine T. O’Neill Parker Hannifin Corporation Mr. and Mrs. James A. Saks Hewitt and Paula Shaw The Skirball Foundation R. Thomas and Meg Harris Stanton Mr. and Mrs. Jules Vinney* David A. and Barbara Wolfort

GIFTS OF $100,000 TO $250,000

The Abington Foundation Mr. and Mrs. George N. Aronoff Jack L. Barnhart Fred G. and Mary W. Behm Ben and Ingrid Bowman Dr. Christopher P. Brandt and Dr. Beth Sersig Helen C. Cole Charitable Trust The Mary S. and David C. Corbin Foundation Mary Kay DeGrandis and Edward J. Donnelly Judith and George W. Diehl George* and Becky Dunn Mr. Allen H. Ford Dr. and Mrs. Hiroyuki Fujita Dr. Saul Genuth The Giant Eagle Foundation JoAnn and Robert Glick Hahn Loeser & Parks LLP Iris and Tom Harvie Jeff and Julia Healy Mr. Daniel R. High Mr. and Mrs. Donald M. Jack, Jr. Mr. and Mrs.* S. Lee Kohrman

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* deceased

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London, Madrid, Lisbon, Bordeaux, New York, Toronto, Los Angeles… and this summer, the BBC Proms. APOLLO’S FIRE plays to sold-out houses around the world. But what we love most is “touring” the neighborhoods of Northeast Ohio.

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work if he had kept possession of it himself. (For those wondering what “WoO.10” means in the listing of this work, it is the 10th work “without opus number” in the standard catalog of Brahms’s musical works, assembled after the composer’s death.) A S F A R A S W E K N O W , Brahms composed no organ music between the miscellaneous pieces from 1856-57 and the eleven Chorale Preludes of 1896, the very last works he created. In May of that year, Clara Schumann died in Bonn. Brahms could not bear to miss her funeral, so he hastened from Vienna to Bonn, despite his own poor health and perhaps making it worse by taking a wrong train and arriving too late for the ceremony. On his return he composed these eleven pieces, probably intending a set of twelve. The eleventh (and last that he completed) is significantly based on the chorale “O Welt, ich muss dich lassen” [“O world, I have to leave you.”] No. 6: “O wie selig seid ihr doch” [“Oh, how blessed are the righteous”] takes a chorale melody by Johann Crüger from 1649, and presents the hymn tune almost unadorned, with a flowing harmonic accompaniment underneath. No. 8: “Es ist ein Ros’ entsprungen” [best known in English as “Lo, how a rose e’er blooming”] is an anonymous tune from the 16th century, still familiar today in various arrangements as a Christmas carol. Brahms treats this one with a little more elaboration and quite a lot of chromatics in the inner parts. The time had passed when the composer had the strength to develop these short pieces into grander compositions, as he might have done in earlier years. ALMOST ALL OF

Bach’s organ works date from his earliest employments, at Arnstadt, Mühlhausen, and Weimar — when he was between the ages of eighteen and thirty-two. They are a young man’s music, and, in many respects, especially in their exuberant virtuosity, they show it. The great choral music — the cantatas and passions — belongs to his long tenure at St. Thomas’s in Leipzig after 1723, from his late thirties onward, when he played the organ constantly but had little need to supply fresh organ music. Throughout his career Bach was regarded as the leading expert in central Germany on the structure and design of organs, and he was often called in to advise church authorities Severance Hall 2014-15

About the Music

While in Düsseldorf in the mid-1850s, Brahms played the organ a good deal and also intensified his studies in counterpoint. These occupations naturally turned his mind to the music of Bach, for whom he felt an instinctive devotion. (Brahms later served on the editorial board for the first complete edition of all of Bach’s works.)


Bach was among the foremost organists of the 18th century.

on the building of new organs or to evaluate the condition of old ones. As a player too, his reputation stood exceedingly high, for he had mastered the complicated instrument with stops, pedalboard and two or more manuals requiring exceptional hand-eye-foot control and coordination. In Weimar, between 1708 and 1717, Bach had two organs at his disposal, one in the city church and one in the ducal chapel, which was designed in such a way that the organ and organist were placed in the ceiling, three floors above the altar. Pieces like as his Prelude and Fugue in A minor had no set liturgical purpose, but could be played before or after church services, or in recitals, much as they are in churches (and concert halls) today. Bach inherited the basic conjoining of Prelude with Fugue from his north German predecessors, but enlarged the scope and dynamism of the form to an extraordinary degree. Virtuoso passages for hands or feet are common, and the elaboration of fugal technique was far greater than anything heard before. For many listeners, the Prelude serves as a warm-up for the Fugue. In this case, with the Prelude setting out a weighty exchange between manual and pedals. The first pedal entry, on a low E, lies in wait, as it were, for its chance to intervene and sustain the adventurous free writing that such Preludes allow. In contrast, the Fugue is a stricter structure, in four voices, entering in descending order of pitch, pedals last. The subject is long and elaborate, containing a pedal-friendly (with feet alternating) descending sequence. For a long stretch in the middle, the pedals are silent and the fugal subject is almost forgotten. But it returns in full force and in all voices, leading to a coda flourish and the final firm chords. —Hugh Macdonald © 2015

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About the Music

The Cleveland Orchestra

Music is an agreeable harmony for the honor of God and the permissible delights of the soul. —Johann Sebastian Bach

About the Music

Norton Memorial Organ Specification of the E.M. Skinner Pipe Organ, Opus 816, at Severance Hall Great Organ

Organ Layout

6” Wind Pressure

16’ 8’ 8’ 8’ 8’ 8’ 8’ 8’ 5-1/3’ 4’ 4’ 2-2/3’ 2’

16’ 8’ 4’

Double Diapason First Diapason Second Diapason Third Diapason [enclosed in Choir] Harmonic Flute Gedeckt [enclosed in Choir] Viola [enclosed in Choir] Erzähler Quinte Octave Flute [enclosed in Choir] Twelfth Fifteenth Chorus Mixture VII (15-19-22-26-29-33-36) Harmonics IV (17-19-flat21-22) Trumpet 10” Wind Tromba 10”Wind Clarion 10”Wind Chimes Solo High Pressure Reeds

61 pipes 61 pipes 61 pipes 61 pipes 61 pipes 61 pipes 61 pipes 61 pipes 61 pipes 61 pipes 61 pipes 61 pipes 61 pipes 427 pipes 244 pipes 61 pipes 61 pipes 61 pipes (Solo)

1-1/3’ Larigot Carillon III (12-17-22) 16’ Fagotto 8’ 8’ 8’


Swell Organ

Orchestral Trumpet Orchestral Oboe Clarinet Tremolo Harp 10” Wind Celesta

16’ 8’ 8’ 8’ 4’ 8’

Melodia Diapason Rohrflöte Flauto Dolce Flute Celeste [TC] Salicional Voix Celeste Echo Gamba Echo Gamba Celeste Octave Flute Triangulaire Flautino Mixture V (15-19-22-26-29) Cornet V (12-15-17-19-22) Waldhorn 10” Wind Trumpet 10”Wind French Trumpet Oboe d’Amore Clarion 10”Wind Vox Humana Tremolo Harp Celesta

73 pipes 73 pipes 73 pipes 73 pipes 61 pipes 73 pipes 73 pipes 73 pipes 73 pipes 73 pipes 73 pipes 61 pipes 305 pipes 305 pipes 73 pipes 73 pipes 73 pipes 73 pipes 73 pipes 73 pipes (Choir) (Choir)

Choir Organ 6” Wind Pressure

16’ 8’ 8’ 8’ 8’ 8’ 4’ 4’ 4’ 2-2/3’ 2’ 1-3/5’


Gamba Geigen Concert Flute Dulciana Gamba Dulcet II Octave Flute Gambette Nazard Piccolo Tierce

73 pipes 73 pipes 73 pipes 73 pipes 73 pipes 146 pipes 73 pipes 73 pipes 73 pipes 61 pipes 61 pipes 61 pipes

73 pipes 61 pipes 73 pipes 61 bars (ext.)

Solo Organ

6” Wind Pressure

16’ 8’ 8’ 8’ 8’ 8’ 8’ 8’ 8’ 4’ 4’ 2’

61 pipes 183 pipes 73 pipes

10” Wind Pressure

8’ 8’ 8’ 4’ 16’ 8’ 8’ 8’ 8’ 4’

Flauto Mirabilis Gamba Gamba Celeste Orchestral Flute Corno di Bassetto Tuba Mirabilis 20” Wind French Horn 20”Wind Corno di Bassetto English Horn Tuba Clarion 20”Wind Tremolo Chimes

73 pipes 73 pipes 73 pipes 73 pipes 85 pipes 73 pipes 73 pipes (ext.) 73 pipes 73 pipes 25 bells

Pedal Organ 6” Wind Pressure

32’ 16’ 16’ 16’ 16’ 16’ 16’ 16’ 8’ 8’ 8’ 8’ 4’ 32’ 32’ 16’ 16’ 16’ 8’

Major Bass 56 pipes Diapason 32 pipes Contra Bass 56 pipes Diapason (Great) Bourdon (ext. Major Bass) Melodia (Swell) Dulciana 32 pipes Gamba (Choir) Octave (ext. Contra Bass) Gedeckt (ext. Major Bass) Cello (Choir 16’ Gamba) Still Gedeckt (Swell 16’ Melodia) Super Octave (ext. Contra Bass) 128 pipes Mixture IV (10-12-flat14-15) 5” Wind Bombarde 20”Wind 56 pipes 12 pipes Fagotto 1-12 on 10”Wind (ext. Bombarde) Trombone 15”Wind Waldhorn (Swell) Fagotto (Choir) Tromba (ext. Bombarde) Chimes

Norton Memorial Organ

The Cleveland Orchestra

Norton Memorial Organ The Norton Memorial Organ at Severance Hall is considered among the finest concert hall organs ever built. Designed specifically for symphonic use and specifically for Severance Hall, the Norton Memorial Organ was created by the renowned organ builder Ernest M. Skinner in Boston in 1930, and then installed just before the hall’s opening in February 1931. The organ is named in memory of Mr. and Mrs. David Z. Norton, recognizing a contribution from their children — Miriam Norton White, Robert Castle Norton, and Laurence Harper Norton — to build the organ. David Norton and his wife had served on the board of trustees of The Cleveland Orchestra and Mr. Norton was the first president of the Orchestra’s non-profit governing corporation. Originally located high above the stage, the organ was removed and restored by the Schantz Organ Company of Ohio during the renovation and restoration of Severance Hall (1998-2000). Thanks to the generosity of hundreds of musiclovers from across Northeast Ohio who donated specifically toward the organ’s restoration and future upkeep, the instrument was reinstalled in its new location surrounding the stage and then rededicated in January 2001. The 94-rank Norton Memorial Organ has 6,025 pipes, made of lead and tin alloy, zinc, or wood. The largest pipe, made of wood, is 32 feet in length, and the smallest, made of metal, is approximately seven inches in length. To learn more about supporting the longterm maintenance and upkeep of Severance Hall’s Norton Memorial Organ, please contact Bridget Mundy, Legacy Giving Officer, at 216-231-8006. Severance Hall 2014-15

Norton Memorial Organ


Justice. Kindness. Jewish peoplehood. Let it live on.

