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April 16, 17, 18 ALL-FRENCH: RAVEL’S BOLÉRO — page 27 April 23, 25 IGOR STRAVINSKY’S PÉTROUCHKA — page 57

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18 AN D 19

About the Orchestra




From the Executive Director . . . . . . . . . . . . . . . . . . . . 7 About the Orchestra . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Musical Arts Association . . . . . . . . . . . . . . . . . . . . . . . 13 Music Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . . . 22 Orchestra News. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72-C Concert Calendar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 Guest Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 Upcoming Concerts . . . . . . . . . . . . . . . . . . . . . . . . . . 94


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 18 ALL-FRENCH: RAVEL’S BOLéRO Program: April 16, 17, 18 . . . . . . . . . . . . . . . . . . . . 27 Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . 29 RAVEL

Le Tombeau de Couperin . . . . . . . . . . . . . . . . . . . . 31 SAINT-SAËNS Cello Concerto No. 1. . . . . . . . . . . . . . . . . . . . . . . . . 33 SCHMITT

The Tragedy of Salome . . . . . . . . . . . . . . . . . . . . . . 35 RAVEL

Boléro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Guest Artists. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44-45

Week ................ 19 STRAVINSKY’S PÉTROUCHKA Program: April 23, 25 . . . . . . . . . . . . . . . . . . . . . . . . 57 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 59


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.


The Oceanides . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 50%


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

Piano Concerto No. 3 . . . . . . . . . . . . . . . . . . . . . . . 63 STRAVINSKY

Pétrouchka . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

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.

Guest Artists. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70-71

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


52 73 75 76

Table of Contents

The Cleveland Orchestra

or·ches·trate verb \ \ to arrange or combine so as to achieve a desired or maximum effect BakerHostetler is honored to support The Cleveland Orchestra’s commitment to world-class performances.

Severance Hall 2014-15


“The best culture in Cleveland is in my back yard.” —Hope Hungerford, Judson Manor resident since 2010

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Perspectivesfrom the Executive Director March-April 2015 Sustaining a world-class orchestra in Cleveland requires that we continually push to adapt and transform ourselves without compromising artistic standards. In recent seasons, we have added new programming adventures including Fridays@7, ballet performances, film presentations, and innovative operatic experiences like last season’s Cunning Little Vixen. We have boldly sought out — and successfully brought in — tens of thousands of young people each year, proving that a great orchestra appeals to all ages. We have taken concerts out into the community by performing in schools, neighborhoods, homes, shops, and public spaces. With these, and many other innovations, we are now playing more music for more people than ever before in The Cleveland Orchestra’s history. As we approach the start of our second century in 2018, it is clear that our audience base is not only growing but shifting both demographically and culturally. As our patron base continues to diversify, so do expectations for enhanced experiences above and beyond the magnificence of what we do onstage. It is with this context that it became time for us to ask you directly, “What is your experience of concert attending and what can we do better?” Last season, we embarked on a significant new journey of discovery. We created a taskforce to study the “total orchestra experience” under the leadership of Cleveland Orchestra trustee Doug Kern. By email and in focus groups, we asked more than 60,000 of you for your opinions, and you responded with useful insights, clear suggestions, thoughtful commentary, and a high level of satisfaction. Whether you were longterm subscribers or first-time buyers, classical or celebrity attendees, students or seniors, you made it clear that you take great pride in The Cleveland Orchestra. We were gratified for your endorsement, and very proud that we have so many friends here in Northeast Ohio. But we also learned, in this modern world of change and transformation, that there are some aspects of the patron experience that you feel deserve attention and are open to improvement. When the taskforce’s report was presented to the board this past autumn, it gave us all much to reflect on and, more importantly, significant and focused work to do. The recommendations range in both size and scope, with some requiring longer-term planning and budgeting, while others are now in place. Already, I have seen many of you taking advantage of our new pre-ordering intermission drink service, for instance, or relaxing in Severance Restaurant for dessert after a concert. Going forward you can expect to see additional welcome enhancements to food service, more personalized online access, streamlining of the program book, and physical changes to public spaces. Enhancing the concert-going experience will be an ongoing and iterative process over the coming seasons. But we will continue to work hard each and every day to ensure that your expectations of the world’s favorite orchestra are exceeded.

Gary Hanson Severance Hall 2014-15



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

SYMPHONY AND BASEBALL — In the summer of 1953, when Public Auditorium was undergoing renovations, The Cleveland Orchestra’s series of popular summer concerts became pre-game performances at Cleveland Stadium. In this photograph, Louis Lane conducts while Indians team members pose and listen.

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 continue its legendary command of musical excellence, to renew its focus on fully serving the communities where it performs through concerts, engagement, and music education, to develop the youngest audience of any orchestra, to build on its tradition of community support and financial strength, and to move forward into the Orchestra’s next century with a unswerving commitment to innovation and daring to succeed. 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 resiAS IT NEARS THE CENTENNIAL


About the Orchestra

The Cleveland Orchestra


dency at Vienna’s Musikverein, and regular appearances at Switzerland’s Lucerne 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 more than nine decades 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 Severance Hall 2014-15

The Orchestra Today


meaningful contexts with new and older works. Franz Welser-Möst’s creative vision has given the Orchestra an unequaled opportunity to explore music as a universal language of communication and understanding. An Enduring Tradition of Community Support. The Cleveland Orchestra was born in Cleveland, created by a group of visionary citizens who believed in the power of music and aspired to having the best performances of great orchestral music possible anywhere. Generations of Clevelanders have supported this vision and enjoyed the Orchestra’s concerts. Hundreds of thousands have learned to love music through its education programs and celebrated important events with its music. While strong ticket sales cover just under half of each season’s costs, it is the generosity of thousands each year that drives the Orchestra forward and sustains its extraordinary tradition of excellence onstage, in the classroom and for the community. The Cleveland Orchestra was founded in 1918. 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, 1933-43; 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 April 5, 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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as of March 2015

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 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


Welcome Spring

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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 directed by James Darrah 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


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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.

Cleveland Orchestra Concert Previews are presented before every regular subscription concert, and are free to all ticketholders to that day’s performance. Previews are designed to enrich the concert-going experience for audience members of all levels of musical knowledge through a variety of interviews and through talks by local and national experts. Concert Previews are made possible by a generous endowment gift from Dorothy Humel Hovorka. April 16, 17, 18 “All Things French” with Rose Breckenridge, Cleveland Orchestra Music Study Groups administrator and lecturer

April 23, 25 “Spirits of Waves, Peasant Songs, and Puppets” with Eric Charnofsky, instructor, Case Western Reserve University

April 30, May 1, 2 “Papa Haydn: More than Symphonies” with Rose Breckenridge,

May 7, 9, 10 “Berlioz’s Faust: The Legend, the Music” with Michael Strasser, professor of musicology, Baldwin Wallace University Conservatory of Music

May 14, 16 “New Worlds and New Ideas” with Katherine Bormann, violin, The Cleveland Orchestra

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Concert Previews


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MALTZ FAMILY FOUNDATION for their $20 million lead endowment gift to create The Cleveland Orchestra’s Center for Future Audiences. With additional gifts from others, the Center is providing ongoing funding for promotional programs to encourage interest among young people to attend the Orchestra’s symphonic concerts. More than 40,000 young people now attend Orchestra concerts at Severance Hall and Blossom Music Center each year.


The Cleveland Orchestra


W E L S E R - M Ö ST M U S I C


Severance Hall

Thursday evening, April 16, 2015, at 7:30 p.m. Friday morning, April 17, 2015, at 11:00 a.m. * Saturday evening, April 18, 2015, at 8:00 p.m.

Lionel Bringuier, conductor MAURICE RAVEL (1875-1937)

Le Tombeau de Couperin, Opus 35 [Memorial to Couperin] 1. 2. 3. 4.



Prélude Forlane Menuet Rigaudon

Cello Concerto No. 1 in A minor, Opus 33 1. Allegro non troppo — 2. Allegretto con moto — 3. Allegro non troppo GAUTIER CAPUÇON, cello



La Tragédie de Salomé Symphonic Suite part one 1. Prelude 2. Dance of Pearls part two 3. Introduction — The Magic of the Sea — 4. Dance Amidst the Lightning Flashes — 5. Dance of Terror


Thursday’s concert is sponsored by Hahn Loeser & Parks LLP and co-sponsored by American Greetings Corporation. Saturday’s concert is co-sponsored by Park-Ohio Holdings Corp. The concert will end on Thursday evening at about 9:15 p.m., and on Saturday at approximately 9:45 p.m.

* The Friday morning concert is performed without intermission and includes

the works by Ravel and Saint-Saëns. The concert will end at about 12:05 p.m.

