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23a & 23b

About the Orchestra




From the Executive Director . . . . . . . . . . . . . . . . . . . . 7 About the Orchestra . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Musical Arts Association . . . . . . . . . . . . . . . . . . . . . . . 13 Music Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . . . 22 Education and Community Programs . . . . . . . . . . 31 Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Guest Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 LEAGUE OF AMERICAN ORCHESTRAS Welcome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25, 27, 29


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 23a BEETHOVEN AND STRAUSS Program: May 22, 28 . . . . . . . . . . . . . . . . . . . . . . . . 35 Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . 37 BEETHOVEN

Symphony No. 6 (“Pastoral”) . . . . . . . . . . . . . . . . 39 STRAUSS

Symphonia domestica . . . . . . . . . . . . . . . . . . . . . . 43 Conductor: Franz Welser-Möst . . . . . . . . . . . . . . . . . 17

Week 23b MESSIAEN AND DVOŘÁK Program: May 29 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . 55 MESSIAEN


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.

Hymne . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Chronochromie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 This program is printed on paper that includes 50% recycled content.


Symphony No. 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 Conductor: Franz Welser-Möst . . . . . . . . . . . . . . . . . 17

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

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

48 73 75 76

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

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


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 May 2015 To everyone hearing The Cleveland Orchestra at this weekend’s concerts: thank you. Each year’s success is built on the efforts of many. In the final weeks of the Severance Hall season, we are preparing to close the books on another great year. Many of you attending are also generous in supporting the Orchestra financially through the Annual Fund. Your support fuels the Orchestra’s ongoing success, excellence, and community programs: More music for more people. The Cleveland Orchestra has made this a mantra and an engine propelling us forward each season. We are engaging more deeply with music lovers across Northeast Ohio, from our homebase at Severance Hall, to our summer home at Blossom, and many places beyond and in between. We have added opera and ballet to the annual schedule. We are stepping off the stage into coffee shops, restaurants, and churches through our neighborhood residency program and community engagement activities, creating untold enthusiasm at the grassroots level. Innovation and engagement. We are welcoming tens of thousands of young people to Orchestra concerts each season. We are expanding our reach into local schools, performing in auditoriums and classrooms and bringing students of all ages into Severance Hall for a variety of education programs. From innovative opera productions to new series — like Summers@Severance — we are exploring new and better ways of showcasing the world’s best music. We have established fruitful and rewarding residencies in Miami, Vienna, New York, and at Indiana University, building on our reputation for excellence and innovation. Measurable success. Alongside producing musical experiences of the highest quality, we are achieving new levels of success across all aspects of our operations. With ticket sales at 10-year highs and record philanthropic support from thousands of donors, we have balanced the budget for three consecutive years. This period of renewal and transformation for the future is built on our long-held tradition of excellence in everything we do, and is earning The Cleveland Orchestra recognition among our peers as a leader in what it means to be an orchestra in the 21st century. The Cleveland Orchestra’s success is the result of concentrated effort by everyone involved — on and off the stage. This institution’s greatest asset has always been the vision, dedication, and support of the people of Northeast Ohio. As the fiscal year comes to a close on June 30, we invite you to consider your own investment in sustaining The Cleveland Orchestra’s trademark musical excellence and ongoing service to this region. Please make your Annual Fund commitment today, and be counted among the thousands of supporters who enable this Orchestra to serve the people of Northeast Ohio with quality musical experiences, community presentations, and education programs.

Gary Hanson

Severance Hall 2014-15

From the Executive Director



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

APRIL 1935: Act Three, Scene One from Wagner’s opera Die Meistersinger at Severance Hall. During his tenure as music director of The Cleveland Orchestra (1933-43), Artur Rodzinski used the hall’s orchestra pit to feature staged opera productions in five of his ten seasons — including the American premiere of Shostakovich’s Lady Macbeth of Mzensk in 1935. Staged opera continues this month at Severance Hall with Richard Strauss’s Daphne, May 27 and 30.

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

9550 Sperry Road | Kirtland, OH |


The Cleveland Orchestra





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


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The Cleveland Orchestra


Franz Welser-Möst On behalf of The Cleveland Orchestra, I am very pleased to welcome colleagues from around the world who are here for the League of American Orchestras 2015 Conference being held in Cleveland, May 27-29. We are all devoted to music as a transformational artform and as a language filled with profound meaning. Music allows us to understand not just joy in our hearts, but also the very depths of our souls. The Cleveland Orchestra is built on a shared attitude and outlook toward music. This spirit includes an uncommonly strong devotion to the work we do — to playing a broad repertoire of music according to the composers’ intentions, of being dedicated to playing new music and masterpieces alike with fresh thinking and renewed attention to detail, to accepting nothing but the very best we can do. It is this shared vision and unity of purpose that manifests itself in the group’s famous clarity of sound and acclaimed artistry. Northeast Ohio is a very special place. The people of this region have sustained and supported this extraordinary orchestra for nearly a century now. Together, they recognize both the excellence and the value that a great orchestra offers the community. We, in turn, serve this community not just through musical performances but through education, arts advocacy, and participation. Whether someone is hearing The Cleveland Orchestra for the first time or has listened intently for a lifetime, it is our job to harness the power of music to transform lives in ways that words alone cannot. Thank you, welcome, and enjoy!

Severance The Cleveland HallOrchestra 2014-15

Welcome: From the Music Director


May 2015 Dear League of American Orchestras Conference Attendees: On behalf of the people of our great city, it is my pleasure to welcome you to Cleveland for the League of American Orchestras 2015 Conference, May 27-29. Cleveland is attracting national attention not only as a desirable place to live and work, but also as a destination location for travelers from across the United States and around the world. From fine dining establishments led by world-renowned chefs to the variety of professional sports teams and a world-class arts scene — with The Cleveland Orchestra at its heart — Cleveland has never been more vibrant. Located on the beautiful shores of Lake Erie, Cleveland is a diverse and growing city with a rich history and outstanding attractions including hot spots like East Fourth Street downtown and the Horseshoe Casino. Home to the Rock and Roll Hall of Fame and Museum, West Side Market, nationally-ranked museums, and the second largest theater district in the country, there are so many things to see and enjoy. Cleveland is made up of unique neighborhoods like Little Italy, Ohio City, Tremont, and University Circle — the largest cluster of cultural, educational, and medical institutions in the nation and including Severance Hall, the home of The Cleveland Orchestra. There are so many things that are uniquely Cleveland. Once again, welcome to Cleveland. I hope you enjoy your visit and will take advantage of all that our city has to offer. Sincerely,

Mayor Frank G. Jackson

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Welcome: From the Mayor


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 James and Virginia Meil Mr. and Mrs. James P. Dakin Dr. Gerard and Phyllis Seltzer 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) listing as of May 15, 2015

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.