Create Your Jewish Legacy. For a conďŹ dential conversation about including the Jewish Federation in your estate plan, please contact Carol Wolf at 216.593.2805 or e-mail We look forward to hearing from you.


Piano Concerto No. 1 in D minor, Opus 15 composed 1854-58



BRAHMS born May 7, 1833 Hamburg died April 3, 1897 Vienna

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T H E S T O R Y H A S B E E N T O L D for going on two centuries, and its significance is unavoidable. In September 1853, a twentyyear-old music student from Hamburg knocked on the door of Robert and Clara Schumann’s home in Düsseldorf. Johannes Brahms felt shy, nervous, and tired from a long journey. His new friend, the celebrated violinist Joseph Joachim, had insisted he must introduce himself to the Schumanns and play them his music. Robert was a composer of then ambiguous reputation, but a well-known music critic; Clara had been since her teens one of the most celebrated pianists alive. Brahms played the couple a few of his pieces. When he left, Schumann wrote in his journal, “Visit from Brahms (a genius).” The next few months transformed Brahms’s life. One of the fruits of that wonderful and terrible period was the First Piano Concerto. Soon after the Schumanns met and virtually adopted Brahms, Robert wrote an article called “New Paths” in which he declared this young man not only a genius but the coming savior of German music. The subtext of the article was that what Brahms was expected to save music from was the depredations, as Schumann saw it, of Wagner and Liszt. Their “Music of the Future” movement turned away from the formal models of Haydn, Mozart, and Beethoven and replaced them with work based on stories, literature, and the like. Brahms, said Schumann, is “a real Beethovener,” true to traditional forms and values. From Robert’s article many things flowed. Suddenly the whole of musical Europe knew the name Brahms. But Brahms understood all too well what Schumann had unintentionally done — thrown him up on a pedestal before he had proved himself, laid the salvation of Western music on his shoulders, and supplied him at the beginning of his public career with an army of enemies (the devotees of Wagner and Liszt). As Brahms was trying to cope with that dilemma, he received news of something far worse: Robert Schumann had jumped off a bridge into the Rhine in a suicide attempt. Robert was pulled out of the river, but at his own request was placed in an asylum, where he died three years later. In that period, the most tumultuous of Brahms’s life, he and Clara fell in love (more or less unspoken), and he began to try and cope with the About the Music


Kulas Series of Keyboard Conversations® with Jeffrey Siegel 27th Season 2014-2015 Presented by Cleveland State University’s Center for Arts and Innovation

Masterly Enthralling Charming Scintillating “An afternoon of entertaining talk and exhilarating music.” – The Washington Post

Sunday, October 19, 2014 Passionate Classicists — Schubert and Brahms

Sunday, November 16, 2014 Torment and Triumph — Music of Franz Liszt

Sunday, March 15, 2015

Three Great “Bs” — Bach, Beethoven and Bartók

Sunday, May 3, 2015

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All concerts begin at 3:00 pm in Cleveland State University’s Waetjen Auditorium, Euclid Ave. and E. 21st St. For more information call 216.687.5022 or visit

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burden Robert had laid on him. It took him years to get back on his feet creatively. It was during those years that he painfully and painstakingly composed the First Piano Concerto. The piece appears to have begun with the nightmare of Robert’s collapse. Within a week of Robert’s suicide attempt, Brahms had drafted three movements of a two-piano sonata in D minor. In the next months, the sonata turned into a draft of a symphony. In doing this, he was following his mentor’s lead — in “New Paths,” Robert had declared that Brahms must start right out composing symphonies and other large works. But the symphony refused to take wing. Finally Brahms began over again with just the first movement, refashioning it as a piano concerto — an idea that came to him in a dream. The movement was his first piece for orchestra and by far the most ambitious thing he had attempted. Immediately he found himself in over his head, struggling with writing for orchestra and managing a gigantic, complex form. Yet he kept pounding away at the piece. After nearly five excruciating years of struggling with this material, he finished the three movements of the D-minor concerto, Opus 15, in spring 1858. Why did he refuse to let go of the piece, for all it cost him? The best explanation is that he simply knew the first movement was too good to give up, but it could not stand on its own. It needed the rest of a concerto for balance and resolution. THE MUSIC

What Brahms created remains one of the longest, most powerful, most formidable of all concertos. It begins on a note of high drama, an ominous low D in basses and snarling horns, with chains of trills above — not delicate Mozartean trills, but wild chromatic shiverings. That opening was the most turbulent in the repertoire to that time, with an expressive urgency that Brahms rarely attempted again and never surpassed. Surely the impetus for this work came from Brahms’s youthful turmoil. If the vertiginous opening is applied to the image of a desperate man leaping into the water, they are almost cinematically apt. After the searing opening pages, the monumental first movement unfolds in an atmosphere of high drama, not in programmatic but in abstract terms. This is a version of the usual concerto first-movement form: exposition, development, recapitulation, and coda. Also like most concertos in those days, Brahms created it as a vehicle for himself as virtuoso. There are Severance Hall 2014-15

About the Music

What Brahms created remains one of the longest, most powerful, most formidable of all concertos. It begins on a note of high drama, an ominous low D in basses and snarling horns, with chains of trills above — not delicate Mozartean trills, but wild chromatic shiverings.


Good Friday Concert Friday, April 3, 2015 | 7:30 p.m. THE PASSION ACCORDING TO ST. JOHN by Johann Sebastian Bach Freewill offering Trinity Cathedral Choir and the Trinity Consort Todd Wilson, conductor “The John Passion holds our attention from beginning to end — its music stirring, disturbing, exultant and profoundly moving.” —John Eliot Gardiner, Bach: Music in the Castle of Heaven

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some half-dozen themes, from fervent to lyrical and rhapsodic. In this approach, Brahms followed Mozart, whose mature concertos sprout multiple themes (though not ones as kaleidoscopic as these), some of them introduced and owned by the soloist. Here it is as if the piano has to portray all the contending characters in a drama. The keyboard writing has the massive, two-fisted style to which Brahms returned in his Second Piano Concerto. This remains one of the longest of concerto movements, and physically and mentally one of the most demanding on the soloist. Brahms told Clara Schumann that the gentle and hymnlike slow movement was “a tender portrait” of her. That is the best description of the music, much of which is unforgettably beautiful. Here, pictured in sound, is the Clara the young Brahms fell in love with — and never stopped loving, even though he remained a bachelor to the end. Built in simple A-B-A form (this and the finale have solo cadenzas), the second movement perhaps cost him less trouble than the first. Then he had to contend with the last movement, often the most difficult challenge in any large work, especially one with a massive and searing first movement. After that kind of opening, what can one do in the finale? Brahms decided on a traditional conclusion — a racing, rhythmically dynamic rondo outlined as A-B-A-C-A-B-A. The last movements of Classical concertos were traditionally light and lively rather than ponderous. Desperate to get the piece done, Brahms cribbed from the finale of Beethoven’s Concerto (No. 3) in C minor. “The two finales,” Charles Rosen wrote, “may be described and analyzed to a great extent as if they were the same piece.” The sound is Brahms, though, not Beethoven. The tone is a non-tragic D minor — youthful high spirits with a driving, demonic, Hungarian/gypsy cast (those terms for the style were interchangeable). Whether in the end the finale resolves the questions the first movement raises is a subject of long debate, but there is no question that it is brilliant and vivacious — and that for Brahms it got the gorilla off his back.

Brahms playing the piano, in a sketch from 1896 by his friend Willy von Beckerath.


The first performance, with Brahms at the piano, was received politely but with quiet perplexity in Hanover. In its dark tone, its Severance Hall 2014-15

About the Music


At a Glance Brahms began composing music that would eventually become part of his first piano concerto in 1854; he completed the score in its final form in 1858. The first performance took place on January 22, 1859, in Hanover; Joseph Joachim conducted, Brahms was the soloist. This concerto runs about 45 minutes in performance. Brahms scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, timpani, and strings, plus solo piano. The Cleveland Orchestra first performed Brahms’s First Piano Concerto at a pair of subscription concerts in April 1927, with Music Director Nikolai Sokoloff conducting and Harold Bauer as the soloist. It has been programmed with some regularity since that time, featuring some of the greatest pianists of each decade, including Beryl Rubinstein, Rudolf Serkin, Leon Fleisher, Maurizio Pollini, Alfred Brendel, Daniel Barenboim, Vladimir Ashkenazy, and Stephen Hough. It was played most recently in early 2012, with Yefim Bronfman as soloist under the direction of Franz Welser-Möst.