Severance Hall 2014-15

Concert Program — Week 18


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

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Tribute, Dance & Exercise J U S T A S T H E W O R L D ’ S C U I S I N E would be less interesting without the French, classical music is immeasurably richer from the sensibilities and ideas of the many great French composers who have expanded, teased, and tempted our musical palates over the years. This week’s concerts are not only French by composer, but in our two guest artists as well. Lionel Bringuier returns to lead a varied program of familiar works, a little-known ballet score, and one of the world’s best-known hits. He is joined by cellist Gautier Capuçon, making his Cleveland Orchestra debut this week with Camille Saint-Saëns’s effervescent First Cello Concerto, from 1872. The concerts begin with a masterful piece from a hundred years ago, of much older-style dances, updated into a modern orchestral work by Maurice Ravel. The unusual offering (for evening concerts only) is Florent Schmitt’s Tragedy of Salome, a symphonic suite created from a brilliant ballet score a hundred years ago, which is being performed by The Cleveland Orchestra for the first time since the 1930s. The program ends with Ravel’s Boléro from 1928, a work that began as a simple exercise in variation and repetition — and has ridden a wave of popularity to be one of the most-recognized pieces ever written. —Eric Sellen

Gautier Capuçon’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from Mr. and Mrs. Michael Sherwin. The Cleveland Orchestra’s Friday Morning Concert Series is endowed by the Mary E. and F. Joseph Callahan Foundation. 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

Introducing the Concert


Le Tombeau de Couperin [Memorial to Couperin] composed 1914-20 C O M P O S E R S H A V E A LW AY S



RAVEL born March 7, 1875

Ciboure, Basses-Pyrénées died December 28, 1937 Paris

Severance Hall 2014-15

been inspired by the music of the past. But whereas in earlier days the most important impulses tended to come from the generation immediately preceding the time of writing, in the 19th and 20th centuries many composers began to find ways to incorporate the more distant past into their works. When this occurs, we can no longer speak of a smooth and gradual transition from one musical style to another; rather, the source of inspiration and the new work remain two separate entities, juxtaposed and affecting each other but quite distinct nevertheless. In many of his works, Maurice Ravel may be regarded as a precursor of “neo-classicism,” a movement that flourished after World War I, with Igor Stravinsky (who was, by the way, a close friend of Ravel’s) as one of its leaders. Ravel often wrote into his music features derived from the music of the 17th and 18th centuries, as did the “neo-classicals” coming after him. His early Menuet antique already showed this tendency, as did the Menuet sur le nom d’Haydn. But Ravel’s best-known homage to the past is his Tombeau de Couperin, in which he re-created several Baroque instrumental forms in a 20th-century idiom. François Couperin (1668-1733) was one of the greatest masters of the French Baroque, called “Le Grand” in his own time. (He belonged to a dynasty of musicians that has often been compared to that of the Bachs.) As an exercise toward creating Le Tombeau de Couperin, Ravel prepared an arrangement of a dance by Couperin. The form of this was the Forlane, which Ravel then used as the basis for one of the movements of his new work. The work’s overall title is somewhat misleading, for Ravel said that he did not mean to memorialize that composer in particular, but to pay homage to French Baroque musical sensibilities in general. The original version of Le Tombeau de Couperin, completed in 1917, was for solo piano and featured six movements: Prélude — Fugue — Forlane — Rigaudon — Menuet — Toccata. With the end of World War I, he dedicated each movement in memory of specific fallen comrades. (Ravel had served as a truck driver in the French army during the war.) After the piano piece’s premiere, in 1919, Ravel wrote an orchestral version, dispensing with the “Fugue” and the “TocAbout the Music


At a Glance Ravel created Le Tombeau de Couperin as a suite for piano (its original title was going to be Suite française). He began writing in 1914, but his work was interrupted by World War I. He completed the piano suite in 1917, dedicating each of its six movements in memory of a friend or friends killed in the war. The first performance of the piano suite was given on April 11, 1919, by Marguerite Long at the Salle Gaveau in Paris. Later the same year, Ravel orchestrated four of the suite’s six movements. The orchestral version was premiered on February 28, 1920, by the Pasdeloup Orchestra led by Rhené-Baton. The first performance of the orchestral suite in the United States took place on November 19, 1920, with the Boston Symphony Orchestra conducted by Pierre Monteux. The orchestral Tombeau de Couperin runs about 20 minutes in performance. Ravel scored it for 2 flutes, 2 oboes (second doubling english horn), 2 clarinets, 2 bassoons, 2 horns, trumpet, harp, and strings.

cata,” and moving the “Rigaudon” to the end, thus creating a suite of three dance movements preceded by a prelude. The Baroque inspiration in the suite can be seen especially in the rhythm. The even sixteenth-notes of the Prélude are reminiscent of the steady motion found in so many of J. S. Bach’s preludes. Similarly, the other movements follow the patterns of the Baroque dance types on which each is based. The formal designs, with repeats and recapitulations, are also those of the 18th century. But the melodies and the harmonies are Ravel’s own. Note his beloved pentatonic scale (playable on the piano’s black keys) right at the beginning of the prelude; and many exquisite chromatic modulations throughout the piece, especially in the delicate “Forlane.” The Menuet was one of Ravel’s favorite dance forms. Ravel’s minuets are always soft and graceful, and this one (despite one fortissimo passage) is no exception. Finally, the “Rigaudon” consists of a dynamic opening section in C major that contrasts with a pastorale-like middle section in a slower tempo starting in C minor. In the orchestral version, this middle section features a series of lyrical woodwind solos (oboe, english horn, flute, clarinet), after which the exuberant C-major theme returns. —Peter Laki Copyright © Musical Arts Association


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About the Music

The Cleveland Orchestra

Cello Concerto No. 1 composed 1872 NO COMPOSER HAS EVER



SAINT-SAËNS born October 9, 1835 Paris died December 16, 1921 Algiers

Severance Hall 2014-15

been able to match the unbelievable precocity of Mozart, who wrote his first symphony at the age of eight. Saint-Saëns, however, came close. He first played the piano in public at the age of five, and at ten gave his formal debut at Paris’s Salle Pleyel, performing Mozart and Beethoven concertos and offering to play any of Beethoven’s sonatas from memory as an encore. Saint-Saëns eventually grew up to become a national institution in France, one of the country’s most prominent composers, pianists, and organists, who was universally respected, though far from uncontroversial. At the time of his death at age 86, Saint-Saëns’s catalog contained 169 opus numbers, plus a great many unnumbered works (including about a dozen operas, of which only Samson and Delilah is generally known today). His output covers just about every type of music that existed in France at the time, from symphonies and concertos to sacred music, chamber music, songs, and works for the keyboard. Though not a string player himself, Saint-Saëns had a strong affinity for string instruments. He wrote three concertos and numerous other solo works for the violin, as well as two concertos and two sonatas for the cello (not to mention “The Swan,” that most beloved of cello solos, which is the penultimate movement of Saint-Saëns’s popular Carnival of the Animals). The First Cello Concerto was written in 1872 for Auguste Tolbecque, principal cellist of the Paris Conservatory Orchestra. It stands out among Saint-Saëns’s concertos by its serious tone and its innovations in form. The concerto is played without pause, the usual three movements being condensed into one. It begins without any introduction as the solo cello launches into a passionate theme with a wide melodic range, strong offbeat accents, and fast runs. The tremolos (rapid pitch alternations) in the violins and violas only add to the excitement. Except for a few moments when a more lyrical idea takes over, this passionate tone is sustained throughout the entire movement. Then everything changes suddenly: the music moves to a new key, tempo, and meter, and we hear a dainty minuet, intentionally old-fashioned, played by muted strings. (This section made one famous commentator, Donald Francis Tovey, think of “a group of those little dancers supported on a tripod of bristles About the Music


that move so prettily if you put them on the lid of a pianoforte and play.”) The solo cello adds a nostalgic countermelody to the minuet; at one point the solo part evolves into a brief cadenza. The passionate melody of the opening then returns, and is expanded into a brilliant finale. At the very end, the tonality changes from minor to major, and the piece ends with a flourish. —Peter Laki Copyright © Musical Arts Association

At a Glance Saint-Saëns wrote the first of his two cello concertos in 1872. The Cello Concerto in A minor was first performed on January 19, 1873, by Auguste Tolbecque at the Paris Conservatory. The United States premiere took place two years later, on February 17, 1875, in Boston, with soloist Wulf Fries and the Orchestra of the

Harvard Musical Association under Carl Zerrahn’s direction. This concerto runs about 20 minutes in performance. Saint-Saëns scored it for an orchestra of 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings, plus solo cello. The Cleveland Orchestra first performed Saint-Saëns’s

First Cello Concerto during its second season (1919-20), with principal cellist Victor de Gomez and music director Nikolai Sokoloff. The most recent performances by the Orchestra were given in August 2007 at Blossom, with Desmond Hoebig as soloist and Andrew Grams conducting.

Baldwin Wallace University invites you to hear the

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About the Music

The Cleveland Orchestra

La Tragédie de Salomé, Symphonic Suite created 1910 from the ballet score composed 1907 FRENCH COMPOSER FLORENT SCHMITT



SCHMITT born September 28, 1870 Blâmont, France died August 17, 1958 Neuilly-sur-Seine, Nanterre, France

Severance Hall 2014-15

wrote his ballet score for The Tragedy of Salome in the autumn of 1907 at the suggestion of the Paris theater director Robert d’Humiéres, who, in turn, had decided on the subject after witnessing the Paris premiere of Richard Strauss’s lurid operatic retelling of Salome in May of that same year. Music and choreography came together quickly, and the new ballet was first performed in November, as danced by the daring Loïe Fuller — and was a resounding success. The ballet was repeated more than fift y times that season, and many of Schmitt’s friends and acquaintances, including Maurice Ravel, attended and applauded. For many of us today, Schmitt’s name is nearly unknown. But a hundred years ago, he was at the top of his game and in the center of all things musical in Paris. Twenty years earlier, he had studied at the Paris Conservatoire under Gabriel Fauré and Jules Massenet, with Ravel as a classmate. Following military service (playing flute in a garrison band), he won the Grand Prix de Rome in 1900 and spent the next four years — at the Villa Medici in Rome and travelling across Europe — finding his own compositional voice, including musical exoticisms from around the Mediterranean, especially from Islamic Turkey and Morocco. His style was still forming, however, mixing together calculated declamatory outbursts interspersed with varying dynamics and rhythm, and very much embracing the new — and essentially French — Impressionism of Debussy. Because of the small size of the theater where the new Tragedy of Salome ballet was to be performed in 1907, Schmitt was forced to write for a chamber orchestra of just twenty instruments. Nevertheless, he was able to create a musical language of his own, featuring a more veiled and transparent soundworld (which was immediately compared and contrasted to Strauss’s large and thickly-orchestrated operatic score for Salome). If Oscar Wilde, on whose play Strauss had based his opera, had recharged the historic biblical story by creating a lewd and inwardly troubled princess (taking attention away from King Herod as the story’s central figure and casting Salome as both victim and aggressor within her troubled stepfather’s world), d’Humiéres’s ballet scenario restored some of Salome’s innocence — while, as a ballet, giving her even more dancing. About the Music