May 2015 We are extraordinarily pleased to be hosting the League of American Orchestras 2015 Conference here in Cleveland this week, and thrilled to welcome you to a concert presentation under the direction of Franz Welser-Möst. The Cleveland Orchestra has a special relationship with our home city, whose residents have supported the Orchestra for nearly 100 years. It has been our honor and privilege to be part of Cleveland’s recent and ongoing revitalization, and to contribute to the new energy and excitement that is drawing national attention, attracting new businesses and young people, and building a strong, vital community in which to live and work. This is an especially exciting time for The Cleveland Orchestra as we approach the centennial of our founding in 2018. Building on our long tradition of musical excellence, we’re deeply proud of the work we’re doing together as an institution. We’re offering more music to more people, in more ways and varying formats. We’re evolving through innovation and experimentation. We’re successfully building a huge following of young people — who now make up 20% of our audiences. We’re finding new ways to serve our community, we’re moving forward in new artistic directions, we’re providing unique education programs in Northeast Ohio, and we’re in demand — not just at home but around the world. We are deeply proud of the work we’re doing and so pleased to have the opportunity to share some of our successes with you. I hope this Conference inspires new ideas, kindles new relationships, and reinforces pride in the strengths and gifts of every orchestra from coast to coast. Thank you again for being here. And, please, don’t hesitate to ask anyone from The Cleveland Orchestra team — staff, musicians, board, or volunteers — to assist you or answer any questions you may have. Best regards,

Gary Hanson Executive Director The Cleveland Orchestra

Severance Hall 2014-15

Welcome: From the Executive Director


The music continues after the concert on 89.7 FM Now with more news and information programming during the day and more of your classical music favorites in the evening.

For 24/7 classical music, listen on WKSU HD-3 or at

Kent State University, Kent State and KSU are registered trademarks and may not be used without permission. Kent State University, an equal opportunity, affirmative action employer, is committed to attaining excellence through the recruitment and retention of a diverse workforce. 14-2486

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The Cleveland Orchestra

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

Severance Hall 2014-15

More than 1,350 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


Ralph Waldo Emerson

Thanks to the richness of Cleveland’s cultural heritage and the excellence of The Cleveland Orchestra, literally millions of men, women, and children have expreienced p such a dawn . . . and it is unfogettable. g Hyster-Yale Materials Handling, Inc.

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Severance Hall

Friday evening, May 22, 2015, at 8:00 p.m. Thursday evening, May 28, 2015, at 7:30 p.m.

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


Symphony No. 6 (“Pastoral”) in F major, Opus 68

1. Awakening of cheerful feelings upon arriving in the country: Allegro ma non troppo 2. Scene by the brookside: Andante molto mosso 3. Jolly gathering of country-folk: Allegro — 4. Thunderstorm, Tempest: Allegro — 5. Shepherd’s Song: Gladsome and thankful feelings after the storm: Allegretto INTERMISSION RICHARD STRAUSS (1864-1949)

Symphonia domestica, Opus 53 1. Introduction and Development of the Main Themes: The Husband’s Themes: Easy-going, Dreamy, Fiery — The Wife’s Themes: Lively and Free-spirited, Grazioso — The Child’s Theme: Tranquil — 2. Scherzo: Happiness of the Parents — Childish Games — Cradle Song (Lullaby) — The Clock Strikes Seven in the Evening — 3. Adagio: Doing and Thinking — Love Scene — Dreams and Worries — The Clock Strikes Seven in the Morning — 4. Finale: Awakening and Merry Dispute (Double Fugue) — Joyous Confusion

These concerts are sponsored by Hyster-Yale Materials Handling, Inc., a Cleveland Orchestra Partner in Excellence. With these concerts, The Cleveland Orchestra gratefully

honors The George W. Codrington Charitable Foundation for its generous support. The concert will end on Friday evening at about 9:45 p.m., and on Thursday at approximately 9:15 p.m.

Severance Hall 2014-15

Concert Program — Week 23a



36th Annual

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The Cleveland Orchestra


Scenes of Nature: Domestic &Pastoral



T H E T W O G R E A T W O R K S on this program repre-

sent the alpha and omega of 19th-century program music — music that tells a story. Here we have two samples, superbly contrasted and paired. Beethoven’s “Pastoral” Symphony — depicting life in the countryside melded with the composer’s own feelings of walking within an idyllic natural setting — was regarded as the perfect model for descriptive music, embraced by all Romantic composers. Richard Strauss’s tone poems, a hundred years later, took program music to the brink, both in the vastness of his orchestra and in the detail his music was supposed to convey. Narrative and feeling are not mutually exclusive, as Beethoven insisted, nor was it a sin to represent the sounds of nature — nightingales and thunderstorms for Beethoven, a crying baby and lovemaking for Strauss — in music. Many classical and modern works are “about” nothing in particular, but the Pastoral and Domestic symphonies are unarguably about things familiar to each one of us. Nature — the world of the outdoors and the one inside, of the internal mind — is written here within the music, with wonderful effect. —Hugh Macdonald and Eric Sellen


Current and past Cleveland Orchestra concerts are broadcast as part of regular weekly programming on WCLV (104.9 FM). This program of symphonies by Beethoven and Strauss will be broadcast on the following dates: Saturday evening, May 30, at 8:00 p.m., on Sunday afternoon, June 21, at 4:00 p.m., and again on Saturday, August 22, at 8:00 p.m.

Severance Hall 2014-15

Introducing the Concert


Madama ɤɜɜČ?ɑцɴ by Giacomo Puccini

Grzegorz Nowak

Opera Circle Cleveland returns to Playhouse Square with a full-scale opera production of 0DGDPD%XWWHUĹ´\ by Giacomo Puccini, in which the tragic love story of a beautiful Japanese girl DQGD86QDYDORIĆ“FHULVEURXJKW WROLIHWKURXJKPDJQLĆ“FHQWPXVLF This opera classic will feature soloists, chorus, orchestra, FRVWXPHVVWDJLQJDQGVXSHUWLWOHV Maestro Grzegorz Nowak, Principal Associate Conductor of the Royal Philharmonic Orchestra in London, will come especially to conduct one performance only, not to be missed!

One Performance Only!