symphonic style and epic scale, this was a new kind of concerto. Then came the disastrous second performance in conservative Leipzig. At the end there, Brahms heard three hands brought together, followed by a wave of hisses. In a letter to Joseph Joachim he lightheartedly reported his “brilliant and decisive—failure.” He continued, “I believe this is the best thing that could happen to one; it forces one to concentrate one’s thoughts and increases one’s courage. After all, I’m only experimenting and feeling my way as yet. But the hissing was too much of a good thing, wasn’t it?” And there you have Brahms’s sense of humor, often most acute when he was speaking of the things that hurt him most. In the wake of the Leipzig fiasco he broke off an engagement — the only one he ever had — with a young singer, and began to give up his hopes of being a true composer-pianist. With his First Piano Concerto, Brahms started his orchestral career with a work of the scope and tone — and key — of the symphony that ended Beethoven’s career, the Ninth. The results were powerful and original and he knew it, but his inexperience left its mark on the piece and he knew that too. Clearly he vowed never again to take on something of that size and ambition until he knew he was ready. He would not feel ready for another eighteen years, when he finally finished the First Symphony. Nor did he ever again write quite so close to his rawest feelings. With youthful heedlessness, Brahms had launched into his first piano concerto. He never sailed blind again. But by the 1870s, he had the satisfaction of hearing this impassioned product of his youth cheered in concert halls all over Europe. —Jan Swafford © 2015 1.855.GO.STORM 66

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Piano Concerto No. 2 in B-flat major, Opus 83 composed 1878-81



BRAHMS born May 7, 1833 Hamburg died April 3, 1897 Vienna

Severance Hall 2014-15

I F O N E C O U L D C H O O S E a handful of works to exemplify why Brahms has captured listeners over the years, those works would include the four-movement Piano Concerto No. 2 in Bflat major, completed in 1881 at the height of his maturity. Here all the elements of Brahms’s art come together. There is the joining of the grandly Olympian with the intimately songful. There is the virtuoso command of large-scale musical architecture, for a composer one of the rarest gifts in the world. More subtly, in the Second Piano Concerto one finds on display the singular mysteriousness of Brahms — a music at once powerfully communicative and elusive. For soloists proposing to master this gigantic concerto, it lives up to one of Brahms’s puckish nicknames for it: “the Long Terror.” Pianists speak of the exquisite anxiety of stepping onto the stage with the Alpine steeps of the first movement in your head, wondering how you’re going to find the place in your mind and fingers to attack it. For Brahms himself, the Second Piano Concerto was probably, from its first inspiration during a sunny vacation in Italy, one of the most untroubled major efforts of his life. No composer had ever faced greater expectations, starting from the age of twenty when Robert Schumann declared the boyish and beardless student the virtual Messiah of German music. From then on, Brahms had to live with that forbidding prophecy hanging over him. But by the time of the Second Concerto, he had more or less fulfilled Schumann’s prophecy and had little left to prove — though he never rested on his laurels. One by one, he had painstakingly mastered most of the traditional genres and produced historic masterpieces in each. While never lacking in enemies, by his forties Brahms was generally understood to be the supreme concert composer of his generation. (His great rival Wagner dominated the operatic stage — which is a prime reason why Brahms, despite years of dreaming about opera, finally stayed away from the stage.) When he began the Second Piano Concerto, he already had imposing concertos for piano and violin under his belt, and he was writing for his own instrument, where he always felt most comfortable. To understand Brahms’s cheeriness concerning the Second About the Music


Piano Concerto, we have to understand what his earlier concertos had cost him. He had launched into the First Piano Concerto with youthful fervor, in the wake of the dramatic events of 1853-54 — his discovery by Robert Schumann, followed by Robert’s plunge into madness, then Brahms’s own fall into a frustrated passion for Robert’s wife Clara. Brahms pounded away at creating the First Piano Concerto for some five excruciating years, finishing it in 1858 as a flawed but remarkable work of monumental scale and singular voice. His next ambitious symphonic work was the Haydn Variations of 1873, followed three years later by the First Symphony (which had been over fifteen years in gestation). In those two works, Brahms finally found a voice with the orchestra as distinctive as every other aspect of his style. Already in the First Piano Concerto, the essential elements of the Brahmsian concerto were in place. The scale and style are symphonic as much as concerto-like, with the soloist less the heroic voice of Romantic concertos, more a participant in a symphonic dialogue. All that carried into the Violin Concerto of 1878. Meanwhile, as Brahms scholar Michael Musgrave writes, the virtually orchestral style of the keyboard writing in the Second Piano Concerto has only one precedent in the literature, and that is Brahms’s own First Piano Concerto. The formal approach of these concertos is also particular to them. In many movements of his symphonies, especially the finales, Brahms produced innovative variations on traditional formal models. One finds less of that in the concertos — where all the finales have touches of his trademark “gypsy”-style finale, which he never used in his symphonies. (After a youthful collaboration with a Hungarian violinist, Brahms created his Hungarian Dances, which for years he played for friends and at parties. When finally published, they made a sensation.) So while the concertos are unusual in their overall approach, their formal outlines are relatively conservative — more or less the traditional concerto sonata form for the first movements, rondo for the last, A-B-A for the slow movements. The B-flat concerto begins with one of the most beautiful movements of Brahms’s output, its expressive import without any of his familiar touches of tragedy or fatalism. The piano textures range from massive


About the Music

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to diaphanous, interwoven with rich orchestral textures. The piano steadily changes roles, its music moving from long unaccompanied solos to lacy filigree accompanying the orchestra. While there are towering proclamations and moments of drama, the overall tone is loft y and magisterial. The opening horncall reminds us of Brahms’s love of the outdoors, of climbing Alpine peaks. Perhaps the whole first movement can be heard as music of rocky summits and spreading forests — and in that respect, a complement to the nature idylls of the Second Symphony. Next comes the movement Brahms described to a friend as a “tiny, tiny wisp of a scherzo.” When Brahms said things like that, he was usually joking; the D-minor scherzo (the only movement to depart from B-flat major) is immense, dark-toned, and impassioned, with a touch of gypsy tone. Brahms’s only explanation for the scherzo was another joke — the opening movement was so “harmless,” he said, that he needed a strong contrast for the second. The scherzo brings to the concerto a new emotional gravitas and a relentless rhythmic drive. In fact, this scherzo was originally drafted for the Violin Concerto. He may have jettisoned it because that work needed the opposite — something lighter. The slow movement begins with one of those sighing, exquisite cello melodies that Brahms invented and owned. Here is one of the innovations of the Second Piano Concerto: a slow movement in which the first section is dominated by a solo cello; only in the middle does the piano come to the fore, spinning out languid quasi-improvisatory garlands. Now the scoring is intimate, chamber-like — another kind of contrast to the first movement. The concerto comes to rest on a rondo finale of marvelous lightness, whimsy, and dancing rhythms, again with gypsy touches, answering the monumental first two movements and the gently wandering embroidery of the third. Donald Francis Tovey caught the effect of the finale in programmatic terms: “We have done our work — let the children play in the world which our work has made safer and happier for them.” For the listener, the charm of the finale is its glittering instrumental colors and its ravishing melodies. The characteristic finale of 18th-century concertos and symphonies has been called a “last dance.” The ending of Brahms’s Second Concerto follows that old pattern, and is among the dancing-est. Brahms dedicated the Second Piano Concerto to Eduard Severance Hall 2014-15

About the Music

In the Second Piano Concerto all the elements of Brahms’s art come together. There is the joining of the grandly Olympian with the intimately songful. There is the virtuoso command of large-scale musical architecture. More subtly, here one finds on display the singular mysteriousness of Brahms — a music at once powerfully communicative and elusive.


Marxsen, his childhood piano and composition teacher in Hamburg. After the premiere in Budapest on November 9, 1881, Brahms and his pianist-conductor collaborator Hans von Bülow took the piece on the road. His old love Clara Schumann wrote in her journal: “Brahms is celebrating such triumphs everywhere as seldom fall to the lot of a composer.” To keep themselves amused, Bülow and Brahms gave programs including both piano concertos, switching off at piano and podium as the mood struck them. Despite the decline of Brahms’s once-brilliant piano skills to what Clara bemoaned as “thump, bang, and scrabble,” somehow he was always able to play or at least fake his way through his concertos, which after all are among the most beloved but also most difficult in the repertoire. —Jan Swafford © 2015 At a Glance Brahms began sketching the second of his two piano concertos in the summer of 1878 (nearly 20 years after the first). He completed the new concerto in July 1881, and played the piano part in the first performance on November 9 of the same year in Budapest; the orchestra was conducted by Sándor (Alexander) Erkel. This concerto runs about 50 minutes in performance. Brahms scored it for 2 flutes (one doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, and strings. Brahms’s Second Piano Concerto was first performed by The Cleveland Orchestra in April 1931 — shortly after the opening of Severance Hall in

February of that year; the Orchestra was led by Nikolai Sokoloff, with Harold Bauer playing the solo part. It has been programmed with some regularity since that time, featuring some of the greatest pianists of each decade, including Beryl Rubinstein, Rudolf Serkin, Leon Fleisher, Maurizio Pollini, Vladimir Ashkenazy, Horacio Gutiérrez, Emanuel Ax, and Garrick Ohlsson. It was played most recently in early 2012, with Yefim Bronfman as soloist under the direction of Franz Welser-Möst. The Cleveland Orchestra previously recorded both Brahms Piano Concertos, with George Szell and Leon Fleisher, and with Szell and Rudolf Serkin.

Previously known as Golden Age Centers of Cleveland 216.231.6500 •


About the Music

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Youth should be allowed to indulge themselves in jolly music — the serious kind comes of its own accord, though the lovesick does not. How lucky is one, who, like Mozart, goes to the tavern of an evening and writes some fresh music, for he lives while he is creating. —Johannes Brahms

THE CLEVELAND ORCHESTRA The Cleveland Orchestra applauds the generous donors listed here, who are making possible presentaƟons of arƟsƟcally

ambiƟous programming every year in Northeast Ohio.