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In 1910, Schmitt revisited his Tragedy of Salome, taking the opportunity to both shorten it (cutting the nearly hour-long score in half and reducing the “dance episodes” to three from the original six) and enlarging the scoring to full orchestra. Although his intention was largely to create a symphonic suite for the concert hall — and it is this version of the music that we are hearing The Cleveland Orchestra play this weekend — the new score also soon became the usual form in which ballet companies chose to perform it. Among the first to do so was Sergei Diaghilev’s famous Ballets Russes, who mounted a new production in Paris in 1912-13 (when it shared the evening with Paul Dukas’s La Péri, Ravel’s Valses Nobles et Sentimentales, and Vincent d’Indy’s Istar). The fully orchestrated score is a magnificent work in concert, filled with musical tastes of Impressionism, brutal rhythms, masterful orchestration, and a dynamic sense of pacing. Listeners will be reminded of Stravinsky’s powerful ballets and Debussy’s softer translucence, as well as Rimsky-Korsakov’s masterful blending of orchestral colors. Yet Schmitt has created his own work, well deserving of more frequent hearings. (The work has, in fact, been frequently performed in France, and is featured on over twenty recordings, dating back to Schmitt’s own recording in 1930 and including the first stereo rendition as an LP-era album with the Detroit Symphony performing under Paul Paray.) —Eric Sellen © 2015 The following narrative description of the ballet’s action was printed in the score for the Symphonic Suite at the request of the composer, who dedicated it to his friend Igor Stravinsky: Prelude — A terrace of King Herod’s palace overlooking the Dead Sea. The pink and reddish Moab Mountains obscure the horizon.  Dominating the scene is massive Mount Nebo, from which Moses, on the threshold of the Promised Land, greeted Canaan before his death.  The sun is setting.  John the Baptist crosses the terrace and then goes inside. Danse des perles [Pearl Dance] — Torches illuminate the scene.  Their light draws sparkling reflections from the clothing and jewels that spill out of a precious coffer.  Salome’s mother, Herodias, in a thoughtful mood, dips her hands into the coffer and removes necklaces and silken veils of gold.  Salome appears and leans over the chest in fascination.  She puts on necklaces and veils, and begins to dance with childish glee. Severance Hall 2014-15

About the Music

If Oscar Wilde, on whose play Strauss had based his opera Salome, had recharged the historic biblical story by creating a lewd and inwardly troubled princess, d’Humiéres’s ballet scenario restored some of Salome’s innocence — while, as a ballet, giving her even more dancing.


At a Glance Schmitt wrote his ballet score La Tragédie de Salomé in the autumn of 1907 on a commission from Jacques Rouché. Poet and theater director Robert d’Humiéres created the dramatic scenario. Schmitt scored it for a small chamber orchestra. The first performance was given on November 9, 1907, at the Théâtre des Arts in Paris, with the dancer Loïe Fuller in the title role; the production received more than 50 performances that season. In 1910, Schmitt rescored the work for full symphonic orchestra while creating a concert suite featuring about half of the ballet’s original music; he dedicated the resulting symphonic suite to Igor Stravinsky. This symphonic suite runs about 30 minutes in performance. Schmitt’s symphonic suite calls for an orchestra of 2 flutes and piccolo, 2 oboes and english horn, 2 clarinets and bass clarinet, 2 bassoons and sarrusophone, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (cymbals, triangle, glockenspiel, tam-tam, snare drum, bass drum), 2 harps, celeste (optional), strings, and optional small chorus of women (offstage). The Cleveland Orchestra is performing this music for the first time in seventy years at this week’s concerts.


Les Enchantements sur la mer [The Magic of the Sea] — Salome has gone. King Herod is lost in gloomy thoughts of both lust and fear.  Herodias spies on her husband.  Mysterious lights gleam in the water’s depths.  Beneath the waves, the outlines of an ancient civilization can be seen.  Distant sounds of an orgy emerge, perceived faintly through a fiery shower of ash and bitumen: fragments of dance rhythms . . . signs of evil . . . demented laughter . . . A voice is heard from the abyss; Herod listens fearfully.  Vapors float upwards from the sea.  As if created out of troubled dreams and the guilt of old sin, a living cloud takes shape.  Out of this cloud, Salome leaps into view.  As thunder is heard in the distance, Salome begins to dance.  Herod stands to watch . . . Danse des éclairs [Dance of Lighting] — Darkness envelops the scene, and flashes of lightning provide the only source of illumination.  In the wanton dance that follows, Herod pursues Salome, seizes her and tears off her veils.  Salome is naked — but only for an instant.  John the Baptist appears and covers her body with a robe.  Herod is furious and orders John to be delivered to the executioner, who takes the prophet offstage and returns later with his severed head on a platter. Salome triumphantly grasps the trophy and begins to dance.  Then, imagining that the voice of the prophet is whispering in her ear, she runs to the terrace’s edge and hurls the platter into the sea.  The water turns blood-red as terror grips everyone and Salome collapses.  Salome recovers, but the head appears, stares at Salome, then vanishes.  From another position, the head reappears.  Salome tries to escape, but the head multiplies, appearing around her, springing up from all sides.  Salome covers her face trying to blot out the grisly apparition. Danse de l’effroi [Dance of Terror] — A storm breaks out.  Raging winds envelop Salome as sulfurous clouds float out of the abyss.  A tempest rocks the sea and agitates the lonely deserts, while lofty cypress trees twist convulsively in the wind and crash to earth.  Lightning bolts shake loose the stones of the citadel, Mount Nebo shoots forth flames, the entire Moab Mountain range takes fire — and Salome, agitated with the excitement around her, is crushed in the onslaught of the elements.

About the Music

The Cleveland Orchestra

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Boléro composed 1928 “ U N F O R T U N A T E LY



RAVEL born March 7, 1875

Ciboure, Basses-Pyrénées died December 28, 1937 Paris

it contains no music.” The carping of a disgruntled critic? Far from it. With those words, Maurice Ravel himself damned his own most famous composition, Boléro. It has been called a fifteen-minute crescendo; a concerto for snare drum; a theme without variations; a minimalist triumph fift y years before Philip Glass. Yet for all the arrows launched in its direction, Boléro still retains a magic fascination, its inexorable beat capturing one’s attention and even affections. Although many listeners today may think of it as film music, Ravel conceived of the piece as ballet. In 1928, the dancer Ida Rubinstein asked him to write a work in Spanish style, suggesting at first that Ravel might orchestrate some Albéniz piano pieces. Indeed, Ravel was the most skilled of orchestrators; six years earlier, he had famously reworked Mussorgsky’s Pictures at an Exhibition. But apparently the idea of another such project held little appeal. Instead, he determined to produce something wholly his own. He called it Boléro; some observers insisted that the rhythms were more like that of a fandango or a seguidilla, but Ravel stood by his chosen title. The work premiered on November 22, 1928, at the Paris Opéra with Rubinstein herself in the solo role as a sultry café dancer enticing her masculine audience, the work’s unending crescendo reflected in their growing excitement. A later two-piano arrangement by the composer exists, but it is in its orchestral form that the work has earned its reputation. Boléro is a set of eighteen variations on an original theme, or perhaps more properly speaking, eighteen orchestrations of that theme, for the theme itself does not change, though the instruments do. After an opening rhythm on the snare drum (a rhythm that will continue unabated throughout the work), the piece proceeds as follows: 1. 2. 3. 4.

solo flute (in the instrument’s low range) solo clarinet (also low in the range) solo bassoon (high in its range) solo E-flat clarinet (smaller and higher in pitch than the standard B-flat clarinet) 5. solo oboe d’amore (between the oboe and english horn in pitch and tone) Severance Hall 2014-15

About the Music


6. muted trumpet and flute (flute floating above and parallel to the trumpet’s line) 7. solo tenor saxophone (it is unusual to include saxophones in an orchestra, but Ravel liked jazz) 8. solo soprano saxophone (a small, straight, high-pitched saxophone) 9. horn and celesta (the bell-like tones of the latter parallel to the horn’s line) 10. quartet comprised of clarinet and three double reeds (a combination that is organ-like in timbre) 11. solo trombone (replete with sensuous sliding passages) 12. high woodwinds (growing more strident in tone) With variation thirteen, the strings finally emerge from their place in the background to take the lead for the remaining variations. The crescendo continues to build; the drumbeat becomes ever more prominent, more obsessive. Before long, trumpet accents are added, contributing to the intensity until, in the final moments, the full orchestra is tossed into the mix — trombones and cymbals and all — bringing Boléro to an exultant, if abrupt, conclusion. —Betsy Schwarm © 2011 Betsy Schwarm spent two decades as a classical radio producer. She currently teaches music at Metropolitan State College of Denver, and serves as recording engineer for Colorado’s Central City Opera.

At a Glance Ravel composed Boléro in 1928. It was first performed on November 22, 1928, by Ida Rubinstein’s company at the Paris Opéra. Rubinstein herself danced the main role; the choreography was by Bronislava Nijinska, with sets and costumes by Alexandre Benois; Walther Straram conducted. The North American premiere took place at an orchestral concert conducted by Arturo Toscanini with the New York Philharmonic,


on November 14, 1929. Boléro runs about 15 minutes in performance. Ravel scored it for 2 flutes and piccolo, 2 oboes (second doubling oboe d’amore) and english horn, 2 clarinets plus small clarinet in E flat and bass clarinet, 2 bassoons and contrabassoon, 4 horns, 4 trumpets, 3 trombones and tuba, 3 saxophones (sopranino, soprano, tenor), timpani, percussion (2 snare drums, cymbals, tam-tam),

About the Music

celesta, harp, and strings. The Cleveland Orchestra first performed Boléro in October 1930, conducted by music director Nikolai Sokoloff. It has performed this work on many occasions since, most recently prior to this season in the autumn of 2011, when Franz Welser-Möst led performances at Severance Hall followed by performances as part of that year’s European Tour and Vienna Residency.