Saturday, June 13, 2015 | 7:30pm | The Ohio Theatre | Playhouse Square 1511 Euclid Avenue | Cleveland OH 44115


Symphony No. 6 (“Pastoral”) in F major, Opus 68 composed 1806-08


Ludwig van

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

Severance Hall 2014-15

T H E P A S T O R A L S Y M P H O N Y caused Hector Berlioz to declare that music, in Beethoven’s hands, had come of age and had finally reached the point where the power of poets such as Virgil and Theocritus to evoke landscape had been conquered by the power of sound. Composed in 1806-08, it was recognized by all Beethoven’s successors as a signpost to the future and the father of a whole genre of music. It gave them the license to depict not just the natural world but all manner of physical and extra-musical concepts in symphonic language, to the point where program music thereafter dominated the orchestral repertoire central to concert life for the last two hundred years. Beethoven’s evocation of country life in sound has many times been emulated but scarcely ever surpassed. As in so many of Beethoven’s mighty middle-period works, the Sixth Symphony is both conventional and wholly new. The desire to convey people, places, and things in music was almost an obsession in the previous century, whose composers were no strangers to program music. Think of Vivaldi’s The Four Seasons. Or the animals that color the pages of Rameau and Haydn. Similarly, the intensely human emotions expressed by Mozart and Gluck are examples of the recurrent belief that instruments can convey the shape, sound, and impressions of the real world beyond any doubt. Beethoven inherited that belief and applied it almost mechanically when he came to compose the “Pastoral” Symphony. At the same time, he gave the genre two profoundly original dimensions by conveying these sights and sounds as “feelings” (shown specifically in the headings of the first and last movements) and by casting the whole episode as an orchestral symphony. The world of the “Pastoral” is not just any landscape, it is the landscape of the composer’s experience, real or imagined. Beethoven frequented and loved the countryside around Vienna, but he is not simply depicting Austrian village life, he is transferring his own response to the country and making something extraordinary out of something ordinary, “more feeling than painting,” as he explained it himself. To fashion it as a symphony required Beethoven to step across its familiar limits. Most obviously, he depicts five scenes About the Music


At a Glance Beethoven wrote his Sixth Symphony between 1806 and 1808. The first performance took place on December 22, 1808, in Vienna in a “marathon” concert that also included the world premiere of the Fifth Symphony (the numbering of the two symphonies was reversed, with the “Pastoral” billed as No. 5 and the C-minor symphony as No. 6; this was changed when they were published in order). The symphony was dedicated to Prince Franz Joseph von Lobkowitz and Count Andrei Razumovsky. This symphony runs about 40 minutes in performance. Beethoven scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 2 trombones, timpani, and strings. The Cleveland Orchestra first performed Beethoven’s Symphony No. 6 in December 1922, under Nikolai Sokoloff’s direction. The most recent performances were given in October 2014, conducted by Franz WelserMöst.


when a symphony normally permitted four, with the storm occurring between the scherzo and the finale, and leading to the mood of contentment and optimism in which Beethoven always ended his symphonies. The famous passage at the end of the slow movement — the most perfect evocation of serenity ever composed — when three birdcalls are heard (in turn nightingale, quail, and cuckoo), gives an astonishing jolt to the reverie and falls perilously close to bathos, yet it aptly serves Beethoven’s almost humorous purpose. The style of the symphony is not dramatic and knotty, like the famous Fifth, but expansive, in a plain diatonic language that avoids the abrupt dynamics and uneven rhythms of much of his earlier music. Beethoven’s favorite device, an early fermata or “hold,” in the fourth measure of the work’s opening movement places a question mark as if to ensure that the listener’s attention is truly engaged. And this, perhaps, is necessary, for there is no slow introduction (as in symphonies 1, 2, and 4) and the main theme of the movement is presented in as simple fashion as possible at the very outset. The movement suggests a leisurely stroll in the most innocent rustic environment. The development section, in particular, settles into long paragraphs of repeated figures against sustained chords that strikingly anticipate Bruckner’s style. The “Scene by the Brook” is a second movement of magnificent breadth. The water murmurs throughout and the leisurely unfolding of a full sonata form gives Beethoven space to indulge his command of heavenly melody, a legacy from his earliest years as a composer. The delicacy of his orchestration here is especially remarkable, with two cellos singled out to add an extra voice to the string texture and some lovely writing for woodwinds. The third movement Scherzo is a rustic dance, accompanied (evidently) by rustic instruments, and its Trio section is even more down-to-earth, with an emphatic drone bass and the rambunctious stamping of clogs. Here, two trumpets join the orchestra for the first time in the symphony, the full weight of trumpets and drums having been held back to lend force and ferocity to the storm that approaches with the warning of heavy raindrops and then breaks open with horrifying force as the fourth movement. Two trombones, held back with iron restraint, join the clamor, and a piccolo whistles for the wind. The trombones are permitted to join the merry-making of About the Music

The Cleveland Orchestra

“Beethoven Composing the Pastoral,” a lithograph in the Almanac of the Zurich Musikgesellschaft for 1834.

the fifth movement Finale, though the piccolo and drums are not. The mood and style are similar to that of the first movement, and Beethoven feels no need to step up the pace at the end to generate any false excitement. The end, in fact, is surprisingly low-key — as country life continues its endless cycle despite the dramatic intervention of the storm. Although just before the end, Beethoven allows the music to rise in a magnificently broad coda, hinting at the chorus “The Heavens Are Telling” from Haydn’s The Creation, and therefore, no doubt, intended to be heard as a thanksgiving to the Almighty.

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

—Hugh Macdonald © 2015

Previously known as Golden Age Centers of Cleveland 216.231.6500 • Severance Hall 2014-15

About the Music


Symphonia domestica, Opus 53 composed 1902-03



STRAUSS born June 11, 1864 Munich died September 8, 1949 Garmisch-Partenkirchen, Bavaria

T H E P A R A D O X at the heart of this great work is this — marriage, parenthood, and the intimacies of family life, for most of us, are of consuming importance, permanent and inescapable. They are usually also private, personal matters, and the source of happiness or misery, or both. Painters and novelists have explored domestic subjects for centuries, and the self-portrait is an honored form of art. Why, then, was Richard Strauss regularly ridiculed for portraying himself and his family in his music? How can the subject of domestic life be deemed unworthy of a composer’s creative efforts, condemned as in bad taste, when other artists and artforms have plunged its secrets and intimacy and emotional depth to the fullest? Horace and Shakespeare boasted that their verse would outlive the ages. Strauss boasted that his life was a hero’s life in his tone poem Ein Heldenleben (literally “A Hero’s Life”), reviewing his work and penning his own musical memoir at the age of 34, with obvious self-satisfaction. If a symphony can be pastoral, or fantastique, or Italian, or Rhenish, or pathétique, why not domestic? This was what the composer was thinking when he attempted to portray — and celebrate — the everyday private world he shared with his wife and child. He had married his wife Pauline in 1894 and their son Franz was born in 1897. Their Domestic Symphony was composed six years later. This work belongs to the series of tone poems Strauss had been composing steadily since the stunningly successful Don

Richard Strauss and Pauline Strauss with their son, Franz, in 1910.

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About the Music


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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.