The Andrew W. Mellon Foundation Mrs. Emma S. Lincoln George* and Becky Dunn Rachel R. Schneider Donald and Alice Noble Foundation, Inc. Judith and George W. Diehl Drs. Daniel and Ximena Sessler Blossom Women’s Committee T. K. and Faye A. Heston Ms. Beth E. Mooney Margaret Fulton-Mueller Jeanette Grasselli Brown and Glenn R. Brown James and Virginia Meil Mr. and Mrs. Stanley A. Meisel Mr. Larry J. Santon Dr. Gerard and Phyllis Seltzer Mr. and Mrs. Charles Abookire, Jr. Mr. J. William and Dr. Suzanne Palmer Dr. James and Lynne Rambasek Mr. and Mrs. Ralph Daugstrup Anonymous

Robert and Linda Jenkins Anthony T. and Patricia A. Lauria Mrs. Barbara Ann Davis Richard and Gina Klym Henry F.* and Darlene K. Woodruff Mr. Marc Stadiem Iris and Tom Harvie Ms. Nancy A. Adams Dr. M. Meredith Dobyns Jack Harley and Judy Ernest Tim and Linda Koelz Elizabeth F. McBride Patricia J. Sawvel Harry and Ilene Shapiro Ms. Frances L. Sharp Mr. and Mrs. William W. Taft

The Andrew W. Mellon Foundation has awarded The Cleveland Orchestra a grant of $2.5 million to support artistically ambitious programming such as performances of opera and ballet each season. Of the Mellon Foundation’s commitment, $1.25 million will be awarded as part of a one-to-one challenge lasting through June 2016. This means that any gift to The Cleveland Orchestra designated to support special artistic initiatives will be doubled by the Mellon Foundation. If you want to help ensure that ambitious performances of opera and ballet remain a meaningful feature of The Cleveland Orchestra’s season each year, or if you’d like more information on how to participate in the challenge grant, please contact the Orchestra’s Philanthropy & Advancement Office by calling 216-231-7558.


1. A young Brahms, in his early twenties.


2. Brahms later in life, as a grand old master of music. 3. He grew his trademark beard at age 50. 4. A sketch of Brahms as a conductor. 5. Brahms sitting at the piano. 6. With Johann Strauss Jr.

2 3 3




Severance Hall 2014-15

Johannes Brahms


The Cleveland Chapter of the American Guild of Organists welcomes two great organists back to Cleveland Paul Jacobs

Chair, Organ Department, Julliard School of Music, New York

performing with The Cleveland Orchestra, Severance Hall

Saturday, February 21 at 8:00 p.m. Sunday, February 22 at 3:00 p.m. 216-231-1111

James O’Donnell

Director of Music, Westminster Abbey, London

performing at St. Paul’s Episcopal Church. 2747 Fairmount Blvd., Cleveland Hts.

There’s a new Hospice House on the eastside

Maltz Hospice House and Palliative Care Pavilion

• On Montefiore’s Beachwood campus • Beautiful living and dining areas • Dedicated entrance and parking Call Diane Korman, our hospice director, for a visit at 216.910.2650 Hospice care also available in your home One David N. Myers Parkway, off Cedar Road

Friday, March 6 at 7:30 p.m. 216-932-5812

Visit our website to learn of other organ performances in Cleveland

Montefiore A Caring Community

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Building Audiences for the Future . . . Today! The Cleveland Orchestra is committed to developing interest in classical music among young people. To demonstrate our success, we are working to have the youngest audience of any orchestra. With the help of generous contributors, the Orchestra has expanded its discounted ticket offerings through several new programs. In recent years, student attendance has doubled, now representing 20% of those at Cleveland Orchestra concerts. Since inaugurating these programs in 2011, over 120,000 young people have participated. U N D E R 1 8 s F R E E F O R FA M I L I E S

Introduced for Blossom Music Festival concerts in 2011, our Under 18s Free program for families now includes select Cleveland Orchestra concerts at Severance Hall each season. This program offers free tickets (one per regular-priced adult paid admission) to young people ages 7-17 on the Lawn at Blossom and to the Orchestra’s Fridays@7, Friday Morning at 11, and Sunday Afternoon at 3 concerts at Severance. STUDENT TICKET PROGRAMS

In the past two seasons, The Cleveland Orchestra’s Student Advantage Members, Frequent Fan Card holders, Student Ambassadors, and special offers for student groups attending together have been responsible for bringing more high school and college age students to Severance Hall and Blossom than ever before. The Orchestra’s ongoing Student Advantage Program provides opportunities for students to attend concerts at Severance Hall and Blossom through discounted ticket offers. Membership is free to join and rewards members with discounted ticket purchases. A record 6,000 students joined in the past year. A new Student Frequent Fan Card is available in conjunction with Student Advantage membership, offering unlimited single tickets (one per Fan Card holder) all season long. All of these programs are supported by The Cleveland Orchestra’s Center for Future Audiences and the Alexander and Sarah Cutler Fund for Student Audiences. The Center for Future Audiences was created with a $20 million lead endowment gift from the Maltz Family Foundation to develop new generations of audiences for Cleveland Orchestra concerts in Northeast Ohio. Severance Hall 2014-15

Student Ticket Programs



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Dreams can come true

Cleveland Public Theatre’s STEP Education Program Photo by Steve Wagner

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

Your Investment: Strengthening Community Visit to learn more. Severance Hall 2014-15



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

Cumulative Giving

Annual Support


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



BakerHostetler Bank of America Eaton FirstEnergy Foundation Forest City Enterprises, Inc. The Goodyear Tire & Rubber Company Hyster-Yale Materials Handling NACCO Industries, Inc. Jones Day The Lubrizol Corporation / The Lubrizol Foundation Medical Mutual of Ohio Merrill Lynch Parker Hannifin Corporation The Plain Dealer PolyOne Corporation Raiffeisenlandesbank Oberösterreich (Europe) The J. M. Smucker Company UBS The John L. Severance Society recognizes the generosity of those giving $1 million or more in cumulative giving. Listing as of December 2014.

gifts of $2,500 or more during the past year, as of December 20, 2014


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

BakerHostetler Eaton FirstEnergy Foundation Forest City Enterprises, Inc. Jones Day PNC Bank Thompson Hine LLP PARTNERS IN EXCELLENCE $100,000 TO $199,999

The Cliffs Foundation Google, Inc. The Lincoln Electric Foundation Medical Mutual of Ohio Nordson Corporation and Foundation Squire Patton Boggs (US) LLP $50,000 TO $99,999

Dollar Bank Parker Hannifin Corporation Quality Electrodynamics (QED) voestalpine AG (Europe) Anonymous $25,000 TO $49,999 Charter One Greenberg Traurig (Miami) Huntington National Bank Litigation Management, Inc. Morrison, Brown, Argiz & Farra, LLC (Miami) Northern Trust Bank of Florida (Miami) Olympic Steel, Inc. Park-Ohio Holdings Corp. The Plain Dealer RPM International Inc.

Severance Hall 2014-15

Corporate Annual Support

$2,500 TO $24,999 Akron Tool & Die Company American Fireworks, Inc. American Greetings Corporation Bank of America BDI Brothers Printing Co., Inc. Brouse McDowell Eileen M. Burkhart & Co LLC Buyers Products Company Calfee, Halter & Griswold LLP Cleveland Clinic The Cleveland Wire Cloth & Mfg. Co. Cohen & Company, CPAs Consolidated Solutions Dominion Foundation Ernst & Young LLP Evarts Tremaine The Ewart-Ohlson Machine Company Feldman Gale, P.A. (Miami) Ferro Corporation FirstMerit Bank Frantz Ward LLP Gallagher Benefit Services The Giant Eagle Foundation Great Lakes Brewing Company Gross Builders Hahn Loeser & Parks LLP Jones Day (Miami) Littler Mendelson, P.C. Live Publishing Company Macy’s Marsh/AIG (Miami) Materion Corporation Miba AG (Europe) MTD Products, Inc. North Coast Container Corp. Northern Haserot Oatey Co. Ohio CAT Ohio Savings Bank, A Division of New York Community Bank Oswald Companies PolyOne Corporation The Prince & Izant Company The Sherwin-Williams Company Stern Advertising Agency Struktol Company of America Swagelok Company Sylvester Comprehensive Cancer Center (Miami) Tucker Ellis UBS University Hospitals Ver Ploeg & Lumpkin, P.A. (Miami) WCLV Foundation Westlake Reed Leskosky Margaret W. Wong & Assoc. Co., LPA Anonymous (2)




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

Cumulative Giving

Annual Support




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

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 Elizabeth Ring Mather and William Gwinn Mather Fund 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 The John L. Severance Society recognizes the generosity of those giving $1 million or more in cumulative giving. Listing as of December 2014.

Severance Hall 2014-15

gifts of $2,000 or more during the past year, as of December 20, 2014

The Cleveland Foundation Cuyahoga County residents through Cuyahoga Arts & Culture The Andrew W. Mellon Foundation The Kelvin and Eleanor Smith Foundation $500,000 TO $999,999

The George Gund Foundation $250,000 TO $499,999

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

The George W. Codrington Charitable Foundation GAR Foundation Elizabeth Ring Mather and William Gwinn Mather Fund David and Inez Myers Foundation $50,000 TO $99,999

Ann and Gordon Getty Foundation The William Randolph Hearst Foundation Martha Holden Jennings Foundation Myra Tuteur Kahn Memorial Fund of The Cleveland Foundation Marlboro 2465 Foundation Miami-Dade County Department of Cultural Affairs (Miami) The Nord Family Foundation The Payne Fund The Sage Cleveland Foundation Surdna Foundation $20,000 TO $49,999 Paul M. Angell Family Foundation The Batchelor Foundation, Inc. (Miami) The Helen C. Cole Charitable Trust The Mary S. and David C. Corbin Foundation Mary and Dr. George L. Demetros Charitable Trust The Gerhard Foundation, Inc. The Helen Wade Greene Charitable Trust National Endowment for the Arts 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 The Veale Foundation

$2,000 TO $19,999 The Abington Foundation Ayco Charitable Foundation The Ruth and Elmer Babin Foundation Dr. NE & JZ Berman Foundation The Bernheimer Family Fund of the Cleveland Foundation Eva L. and Joseph M. Bruening Foundation The Conway Family Foundation The Fogelson Foundation The Harry K. Fox and Emma R. Fox Charitable Foundation Funding Arts Network (Miami) The Hankins Foundation The Muna & Basem Hishmeh Foundation Richard H. Holzer Memorial Foundation The Laub Foundation Victor C. Laughlin, M.D. Memorial Foundation Trust The G. R. Lincoln Family Foundation The Mandel Foundation The McGregor Foundation Bessie Benner Metzenbaum Foundation The Margaret Clark Morgan Foundation The M. G. O’Neil Foundation Paintstone Foundation The Charles E. & Mabel M. Ritchie Memorial Foundation The Leighton A. Rosenthal Family Foundation SCH Foundation Albert G. & Olive H. Schlink Foundation Jean C. Schroeder Foundation Kenneth W. Scott Foundation The Sherwick Fund Lloyd L. and Louise K. Smith Memorial Foundation The South Waite Foundation The 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)