The Cleveland Orchestra

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Lionel Bringuier French conductor Lionel Bringuier is in his inaugural season as chief conductor and music director of Zurich’s Tonhalle Orchestra. He made his Cleveland Orchestra debut in July 2009 and most recently conducted here at Severance Hall in May 2012. Born in Nice in 1986, Lionel Bringuier began his musical studies at the Academy of Nice at age five. At thirteen, he was admitted to the Paris Conservatoire to study cello with Philippe Muller and conducting with Zsolt Nagy; he graduated in 2004 with honors diplomas in both areas of study. Mr. Bringuier has also participated in masterclasses with Peter Eötvös and Janos Fürst. Lionel Bringuier’s honors include first prizes in the 2005 Besançon Young Conductors Competition, Monaco’s Médaille d’or à l’unanimité avec les felicitations du jury à l’Académie Prince Rainier III, and a Janáček Orchestra competition. He also received the médaille d’or from the Lord Mayor of Nice and prizes from the Cziffra Foundation and Swiss Foundation Langart. In 2005, Mr. Bringuier became conductor of L’Orchestre de Bretagne, and, from 2009 to 2012, served as music director of the Orquesta Sinfónica de Castilla y León in Valladolid, Spain. He was also a member of the conducting staff of the Los Angeles Philharmonic Orchestra for six years. Mr. Bringuier has led many of the world’s most acclaimed symphonic ensembles, including the orchestras of Atlanta, Los Angeles, New York, and San Francisco, as well as Amsterdam’s Royal Concertgebouw Orchestra, Bavarian Radio Symphony Orchestra, BBC Symphony Orchestra, City of Birmingham Symphony Orchestra, Dresden State Orchestra, Helsinki Philharmonic, Israel Philharmonic, Leipzig Gewandhaus Orchestra, Munich Philharmonic, National Orchestra of Spain, Orchestre Philharmonique de Radio France, Philharmonia Orchestra, and the Swedish Radio Symphony Orchestra. In recent seasons, Mr. Bringuier has conducted Bizet’s Carmen in Spain and at the Royal Swedish Opera, and Massenet’s Werther at Milan’s Teatro alla Scala. Also an advocate of contemporary music, he has premiered works by Pedro Amaral, Louis Andriessen, John Corigliano, Marc-André Dalbavie, Magnus Lindberg, Kaija Saariaho, Esa-Pekka Salonen, Rebecca Saunders, and Steven Stucky, among others. Mr. Bringuier’s growing discography includes works by Chopin, Vincent d’Indy, Roussel, and Saint-Saëns (with Renaud and Gautier Capuçon) for Decca Classics and Erato. He records with the Tonhalle Orchestra for Deutsche Grammophon. For more information, visit


Guest Conductor

The Cleveland Orchestra

Gautier Capuçon French cellist Gautier Capuçon is recognized among the foremost cellists of his generation. He is making his Cleveland Orchestra debut with this weekend’s concerts. Born in Chambéry in 1981, Gautier Capuçon began playing the cello at age five. He studied at the Conservatoire National Supérieur in Paris with Philippe Muller and Annie Cochet-Zakine, and later with Heinrich Schiff in Vienna. His many honors include the International André Navarra Prize, being named New Talent of the Year in 2001 by Victoires de la Musique (the French equivalent of a Grammy), a 2004 Borletti-Buitoni Trust Award, and several Echo Klassik awards. Mr. Capuçon performs regularly as a soloist with major orchestras worldwide. His appearances have included engagements with Amsterdam’s Royal Concertgebouw Orchestra, Berlin Philharmonic, Chamber Orchestra of Europe, Chicago Symphony Orchestra, Dresden Staatskapelle, Mariinsky Orchestra, Munich Philharmonic, New York Philharmonic, NHK Symphony, Seoul Philharmonic, Sydney Symphony, and Zurich’s Tonhalle Orchestra, as well as all of France’s major ensembles. Highlights of his current season include European tours with the London Symphony Orchestra and Oslo Philharmonic, and concerts with the Boston Symphony Orchestra, Leipzig Gewandhaus Orchestra, Los Angeles Philharmonic, San Francisco Symphony, and the Vienna Philharmonic.    In recital and chamber music concerts, Gautier Capuçon appears throughout Europe, including annually at the Verbier Festival and Project Martha Argerich in Lugano. His performance partners include Daniel Barenboim, Yuri Bashmet, Katia and Marielle Labèque, Menahem Pressler, Jean-Yves Thibaudet, and Yuja Wang, along with his brother Renaud and the Artemis and Ebène quartets.    An exclusive Erato (Warner Classics) artist, Mr. Capuçon has recorded works by Brahms, Dvořák, Haydn, Prokofiev, and Tchaikovsky.  His most recent releases include a recital of music by Britten, Carter, Debussy, Schubert, and Schumann, as well as Saint-Saëns’s first Cello Concerto and Muse et le poète with the Orchestre Philharmonique de Radio France, conducted by Lionel Bringuier.   Gautier Capuçon is an ambassador for the Zegna and Music Project, a philanthropic endeavor that promotes music and its values. This past autumn, he launched the “Classe d’Excellence de Violoncelle” at the Foundation Louis Vuitton in Paris. This program invites selected students to Paris to work with him on a monthly basis in the foundation’s new auditorium, designed by Frank Gehry. Mr. Capuçon plays a 1701 Matteo Goffriller. Visit for further information.

Severance Hall 2014-15



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 130,000 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


Now On View Discover the most comprehensive selection of masks, figures, and decorative arts by Senufo–speaking artists presented in the United States in the last 50 years.

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Senufo: Art and Identity in West Africa is organized by the Cleveland Museum of Art. This exhibition is supported in part by an award from the National Endowment for the Arts. Art Works. Bird Figure (detail). Unidentified artist. Wood; h. 138 cm. Private collection. Photo © Jon Lam.

Education and Music Serving the Community The Cleveland Orchestra draws together traditional and new programs in music education and community involvement to deepen connections with audiences throughout Northeast Ohio


T H E C L E V E L A N D O R C H E S T R A has a long and proud history of sharing the value and joy of music with citizens throughout Northeast Ohio. Education and community programs date to the Orchestra’s founding in 1918 and have remained a central focus of the ensemble’s activities for over ninety years. Today, with the support of many generous individual, foundation, corporate, and governmental funding partners, the Orchestra’s educational and community programs reach more than 60,000 young people and adults annually, helping to foster a love of music and a lifetime of involvement with the musical arts. On these pages, we share photographs from a sampling of these many programs. For additional information about these and other programs, visit us at or contact the Education & Community Programs Office by calling 216-231-7355.

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 introduced more than 4 million young people to symphonic music over the past nine decades. Severance Hall 2014-15

Education & Community




Each season’s Family Concert series at Severance Hall offers world-class music with outstanding singers, actors, mimes, and more to families from across Northeast Ohio. A recent “Under the Sea” concert featured music from Disney’s The Little Mermaid with The Singing Angels.

Through the PNC Musical Rainbows series at Severance Hall, Cleveland Orchestra musicians introduce nearly 10,000 preschoolers each year to the instruments of the orchestra.


Cleveland Orchestra bassist Mark Atherton with classroom students at Cleveland’s Mayfair Elementary School, part of the Learning Through Music program, which fosters the use of music and the arts to support general classroom learning.

Education & Community

The Cleveland Orchestra

O R C H E S T R A THANK YOU The Cleveland Orchestra’s Education & Community programs are made possible by many generous individuals and organizations, including:

PROGRAM FUNDERS The Abington Foundation The Eva L. and Joseph M. Bruening Foundation Charter One The Cleveland Foundation Conn-Selmer, Inc. Cuyahoga Arts & Culture Dominion Foundation FirstMerit Bank The Harry K. Fox and Emma R. Fox Charitable Foundation The Giant Eagle Foundation Muna & Basem Hishmeh Foundation Martha Holden Jennings Foundation KeyBank The Laub Foundation The Lubrizol Corporation Macy’s The Music and Drama Club National Endowment for the Arts The Nord Family Foundation Ohio Arts Council Ohio Savings Bank, A Division of New York Community Bank PNC The Reinberger Foundation Albert G. & Olive H. Schlink Foundation Harold C. Schott Foundation The Sherwin-Williams Foundation Surdna Foundation Target Thomas H. White Foundation, a KeyBank Trust The Edward & Ruth Wilkof Foundation Women’s Committee of The Cleveland Orchestra

Cleveland Orchestra flutist Marisela Sager working with pre-school students as part of PNC Grow Up Great, a program utilizing music to support pre-literacy and school readiness skills.

ENDOWMENT FUNDS AND FUNDERS Hope and Stanley I. Adelstein Kathleen L. Barber Mr. Roger G. Berk In memory of Anna B. Body Isabelle and Ronald Brown Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Roberta R. Calderwood Alice H. Cull Memorial Fund Mr. and Mrs. Charles R. Emrick, Jr. Charles and Marguerite C. Galanie Mr. David J. Golden The George Gund Foundation The Hershey Foundation Dorothy Humel Hovorka Mr. James J. Hummer Frank and Margaret Hyncik Walter and Jean Kalberer Foundation Alfred Lerner In-School Performance Fund Linda and Saul Ludwig Machaskee Fund for Community Programming Mr. and Mrs. Stanley A. Meisel Christine Gitlin Miles Mr. and Mrs. David T. Morganthaler Morley Fund for Pre-School Education The Eric & Jane Nord Family Fund Pysht Fund The Ratner, Miller, and Shafran Families and Forest City Enterprises, Inc. Anonymous, in memory of Georg Solti The William N. Skirball Endowment Jules and Ruth Vinney Youth Orchestra Touring Fund

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More than 1,250 talented youth musicians have performed as members of the Cleveland Orchestra Youth Orchestra in the quarter century since the ensemble’s founding in 1986. Many have gone on to careers in professional orchestras around the world, including four current members of The Cleveland Orchestra.

Education & Community


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 Beth E. Mooney, Pension 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 April 5, 2015. GIFTS OF $5 MILLION AND MORE

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

Maltz Family Foundation Mr. and Mrs. Albert B. Ratner Anonymous


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


Sally S.* and John C. Morley John P. Murphy Foundation David and Inez Myers Foundation The Eric & Jane Nord Family Fund 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)

Sound for the Centennial Campaign

The Cleveland Orchestra


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 Parker Hannifin Corporation Charles and Ilana Horowitz Ratner Sally and Larry Sears Mr. and Mrs. Richard K. Smucker Squire Patton Boggs (US) LLP Thompson Hine LLP Timken Foundation of Canton Ms. Ginger Warner 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 Mr. and Mrs. James A. Saks Hewitt and Paula Shaw The Skirball Foundation Richard and Nancy Sneed 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 The Hershey Foundation Mr. Daniel R. High Mr. and Mrs. Donald M. Jack, Jr.