Juan of 1889, each more ambitious than the last. The new one was to be called a “symphonic” poem, not a “tone” poem (and it has recognizable scherzo and adagio sections, not unlike symphonic movements). Yet it is far from being a symphony and is much more of a narrative with three principal characters, each with their own themes. Two of them, his wife and himself, featured prominently in the previous tone poem, Ein Heldenleben. They are now joined by the baby, known as “Bubi,” whose squeals and tantrums are represented in the music as well as his heavenly repose. The listener may prefer to know no more than that and let each section suggest what it will. Strauss originally explained events in considerable detail, then later removed most of the tags and cues, sensing the embarrassment that over-descriptive music can cause. Suffice it to draw attention to the neatness of giving himself and his wife basic themes that are a reflection of each other in diametrically opposing keys, F and B:

Each of these shows only the opening notes of the first of many themes, but they reappear constantly — his not always gently, hers not always angrily, although Strauss lays his cards on the table early on. His own themes at the opening are in turn “comfortable” (cellos), “dreamy” (oboe), “morose” (clarinets), “fiery” (violins), “joyful” (trumpet), and “fresh” (rushing scales). Her themes follow immediately, but without labels. Pauline was a shrewish woman (in an era when one could say that without repercussions) who did not always make her husband’s life easy and even sometimes sneered at his music. One of their rows became the basis of his opera Intermezzo of 1924. Nevertheless, he remained devoted to her and recognized that he needed her, as the closing pages of the Symphonia domestica celebrate. Their marriage lasted more than half a century, until his death in 1949; she died ten months later. A folksy passage suggests bourgeois comforts (interrupted of course by passionate exchanges) before a sudden hush introduces the baby. He is represented by an important theme played by the oboe d’amore, an instrument familiar to Bach but not otherwise found in Strauss’s time. The baby is, of course, Severance Hall 2014-15

About the Music

If a symphony can be pastoral, or fantastique, or Italian, or Rhenish, or pathétique, why not domestic? This was what Strauss was thinking when he attempted to portray — and celebrate — the everyday private world he shared with his wife and child.


At a Glance Strauss wrote his Symphonia domestica [“Domestic Symphony”] between April 1902 and the end of December 1903. He conducted the first performance on March 21, 1904, while on tour in the United States, leading a “Strauss Festival” assembled in his honor at Carnegie Hall. (On March 10 of that year, he had appeared on tour in Cleveland, leading the Pittsburgh Symphony Orchestra in performance at Grays’ Armory; his wife, Pauline, was the vocal soloist for the evening.) This symphony runs about 45 minutes in performance. Strauss scored it for a large orchestra of 3 flutes, piccolo, 2 oboes, oboe d’amore, english horn, 3 clarinets, small clarinet in D, bass clarinet, 4 bassoons, contrabassoon, 4 optional saxophones (soprano, alto, baritone, and bass), 8 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, cymbals, triangle, tambourine, glockenspiel), 2 harps, and strings. The Cleveland Orchestra first performed Strauss’s Symphonia domestica in November 1939 under Artur Rodzinski. it has been played occasionally since that time, most recently in January 1996, as led by Vladimir Ashkenazy.


sweet when quiet but capable of screams too, and for his playtime his theme is transformed into a gentle scherzo somewhat in Mahler’s manner. As the baby gets drowsy, father looks on with pride. A gently rocking lullaby is called for, and as the two parents each say “good night” [“gute Nacht”] to their own themes, a clock chimes seven in the evening. All is calm (mostly woodwinds) and father settles down to his desk (the adagio, or third movement). The rich sound of horns introduces his thoughts taking shape and, although he is interrupted by his wife (which we know was not uncharacteristic of Pauline), the music flows freely and leads directly into the love scene as the “camera” moves from the study to the bedroom. Strauss is at his descriptive best here, and why not? He did not need to apologize for any lack of delicacy since no words are needed and nothing is said. The couple are soon asleep, although their sleep is troubled by worried thoughts about the child in a surreal passage scored mostly for high instruments. They are woken by the clock again striking 7 (a.m.). The new day provides material for the extensive final scene (or movement). The baby’s theme, speeded up, is the subject of a vigorous fugue, with the wife’s theme as a second subject, also treated as a fugue. In the course of this energetic music, tension grows between husband and wife, leading to a blazing row — but then ending in reconciliation and the return of “normal” life. And, as far as Strauss was concerned, it was normal for him to devise endless variations and permutations on his themes; his sheer joy in composing and his unstoppable invention take over, well beyond the point where any storytelling is needed. This is no dirge on the miseries of home life — it is the triumphant celebration of a good and ideal life, brilliantly expressed. Once again Strauss shows himself the master of the modern orchestra, in this case an orchestra larger than any he had called for before. A horn section of eight (as in Wagner’s Ring of the Nibelung operas) was established in Ein Heldenleben, but here he adds the oboe d’amore to represent the baby. And also a full quartet of saxophones, although Strauss is strangely cautious in their use, for they only play in sections for full orchestra and are never heard on their own. Indeed, in his own performances he did not use saxophones. But they have been excellent ammunition for critics who want to ridicule the enormity of these “extra-terrestrial” saxophones being applied to describing the About the Music

The Cleveland Orchestra

trivialities of everyday life. It is merely facetious to observe that there are apparently no servants in Strauss’s household, and no meals. His later score for Molière’s Le Bourgeois Gentilhomme [“The Middle-Class Aristocrats”] proves that he could serve up a four-course meal in music. He once boasted he could portray a teaspoon in music, and compose the differences between a knife and a fork, yet somehow we prefer not to . . . have the teaspoon pointed out. If Strauss had wanted a scene for servants, too, he could easily have written one. That’s what he did in the operas Der Rosenkavalier and Capriccio, where their exchanges merely underline the sublimity of what follows. Music can transform the trivial into the sublime, and the Sinfonia domestica proves it quite admirably.

—Hugh Macdonald © 2015 Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis. He has written books on Beethoven, Berlioz, Bizet, and Scriabin.

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About the Music


Sound for the Centennial TH E C A M PAI G N FO R TH E C LE V EL AN D O RC H ESTR A Dennis W. LaBarre, President, Musical Arts Association Richard J. Bogomolny, MAA Chairman and Fundraising Chair Nancy W. McCann, Fundraising Vice Chair Alexander M. Cutler, Special Fundraising 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 May 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

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Sally S.* and John C. Morley John P. Murphy Foundation David and Inez Myers Foundation The Eric & Jane Nord Family Fund Ohio Arts Council The Honorable and Mrs. John Doyle Ong The Payne Fund PNC Bank Julia and Larry Pollock Mrs. Alfred M. Rankin, Sr. Mr. and Mrs. Alfred M. Rankin, Jr. James and Donna Reid Barbara S. Robinson The Leighton A. Rosenthal Family Foundation The Sage Cleveland Foundation The Ralph and Luci Schey Foundation The Kelvin and Eleanor Smith Foundation The J. M. Smucker Company Joe and Marlene Toot Anonymous (3)

Sound for the Centennial Campaign

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

Ms. Nancy W. McCann Nordson Corporation Foundation 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)

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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

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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 Amy and Ken Rogat Audra and George Rose RPM International Inc. Raymond T. and Katherine S. Sawyer Mrs. David Seidenfeld

Sound for the Centennial Campaign

Andrea E. Senich 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)

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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.

