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2015-16 SE ASON



September 24, 25, 26 AN ALPINE SYMPHONY — page 31 October 1, 2 MAHLER’S THIRD SYMPHONY — page 61 Explorations with Franz Welser-Möst MUSICAL AND METAPHYSICAL CONNECTIONS IN STRAUSS, MESSIAEN, AND MAHLER — page 8

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From the Executive Director . . . . . . . . . . . . . . . . . . . . 7 Explorations with Franz Welser-Möst . . . . . . . . . . . 8 Distinguished Service Award . . . . . . . . . . . . . . . . . . 10

About the Orchestra The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . . . 18 Music Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 WEEK

2015-16 SE ASON



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

AN ALPINE SYMPHONY Program: September 24, 25, 26 . . . . . . . . . . . . . 31 Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . 33 MOZART

Symphony No. 41 (“Jupiter”) . . . . . . . . . . . . . . . . . 35 STRAUSS

An Alpine Symphony . . . . . . . . . . . . . . . . . . . . . . . 39 NEWS Cleveland Orchestra News . . . . . . . . . . . . . . . . . . . . . 46 Emeritus Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 Violins of Hope Cleveland . . . . . . . . . . . . . . . . . . . . . 54 WEEK


MAHLER’S THIRD SYMPHONY Program: October 1, 2 . . . . . . . . . . . . . . . . . . . . . . . 61 Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . 63


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.


Symphony No. 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 Guest Artist: Kelley O’Connor . . . . . . . . . . . . . . . . . . . 72 Choruses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75


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

56 81 83 84

All unused books are recycled as part of the Orchestra’s regular business recycling program. 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 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108 Upcoming Concerts . . . . . . . . . . . . . . . . . . . . . . . . . 110


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

Table of Contents

The Cleveland Orchestra

coun•ter•point noun / kaun-t r-point / a combination of two or more melodies that are played together e

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Perspectivesfrom the Executive Director Autumn 2015 It was a terrific summer for The Cleveland Orchestra. Kicking Off the Fourth of July Downtown. We launched the summer with thousands of community members joining together for our annual Star-Spangled Spectacular performance on July 1. Due to active construction on Public Square, this year’s concert was held on “Mall B,” with a new view of the Cleveland skyline for music and glorious fireworks. Record Attendance at Blossom. Throughout the summer, big crowds took advantage of the varied programming, a beautiful setting, and superb weather to enjoy music at Blossom Music Center. The Orchestra’s annual Festival opened in July with a stirring performance by Franz and the Orchestra of Beethoven’s Ninth Symphony, and concluded with over 28,000 people enjoying the music of John Williams on Labor Day Weekend. The 2015 Festival broke last year’s record, hitting a new high average of 7,125 patrons per concert. Acclaimed as the Best Orchestra in America. July featured the Orchestra’s exciting and successful Lincoln Center Festival residency. Four concerts included Richard Strauss’s opera Daphne plus two orchestral programs with works by Dvořák, Messiaen, Beethoven, and Strauss. The New York Times proclaimed that “Welser-Möst and this remarkable orchestra” are today “the finest in America” and exemplify “the finest kind of effortless virtuosity.” Summers@Severance Attracting New Audiences. Our new summer concert series in University Circle enjoyed a great second season, welcoming many first-time patrons to Severance Hall. Concertgoers filled the building’s Front Terrace before and after the concerts, relaxing and enjoying the weather and refreshments. noted: “These Friday evening summer concerts are meant to attract a younger crowd to Severance, and that seems to work,” with many patrons under forty enjoying classical music. After a great summer, thank you so much for joining us this evening as we begin this new season here in our University Circle home.