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Mr. and Mrs.* S. Lee Kohrman Kenneth M. Lapine and Rose E. Mills Jeffrey Litwiller Dr. David and Janice Leshner Linda and Saul Ludwig Dr. and Mrs. Sanford E. Marovitz Mr. Thomas F. McKee The Margaret Clark Morgan Foundation The Nord Family Foundation Mr. Gary A. Oatey Park-Ohio Holdings Corp. Polsky Fund of Akron Community Foundation Quality Electrodynamics (QED) Helen Rankin Butler and Clara Rankin Williams The Reinberger Foundation Audra and George Rose RPM International Inc. Raymond T. and Katherine S. Sawyer Mrs. David Seidenfeld Andrea E. Senich

Sound for the Centennial Campaign

David Shank Naomi G. and Edwin Z. Singer Sandra and Richey Smith Ms. Lorraine S. Szabo Virginia and Bruce Taylor Dorothy Ann Turick The Denise G. and Norman E. Wells, Jr. Family Foundation Mr. Max W. Wendel Paul and Suzanne Westlake Marilyn J. White The Edward and Ruth Wilkof Foundation Katie and Donald Woodcock William Wendling and Lynne Woodman Anonymous (3)

* deceased


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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 Jeanette Grasselli Brown and Glenn R. Brown Blossom Women’s Committee T. K. and Faye A. Heston Ms. Beth E. Mooney Margaret Fulton-Mueller Dr. Gerard and Phyllis Seltzer James and Virginia Meil Drs. Daniel and Ximena Sessler Mrs. Barbara Ann Davis Mr. and Mrs. Charles Abookire, Jr. Mr. J. William and Dr. Suzanne Palmer Dr. James and Lynne Rambasek Mr. Larry J. Santon Mr. and Mrs. Stanley A. Meisel Mr. and Mrs. Ralph Daugstrup Richard and Gina Klym Mr. and Mrs.* Thomas A. Liederbach Robert and Linda Jenkins

Anthony T. and Patricia A. Lauria Deborah L. Neale Henry F.* and Darlene K. Woodruff Mr. Marc Stadiem Mr. and Mrs. William W. Taft 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 Anonymous (2)

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.

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A great performance requires experience, skill, and timing. FirstMerit Bank is proud to support The Cleveland Orchestra.

888-554-4362 • Member FDIC

As we proudly celebrate our 15th Anniversary, we are pleased to announce the relocaƟon of our Įrm to 200 PUBLIC SQUARE, SUITE 3000 CLEVELAND, OH 44114 Our contact numbers remain the same Phone (216) 515-1660 Fax (216) 515-1650


The Cleveland Orchestra


W E L S E R - M Ö ST M U S I C


Severance Hall

Thursday evening, April 23, 2015, at 7:30 p.m. Saturday evening, April 25, 2015, at 8:00 p.m.

Susanna Mälkki, conductor JEAN SIBELIUS (1865-1957)

BÉLA BARTÓK (1881-1945)


The Oceanides, Opus 73 Piano Concerto No. 3 1. Allegretto 2. Adagio religioso — Poco più mosso — Tempo I 3. Allegro vivace JEREMY DENK, piano



(complete ballet music, 1947 revision) 1. 2. 3. 4.

The Shrovetide Fair In Pétrouchka’s Room In the Moor’s Room The Shrovetide Fair, toward evening

Thursday’s concert is sponsored by FirstMerit Bank. Saturday’s concert is sponsored by Frantz Ward LLP. Jeremy Denk’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from Sterling A. and Verdabelle Spaulding. The Thursday evening concert is dedicated to The Walter and Jean Kalberer Foundation in recognition of their extraordinary generosity in support of The Cleveland Orchestra’s 2013-14 Annual Fund. The concert will end on Thursday evening at about 9:05 p.m., and on Saturday at approximately 9:35 p.m. CLEVELAND ORCHESTRA RADIO BROADCASTS

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

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Concert Program — Week 19


James W. Wert A. Chace Anderson Aileen P. Bost Neal B. Colby Thomas V. David Karen L. Greco Deborah C. Jira John E. Kohl Cynthia G. Koury Marcy W. Robbins Douglas J. Smorag

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The Cleveland Orchestra


Myths, Pianos & Puppets THIS WEEK’S PROGRAM

offers three works by three important composers of the early 20th century. Their musical sensibilities were very much built on national traditions — from Finland, Hungary, and Russia — but each brought his own flair and daring, to create works of power and distinction. To open the concert, guest conductor Susanna Mälkki, making her Cleveland Orchestra debut, has chosen one of Jean Sibelius’s later and less-often heard works. The beautifully-crafted Oceanides, from 1914, shines with this composer’s mature style of graceful introspection and the painting of musical sounds, which here are in turn wistful and mournful, and filled with strong motion and emotion. Next comes Béla Bartók’s Third Piano Concerto, from 1945. This is among the composer’s very last works and was created in part to provide his wife a suitable special piece to perform (and earn a living from) after his death from leukemia. Its bold chords and dynamic rhythms are performed here by guest soloist Jeremy Denk, also making his Cleveland Orchestra debut. Sibelius, The ballet score for Pétrouchka was Bartók, and Stravinsky an unexpected sidetrack for Igor Stravinsky in 1910. It was written between The Firebird, which first brought the composer international fame, and the epochal Rite of Spring, which he was supposed to be composing. His commissioner, the ballet impresario Sergei Diaghilev, believed strongly enough in this young composer to accept this diversion and delay, and to pay for Pétrouchka as a new project. The storyline of a winter fair, and the antics of puppets in love, anger, and dispair, ultimately turning violent — inspired Stravinsky to create a masterful depiction of scenes and events told through music. —Eric Sellen

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Introducing the Concert


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Monday, May 4, 2015 7:30 p.m. The Tinkham Veale University Center Kelvin and Eleanor Smith Foundation Room $75 per ticket ($65 tax deductible donation*) Private dinner with speaker: $250 per plate ($200 tax deductible donation*) *corrected deductible donation

FOR MORE INFORMATION: Michelle L. Miller, Assistant Director of Development

216.368.8745 or

The Oceanides [Aallottaret], Opus 73 composed 1914 IN HIS FORTIES,



SIBELIUS born December 8, 1865 Hämeenlinna, Finland died September 20, 1957 Järvenpää, Finland

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Sibelius began to turn away from the expansive Romantic nationalism of his early works (including the Second Symphony and the Violin Concerto). He entered a new period with his Fourth Symphony (1910-11), characterized by what analysts have recognized as a new compositional approach. Musicologist James Hepokoski describes this change as “an increasing flight from cosmopolitan fashion into nearsolitary contemplation.” In fact, Sibelius had almost completely withdrawn from the world. Since 1904, he had lived with his family in a villa in the middle of a forest (the villa was named Ainola, after the composer’s wife, Aino) and he left his home only infrequently. He lived in nature and listened to the sounds of nature more than to sounds produced by human beings. The first half of the year 1914 was rather exceptional in that Sibelius left his forest retreat to spend a month in Berlin, where he listened to a great deal of new music. He had long been an admirer of both Debussy and Richard Strauss (who were considered stylistic opposites) and now had a chance to revisit their music. Then on May 19, he sailed for the United States, for the first and only time in his life. He had been invited by Carl Stoeckel, the founder of the Norfolk Festival in Connecticut, to conduct a program of his own works and to write a new piece, eventually called The Oceanides, to be premiered on that occasion. He was also to receive an honorary doctorate from Yale University. Like most of Sibelius’s mature music, The Oceanides is rooted in Sibelius’s isolation at Ainola, but in this piece he seemed to extend his view toward to the outside world more than he usually did in those years. Critics in particular have discerned links with Debussy’s impressionism, and there are in fact parallels with Debussy’s piano piece L’Isle joyeuse, which Sibelius is known to have heard in Berlin. The Oceanides is also the only time Sibelius invoked Greek mythology, instead of the Finnish legends of the Kalevala — the Oceanides were the daughters (several thousands of them) born to the Titan Oceanus, god of the oceans, and the nymph Tethys. The Finnish title of the work, Aallottaret, means “Daughters of the Waves,” emphasizing a similarity with Sibelius’s previous tone poem, Luonnotar (“Nature’s Spirit”), which also evoked a female supernatural About the Music


At a Glance Sibelius composed his symphonic poem The Oceanides in 1914, and conducted its first performance at the Norfolk Festival in Norfolk, Connecticut, on June 4 of the same year. This work runs about 10 minutes in performance. Sibelius scored it for piccolo, 2 flutes, 2 oboes, english horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, timpani (2 players), percussion (glockenspiel, triangle), 2 harps, and strings. The Cleveland Orchestra has presented this work on only one previous weekend of concerts, in October 2002, conducted by Robert Spano.

being inhabiting nature. Sibelius wrote three entirely different versions of The Oceanides; the first two have never been performed. The first version, tentatively called Rondo of the Waves, was in three separate movements (meaning that it was more like a symphony than a tone poem, or maybe some kind of a response to Debussy’s three-movement La Mer from 1905). The second version, in one movement, was sent to Stoeckel but was finally replaced by the new composition that we know. Mysterious timpani rolls set the stage for a duet of flutes; an ascending and descending scale emerges, gradually assuming the role of a main theme. Together with persistent string tremolos and harp glissandos (rapid scales), these characteristic instrumental colors represent an ocean and gusts of wind that, in spite of the Greek associations of the title, can sound definitely Northern. The notes previously played in tremolo appear in a more rhythmical shape in the harps and glockenspiel, just before a massive buildup — a gigantic surge of the waves — gets underway, culminating in the piece’s only fortissimo outburst. This is followed only by a brief epilogue, in which the scalar motif — the rise and fall of the waves — calms down. Leading Sibelius biographer Erik Tawaststjerna hears in this ending “the immutability and vastness of the ocean waters into which the Oceanides themselves do not venture.” THE AMERICAN TRIP

exceeded Sibelius’s expectations in every way. He was wined and dined as a major celebrity, surrounded by admirers, and highly acclaimed in the press. He was shown around the country by his hosts and taken to New York, Boston, and Niagara Falls. Soon after his return to Finland, the First World War broke out, putting an end to the composer’s travels. Sibelius retreated to Ainola at Järvenpää, which he seldom left for the remainder of his long life. When he received a second invitation to the United States in 1920, to be the director of the newly founded Eastman School of Music in Rochester, he declined. He did accept another American commission in 1926, and wrote Tapiola, about the spirit of the forest, for Walter Damrosch and the New York Symphonic Society. Yet Tapiola remained Sibelius’s last work, and he did not break “the silence of Järvenpää.” He died in 1957 at the age of 92. —Peter Laki © 2015