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

May 22 “Discussing Musical Themes” with Randy Elliot, asst. artistic administrator, and Brett Mitchell, assistant conductor, The Cleveland Orchestra

May 28, 29 “Exploring Tonight’s Music” with Meaghan Heinrich, eduation and community programs advisor, The Cleveland Orchestra

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Concert Previews


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

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W E L S E R - M Ö ST M U S I C


Severance Hall

Friday evening, May 29, 2015, at 8:00 p.m.

Franz Welser-Möst, conductor OLIVIER MESSIAEN (1908-1992)



Hymne Chronochromie [Time Color] Introduction — Strophe I — Antistrophe I — Strophe II — Antistrophe II — Épôde — Coda INTERMISSION


ANTONÍN DVOR ÁK (1841-1904)

Symphony No. 5 in F major, Opus 76 1. 2. 3. 4.

Allegro ma non tanto Andante con moto — Scherzo: Allegro scherzando Finale: Allegro molto

The concert will end at about 9:45 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 23b


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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Time& Color Nature&Faith

T H I S C O N C E R T pairs two composers of quite different musical

sensibilities — the 20th-century Frenchman Olivier Messiaen, who very much created his own musical voice, and the 19th-century Bohemian Antonín Dvořák, who wrote in a strongly Germanic style. Dvořák’s Fifth Symphony came along in 1875 just as the composer was gaining widespread recognition. He had been “discovered” by Brahms through a competition, and the strengths of his musical learning and understanding propelled him forward as the next great symphonist following in the line of Central Europeans from Beethoven, Schubert, Mendelssohn, and Schumann to Brahms himself. Dvořák was always inspired by the natural world, and, like Beethoven, relaxed on walks in the woods. Although it is sometimes referred to as his own pastoral symphony, the Fifth is contemplative only in part, and in feeling more than any specific soundpainting in the score. The connection between nature and Messiaen’s music is much more apparent and direct. Chronochromie from 1961 represents a study in time and sound colors — and incorporates actual birdsongs from a variety of countries directly into the score. Also like nature, it at times piles sounds on top of one another without regard to any traditional sense of musical flow. Hymne, created in 1932 and “remembered onto paper” in 1947, offers a more nuanced view of music as a language through which Messiaen could express his strong Catholic faith and belief in good. —Eric Sellen

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Introducing the Concert







Shirley Jones

Gary Hanson

Actress and Singer

Executive Director, The Cleveland Orchestra PART ONE


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Shirley Jones Actress and Singer





Hymne composed 1932, reconstructed 1947 H Y M N E is one of the less frequently performed of Messiaen’s



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

orchestral works. It was the last of three works for orchestra on sacred subjects composed soon after he completed his Conservatoire studies and then became organist at Paris’s Trinité church (a position he held for over forty years). Les Offrandes oubliées (1930) and Le Tombeau resplendissant (1931) were followed by Hymne au Saint-Sacrement in 1932. This latter piece was performed the following year and again in 1936 when it was included in a concert at the Salle Gaveau that brought together the four composers in the group named “La Jeune France” [Young France]: André Lesur, Yves Baudrier, André Jolivet, and Messiaen (whose fame has far outstripped that of his three colleagues). The group’s aim was to reestablish the dignity and seriousness of music, in protest against the frivolity and nihilism that they saw in the music of Erik Satie and “Les Six” (including Darius Milhaud, Francis Poulenc, and Arthur Honegger). Messiaen’s commitment to elevated spiritual concerns was a clear signal in this campaign. In 1944 the score and parts of the Hymne au Saint-Sacrement were lost, perhaps in the upheaval of the liberation of Paris. Messiaen therefore had to reconstruct it from memory, which he did for a performance by Leopold Stokowski in New York in 1947, under the shorter title Hymne. How far the new version differed from the original is impossible to know. The opening, according to Messiaen, is like a gust of wind, ushering in a passage of “impassioned melancholy.” The section where a solo violin is supported by muted strings is a serene contemplation of the gift of the Eucharist, succeeded by a passionate representation of the ensuing state of grace. The music in effect enacts the Catholic ritual of Holy Communion, and ends in brilliant orchestral sound, like so many of Messiaen’s pieces. Messiaen’s view of the world was wholly optimistic, in keeping with his profound faith in the comforts of Heaven. —Hugh Macdonald © 2015

Severance Hall 2014-15

About the Music



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Chronochromie composed 1959-60 U N L I K E H Y M N E , Messiaen’s Chronochromie has been per-



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

Severance Hall 2014-15

formed with great frequency by the world’s great orchestras, and is considered by some to be the composer’s orchestral masterpiece. The work’s formal framework is taken from Greek poetry. An ode was constructed as a “Strophe” followed by an “Antistrophe,” which was supposed to balance or counter the Strophe. These were followed by an Epode as closure. Messiaen has two Strophes and Antistrophes with their Epode, and wraps them all with an Introduction and a final Coda. Unlike Hymne and almost all his other compositions, Chronochromie makes no explicit reference to spiritual or Catholic concerns. Its basis is, instead, the interaction of time (chronos) and color (chroma). Time is represented by the 32 different possible durations (note-values) between a thirty-second note and a whole note. The composer selects the order in which these durations occur, and then creates different orders by further procedures of the same kind applied to the preceding order. This produces 36 permutations, or “interversions,” as the composer calls them. The listener might be put off by the barrage of mathematical complexity governing Messiaen’s choice of notes, but the resulting sound, though certainly complex, is directly appealing and strongly characteristic. His harmony, for example, is dense but not random, and it contributes to the prevalence of sound color that Messiaen always regarded as a source of spiritual insight. The color is also, he argues, a product of the mixture of durations, a phenomenon he embodied in an earlier composition called Timbres-durées. A yet more distinctive coloring is contributed throughout the work by birdsong, an element not embodied in the title, but a pervasive presence in nearly all his music from the 1950s on. As an ornithologist, he ranked with professionals, and he devoted long weeks to studying the world’s birds in field and forest. On his travels between 1952 and 1991 (the year before his death), he filled over two hundred notebooks with notations of birdsong from all over the world — Japan, the United States, Israel, Australia, Scandinavia, New Caledonia, and from all regions of France. Chronochromie includes the song of birds from Sweden, About the Music


Messiaen was an avid amateur ornithologist all of his life, and spent many days and weeks notating bird sightings and songs. He incorporated the singing of specific birds into a number of his compositions, including Chronochromie.