Foundation and Government Annual Support



Individual Annual Support The Cleveland Orchestra gratefully recognizes 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

Giving Societies


gifts during the past year, as of December 20, 2014


In celebration of the critical role individuals play in supporting The Cleveland Orchestra each year, donors of $2,500 and more are recognized as members of special Leadership Giving Societies. These societies are named to honor important and inspirational leaders in the Orchestra’s history. The Adella Prentiss Hughes Society honors the Orchestra’s founder and first manager, who from 1918 envisioned an ensemble dedicated to community service, music education, and performing excellence. The George Szell Society is named after the Orchestra’s fourth music director, who served for twenty-four seasons (1946-70) while refining the ensemble’s international reputation for clarity of sound and unsurpassed musical excellence. The Elisabeth DeWitt Severance Society honors not only the woman in whose memory Severance Hall was built, but her selfless sharing, including her insistence on nurturing an orchestra not just for the wealthy but for everyone. The Dudley S. Blossom Society honors one of the Orchestra’s early and most generous benefactors, whose dedication and charm rallied thousands to support and nurture a hometown orchestra toward greatness. The Frank H. Ginn Society honors the man whose judicious management of Severance Hall’s finances and construction created a beautiful and welcoming home for Cleveland’s Orchestra. The 1929 Society honors the vibrant community spirit that propelled 3,000 volunteers and donors to raise over $2 million in a nine-day campaign in April 1929 to meet and match John and Elisabeth Severance’s challenge gift toward the building of the Orchestra’s new concert hall.

Jan and Daniel 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 Peter B. Lewis* and Janet Rosel Lewis (Miami) Sue 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 Mr.* and Mrs. Ward Smith Anonymous (2)

The John L. Severance Society is named to honor the philanthropist and business leader who dedicated his life and fortune to creating The Cleveland Orchestra’s home concert hall, which stands today as an emblem of unrivalled quality and community pride. Lifetime giving listing as of December 2014.


Individual Annual Support

The Cleveland Orchestra

Adella Prentiss Hughes Society

Leadership Council

gifts of $100,000 and more INDIVIDUAL GIFTS OF $500,000 AND MORE

Mr. and Mrs. Albert B. Ratner INDIVIDUAL GIFTS OF $200,000 TO $499,999

Irma and Norman Braman (Miami) The Walter and Jean Kalberer Foundation Jan and Daniel Lewis (Miami) Mrs. Norma Lerner and The Lerner Foundation Peter B. Lewis* and Janet Rosel Lewis (Miami) Sue Miller (Miami) INDIVIDUAL GIFTS OF $100,000 TO $199,999

David and Francie Horvitz Family Foundation (Miami) James D. Ireland III Mr. and Mrs. Joseph P. Keithley Dr. and Mrs. Herbert Kloiber (Europe) Mrs. Emma S. Lincoln Elizabeth F. McBride Ms. Ginger Warner (Cleveland, Miami) Janet* and Richard Yulman (Miami)

George Szell Society gifts of $50,000 and more INDIVIDUAL GIFTS OF $75,000 TO $99,999

Mr. William P. Blair III Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. and Mrs. Alexander M. Cutler Dr. Wolfgang Eder Dr. and Mrs. Hiroyuki Fujita Elizabeth B. Juliano (Cleveland, Miami) Mr. and Mrs. Douglas A. Kern Mr. and Mrs. Dennis W. LaBarre Milton and Tamar Maltz Ms. Beth E. Mooney The Honorable and Mrs. John Doyle Ong Mr. Patrick Park (Miami) Mr. and Mrs. Alfred M. Rankin, Jr. Mary M. Spencer (Miami) Mr. and Mrs. Franz Welser-MĂśst INDIVIDUAL GIFTS OF $50,000 TO $74,999

Sheldon and Florence Anderson (Miami) Blossom Womenâ&#x20AC;&#x2122;s Committee Jeanette Grasselli Brown and Glenn R. Brown Hector D. Fortun (Miami) Mrs. John A. Hadden, Jr.

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:

Mr. and Mrs. Michael J. Horvitz R. Kirk Landon and Pamela Garrison (Miami) Giuliana C. and John D. Koch Toby Devan Lewis Mr. and Mrs. Edward A. Lozick Robert M. Maloney and Laura Goyanes Ms. Nancy W. McCann Margaret Fulton-Mueller Mrs. Alfred M. Rankin, Sr. Charles and Ilana Horowitz Ratner James and Donna Reid Barbara S. Robinson Sally and Larry Sears Hewitt and Paula Shaw Mr. and Mrs. Richard K. Smucker Barbara and David Wolfort Anonymous

Elisabeth DeWitt Severance Society gifts of $25,000 and more INDIVIDUAL GIFTS OF $30,000 TO $49,999

Daniel and Trish Bell (Miami) Dr. and Mrs. Wolfgang Berndt (Europe) Mr. and Mrs. Charles P. Bolton The Brown and Kunze Foundation Judith and George W. Diehl Mr. and Mrs. Geoffrey Gund T. K. and Faye A. Heston Milton A. and Charlotte R. Kramer Charitable Foundation Virginia M. and Jon A. Lindseth Sally S.* and John C. Morley The Claudia and Steven Perles Family Foundation (Miami) Luci and Ralph* Schey Rachel R. Schneider Richard and Nancy Sneed (Cleveland, Miami) R. Thomas and Meg Harris Stanton listings continue

Severance Hall 2014-15

Individual Annual Support



listings continued

Jonathan and Tina Kislak (Miami) Marc and Rennie Saltzberg Mr. and Mrs. Donald Stelling (Europe) Gary L. Wasserman and Charles A. Kashner (Miami) The Denise G. and Norman E. Wells, Jr. Family Foundation Anonymous gift from Switzerland (Europe)

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

In dedication to Donald Carlin (Miami) Martha and Bruce Clinton (Miami) Robert and Jean* Conrad Mr. and Mrs. Gerald A. Conway Do Unto Others Trust (Miami)

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

George* and Becky Dunn JoAnn and Robert Glick Mr. and Mrs. Donald M. Jack, Jr. Gary Hanson and Barbara Klante Mr. and Mrs. Jeffrey Healy Mrs. Marguerite B. Humphrey Junior Committee of The Cleveland Orchestra Dr. David and Janice Leshner Mrs. Jane B. Nord William J. and Katherine T. O’Neill Julia and Larry Pollock Mr. and Mrs. James A. Ratner Mr. and Mrs. James A. Saks Paul and Suzanne Westlake Women’s Committee of The Cleveland Orchestra

Dudley S. Blossom Society gifts of $15,000 and more INDIVIDUAL GIFTS OF $20,000 TO $24,999

Gay Cull Addicott Mr. and Mrs. William W. Baker Randall and Virginia Barbato Mr. and Mrs. Matthew V. Crawford Jeffrey and Susan Feldman (Miami) Dr. Edward S. Godleski Trevor and Jennie Jones Mr. and Mrs. Christopher Kelly



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 Faye A. Heston Brinton L. Hyde Randall N. Huff David C. Lamb Raymond T. Saw yer

Art of Beauty Company, Inc. Marsha and Brian Bilzin (Miami) Mr. and Mrs. Richard L. Bowen Dr. Christopher P. Brandt and Dr. Beth Sersig Dr. Ben H. and Julia Brouhard Mr. and Mrs. David J. Carpenter Mrs. Barbara Cook Scott Chaikin and Mary Beth Cooper Jill and Paul Clark Mr. and Mrs. William E. Conway Mr. Peter and Mrs. Julie Cummings (Miami) Dr. and Mrs. Robert Ehrlich (Europe) Mike S. and Margaret Eidson (Miami) Colleen and Richard Fain (Miami) Mr. Allen H. Ford Richard and Ann Gridley Jack Harley and Judy Ernest Ms. Dawn M. Full Mary and Jon Heider (Cleveland, Miami) David and Nancy Hooker Richard and Erica Horvitz (Cleveland, Miami) Allan V. Johnson Andrew and Katherine Kartalis Tati and Ezra Katz (Miami) Mr. Jeff Litwiller Mr.* and Mrs. Arch J. McCartney Mr. Thomas F. McKee Mr. and Mrs. Stanley A. Meisel Lucia S. Nash Mr. Gary A. Oatey (Cleveland, Miami) Mr. and Mrs. David A. Ruckman Mrs. David Seidenfeld David* and Harriet Simon Rick, Margarita and Steven Tonkinson (Miami) Mr. and Mrs. Daniel P. Walsh Tom and Shirley Waltermire Mr. and Mrs. Jeffrey M. Weiss Anonymous

Frank H. Ginn Society gifts of $10,000 and more INDIVIDUAL GIFTS OF $12,500 TO $14,999

The Leadership 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.