About the Music

The Cleveland Orchestra

Piano Concerto No. 3 composed 1945



BARTÓK born March 25, 1881 Nagyszentmiklós, Hungary died September 26, 1945 New York

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B É L A B A R T Ó K wrote his first two piano concertos for himself and played the solo parts of both works at the premieres. The third concerto, composed when he was already gravely ill, was intended for his second wife, the pianist Ditta Pásztory Bartók, and we have reason to believe that he thought about this concerto as a vehicle that would provide Ditta with some income after his death. However, we can find no trace of such gloomy thoughts in the concerto itself. The work’s tone is lyrical and graceful throughout, the structure is of Mozartian clarity, and the whole composition is characterized by a lightness of touch that is very rare in Bartók’s output. Some critics have interpreted this stylistic change as a concession made to a conservative American public, but the truth is that Bartók’s evolution toward a warmer and more melodic style began almost a decade earlier with such pre-emigration works as the Second Violin Concerto and the Divertimento for strings. At sixty-four and dying of leukemia, Bartók was obviously not the same composer who had written Allegro barbaro or The Miraculous Mandarin in younger years. Yet the stylistic continuity between the earlier and the later Bartók is unbroken. Melodic and rhythmic elements derived from folk music are present in the Third Piano Concerto as much as they are in Bartók’s earlier works, and the famous “nocturnal noises” in the concerto’s second movement belong to a group of “night musics” that the composer had been writing since 1926, when he composed “Night Music” as the fourth movement of his piano suite Out of Doors. The Third Concerto’s first movement opens with a peaceful theme played by the pianist with both hands in unison against a rocking accompaniment in the strings. Bartók adheres to traditional sonata form with a scherzando (“playful”) second theme, expansive — though relatively short — development section, and a regular recapitulation. The second-movement Adagio religioso is Bartók’s personal response to the slow movement of Beethoven’s String Quartet in A minor, Opus 132 (titled by Beethoven the “Holy Song of Thanksgiving of a Convalescent to the Deity, in the Lydian Mode”). A quiet chorale melody, played by the piano, is surrounded by solemn interludes on the strings. Then suddenly About the Music


At a Glance Bartók wrote his Third Piano Concerto for his wife, pianist Ditta Pásztory Bartók, in the summer of 1945. He completed the score with the exception of the last seventeen measures, which he only sketched. These measures were deciphered and orchestrated by Bartók’s friend, the composer Tibor Serly. The first performance was given on February 8, 1946, by pianist György Sándor and the Philadelphia Orchestra under Eugene Ormandy’s direction. This concerto runs about 25 minutes in performance. Bartók scored it for solo piano, plus an orchestra consisting of 2 flutes (second doubling piccolo), 2 oboes (second doubling English horn), 2 clarinets (second doubling bass clarinet), 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, snare drum, cymbals, tam-tam, triangle, xylophone), and strings.

the tempo becomes faster and eerie noises begin to appear. The music seems to imitate insects buzzing and birds chirping; the noises rise from a mysterious pianissimo to a full forte, with the strong voices of the trumpet and xylophone joining with the more and more elaborate broken-chord arpeggios of the piano. This intermezzo ends as suddenly as it began; the chorale returns in the woodwinds, interwoven with a new piano part that sounds almost like a two-part invention by J. S. Bach, with a few brief cadenzas interspersed. The cheerful main theme of the third-movement finale is derived from a type of Hungarian folksong that Bartók had discussed at length in his ethnomusicological writings. The movement is cast in rondo form, with fugal episodes that again pay homage to Bach. In the movement’s fast Allegro vivace tempo (about 92 measures to the minute), the 17 bars that Bartók left unorchestrated account for little more than ten seconds of music. Indeed, Bartók felt so close to completing the piece that he drew the final double bar followed by the word vége (“The End”) — a word that, sadly, took on a symbolic meaning shortly after it was written down. After her husband’s death, Ditta was in no condition to play the premiere of the concerto. This honor went to another Bartók student from Hungary, György Sándor (who died in 2005 at the age of 90). Ditta, who returned to Hungary in 1946, did not perform the concerto until many years later. —Peter Laki Copyright © Musical Arts Association

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

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

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Pétrouchka,1 Burleske in Four Scenes composed 1910-11; revised for smaller orchestra 1947 performed in the 1947 edition WHEN THE BALLET IMPRESARIO



STRAVINSKY born June 17, 1882 Oranienbaum, near St. Petersburg died April 6, 1971 New York

Sergei Diaghilev visited Stravinsky in Lausanne, Switzerland, in the fall of 1910, he was expecting to hear the first sketches for The Rite of Spring. Instead, the composer played him part of a new orchestral piece inspired, as Stravinsky later said, by “a distinct picture of a puppet, suddenly endowed with life.” A solo piano would play the puppet, “exasperating the orchestra with diabolical cascades of arpeggios.” Diaghilev took the short step from the composer’s fantasy to an idea for a ballet, and persuaded Stravinsky to finish the piece in that form. Produced the following year by the Russian Ballet with choreography by Fokine, Pétrouchka has been a ballet perennial ever since. In 1921, Stravinsky made a solo piano transcription for Arthur Rubinstein that remains a popular recital showpiece. In 1947, Stravinsky returned to the score again, reducing and clarifying its orchestration, apparently to make it more practical for concert performance and less dependent for its impact on dancing and scenery (and also to help extend its copyright); this is the version that is heard on this weekend’s concerts. In the ballet, the burlesque love-triangle story of three puppets is framed by scenes of revelry at St. Petersburg’s Shrovetide Fair, or Mardi Gras. As the curtain rises, a crowd of people of all ages and social classes is milling around the square. After some bustling figures in the music, Stravinsky quotes directly an Easter Song from the province of Smolensk, which he found in a collection of 100 Russian Folk Songs arranged by his teacher Rimsky-Korsakov. A street musician sets up a hurdy-gurdy, then another comes along with a music box. Their duel for the crowd’s attention creates a kind of atmosphere of chaos and bitonalism reminiscent of the music of Charles Ives; this will be echoed in the bitonal music of the puppet Pétrouchka.1 A sudden roar of drums calls a halt to this rivalry, as the Showman steps through the curtain stage center and draws it aside to reveal the

1 Stravinsky and Diaghilev called their ballet score Pétrouchka (pronounced PE H- TRUESH- KA), using the then-current French transliteration from Russian of the puppet’s name, Петрушка. A variety of alternative spellings and more modern transliterations can be found — on recordings, program books, and printed scores — including Petrushka, Petroushka, and Pétrouchka. In Russian, in addition to being a familiar puppet character, the word Petrushka (or however one spells it) is a familiar nickname for young boys named Piotr (or Peter).

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About the Music


Composer Igor Stravinsky with Vaslav Nijinsky in his costume as Pétrouchka.


three puppets — Pétrouchka, the Ballerina, and the Moor — on their stands. With his flute, he seems to bring them to life, to the crowd’s amusement — and then their amazement, as the puppets leap down from the stage and dance among the people to the “Russian Dance,” a combination of original Stravinsky tunes with a folk song from the county of Totemsk. The driving rhythms, repeated phrases, and barbaric energy of this section delighted the 1911 audience — and similar ideas, pushed a few steps further in The Rite of Spring two years later, would cause the most famous protest demonstration in music history. The tattoo of drums from the fair now becomes the way Stravinsky will announce each new scene of the ballet, beginning with Scene 2 in Pétrouchka’s cell, where two clarinets play the phrase, in the clashing keys of C major/F-sharp major, that symbolizes not only Pétrouchka’s clownish character, but his dual nature, half-puppet, half-human. The puppet’s rage at his helplessness and dependence on the Showman is relieved for a time by a visit from the Ballerina, with whom he is in love. His frantic response to her delicate dance frightens her off, and in his frustration he knocks a hole in the cardboard wall separating his box from that of the Moor. Scene 3 takes place in the cell where the richly-dressed Moor lounges, playing with a coconut. (His musical portrait, painted with bass clarinet, english horn, drum, harp, and cymbals, recalls the jangling “Janissary” music with which Mozart and his Viennese contemporaries depicted the menacing Turks.) The Moor’s brutal yet sensual character proves irresistible to the Ballerina, who enters to a march tune for solo trumpet, then dances a delicate puppet-waltz with him (both of whose themes are borrowed from the early Viennese waltz master Joseph Lanner); the stumbling english horn makes it clear that the Moor has two left feet. The jealous Pétrouchka rushes in on this scene, only to be chased off by the Moor. In Scene 4, the frame pulls back to take in the entire fair again, and we hear shimmering string chords that suggest a wheezy accordion. The merry scene includes groups of wetnurses and coachmen dancing separately and together, a peasant with a performing bear, a drunken merchant scattering bank notes among the crowd, and masqueraders representing the Devil and his companions Greed (a pig) and Lust (a goat). Actual Russian folk tunes abound, including two in the wetnurses’ dance (one lively and one lyrical), and, following the About the Music

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bear’s ponderous dance, a strongly-marked staccato theme in unison strings for the coachmen. The Devil drives all this revelry to a fever pitch, at which point PÊtrouchka and the Moor burst out of the puppet theater. PÊtrouchka has saved the Ballerina from rape by the Moor; he and the Moor fight briefly, and PÊtrouchka is killed. Barely noticing this incident, the crowd wanders off, leaving the Showman to collect his broken puppet, while the ghost of PÊtrouchka jeers at him (in acid muted trumpets) from atop the little theater. —David Wright Š 2015 David Wright lives and writes in Wellesley, Massachusetts. He previously served as program annotator for the New York Philharmonic.