France, Mexico, and Japan, each labeled in the score. To this end his orchestra is rich in keyboard percussion — glockenspiel, xylophone, and marimba, each requiring great virtuosity from the players. The woodwinds and upper strings are, of course, required to impersonate birds too, and even the lower instruments (bass clarinet and bassoon) croak or squawk when required. As an illustration of the density of birdsong in this work, the Introduction alone features two Swedish birds of prey, a buzzard and a sea-eagle, and some smaller Japanese birds, including a Japanese blackbird, a warbler, and a “kibitaki.” This movement also illustrates rocks (heavy chords), followed by cataracts (rushing string figures), and the end is signaled by a series of massive chords for the full orchestra. All seven movements are separated by short, measured silences. Strophe I features half a dozen French birds, generally delicate in texture, while the Antistrophe I begins with lurching chords before a songthrush and a lark are heard. A passage for sustained strings follows, then a slow section of loud chords. Messiaen then brings in a series of Mexican birds. Strophe II begins with a bewildering maze of birdsong in the upper registers, all from French birds, and this is followed by Antistrophe II, the longest movement, with some remarkable work in the percussion and some echoes of the preceding Strophe. The climax of Chronochromie is surely the Épôde, played


About the Music

The Cleveland Orchestra

by eighteen solo strings (no double basses), each playing its own birdcall. Unlike in the rest of the work, the pulse is here steady throughout its almost four minutes, and the unvarying texture sets up a carpet of sound that appears to have no reason ever to stop. There is a single gap in the middle when the linnet makes a bid to be heard on its own, but the same wave of chattering noises quickly resumes. This is a tour de force, by any standards. The Coda returns to Japan, and recalls the rocks and cataracts heard in the Introduction. It too ends with a series of heavy (but different) chords for the full orchestra. If Messiaen made no allusion in this work to Catholic theology, we are not to suppose that it was not in his mind. The miracles of nature, like the infinite musical possibilities offered by timbre and pitch, were for him manifestations of the glory of God’s creation. His music is complex, richly overlaid with meaning, and very difficult to perform. Yet audiences have little difficulty grasping the individuality of its sonority, the sincerity of its faith, and the high craft that we demand of all great artists. —Hugh Macdonald © 2015

At a Glance Hymne


Messiaen composed Hymne au SaintSacrement (the title was later simplified to Hymne) in 1932. It was premiered on March 23, 1933, at the Théâtre des Champs-Élysées in Paris, conducted by Walther Straram. The score and all orchestral parts were lost during World War II, but Messiaen reconstructed the piece from memory in 1947. This was premiered by the New York Philharmonic under Leopold Stokowski’s direction in March 1947. Hymne runs a little over 10 minutes in performance. Messiaen scored it for 3 flutes, 2 oboes, english horn, 2 clarinets, bass clarinet, 3 bassoons, 4 horns, 3 trumpets, 3 trombones, timpani, percussion (bass drum, suspended cymbal, triangle), and strings. The Cleveland Orchestra has presented this work only once before, on a pair of subscription concerts at Severance Hall in November 2006, conducted by Franz-WelserMöst.

Messiaen composed Chronochromie in 1959-60, on a commission from Heinrich Strobel and the Southwest German Radio Orchestra. It was premiered on October 16, 1960, at Donaueschingen, Germany, with Hans Rosbaud conducting. The first complete performance in the United States was given on March 30, 1967, by The Cleveland Orchestra at Severance Hall, led by Georges Prêtre. (The New York Philharmonic had presented two movements in 1965.) Chronochromie runs about 30 minutes in performance. Messiaen scored it for 3 flutes, piccolo, 2 oboes, english horn, 2 clarinets, E-flat clarinet, bass clarinet, 3 bassoons, 4 horns, 3 trumpets, small trumpet in D, 3 trombones, tuba, percussion (glockenspiel, xylophone, marimba, tubular bells [spanning 25 chromatic degrees], 3 gongs, suspended cymbals, Chinese cymbal, tam-tam), and strings. Since giving the U.S. premiere in 1967, The Cleveland Orchestra has performed this work on only two additional occasions, for a pair of concerts in October 1978 with Lorin Maazel, and in March 1993, when Pierre Boulez led three performances and a recording.

Severance Hall 2014-15

About the Music


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

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

Symphony No. 5 in F major, Opus 76 composed 1875 T H E H A L F - D O Z E N Y E A R S surrounding the composition of



DVOŘÁK born September 8, 1841 Nelahozeves, Bohemia died May 1, 1904 Prague

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the Fifth Symphony in the summer of 1875 saw Dvořák’s standing grow from that of an obscure Bohemian composer known only in Prague to a figure of international eminence, performed and published in Germany as well as Prague, and praised by Johannes Brahms and the critic Eduard Hanslick, the two most powerful personalities in Vienna’s music. His international fame started in 1874, when he won an Austrian state prize (Brahms was one of the judges), and by 1879 his music, especially the Slavonic Dances, was played and enjoyed throughout Europe. The Fifth Symphony may thus be seen as the work of a young man (he was 33) who senses that things are turning in his favor and that he had found a style that was quintessentially his own. He had already composed four symphonies, three operas (one of them twice, which is to say two separate settings of the same libretto), six string quartets, a cello concerto, and a number of songs. Only one of the symphonies and one of the operas had been performed, and there were as yet only embryonic traces of the style that we recognize as that of the mature master. The Fifth Symphony, however, breaks new ground with striking boldness in the handling of keys and themes and with a confident approach to the idea of a symphony, laying down the path that he was to follow in the four great symphonies still to come. To take a single example of his departures from tradition: a classical symphony in the key of F major would give great prominence to the related dominant key of C major. But that key is hardly to be heard anywhere in Dvořák’s F-major symphony. Here, he chose to go his own way, at least in some details. F major was traditionally a pastoral key, as in Beethoven’s Sixth Symphony, and for a while at the start of the first movement of Dvořák’s Fifth Symphony a sense of the open country may be felt, with clarinets and then flutes warbling over still, tranquil harmony. But the mood does not last, and a vigorous, muscular theme soon puts a stop to all this relaxation. The second subject is presented on the violins, replete with little bulges and sighs. In the middle of the movement the flute gives a glimpse of the wide outdoors, but that brief episode is not recalled until the end of the movement, when a solo horn brings the music About the Music