Gary Hanson P.S. Cleveland’s arts community continues to be vibrant and strong thanks in part to ongoing funding from residents of Cuyahoga County through Cuyahoga Arts & Culture (CAC). Established by voters in 2007, CAC has provided more than $125 million in public funding to more than 300 organizations based in our county. Cleveland Orchestra audiences have benefited from more than $15 million in support for performances, education programs, and free concerts like the annual Star-Spangled Spectacular downtown. Please join with the Arts & Culture Action Committee in supporting this incredible community asset when we vote to renew the Arts & Culture levy in November. Your vote for Issue 8 will help renew a tax on cigarettes, and continue critical support for local arts and cultural groups for another ten years. To learn more, visit Severance Hall 2015-16

From the Executive Director


Interpreting Nature through Music

From the music director

In the opening weeks of the 2015-16 Season, Franz Welser-Möst and The Cleveland Orchestra explore the metaphysical relationship between humanity and the natural world

I have chosen for this season’s opening weeks addresses the metaphysical aspect of nature — and a set of distinctive approaches to this topic by three unique and perceptive composers. What is existence? Where, how, and what is humanity’s reason to be here? What is our relationship with nature and the world around us? In particular, we look at these questions through Gustav Mahler’s Third Symphony (1896), Richard Strauss’s An Alpine Symphony (1915), and Thus Spake Zarathustra (1895), and works by Olivier Messiaen including Chronochromie (1960), pieces that were composed over a range of sixty-plus years. Mahler is closer to nature in his Third Symphony than in all of his other major works. Born and raised in the Jewish faith, he was in a phase of spiritual transition at the close of the 19th century, leading to a new experience of faith that he ultimately found in the mystical form of Catholicism. Often quoted for his statement that ”the only obligation of man before God is beauty,“ Mahler developed a belief and connection to nature that was directly reflected in the symphony and which substitutes his personal belief in God for an emphatic description of nature — and here he represented Nature as a grand

the programming


metaphysical (which is to say, philosophical) event. This is perhaps best illustrated in Mahler’s original movement titles for this symphony, which he later removed from the score: ”Pan Awakes. Summer Marches In,“ ”What the Flowers in the Meadow Tell Me,“ ”What the Animals in the Forest Tell Me,“ ”What Humanity Tells Me,” ”What the Angels Tell Me,“ ”What Love Tells Me.“ In the fourth movement, we find a text by Friedrich Nietzsche, the “Night Wanderer’s Song” from Thus Spake Zarathustra, which explores a philosophical interpretation of natural life somewhere between sorrow and pleasure, and which is closely linked to the idea of eternity. That Richard Strauss refers to Nietzsche in his symphonic tone poem of the same name indicates the great influence of this philosopher’s work on artists creating works in the 1890s. This can also be said of Nietzsche’s work The Antichrist, which Strauss originally wanted to add as part of the title to his symphonic poem An Alpine Symphony. (Strauss’s idea for expanding the title of this work can best be described not as specifically anti-Christian, but as celebrating Nature instead of humanity — bringing a direct connection with Mahler’s own grand-scale Third Symphony.) Nature and Music

The Cleveland Orchestra

Strauss, who was an atheist, and once described himself as a ”Greek German” (connecting himself with the learned, ancient civilization of Greece), does not deny the metaphysical aspect of nature in Thus Spake Zarathustra (1895) and An Alpine Symphony. On the contrary, at the beginning of An Alpine Symphony in the descending melodic line, the soft, majestic sound of the trombones can be viewed as representing an element in itself that transcends idyllic Nature. This large musical work literally depicts the ascent of the terrain ahead — from the dewdrops in the morning meadow (in which Eos, the goddess of the dawn is reflected), to the many small flowers in the valley meadow, to mention only two of many examples describing nature — before reaching the peak of the mountain, which creates a transcendent feeling. In prior decades, transcendence was a term that played a significant role as the unattainable and un-measurable. One of the most beautiful and moving moments in An Alpine Symphony by Richard Strauss, who had a passion and understanding for Greek mythology, is the sunset. The goddess Dysis, representing the sunset, appears in a grand fashion, creating the context for the literal and mystical end of the day. At the same time, Severance Hall 2015-16