Mrs. Barbara Ann Davis Robert K. Gudbranson and Joon-Li Kim Sondra and Steve Hardis Mr.* and Mrs. Richard A. Manuel Mr. Larry J. Santon Mr. and Mrs. Oliver E. Seikel Kim Sherwin Mr. and Mrs. Alfred Umdasch (Europe) Sandy and Ted Wiese listings continue


Individual Annual Support

The Cleveland Orchestra

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THE CLEVELAN D ORCHESTRA listings continued INDIVIDUAL GIFTS OF $10,000 TO $12,499

Mr. and Mrs. George N. Aronoff Mr. and Mrs. Dean Barry Jayusia and Alan Bernstein (Miami) Laurel Blossom Mr. D. McGregor Brandt, Jr. Paul and Marilyn* Brentlinger Mr. and Mrs. Marshall Brown J. C. and Helen Rankin Butler Augustine* and Grace Caliguire Richard J. and Joanne Clark Nancy and Richard Dotson Mr. and Mrs. Robert P. Duvin Mary Jo Eaton (Miami) Dr. and Mrs. Lloyd H. Ellis Jr. Mr. Brian L. Ewart and Mr. William McHenry Nelly and Mike Farra (Miami) Kira and Neil Flanzraich (Miami) Sheree and Monte Friedkin (Miami) 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 Andrew and Judy Green Kathleen E. Hancock Michael L. Hardy Mary Jane Hartwell Iris and Tom Harvie Mr. and Mrs. James A. Haslam II Mr. and Mrs. James A. Haslam III Joan and Leonard Horvitz Mark and Ruth Houck (Miami) Pamela and Scott Isquick Ruth and Pedro Jimenez (Miami) Cherie and Michael Joblove (Miami) Janet and Gerald Kelfer (Miami) Mrs. Elizabeth R. Koch Tim and Linda Koelz Mr. and Mrs. Stewart A. Kohl Thomas E. Lauria (Miami) Mr. and Mrs.* Robert P. Madison Mr. and Mrs. Thomas B. McGowan Edith and Ted* Miller Mr. Donald W. Morrison Joy P. and Thomas G. Murdough, Jr. (Miami)

Brian and Cindy Murphy Mr. Raymond M. Murphy Mr. and Mrs. William M. Osborne, Jr. Audra and George Rose Dr. and Mrs. Ronald J. Ross Dr. Isobel Rutherford Raymond T. and Katherine S. Sawyer Carol* and Albert Schupp Dr. Gerard and Phyllis Seltzer and the Dr. Gerard and Phyllis Estelle Seltzer Foundation Jim and Myrna Spira Howard Stark M.D. and Rene Rodriguez (Miami) Lois and Tom Stauffer Charles B. and Rosalyn Stuzin (Miami) Mrs. Jean H. Taber Bruce and Virginia Taylor Joseph F. Tetlak Joe and Marlene Toot Dr. Russell A. Trusso Mr. and Mrs. Fred A. Watkins Anonymous (4)*

The 1929 Society gifts of $2,500 to $9,999 INDIVIDUAL GIFTS OF $7,500 TO $9,999

Robert and Alyssa Lenhoff-Briggs Dr.* and Mrs. Jerald S. Brodkey Ellen E. & Victor J. Cohn Supporting Foundation Henry and Mary Doll Harry and Joyce Graham Mr. Paul Greig Mrs. Sandra L. Haslinger Henry R. Hatch Robin Hitchcock Hatch Amy and Stephen Hoffman Ms. Elizabeth James

Joela Jones and Richard Weiss Mr. and Mrs.* S. Lee Kohrman Kenneth M. Lapine and Rose E. Mills Judith and Morton Q. Levin Mr. and Mrs. Alex Machaskee Claudia Metz and Thomas Woodworth Mr. J. William and Dr. Suzanne Palmer Pannonius Foundation Nan and Bob Pfeifer Douglas and Noreen Powers Paul A. and Anastacia L. Rose Steven and Ellen Ross

Rosskamm Family Trust Patricia J. Sawvel Drs. Daniel and Ximena Sessler Bill* and Marjorie B. Shorrock Mrs. Gretchen D. Smith Dr. and Mrs. Frank J. Staub Mr. and Mrs. Donald W. Strang, Jr. Dr. Gregory Videtic Anonymous

Mr. and Mrs. Ralph Daugstrup Mr. and Mrs. Thomas S. Davis Pete and Margaret Dobbins Mr. and Mrs. Paul Doman Dr. and Mrs. Robert Elston Mary and Oliver Emerson Barbara and Peter Galvin Joy E. Garapic Brenda and David Goldberg Mr. and Mrs. Henry J. Goodman Patti Gordon (Miami) Mr. and Mrs. Randall J. Gordon Robert N. and Nicki N. Gudbranson David and Robin Gunning Clark Harvey and Holly Selvaggi Barbara Hawley and David Goodman Janet D. Heil* Anita and William Heller Dr. Fred A. Heupler Thomas and Mary Holmes John and Hollis Hudak (Miami) Bob and Edith Hudson (Miami)

Ms. Carole Hughes Mr. David and Mrs. Dianne Hunt Mr. and Mrs. Brinton L. Hyde Mr. and Mrs. Christopher Hyland Donna L. and Robert H. Jackson Rudolf D. and Joan T. Kamper Milton and Donna* Katz Dr. Richard and Roberta Katzman Dr. and Mrs. William S. Kiser Cynthia Knight (Miami) Mrs. Justin Krent Mr. and Mrs. Peter A. Kuhn Mr. and Mrs. Arthur J. Lafave, Jr. Mr. Brian J. Lamb David C. Lamb Anthony T. and Patricia A. Lauria Mr. Lawrence B. and Christine H. Levey Dylan Hale Lewis (Miami) Marley Blue Lewis (Miami) Dr. Alan and Mrs. Joni Lichtin


Mr.* and Mrs. Albert A. Augustus Mr. and Mrs. Robert H. Baker Stephen Barrow and Janis Manley (Miami) Fred G. and Mary W. Behm Drs. Nathan A. and Sosamma J. Berger Mr. William Berger Dr. and Mrs. Eugene H. Blackstone Mr. and Mrs. David Briggs Mr. and Mrs. Robert R. Broadbent Frank and Leslie Buck Mr. and Mrs. William C. Butler Ms. Maria Cashy Drs. Wuu-Shung and Amy Chuang Dr. William and Dottie Clark Kathleen A. Coleman Diane Lynn Collier and Robert J Gura Mr. Owen Colligan Marjorie Dickard Comella Corinne L. Dodero Foundation for the Arts and Sciences


Individual Annual Support

listings continue

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Mr. Jon E. Limbacher and Patricia J. Limbacher Mr. Rudolf and Mrs. Eva Linnebach Anne R. and Kenneth E. Love Elsie and Byron Lutman Ms. Jennifer R. Malkin Mr. and Mrs. Morton L. Mandel Alan Markowitz M.D. and Cathy Pollard Mr. and Mrs. E. Timothy McDonel Ms. Maureen M. McLaughlin (Miami) James and Virginia Meil David and Leslee Miraldi Mr. and Mrs. William A. Mitchell Curt and Sara Moll Ann Jones Morgan Richard and Kathleen Nord Mr. Thury Oâ&#x20AC;&#x2122;Connor Mr. Henry Ott-Hansen Ms. MacGregor W. Peck Mr. and Mrs. John S. Piety Mr. and Mrs. Richard W. Pogue In memory of Henry Pollak Dr. and Mrs. John N. Posch

William and Gwen Preucil Lois S. and Stanley M. Proctor* Ms. Rosella Puskas Mr. and Mrs. Thomas A. Quintrell Drs. Raymond R. Rackley and Carmen M. Fonseca Mr. and Mrs. Roger F. Rankin Brian and Patricia Ratner Ms. Deborah Read Mr. and Mrs. Robert J. Reid Amy and Ken Rogat Mr. and Mrs. Robert C. Ruhl Mrs. Florence Brewster Rutter Drs. Michael and Judith Samuels (Miami) Bob and Ellie Scheuer David M. and Betty Schneider Linda B. Schneider Dr. and Mrs. James L. Sechler Lee and Jane Seidman Charles Seitz (Miami) Mr. Eric Sellen and Mr. Ron Seidman Seven Five Fund Ms. Marlene Sharak

Mrs. Frances G. Shoolroy Naomi G. and Edwin Z. Singer Family Fund David Kane Smith Dr. Marvin and Mimi Sobel Mr. and Mrs. William E. Spatz George and Mary Stark Stroud Family Trust Dr. Elizabeth Swenson Mr. and Mrs. Paul A. Teel, Jr. Mr. and Mrs. Bill Thornton Mr.* and Mrs. Robert N. Trombly Robert and Marti Vagi Don and Mary Louise Van Dyke Bill Appert and Chris Wallace (Miami) Mr. and Mrs. Ronald E. Weinberg Robert C. Weppler Tom and Betsy Wheeler Nancy V. and Robert L. Wilcox Sandy Wile and Susan Namen Dr. and Mr. Ann Williams Anonymous (6)

Mr. Robert T. Hexter Dr.* and Mrs. George H. Hoke Dr. Keith A. and Mrs. Kathleen M. Hoover Dr. and Mrs. Scott R. Inkley Mr. and Mrs. Richard A. Janus Robert and Linda Jenkins Dr. and Mrs. Richard S. Kaufman James and Gay* Kitson Mrs. Natalie D. Kittredge Dr. Gilles and Mrs. Malvina Klopman Mr. and Ms. James Koenig Mr. James Krohngold Ronald and Barbara Leirvik Irvin and Elin Leonard Robert and LaVerne* Lugibihl Joel and Mary Ann Makee Herbert L. and Rhonda Marcus Martin and Lois Marcus Ms. Nancy L. Meacham Dr. Susan M. Merzweiler Bert and Marjorie Moyar Susan B. Murphy Richard B. and Jane E. Nash Mr. and Mrs. Peter R. Osenar Dr. Lewis and Janice B. Patterson

Mr. Robert S. Perry Dr. Robert W. Reynolds Michael Forde Ripich Mrs. Charles Ritchie Carol Rolf and Steven Adler Dr. Lori Rusterholtz Fred Rzepka and Anne Rzepka Family Foundation Dr. and Mrs. Martin I. Saltzman Mr. Paul H. Scarbrough Ginger and Larry Shane Harry and Ilene Shapiro Mr. Richard Shirey Howard and Beth Simon Ms. Lorraine S. Szabo Mr. Taras G. Szmagala, Jr. Mr. Karl and Mrs. Carol Theil Drs. Anna* and Gilbert True Miss Kathleen Turner Margaret and Eric* Wayne Mr. and Mrs. Mark Allen Weigand Richard Wiedemer, Jr. Tony and Diane Wynshaw-Boris Marcia and Fred* Zakrajsek

Kerrin and Peter Bermont (Miami) Barbara and Sheldon Berns Margo and Tom Bertin Carmen Bishopric (Miami) Bill* and Zeda Blau Doug and Barbara Bletcher Mr. and Mrs. Richard H. Bole John and Anne Bourassa Laurie Burman Mr. Adam Carlin (Miami) Irad and Rebecca Carmi Leigh Carter Mr. and Mrs. James B. Chaney Dr. and Mrs. Ronald Chapnick