At a Glance Dvořák wrote his Symphony in F major in June and July 1875. The world premiere was given on March 25, 1879, in Prague under the direction of Adolf Čech. It was Dvořák’s third symphony to be published, at which time the composer dedicated the score to Hans von Bülow. (Originally published as “No. 3,” it followed the symphonies now known as Nos. 6 and 7 in the chronologically-based numbering established in the mid-20th century by Jarmil Burghauser, which re-numbered the F-major work as “No. 5.”) This symphony runs about 40 minutes in performance. Dvořák scored it for 2 flutes, 2 oboes, 2 clarinets (second doubling bass clarinet), 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, triangle, and strings. The Cleveland Orchestra has performed Dvořák’s Fifth Symphony on only a few occasions, in April 1970 at Severance Hall, under the direction of Michael Charry, and both here and on tour in the spring of 2005 and autumn of 2006, under the direction of Franz WelserMöst.


to rest. The second movement is an intermezzo that Felix Mendelssohn or Robert Schumann might have offered, charming and melodious, and the middle section moves a little faster in the major key. This is all based on a brief four-note figure that goes back and forth between the instruments and leads to a strong, surprising climax before the return of the opening section. Dvořák directs that the third movement Scherzo should follow quickly on, for its opening bars are a continuation and an echo of the close of the preceding movement, an interesting application of the belief (again from Mendelssohn and Schumann) that continuity between movements was an important goal. (Schumann’s “Spring” Symphony had linked its two central movements in the same way.) Once the Scherzo starts, its lilting momentum might come from the Slavonic Dances with which he was about to make all Europe tap their feet. The theme of the movement’s Trio section is perhaps intended to recall the middle section of the intermezzo before it. The fourth movement Finale dispels all thoughts that this symphony was intended to induce a mood of relaxation. Its aggressive opening in the cellos and basses is a warning of things to come, and the key is A minor. F major has to fight for its rightful place, for the music suggests strife along the lines of some of Liszt’s symphonic poems. The violence gives way to an elegant, melodious second section, but the nearer the movement gets to its long coda, the greater the tension — but of course with the home key inevitably triumphant. Two episodes in this movement should be noted — just before the recapitulation, the bass clarinet makes its only appearance, a sinister voice supported by low trombones. And shortly before the end, the first trombone, contending with the trumpets, slams out the theme that opened the first movement, proof, if proof were needed, that Dvořák wants us to recognize the integrity of the whole work. —Hugh Macdonald © 2015

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Academy of St. Martin in the Fields Chamber Ensemble 6 October 2015 Cuarteto Casals 27 October 2015 Jupiter Quartet 1 December 2015 Stephanie Blythe, mezzo soprano, and Warren Jones, piano 2 February 2016

Richard Goode, piano 8 March 2016 Chamber Music Society of Lincoln Center 19 April 2016 Dover String Quartet 10 May 2016


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Cleveland Orchestra “At Home” neighborhood residency continues in Broadway Slavic Village

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Severance Hall 2014-15


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 was 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. Free tickets to the concert were soldout within hours of being released to the public on Saturday, 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 are enjoying welcoming The Cleveland Orchestra and all who believe that music spans cultures and brings joy. This is proving to be a great collaboration.” For a complete listing of this year’s ongoing “At Home” residency events, please visit: www.clevelandorchestra/slavicvillage.



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 Ningbo. 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 on sale beginning 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

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OrchestraNews W.E.L.C.O.M.E New oboist joins Orchestra with ďŹ nal concerts of season The Cleveland Orchestra welcomes a new member of the ensemble with the final three weeks of the 2014-15 Severance Hall season. Corbin Stair has joined The Cleveland Orchestra as second oboe, after completing his bachelor of music degree at the Curtis Institute of Music, where he studied with Richard Woodhams, principal oboe of the Philadelphia Orchestra. Other major teachers have included Elaine Douvas, John Ferrillo, and Reid Messich. Mr. Stair served as principal oboe of the Symphony of the Lakes in Winona Lake, Indiana, 2009-2011. He has also performed as a substitute with the Philadelphia Orchestra and in orchestras and chamber music ensembles at the



Aspen Music Festival, MasterWorks Festival, and at Tanglewood Music Center, where he received the 2013 Mickey L. Hooten Memorial Award.

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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OrchestraNews HAIL AND FAREWELL Clarinetist Franklin Cohen will retire from The Cleveland Orchestra at the end of the Orchestra’s summer season at Blossom, after serving as principal clarinet for thirty-nine seasons, the longest tenure of any solo clarinetist in the ensemble’s history. Please join in extending heartfelt thanks and congratulations to Frank. A special commemoration of his tenure and artistry will be featured in the Blossom program book for July 26.



Franklin Cohen Principal Clarinet Robert Marcellus Endowed Chair The Cleveland Orchestra

Franklin Cohen, Principal Clarinet since 1976, will retire from The Cleveland Orchestra in the summer of 2015. After 39 seasons, Mr. Cohen will have had the longest tenure of any solo clarinetist in the Orchestra’s history. The title of Principal Clarinet Emeritus will be bestowed on Mr. Cohen upon retiring. He will be the first Cleveland Orchestra musician officially recognized with this honor. Frank Cohen joined The Cleveland Orchestra at the invitation of Music Director Lorin Maazel. In 1968, he gained international recognition as the first clarinetist to win the First Prize at the prestigious Munich International Music Competition. Cohen is one of the few musicians of his time to combine a world-class solo, chamber, and orchestral career. He is widely considered among the great musicians of his generation. Acclaimed for the strength, passion, and beauty of his playing, he is one of the most frequent concerto soloists in the history of The Cleveland Orchestra, appear-


ing as soloist at Severance Hall, Blossom Music Center, Carnegie Hall, and on tours throughout the United States, Asia, and Europe to critical acclaim. Over the span of Cohen’s career, he has been heard in many thousands of concerts and broadcasts. His commercial recording performances include a Grammy Award and much additional critical acclaim. He has earned glowing praise for his poignant musicality and technical mastery, and has performed with many of the great string quartets of the 20th century. Cohen has taught and performed at virtually all the major American music festivals and has served as department head at the Cleveland Institute of Music for 39 years. He has also been an honored juror at many of the most prestigious international music competitions. In demand internationally as both a performer and teacher, Cohen looks forward to an expanded career as soloist and collaborative artist, in addition to ongoing mentoring of the next generation of young musicians. Upcoming plans include work and performances in Asia, Italy, Scandinavia, France, South America, Canada, and throughout the United States. Cohen will continue as co-artistic director of ChamberFest Cleveland, celebrating its fourth season in summer 2015. He has also launched a new custom-made clarinet mouthpiece company and has plans to conduct. He looks forward to traveling the world with friends and family. Additional information can be found at Two special concerts in tribute to Franklin Cohen’s career are being planned for this coming summer: CHAMBERFEST CLEVELAND June 19 — Celebration Concert with ChamberFest Cleveland, at CIM’s Kulas Hall. For more information, please visit July 26 — Blossom Music Festival concert with The Cleveland Orchestra conducted by Jahja Ling, featuring Cohen performing Weber’s Clarinet Concerto No. 2. For tickets, visit

Cleveland Orchestra News

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J U N E 1 7 - J U LY 1 2 0 1 5



“FRANK!” A special concert, including an all-star orchestra, celebrates Franklin Cohen’s stellar 39-year career as the principal clarinetist of The Cleveland Orchestra. Friday, June 19, 8:00 p.m. CIM’s Kulas Hall

Subscriptions and tickets can be purchased online at or by phone at 216.471.8853.