Nature and Music

the god Apollo plucks the strings on his lyre, the instrument with which he gently carries people into the afterlife. In this sunset, death is submerged in the apollinic sensuality of the music’s depictions. In almost all of his music, Messiaen expressed his deep Catholic faith. In his artistic development from L’Ascension (1932) to Chronochromie (1960), his faith is also connected with a strengthening dedication to nature. In his studies of bird calls from all over the world, and in considering Saint Francis of Assisi as a witness of the existence of God, he incorporated interpretations of these sounds in his compositional sound fabric. He imitates a wide variety of bird calls with the instruments of the 20th-century orchestra — utilizing the xylophone, marimba, and woodwind instruments. Messiaen was also fascinated by the culture and music of India and the sounds of the Gamelan orchestra, which also influenced fellow composers Claude Debussy and Igor Stravinsky. Even numerology and Gregorian chant found a place in Messiaen’s musical language. Indeed, for this composer, the concepts of God and Nature are merged to the point where they are no longer separate entities. As a result of his deep faith, Messiaen realized success in his works despite the difficult circumstances of creating music in the 20th century. The music he created was cheerful, optimistic, and of naïve faith inspired by mysticism — and in the soft and at times ecstatic sounds, Messiaen explores not just the metaphysical but also his own longing for the presence of God. —Franz Welser-Möst


The Cleveland Orchestra

Distinguished Service Award The Musical Arts Association is proud to honor Rosemary Klena as the 2015-16 recipient of the Distinguished Service Award, recognizing extraordinary service to The Cleveland Orchestra.


James D. Ireland III 2014-15 Pierre Boulez 2013-14 Distinguished Service Award Committee Marguerite B. Humphrey, Chair Ambassador John D. Ong, Vice Chair Richard J. Bogomolny Dr. Jeanette Grasselli Brown Robert Conrad

Milton and Tamar Maltz 2012-13 Richard Weiner 2011-12 Robert Conrad 2010 -11 Clara Taplin Rankin 2009-10 Louis Lane 2008- 09 Gerald Hughes 2007- 08

Gary Hanson

John D. Ong 2006-07

Carol Lee Iott

Klaus G. Roy 2005 - 06

Dennis W. LaBarre

Alex Machaskee 2004 - 05

Robert P. Madison

Thomas W. Morris 2003 -04

Clara Taplin Rankin

Richard J. Bogomolny 2002- 03 John Mack 2001-02 Gary Hanson 2000-01 Christoph von Dohnรกnyi 1999-2000 Ward Smith 1998-99 David Zauder 1997-98 Dorothy Humel Hovorka 1996-97


Distinguished Service Award

The Cleveland Orchestra

Presented to Rosemary


Presented by Dennis W. LaBarre at the concert of September 24, 2015

Excellence, commitment, dedication, hard work — R O S E M A RY K L E N A embodies these at the high standards and quality that help define The Cleveland Orchestra’s staff and volunteers. Across three decades, Rosemary has been an essential presence, serving as Executive Assistant for three administrative leaders. She was engaged in 1984 as Secretary to the General Manager, serving under Kenneth Haas for two years. In 1986, she took on the role of Executive Assistant, and then worked in that capacity for Thomas W. Morris for sixteen years. From 2004 to her retirement this past summer, she served as Executive Assistant for Gary Hanson. During her tenure, Rosemary has not only managed the varied administrative activities of the office, but has also developed and maintained valuable and productive relationships with a vast range of professionals important to the institution, from Cleveland Orchestra musicians to the leaders of the international orchestra industry. Rosemary is devoted to The Cleveland Orchestra and its smooth operation — and after retiring from her fulltime role earlier this year, she continues to work part time with and for the institution assisting and offering her experience and knowledge. She is an expert at balancing competing needs and priorities, and at seamlessly handling important and confidential information among differing constituencies. She has been a selfless caretaker of the organization’s needs, changing her own schedule to work evenings and weekends when required. She acts as mentor to new staff members, helping them to understand and navigate the complexity of the organization, and as a partner to longterm colleagues in service of the Orchestra’s success. Her institutional knowledge and efficiency are matched only by her warmth and good humor. On top of her day-to-day duties, Rosemary has also served as an officer of the Musical Arts Association (the non-profit governing body of The Cleveland Orchestra) since 1988. In her role as Assistant Secretary, she has reliably undertaken innumerable Board-related activities. Equally important has been her constant and caring attention to the individual needs of trustees. A decade ago, Rosemary also took on significant additional responsibilities as the personal assistant to Franz Welser-Möst. No one in the institution has worked on a wider range of tasks and duties to ensure the smooth functioning of the music director’s institutional, community, and social commitments. Thirty-one years of exemplary service represent Rosemary’s immeasurable day-to-day contributions to The Cleveland Orchestra. Few people have served the Orchestra in more ways, over a longer period of time, and with greater dedication than Rosemary Klena. She has been a vital, indispensable member of The Cleveland Orchestra team, and, in recognition of her unfailing and extraordinary service to the institution, the Musical Arts Association is delighted to present her with its highest award for distinguished service.         