Dr. Christopher and Mrs. Maryanne Chengelis Ms. Mary E. Chilcote Mr. and Mrs. Homer D. W. Chisholm Daniel D. Clark and Janet A. Long Kenneth S. and Deborah G. Cohen Mr. and Mrs. Stanley Cohen (Miami) Dr. and Mrs. Delos M. Cosgrove III Dr. Dale and Susan Cowan Mr. and Mrs. Manohar Daga Mrs. Frederick F. Dannemiller Charles* and Fanny Dascal (Miami) Dr. Eleanor Davidson listings continue


Dr. Jacqueline Acho and Mr. John LeMay Ms. Nancy A. Adams Dr. and Mrs. D. P. Agamanolis Susan S. Angell Mr. and Mrs. Jules Belkin Howard R. and Barbara Kaye Besser Suzanne and Jim Blaser Lisa and Ron Boyko Mr. and Mrs. Henry G. Brownell Ms. Mary R. Bynum and Mr. J. Philip Calabrese Dr. and Mrs. William E. Cappaert Mr. and Mrs. Frank H. Carpenter Mrs. Robert A. Clark Drs. Mark Cohen and Miriam Vishny Thomas and Dianne Coscarelli Peter and Kathryn Eloff Mr. and Mrs. John R. Fraylick Peggy and David* Fullmer Loren and Michael Garruto Dr. and Mrs. Ronald L. Gould Nancy and James Grunzweig Mr. Robert D. Hart Mary S. Hastings Hazel Helgesen* and Gary D. Helgesen Mr. and Mrs. Jerry Herschman INDIVIDUAL GIFTS OF $2,500 TO $3,499

Mr. and Mrs. Charles Abookire, Jr. Stanley I.* and Hope S. Adelstein Mr. and Mrs. Norman Adler Mr. and Mrs. Monte Ahuja Mr. and Mrs. Robert J. Amsdell Dr. Mayda Arias Agnes Armstrong Mr. and Mrs. James B. Aronoff Geraldine and Joseph Babin Ms. Jennifer Barlament Ms. Delphine Barrett Rich Bedell and Elizabeth Grove Dr. Ronald and Diane Bell Mr. Roger G. Berk


Individual Annual Support

The Cleveland Orchestra

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2026 Murray Hill Road, Suite 103, Cleveland, Ohio 44106 216.721.1800 email: web:


Mr. and Mrs. Edward B. Davis Jeffrey and Eileen Davis Mrs. Lois Joan Davis Mr. and Mrs. David G. de Roulet Dr. and Mrs. Richard C. Distad Ms. Maureen A. Doerner and Mr. Geoffrey T. White William Dorsky and Cornelia Hodgson Esther L. and Alfred M. Eich, Jr. Harry and Ann Farmer Ms. Karen Feth Mr. Isaac Fisher (Miami) Joan Alice Ford Mr. Paul C. Forsgren Richard J. Frey Marvin Ross Friedman and Adrienne bon Haes (Miami) Arthur L. Fullmer Mr. Bennett Gaines Mrs. Georgia T. Garner Mr. Wilbert C. Geiss, Sr. Dr. and Mrs. Edward C. Gelber (Miami) Anne and Walter Ginn Mr. and Mrs. David A. Goldfinger The Thomas J. and Judith Fay Gruber Charitable Foundation Dr. Phillip M. and Mrs. Mary Hall Mr. and Mrs. David P. Handke, Jr. Norman C. and Donna L. Harbert Mr. and Mrs. Donald F. Hastings Dr. Robert T. Heath and Dr. Elizabeth L. Buchanan Sally and Oliver Henkel Dr. and Mrs. Robert L. Hinnes Dr. Randal N. Huff and Ms. Paulette Beech Elisabeth Hugh Ruth F. Ihde Mrs. Carol Lee and Mr. James Iott Richard and Michelle Jeschelnig Dr. Michael and Mrs. Deborah Joyce Mr. Peter and Mrs. Mary Joyce Mr. Stephen Judson Barbara and Michael J. Kaplan Rev. William C. Keene Angela Kelsey and Michael Zealy (Miami) The Kendis Family Trust: Hilary and Robert Kendis and Susan and James Kendis Bruce and Eleanor Kendrick Fred* and Judith Klotzman Jacqueline and Irwin* Kott (Miami) Dr. Ronald H. Krasney and Vicki Kennedy Marcia Kraus Mr. Donald N. Krosin Eeva and Harri Kulovaara (Miami) Mr. and Mrs. S. Ernest Kulp Mrs. Carolyn Lampl Mr. and Mrs. John J. Lane, Jr. Mr. Gary Leidich Ivonete Leite (Miami) Michael and Lois A. Lemr Dr. Edith Lerner Dr. Stephen B. and Mrs. Lillian S. Levine Robert G. Levy Ms. Mary Beth Loud Michael J. and Kathryn T. Lucak Mrs. Idarose S. Luntz Mr. and Mrs. Raul Marmol (Miami) Dr. and Mrs. Sanford E. Marovitz


Dr. Ernest and Mrs. Marian Marsolais Ms. Amanda Martinsek Mr. Julien L. McCall William and Eleanor* McCoy Mr. James E. Menger Stephen and Barbara Messner Ms. Betteann Meyerson Mr. and Mrs. Roger Michelson (Miami) Drs. Terry E. and Sara S. Miller Ms. Carla Miraldi Jim and Laura Moll Dieter and Bonnie Myers Joan Katz Napoli and August Napoli David and Judith Newell Mr. Carlos Noble (Miami) Marshall I. Nurenberg and Joanne Klein Richard and Jolene Oâ&#x20AC;&#x2122;Callaghan Harvey and Robin Oppmann Nedra and Mark Oren (Miami) Mr. and Mrs. Robert D. Paddock Mr. and Mrs. Christopher I. Page Mr. Dale Papajcik Deborah and Zachary Paris Mr. Thomas and Mrs. Tommie Patton Dr. Roland S. Philip and Dr. Linda M. Sandhaus Ms. Maribel Piza (Miami) Dr. Marc and Mrs. Carol Pohl Ms. Carolyn Priemer Kathleen Pudelski Mr. Lute and Mrs. Lynn Quintrell Dr. James and Lynne Rambasek Ms. C. A. Reagan Alfonso Conrado Rey (Miami) David and Gloria Richards Mr. Timothy D. Robson Robert and Margo Roth Dr. Harry S. and Rita K. Rzepka Bunnie Sachs Family Foundation Dr. Vernon E. Sackman and Ms. Marguerite Patton Father Robert J. Sanson Ms. Patricia E. Say Mr. James Schutte Ms. Adrian L. Scott Dr. John Sedor and Ms. Geralyn Presti Ms. Kathryn Seider Mr. and Mrs. Thomas W. Seitz Donna E. Shalala (Miami) Norine W. Sharp Dr. and Mrs. William C. Sheldon Mr. and Mrs. Reginald Shiverick Laura and Alvin A. Siegal Robert and Barbara Slanina Bruce Smith Ms. Donna-Rae Smith Sandra and Richey Smith Mr. and Mrs.* Jeffrey H. Smythe Mrs. Virginia Snapp Ms. Barbara Snyder Lucy and Dan Sondles Michalis and Alejandra Stavrinides (Miami) Mr. Joseph Stroud Mr. and Mrs. Joseph D. Sullivan Mr. Robert Taller Ken and Martha Taylor Dr. and Mrs. Thomas A. Timko Mr. and Mrs. Robert J. Tomsich Erik Trimble Steve and Christa Turnbull

Individual Annual Support

Mrs. H. Lansing Vail, Jr. Mr. and Mrs. Roger Vail Robert A. Valente George and Barbara Von Mehren Brenton Ver Ploeg (Miami) Mr. and Mrs. Joaquin Vinas (Miami) Mr. and Mrs. Les C. Vinney Dr. Michael Vogelbaum and Mrs. Judith Rosman Philip and Peggy Wasserstrom Alice & Leslie T. Webster, Jr. Mr. and Mrs. Jerome A. Weinberger Mr. Peter and Mrs. Laurie Weinberger Florence and Robert Werner (Miami) Richard and Mary Lynn Wills Michael H. Wolf and Antonia Rivas-Wolf Katie and Donald Woodcock Elizabeth B. Wright Rad and Patty Yates Mrs. Jayne M. Zborowsky Dr. William Zelei Mr. Kal Zucker and Dr. Mary Frances Haerr Anonymous (4)

member of the Leadership Council (see page 77)

* deceased



The Cleveland Orchestra is sustained through the support of thousands of generous patrons, including members of the Leadership Patron Program listed on these pages. Listings of all annual donors of $300 and more each year are published in the Orchestraâ&#x20AC;&#x2122;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 216-231-7558.

The Cleveland Orchestra

Your Role . . . in The Cleveland Orchestra’s Future Genera ons of Clevelanders have supported the Orchestra and enjoyed its concerts. Tens of thousands have learned to love music through its educa on programs, celebrated important events with its music, and shared in its musicmaking — at school, at Severance Hall, at Blossom, downtown at Public Square, on the radio, and with family and friends. Ticket sales cover less than half the cost of presen ng The Cleveland Orchestra’s season each year. To sustain its ac vi es here in Northeast Ohio, the Orchestra has undertaken the most ambi ous fundraising campaign in our history: the Sound for the Centennial Campaign. By making a dona on, you can make a crucial difference in helping to ensure that future genera ons will con nue to enjoy the Orchestra’s performances, educa on programs, and community ac vi es and partnerships. To make a gi to The Cleveland Orchestra, please visit us online, or call 216-231-7562.