At a Glance Stravinsky composed the ballet PÊtrouchka between August 1910 and May 1911 for Sergei Diaghilev’s company, the Ballets Russes. It was presented for the first time at the ThÊà tre du Châtelet in Paris on June 13, 1911; Pierre Monteux conducted, with Vaslav Nijinsky dancing the role of PÊtrouchka and Tamara Karsavina as the Ballerina; the choreography was by Michel Fokine, with sets and costumes by Alexandre Benois, who had also helped Stravinsky with the storyline and to whom the score was dedicated. Stravinsky reorchestrated the score for a slightly smaller orchestra in 1947. PÊtrouchka runs about 35 minutes in performance. Stravin-

sky’s 1947 version calls for an orchestra of 3 flutes (third doubling piccolo), 2 oboes, english horn, 3 clarinets (one doubling bass clarinet), 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, snare drum, tambourine, tam tam, triangle, cymbals, xylophone), harp, piano, celesta, and strings. PÊtrouchka was first presented in Cleveland as a fully-staged ballet, in March 1916 performances by the touring Ballets Russes; the presentation was sponsored by the Musical Arts Association (which would create The Cleveland Orchestra in 1918) as its first undertaking after its incorporation in 1915. The Cleveland Orchestra

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and the Ballet Russes de Monte Carlo collaborated in staged performances of the ballet in December 1934 and again in March 1937. The Orchestra’s first concert performances of the ballet music were given at Severance Hall in December 1932, conducted by Artur Rodzinski. Stravinsky conducted performances with the Orchestra in 1937 and again in 1947 (leading Scene One in a reading from his newly revised score edition). Since then, the music has appeared on the Orchestra’s programs with some frequency, in both the original and 1947 orchestrations. The most recent performances at Severance Hall were in October 2012, led by Giancarlo Guerrero.

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About the Music


Susanna Mälkki Finnish conductor Susanna Mälkki currently serves as principal guest conductor of the Gulbenkian Orchestra (since 2013), and, with the 2016-17 season, also becomes chief conductor of the Helsinki Philharmonic Orchestra. She is making her Cleveland Orchestra debut with this weekend’s concerts. Born in Helsinki, Susanna Mälkki studied cello with Hannu Kiiski and conducting with Jorma Panula. At the Sibelius Academy, she also worked with Eri Klas and Leif Segerstam, and later studied at London’s Royal Academy of Music. From 1995 to 1998, Ms. Mälkki was principal cellist of the Gothenburg Symphony Orchestra. Since then, she has devoted her time to conducting, including serving as music director of the Stavager Symphony Orchestra 2002-05. She made her debut with the Ensemble InterContemporain in 2004, and subsequently served as the group’s music director 2006-13. In addition to this weekend in Cleveland, this season features Susanna Mälkki’s conducting debuts with the Chamber Orchestra of Europe, New York Philharmonic, Orchestra Filarmonica del Teatro la Fenice, and the Philadelphia Orchestra, as well as returns to the Helsinki Philharmonic, Royal Stockholm Philharmonic, and the San Francisco Symphony. She has also led the Bavarian Radio Symphony Orchestra, Chicago Symphony Orchestra, New Zealand Symphony Orchestra, Orchestra Sinfonica della Scala, Orchestre Philharmonique du Luxembourg, Orquestra Sinfônica do Estado de São Paulo, Royal Scottish National Orchestra, Saint Louis Symphony Orchestra, Sinfonica Nazionale della Rai, and the Swedish Radio Symphony Orchestra. Known as a specialist in contemporary music, Ms. Mälkki conducted the Finnish premiere of Thomas Adès’s Powder Her Face in 1999. Recent and upcoming operatic engagements include Mozart’s The Marriage of Figaro with Finnish National Opera, Janáček’s Jenůfa at Hamburg’s Staatsoper, and productions at the Opéra National de Paris and Milan’s Teatro alla Scala. For the NMC label, Susanna Mälkki has recorded Stuart MacRae’s Two Scenes from the Death of Count Ugolino and Motus. With Ensemble InterContemporain for the Kairos label, she has conducted albums of music by Luca Francesconi, Michael Jarrell, Pierre Jodlowski, Philippe Manoury, Bruno Mantovani, and Yann Robin. Ms. Mälkki is a Fellow of the Royal Academy of Music in London and a member of the Royal Swedish Academy of Music. In 2011, she received the Pro Finlandia Medal of the Order of the Lion of Finland.


Guest Conductor

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Jeremy Denk American pianist Jeremy Denk is the winner of a 2013 MacArthur Fellowship, the 2014 Avery Fisher Prize, and Musical America’s 2014 Instrumentalist of the Year award. He is making his Cleveland Orchestra debut with this weekend’s concerts. Mr. Denk has performed with the orchestras of Boston, Chicago, Los Angeles, Philadelphia, and San Francisco, as well as with London’s major ensembles, and regularly gives recitals in Boston, New York, Philadelphia, Washington, and throughout the United States. Last year, Mr. Denk served as music director of the Ojai Music Festival, for which, in addition to performing and curating the festival itself, he wrote the libretto for a comic opera being presented at Carnegie Hall this season. This season, he has also begun a four-year tenure as artistic partner of the Saint Paul Chamber Orchestra, is making debuts with the New York Philharmonic, and performs Bach concertos with the Academy of St. Martin-inthe-Fields in London and on a United States tour. Jeremy Denk’s recent and future engagements include appearances at the BBC Proms, Amsterdam’s Concertgebouw, and London’s Wigmore Hall. He is also involved in several commissioning projects. Known for his original and insightful writing on music, Mr. Denk has been published in The Guardian, New Republic, The New Yorker, and New York Times Book Review. One of his New Yorker contributions, “Every Good Boy Does Fine,” is the basis of a memoir for future publication by Random House. His blog, Think Denk, recounts his experiences of touring, performing, and practicing; it has been selected for inclusion in the U.S. Library of Congress web archives. For his work as a writer and pianist, Out magazine included him on its list celebrating the most compelling people of 2013. For Nonesuch Records, Jeremy Denk has made several award-winning albums, of works by Bach, Beethoven, Henry Cowell, Ives, and Ligeti. He tours frequently with violinist Joshua Bell, and their Sony Classical album, French Impressions, won the 2012 Echo Klassik award. He also collaborates with cellist Steven Isserlis, and has appeared at festivals including the Italian and American Spoleto Festivals, and the Aspen Music, Mostly Mozart, Ravinia, Santa Fe Chamber Music, Tanglewood, and Verbier festivals. Jeremy Denk earned degrees from Oberlin College, Indiana University, and the Juilliard School. He lives in New York City. For more information, visit his website and blog at

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Cleveland Orchestra’s 2015 “At Home” neighborhood residency taking place throughout the spring in Broadway Slavic Village; community concert telecast on April 17 at 10 p.m. on WVIZ

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The Cleveland Orchestra’s third neighborhood residency is taking place on Cleveland’s southeast side. The Cleveland Orchestra At Home in Broadway Slavic Village began in earnest with a Neighborhood Summit on March 21, and continues with a variety of community activities, musical performances, and education presentations in the neighborhood to early June. The centerpiece is a free community concert by The Cleveland Orchestra on Friday, April 10 — broadcast live on radio WCLV 104.9, and recorded for delayed telecast on ideastream/WVIZ on Friday, April 17, at 10:00 p.m. Free tickets to the concert were soldout within hours of being released to the public on March 21. Broadway Slavic Village was chosen for this year’s residency 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 forecloat home sure 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,” 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!” For a complete listing of this year’s “At Home” residency events, please visit: www.clevelandorchestra/slavicvillage.







OrchestraNews Special effort and concert in “Cancer Blows” event to raise money and awareness Cleveland Orchestra principal trumpet Michael Sachs joined together early in March with other principal trumpet players from many U.S. orchestras alongside trumpet legends from classical and pop genres — including Arturo Sandoval, Doc Severinsen, and Lee Loughnane (trumpeter from the band Chicago) — for a series of events and a special benefit concert to raise money and awareness in the fight against cancer. Titled “Cancer Blows,” the March 4 concert in Dallas was presented by the Ryan Anthony Foundation, created by Cleveland Institute of Music alum and Dallas Symphony principal trumpet Ryan Anthony. The evening featured live and video performances with the Dallas Symphony Orchestra. Anthony was diagnosed with multiple myeloma cancer and went through a bone marrow transplant two years ago. His cancer is in remission and this special large-scale benefit concert was designed to raise awareness for this type of cancer and raise funds for research. For additional information, please visit

Maltzes’ generosity being honored with special commemorative plaque at Severance Hall A special plaque was dedicated at Severance Hall surrounding Saturday evening’s concert on April 11. The plaque permanently commemorates the extraordinary leadership and generosity of the Maltz Family Foundation, created by Milton and Tamar Maltz, for their $20 million endowment gift to start The Cleveland Orchestra’s Center for Future Audiences. The plaque is located in the vestibule between the Bogomolny- Kozerefski Grand Foyer and the left entrance to the Concert Hall on the main orchestra level. The gift from the Maltz Family Foundation was announced in 2010, with the new Center designed to fund ongoing programs to encourage interest among young people to attend the Orchestra’s symphonic concerts. Center-funded programs focus on addressing barriers to attending Cleveland Orchestra concerts at Severance Hall and Blossom Music Center through subsidized ticket and promotional offers. Over 120,000 young people have attended Orchestra concerts since these programs began in 2011. 1.855.GO.STORM



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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.

Severance Hall 2014-15

Special thanks to musicians for supporting the Orchestra’s long-term financial strength The Board of Trustees extends a special acknowledgement to the members of The Cleveland Orchestra for supporting the institution’s programs by jointly volunteering their musical services for several concerts each season. These donated services have long played an important role in supporting the institution’s financial strength, and were expanded with the 2009-10 season to provide added opportunities for new and ongoing revenue-generating performances by The Cleveland Orchestra. Supported concerts this season include performances in Vienna and Paris on the 2014 European Tour, the seasonopening Gala, and the Fridays@7 concert on March 13. “We are grateful to the members of The Cleveland Orchestra for this meaningful investment in the future of the institution,” notes Gary Hanson, executive director. “These donated services each year are vitally important toward the Orchestra’s overall financial strength, and in ensuring opportunities to help maximize performance revenue. They allow us to offer more musical inspiration to enthusiastic audiences around the world than would otherwise be possible, supporting the Orchestra’s vital role in enhancing the lives of everyone across Northeast Ohio.”