OrchestraNews Neighborhood residency partnership between Orchestra and Lakewood Schools receives recognition with Yale Award

2015 Blossom Music Festival tickets now on sale Breaking with the traditional postMemorial Day on-sale date for the summer Blossom season, The Cleveland Orchestra opened sales for all Blossom concerts on May 12 for the 2015 Festival. “It’s contradictory, in part,� says Ross Binnie, chief marketing officer for The Cleveland Orchestra. “But in this day and age when people do less planning and are more spontaneous, Blossom remains extraordinarily popular. There are people who travel here and have to plan ahead — we saw no reason not to open ticket sales sooner, and allow people more opportunities.� The 2015 Festival, presented by The J.M. Smucker Company, runs from the Fourthof-July weekend through Labor Day with a variety of orchestral offerings each weekend throughout the summer.

The educational partnership between The Cleveland Orchestra and the Lakewood Public Schools during The Cleveland Orchestra’s “At Home� in Lakewood neighborhood residency a year ago has been selected for recognition by the 2015 Symposium on Music in Schools. The Cleveland partnership is among about a dozen partnerships across the country that were selected. Elizabeth Hankins (Lakewood Schools Music Supervisor) and Joan Katz (Director of Education and Community Programs for the Orchestra) will both receive a Yale Distinguished Music Educator Award in June. The partnership with Lakewood Schools resulted in twenty-six school music activities during the residency in spring 2014, and continues through an ongoing partnership.




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

Cumulative Giving

Annual Support


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



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

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


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

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

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

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

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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

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


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

$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

Should I help her be more social? Does she need more playmates? Do we give in to him too often? Do we give her too much praise? Should he be reading and writing more? Doing long division? Am I a bad parent that when I’m tired, I plop him in front of the television?

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216-844- 5437

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





The Vivacious Viola

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

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


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 Pietà 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

Cleveland Orchestra Youth Orchestra May 3 — Sunday at 8:00 p.m.


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

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.

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 (Faust) Willard White, bass (Méphistophélès) Ruxandra Donose, mezzo-soprano (Marguerite) Christopher Feigum, baritone (Brander) 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. Faust falls for the woman of his dreams, Marguerite, but ultimately he must relinquish his soul to Mephistopheles to save hers. Sponsor: BakerHostetler


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

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

HINDEMITH Concert Music* WIDMANN Violin Concerto DVOŘÁK Symphony No. 9 (“New World”) * not part of Fridays@7 concert

Sponsors: Thompson Hine and KeyBank (Fridays@7)


Children’s Choruses

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.

Beethoven’s Sixth Symphony May 22 — Friday at 8:00 p.m. <18s May 28 — Thursday at 7:30 p.m. THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor

BEETHOVEN Symphony No. 6 (“Pastoral”) STRAUSS Symphonia domestica Sponsors: Hyster-Yale Materials Handling, Inc.


Concert Calendar

The Cleveland Orchestra







Richard Strauss’s Daphne May 27 — Wednesday at 7:30 p.m. May 30 — Saturday at 8:00 p.m. Regine Hangler, soprano (Daphne) Andreas Schager, tenor (Apollo) Norbert Ernst, tenor (Leukippos) Ain Anger, bass (Peneios) Nancy Maultsby, mezzo-soprano (Gaea) Men of the Cleveland Orchestra Chorus directed by James Darrah with THE CLEVELAND ORCHESTRA conducted by Franz Welser-Möst Franz Welser-Möst leads The Cleveland Orchestra in performances of Richard Strauss’s captivating opera about Daphne, a young female spirit who must choose between the love of men and her love for nature. In the spirit of last season’s innovative and critically-acclaimed production of The Cunning Little Vixen, director James Darrah will transform the concert hall into a tableau of nature with staging and costumes inspired by ancient Greek theater. 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. Sponsor: Litigation Management, Inc. and supported by The Andrew W. Mellon Foundation

Dvořák and Messiaen May 29 — Friday at 8:00 p.m.


THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor

MESSIAEN Hymne MESSIAEN Chronochromie DVOŘÁK Symphony No. 5

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).

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


DAPHNE OPERA PRESENTATION Wednesday May 27 at 7:30 p.m. Saturday May 30 at 8:00 p.m. THE CLEVELAND ORCHESTRA conducted by Franz Welser-Möst in a new production directed by James Darrah

Franz Welser-Möst leads The Cleveland Orchestra in performances of Richard Strauss’s captivating opera about Daphne, a young female spirit who must choose between the love of men and her love for nature. In the spirit of last season’s innovative and critically-acclaimed production of The Cunning Little Vixen, director James Darrah will transform the concert hall into a tableau of nature with staging and costumes inspired by ancient Greek theater. Sponsor: Litigation Management, Inc. with additional support from The Andrew W. Mellon Foundation


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.









Wednesday July 1 at 9:00 p.m. Mall B in downtown Cleveland

Saturday July 11 at 8:00 p.m. <18s

Brought to You by Cuyahoga Arts & Culture

THE CLEVELAND ORCHESTRA Thomas Wilkins, conductor Nathan Gunn, baritone

Join thousands of your neighbors, family, and friends for a very special evening celebrating Independence Day. Each summer since 1989, The Cleveland Orchestra has presented a free concert in downtown Cleveland. This year, the Orchestra celebrates our nation’s founding with a spectacular concert, ending with Tchaikovsky’s “1812” Overture and fireworks. The concert begins at 9:00 p.m. Admission is free, no tickets are required. Brought to you by Cuyahoga Arts & Culture. Sponsored by KeyBank.

BEETHOVEN’S NINTH SYMPHONY THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Tamara Wilson, soprano Nancy Maultsby, mezzo-soprano Stuart Skelton, tenor Dashon Burton, bass-baritone Blossom Festival Chorus

Music Director Franz Welser-Möst kicks off the 2015 Blossom season with Beethoven’s most famous work — his timeless message of humanity and brotherhood, which concludes with the inspiring, monumental “Ode to Joy.” The concert begins with an ode of faith by Olivier Messiaen, and concludes with fireworks! Sponsored by Blossom Women’s Committee and BakerHostetler. The 2015 Blossom Music Festival is presented by The J.M. Smucker Company.

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 May 22, 28, 29 Concerts  

May 22, 28 Beethoven and Strauss Symphonies May 29 Dvorak and Messiaen