Critics from around the world have acclaimed the partnership of Franz Welser-Möst and The Cleveland Orchestra, and their recorded legacy continues to grow. Their newest DVD features Bruckner’s Fourth Symphony recorded live in the Abbey of St. Sy FFlorian in Linz, Austria in 2012. “A great orchestra, a Bruckner expert. . . . Five out of five e stars,” declared Austria’s Kurier newspaper. 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 accountt off D Dvořák’s miraculous score I have ever heard, either in the theatre or on record. . . . I doubt this music can be better played than by the Clevelanders, the most ‘European’ of the American orchestras, with wind and brass soloists to die for and a string sound of superlative warmth and sensitivity.” Other recordings released in recent years include four acclaimed albums of Mozart piano concertos with Mitsuko Uchida and two under the baton of renowned conductor Pierre Boulez. Visit the Cleveland Orchestra Store for the latest and best Cleveland Orchestra recordings and DVDs.



New to Severance Hall this season, you can now pre-order your beverages before the concert to enjoy during intermission. Our new pre-order option offers you the beneďŹ t of an intermission without waiting in line. Simply visit one of our conveniently located bars to place and pay for your order before the concert starts.



POST-CONCERT DINING New for the 2014-15 season, we are offering post-concert dining at Severance Restaurant. Enjoy a convenient dining experience including full-service bar, desserts and coffee, or our special Ă la carte dining choices.

Severance Restaurant is a great place to extend your night out following the concert. Come in and sit down for dinner, or stop by for drinks or dessert. No reservations required for post-concert dining. Reservations are suggested but not required for pre-concert dining. Book online by visiting the link to OpenTable at Post-concert dining is available following evening performances by The Cleveland Orchestra.

Severance Hall and The Cleveland Orchestra are proudly partnered with Marigold Catering to enhance your experience.


11001 Euclid Avenue Cleveland, Ohio 44106



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


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 special events each year.

Severance Hall

The Cleveland Orchestra

The Cleveland Orchestra guide to

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Learn Music in Cleveland Music Instruction & Ensembles Early Childhood Education Group & Private Music Therapy or 216-421-5806 xt. 100

Severance Hall 2014-15

Let’s talk.

contact John Moore 216.721.4300

Michael Hauser DMD MD Implants and Oral Surgery For Music Lovers Beachwood 216-464-1200




WINTER SEASON Tchaikovsky’s Fifth Symphony

Bronfman Plays Brahms

January 29 — Thursday at 7:30 p.m. January 30 — Friday at 11:00 a.m. <18s * January 31 — Saturday at 8:00 p.m.

February 19 — Thursday at 7:30 p.m. February 20 — Friday at 8:00 p.m. <18s February 21 — Saturday at 8:00 p.m. February 22 — Sunday at 3:00 p.m. <18s

THE CLEVELAND ORCHESTRA Hannu Lintu, conductor Vadim Gluzman, violin *

SIBELIUS Pohjola’s Daughter PROKOFIEV Violin Concerto No. 2 * TCHAIKOVSKY Symphony No. 5 *not part of Friday Morning Matinee

Sponsor: Jones Day


BRAHMS Variations on a Theme by Haydn BRAHMS Tragic Overture BRAHMS Piano Concerto No. 2


Cleveland Orchestra Youth Orchestra and Youth Chorus February 8 — Sunday at 7:00 p.m.

THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Yefim Bronfman, piano Paul Jacobs, organ



RAVEL Une Barque sur l’océan DEBUSSY La Mer [The Sea] FAURÉ Requiem

Sibelius Violin Concerto February 12 — Thursday at 7:30 p.m. February 14 — Saturday at 8:00 p.m. THE CLEVELAND ORCHESTRA Juanjo Mena, conductor Alina Ibragimova, violin

SIBELIUS Symphony No. 7 SIBELIUS Violin Concerto SCHOENBERG Pelleas and Melisande

BRAHMS Prelude and Fugue in G minor BRAHMS Two Chorale Preludes BACH Prelude and Fugue in A minor BRAHMS Tragic Overture BRAHMS Piano Concerto No. 1

Sponsor: BakerHostetler

Beethoven’s Seventh March 12 — Thursday at 7:30 p.m. March 13 — Friday at 7:00 p.m. <18s * March 14 — Saturday at 8:00 p.m. THE CLEVELAND ORCHESTRA Fabio Luisi, conductor Jean-Yves Thibaudet, piano *

FRANCESCONI Cobalt, Scarlet: Two Colors of Dawn LISZT Piano Concerto No. 2* BEETHOVEN Symphony No. 7 * not part of Fridays@7 concert

Sponsors: BakerHostetler and KeyBank (Fridays@7)



February 13 — Friday at 8:00 p.m.

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

THE CLEVELAND ORCHESTRA Brett Mitchell, conductor This classic film was created by the great collaboration between director Alfred Hitchcock and composer Bernard Herrmann. Enjoy this great film as it is projected on a large screen above stage, with live accompaniment by The Cleveland Orchestra. Sponsor: PNC Bank


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. Our "Under 18s Free" program offers free tickets for young people attending with families (one per full-price paid adult for concerts marked with the symbol above).

Concert Calendar

The Cleveland Orchestra







The Velvet Violin

March 13 — Friday at 10:00 a.m. <18s March 14 — Saturday at 10:00 and 11:00 a.m.


with Beth Woodside, violin

For ages 3 to 6. Host Maryann Nagel gets attendees singing, clapping, and moving to the music in this series introducing instruments of the orchestra. With solo selections, kid-friendly tunes, and sing-along participation. Sponsor: PNC Bank


The Listener

March 15 — Sunday at 3:00 p.m. <18s THE CLEVELAND ORCHESTRA Brett Mitchell, conductor with Magic Circle Mime Co. The conductor is set to lead the Orchestra for a very serious concert . . . but who suddenly appears? A bugleplaying mime who wants to sing opera? A tap dancing ballerina? What will happen to the concert?! Learn about music, the orchestra, and the oh-so-important art of listening in this fun-filled family concert. Sponsor: The Giant Eagle Foundation

Rachmaninoff’s Romantic Symphony March 19 — Thursday at 7:30 p.m. March 20 — Friday at 11:00 a.m. <18s * March 21 — Saturday at 8:00 p.m. March 22 — Sunday at 3:00 p.m. <18s THE CLEVELAND ORCHESTRA Jahja Ling, conductor Daniil Trifonov, piano * Michael Sachs, trumpet *

SHOSTAKOVICH Piano Concerto No. 1* RACHMANINOFF Symphony No. 2 * not part of Friday Morning Matinee

Sponsor: Squire Patton Boggs (US) LLP

Mitsuko Uchida’s Mozart Aprll 9 — Thursday at 7:30 p.m. April 10 — Friday at 8:00 p.m. <18s April 11 — Saturday at 8:00 p.m.

Thursday February 19 at 7:30 p.m. Friday February 20 at 8:00 p.m. Saturday February 21 at 8:00 p.m. Sunday February 22 at 3:00 p.m. THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Yefim Bronfman, piano

Many today think of Brahms as a buttoned-up academic, but his music is filled with emotion . . . from bittersweet joy to exuberant happiness, from lighthearted humor to serious introspection. His two piano concertos stand as pillars of the piano repertoire. Hear them both in the same weekend (No. 2 on Thurs/Fri and No. 1 on Sat/Sun), as Franz Welser-Möst and the Orchestra are joined by Yefim Bronfman. Concert Sponsor: BakerHostetler

THE CLEVELAND ORCHESTRA Mitsuko Uchida, piano and conductor William Preucil, concertmaster and leader

MOZART Piano Concerto No. 6 MOZART Symphony No. 34 MOZART Piano Concerto No. 26


216-231-1111 800-686-1141

Sponsor: Quality Electrodynamics (QED)

Severance Hall 2014-15


Concert Calendar


11001 Euclid Avenue, Cleveland, Ohio 44106 CLEVELANDORCHESTRA.COM

AT SE V E R A N C E H A LL RESTAURANT AND CONCESSION SERVICE Pre-Concert Dining: Severance Restaurant at Severance Hall is open for pre-concert dining for evening and Sunday afternoon performances, and for lunch following Friday Morning Concerts. For reservations, call 216-231-7373, or make your plans on-line by visiting CLEVELANDORCHESTRA . COM . Intermission & Pre-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 BogomolnyKozerefski Grand Foyer, and in the Dress Circle Lobby. Post-Concert Dining: New this season, the Severance Restaurant will be open after evening concerts with à la carte dining, desserts, full bar service, and coffee. Friday Morning Concert postconcert luncheon service continues.

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

ATM — Automated Teller Machine 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.

QUESTIONS 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


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

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 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.

CONCERT PREVIEWS 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 2014-15

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 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.






RACHMANINOFF’S MITSUKO UCHIDA SECOND SYMPHONY PLAYS MOZART Thursday March 19 at 7:30 p.m. Friday March 20 at 11:00 a.m. * <18s Saturday March 21 at 8:00 p.m. Sunday March 22 at 3:00 p.m. <18s

Thursday April 9 at 7:30 p.m. Friday April 10 at 8:00 p.m. <18s Saturday April 11 at 8:00 p.m. THE CLEVELAND ORCHESTRA Mitsuko Uchida, piano and conductor William Preucil, concertmaster

THE CLEVELAND ORCHESTRA Jahja Ling, conductor Daniil Trifonov, piano * Michael Sachs, trumpet*

Following the disastrous reviews of his First Symphony, Rachmaninoff considered giving up composing entirely. But new inspiration and encouragement from friends allowed him to create one of the most Romantic and admired of all his works. Experience the Second Symphony in all its glory, filled with haunting beauty, soaring musical melodies, and the reality of redemption. The program also features Shostakovich’s quirky and fun-filled First Piano Concerto.*

Mitsuko Uchida’s interpretations of Mozart are renowned for their intelligence, elegance, and sensitivity. She continues her acclaimed collaboration with The Cleveland Orchestra — recognized with a 2010 Grammy Award — with performances of two more of Mozart’s piano concertos (Nos. 6 and 26). “Mitsuko Uchida’s Mozart playing is stunningly sensitive, crystalline, and true.” —Boston Globe Sponsor: Quality Electrodynamics (QED)New!

* not part of Friday morning concert Sponsor: Squire Patton Boggs (US) LLP

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




Upcoming Concerts

The Cleveland Orchestra

The Cleveland Orchestra February 19-22 Concerts  

Bronfman Plays Brahms