Cleveland Orchestra News



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 Jeffrey Zehngut


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 Mark Jackobs 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





OrchestraNews A.R.O.U.N.D T.O.W.N Recitals and presentations Upcoming local performances by members of The Cleveland Orchestra include:


A concert on Sunday afternoon, April 19, features the Amici Quartet in a benefit performance for Family Promise, an organization that helps homeless famlies with emergency and transitional housing. The group is comprised of Cleveland Orchestra members Takako Masame and Miho Hashizume (violin), Lynne Ramsey (viola), and Ralph Curry (cello). The concert at First Church in Oberlin (106 North Main Street, Oberlin 44074) features music by Beethoven and Schubert, with guest musicians Mark Atherton (bass) and pianist James Howsmon. A free will offering will be accepted as donations for admission. For more information, visit

A program presented by Arts Renaissance Tremont on Sunday, April 19, features two Cleveland Orchestra musicians. Richard King (horn) and Chul-In Park (violin) are joined by pianist Randall Fusco for the mid-afternoon presentation at Pilgrim Congregational United Church of Christ (2592 West 14th Street, Cleveland). The program starts at 3:00 p.m. and includes music by Bach, Lennox Berkeley, York Bowen, and Paul Leary.

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







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Cleveland Orchestra News

The Cleveland Orchestra

OrchestraNews Special memorial concert to honor Jamie Ireland on Sunday, April 12 A special memorial concert for former Cleveland Orchestra president James D. Ireland III took place on Sunday afternoon, April 12, beginning at 5 p.m. at Severance Hall. The hourlong concert featured music performed by The Cleveland Orchestra under the direction of assistant conductor Brett Mitchell, and also included four speakers talking about Jamie Ireland’s accomplishments. The concert was a joint presentation by The Cleveland Orchestra and University Circle Inc. Jamie died at age 65 on January 20. He was a member of the Orchestra’s Board of Trustees for two decades and served as its President 2002-08. He served as the Chairman of University Circle 2008-13. Jamie 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 advocated tirelessly for the Northeast Ohio community and held positions to advance that work on the boards of a variety of organizations across the years.

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

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

Youth Orchestra China Tour 2015

The Cleveland Orchestra


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

Cumulative Giving

Annual Support


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

The Cleveland Orchestra



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.



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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FILL YOUR SPRING WITH MUSIC @CIM Enjoy concerts throughout the spring by world renowned faculty members and professional-level student musicians at CIM. Most concerts presented at no charge. For a complete list of events, visit 11021 East Boulevard in University Circle

Severance Hall 2014-15



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.

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 elegance of Severance Hall provides the perfect location for your event, with rooms to accommodate all sizes of groups. Located in the heart of University Circle, the ambiance of one of Clevelandâ&#x20AC;&#x2122;s most outstanding architectural landmarks will provide you and your guests with an event to be remembered fondly for years to come. Marigoldâ&#x20AC;&#x2122;s professional staff and culinary expertise provide the world-class cuisine and impeccable service to make your event extraordinary. PREMIUM DATES STILL AVAILABLE . . .

Call the Manager of Facility Sales at 216-231-7421 or email





Aprll 13 — Monday at 7:30 p.m.

April 30 — Thursday at 7:30 p.m. May 1 — Friday at 11:00 a.m. <18s * May 2 — Saturday at 8:00 p.m.

CLEVELAND ORCHESTRA YOUTH HONOR CHOIR Judy Hanson, conductor CLEVELAND ORCHESTRA YOUTH CHORUS Lisa Wong, director A unique concert featuring 150 voices representing the best high school singers from across the region, nominated by their school choral directors and brought together for this special evening presentation. Free and open to the public, but tickets are required. Visit or call the Ticket Office.

Ravel’s Boléro Aprll 16 — Thursday at 7:30 p.m. April 17 — Friday at 11:00 a.m. <18s April 18 — Saturday at 8:00 p.m.


Vivaldi’s Ring of Mystery May 3 — Sunday at 3:00 p.m. <18s

RAVEL Le Tombeau de Couperin SAINT-SAËNS Cello Concerto No. 1 SCHMITT La Tragédie de Salomé* RAVEL Boléro * not part of Friday Morning Concert

THE CLEVELAND ORCHESTRA Emil de Cou, conductor with Classical Kids Live! This concert celebrates Vivaldi, Venice, and violins in this compelling mystery set in the early 1700s. Katarina, a young orphan, is sent to study violin at the Ospedale della Pieta with the great composer Antonio Vivaldi, where she discovers clues to her past and a missing Stradivarius violin. Drama and music are interwoven to reveal the story of Vivaldi’s life and his most important musical works. Sponsor: The Giant Eagle Foundation

Stravinsky’s Pétrouchka Aprll 23 — Thursday at 7:30 p.m. April 25 — Saturday at 8:00 p.m. THE CLEVELAND ORCHESTRA Susanna Mälkki, conductor Jeremy Denk, piano

Cleveland Orchestra Youth Orchestra

SIBELIUS The Oceanides BARTÓK Piano Concerto No. 3 STRAVINSKY Pétrouchka

May 3 — Sunday at 8:00 p.m.


CLEVELAND ORCHESTRA YOUTH ORCHESTRA Brett Mitchell, conductor Henry Shapard, cello


Playful Percussion


with Richard Weiner, percussion

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


HAYDN Overture to L’isola disabitata HAYDN Concerto for Two Horns in E-flat major* HAYDN Piano Concerto in D major HAYDN Symphony No. 101 (“The Clock”) * not part of Friday Morning Concert

Sponsors: KeyBank and Squire Patton Boggs (US) LLP

THE CLEVELAND ORCHESTRA Lionel Bringuier, conductor Gautier Capuçon, cello

April 24 — Friday at 10:00 a.m. <18s April 25 — Saturday at 10:00 and 11:00 a.m.

THE CLEVELAND ORCHESTRA Matthew Halls, conductor Marc-André Hamelin, piano Richard King, horn* Jesse McCormick, horn*

BARBER Medea’s Dance of Vengeance KABALEVSKY Cello Concerto No. 1 BARTÓK Concerto for Orchestra A free Prelude Concert begins at 7:00 p.m. featuring members of the Youth Orchestra performing chamber music.

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




Berlioz’s Damnation of Faust



May 7 — Thursday at 7:30 p.m. May 9 — Saturday at 8:00 p.m. May 10 — Sunday at 3:00 p.m. <18s THE CLEVELAND ORCHESTRA Charles Dutoit, conductor Paul Groves, tenor (as Faust) Ruxandra Donose, mezzo-soprano Christopher Feigum, baritone Willard White, bass Cleveland Orchestra Chorus Cleveland Orchestra Children’s Chorus

BERLIOZ The Damnation of Faust Berlioz’s rarely performed masterpiece conducted by a legendary interpreter of this work. Faust, an aging scholar, impulsively makes a bargain with Mephistopheles, who promises him the restoration of his youth, knowledge, and the fulfillment of all of his wishes. He falls for the woman of his dreams, Marguerite, but ultimately Faust must relinquish his soul to Mephistopheles to save hers. Sponsor: BakerHostetler


The Vivacious Viola

May 8 — Friday at 10:00 a.m. <18s May 9 — Saturday at 10:00 and 11:00 a.m.


with Lisa Boyko, viola

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


Children’s Choruses Spring Concert May 18 — Monday at 7:30 p.m. CLEVELAND ORCHESTRA CHILDREN’S CHORUS Ann Usher, director CHILDREN’S PREPARATORY CHORUS Suzanne Walters director University School, Shaker Campus 20701 Brantley Road Shaker Heights, Ohio 44122 A free concert performed by the Cleveland Orchestra Children’s Chorus and Cleveland Orchestra Children’s Preparatory Chorus. Free and open to the public; no tickets are required.

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


Thursday May 14 at 7:30 p.m. Friday May 15 at 7:00 p.m. <18s Saturday May 16 at 8:00 p.m. THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Christian Tetzlaff, violin

When describing his New World Symphony, Dvořák said “I tried to write only in the spirit of those national American melodies,” but this symphony is clearly an expression of both the Old World and the New — a musical postcard home to Europe about new ways and ideas in America. The concerts also feature Jörg Widmann’s tantalizingly new Violin Concerto. Sponsors: Thompson Hine LLP KeyBank Fridays@7


216-231-1111 800-686-1141 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.






Marc-André Hamelin



Thursday April 30 at 7:30 p.m. Friday May 1 at 11:00 a.m. <18s Saturday May 2 at 8:00 p.m.

Thursday May 7 at 7:30 p.m. Saturday May 9 at 8:00 p.m. Sunday May 10 at 3:00 p.m. <18s

THE CLEVELAND ORCHESTRA Matthew Halls, conductor Marc-André Hamelin, piano Richard King, horn * Jesse McCormick, horn *

As the great master of the Classical era of music, Haydn’s influence can’t be overstated. He was a champion of Mozart, a teacher of Beethoven. An incredibly prolific composer, he virtually created the symphony as we know it today. This all-Haydn concert features pianist Marc-André Hamelin, and, in the evening concerts, Cleveland Orchestra horn players Richard King and Jesse McCormick are featured in a brilliant concerto for two horns.

THE CLEVELAND ORCHESTRA Charles Dutoit, conductor Paul Groves, tenor (as Faust) Ruxandra Donose, mezzo-soprano Christopher Feigum, baritone Willard White, bass Cleveland Orchestra Chorus Cleveland Orchestra Children’s Chorus

Sponsors: KeyBank Squire Patton Boggs (US) LLP

Charles Dutoit returns to lead Berlioz’s rarelyperformed masterpiece blending oratorio and opera into a compelling dramatic work. Faust makes his bargain with the devil and then meets the woman of his dreams, only to have their love tested by Faust’s own choices. Sung in French with projected English supertitles.

* Not part of Friday Morning Concert.

Sponsor: BakerHostetler

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 April 16-18, 23, 25 Concerts  

April 16-18 All French: Ravel's Bolero April 23, 25 Igor Stravinsky's Petrouchka