Severance Hall 2015-16

Distinguished Service Award


Kulas Series of Keyboard Conversa with Jeffrey Siegel

at Cleveland State University’s C


October 4, 2009 Chopin for Lovers


Every work on the program is inspired by a different woman in the composer’s love life!

December 6, 2009 Kulas Series of Keyboard Conversations® Chopin the Patriot with Jeffrey Siegel The heroic Polonaises, the poignant and bouyant Season 2015-2016 Mazurkas, and the28th vivacious Waltzes.

Presented by Cleveland State University’s Center for Arts and Innovation

March 14, 2010 Masterly Chopin the Storyteller

Sunday, October 18, 2015

Robert Schumann — Passionate music inspired by Schumann’s beloved!

Enthralling Epic poems and short stories in tone. Ballades of Sunday, January 10, 2016 Chopin and Brahms, Novelettes of Schumann. Chopin & Grieg — A Musical Friendship. Charming

Sunday, April 10, 2016

“An Afternoon and exhilarati “An afternoon entertaining talk caress and Worksofof Chopin that the ear and point to Sunday, May 1, 2016 exhilarating music.” the future. - The Musical Pictures — Visually inspired, – The Washington Post April 25, 2010 Scintillating Chopin and the Future

Splendor from Silence: Smetana, Fauré & Beethoven — Written after deafness engulfed them.

gloriously colorful works.

All Concerts take place at 3:00 pm at Cl All concerts begin at 3:00 pm in Waetjen Auditorium, Euclid Ave. & E. 2 Cleveland State University’s Waetjen Auditorium, Ave. and or E. 21st St. www.csuohi Call (216)Euclid 687.5018 visit For more information call 216.687.5022 for more information. or visit 12

The Cleveland Orchestra

T H E M u si c al Ar ts Association

as of September 2015

operating The Cleveland Orchestra, Severance Hall, and Blossom Music Festival

Off i c er s a nd exec ut i ve c o mmit t ee   Dennis W. LaBarre, President   Richard J. Bogomolny, Chairman   The Honorable John D. Ong, Vice President

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

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

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

r e s i d ent tr u s tees   George N. Aronoff   Dr. Ronald H. Bell   Richard J. Bogomolny   Charles P. Bolton   Jeanette Grasselli Brown   Helen Rankin Butler   Scott Chaikin   Paul G. Clark   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  

N o n- r es i d ent tr uS t ees   Virginia Nord Barbato (NY) Wolfgang C. Berndt (Austria)   Laurel Blossom (SC)

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

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

t r u s tees ex- o ffic io   Faye A. Heston, President,    Volunteer Council of The Cleveland Orchestra   Dr. Patricia Moore Smith, President,    Women’s Committee of The Cleveland Orchestra   Claire Frattare, President,    Blossom Women’s Committee

Ludwig Scharinger (Austria)

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

ho no r a ry tr u s tees fo r l i fe   Robert W. Gillespie   Gay Cull Addicott   Dorothy Humel Hovorka   Oliver F. Emerson   Robert P. Madison   Allen H. Ford pa s t p r es i d ent s   D. Z. Norton 1915-21   John L. Severance 1921-36   Dudley S. Blossom 1936-38   Thomas L. Sidlo 1939-53

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

  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

T H E CL E V E LA N D O R C H E S T R A Franz Welser-Möst, Music Director    

Severance Hall 2015-16

Gary Hanson, Executive Director

Musical Arts Association


Baroque orchestra jeannette sorrell

“Apollo’s Fire under the direction of Sorrell has put Cleveland firmly on the period-performance map.” – THE NEW YORK TIMES

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Members of THE CLEVELAND ORCHESTRA in front of beautiful Severance Hall



proudly recognizes members of our music faculty pictured above (l to r): Yasuhito Sugiyama, tuba; Charles Carleton, double bass; Daniel McKelway, clarinet; Jack Sutte, trumpet; Jesse McCormick, horn; Richard Stout, trombone; Jonathan Sherwin, bassoon; Jeffrey Rathbun, oboe; and Lembi Veskimets, viola. Don’t miss the opportunity to hear: n BW Symphony Orchestra September 25, 7:00 pm n Symphonic Wind Ensemble October 2, 7:00 pm n ALL-STEINWAY Celebration October 8, 3:10 pm n BACH HAUS October 9, 8:00 pm n Elysian Trio October 10, 7:00 pm


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November 21 February 13-14 February 20-21 February 27-28 440-826-2368 866-BW-MUSIC Baldwin Wallace University prohibits discrimination on the basis of race, creed, age, disability, national origin, gender or sexual orientation in the administration of any policies or programs.

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as it nears the centennial of

its founding in 2018, The Cleveland Orch­estra is undergoing a new transformation and renaissance. Under the leadership of Franz Welser-Möst, entering his fourteenth year as the ensemble’s music director with the 2015-16 season, The Cleveland Orchestra is acknowledged among the world’s handful of best orchestras. With Welser-Möst, the ensemble’s musicians, board of directors, staff, volunteers, and hometown are working together on a set of enhanced goals for the 21st century — to continue the Orchestra’s 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 an unshakeable commitment to innovation and a fearless pursuit of success. The Cleveland Orchestra divides its time each year across concert seasons at home in Cleveland’s Severance Hall and each summer at Blossom Music Center. Additional portions of the year are devoted to touring and to a series of innovative and intensive performance residencies. These include an annual set of concerts and education programs and partnerships in Florida, a recurring residency at Vienna’s Musikverein, and regular appearances at Switzerland’s Lucerne Festival, at New York’s Lincoln Center Festival, and at Indiana University.


Musical Excellence. The Cleveland Orchestra has long been committed to the pursuit of musical excellence in everything that it does. The Orchestra’s ongoing collaboration with Welser-Möst is widely-acknow­ledged among the best orchestra-conductor partnerships of today. Performances of standard repertoire and new works are unrivalled at home, 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 experience music as a living language that grows and evolves with each new generation. Recent performances with Baroque specialists, recording projects of varying repertoire and in different locations, 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 being created 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

About the Orchestra

The Cleveland Orchestra

tions with pop and jazz singers, ballet and opera presentations, and standard repertoire juxtaposed in meaningful contexts with new and older works. Franz Welser-Möst’s creative vision has given the Orchestra an unequaled opportunity to explore music as a universal language of communication and understanding.

photo by Roger Mastroianni

bring the Orchestra and citizens together in new ways. Additionally, a new Make Music! initiative is being developed, 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 — with 20% of attendees now comprised of concertgoers age 25 and under. 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 popular Friday night concerts (mixing onstage symphonic works with post-concert entertainment), film scores performed live by the Orchestra, collaboraSeverance Hall 2015-16

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 generos-

About the Orchestra


ity of thousands each year that drives the Orchestra forward and sustains its extraordinary tradition of excellence onstage, in the classroom, and for the community. Evolving Greatness. 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, 193343; Erich Leins­dorf, 1943-46; George Szell, 1946-70; Lorin Maazel, 1972-82; Christoph von Dohnányi, 1984-2002; and Franz Welser-Möst, since 2002. The opening in 1931 of Severance Hall as the Orchestra’s permanent home, with later acoustic refinements and remodeling

of the hall under Szell’s guidance, brought a special pride to the ensemble and its hometown, as well as providing an enviable and intimate acoustic environment in which to develop and refine the Orch­estra’s artistry. Touring performances throughout the United States and, beginning in 1957, to Europe and across the globe have confirmed Cleveland’s place among the world’s top orchestras. Year-round performances became a reality in 1968 with the opening of Blossom Music Center, one of the most beautiful and acoustically admired outdoor concert facilities in the United States.    Today, concert performances, community presentations, touring residencies, broadcasts, and recordings provide access to the Orchestra’s acclaimed artistry to an enthusiastic, generous, and broad constituency around the world.

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


About the Orchestra

The Cleveland Orchestra


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


1l1l 11l1 1l1I

The 2015-16 season will mark Franz Welser-Möst’s 14th year as music director.

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


each year

Over 40,000 young people attend Cleveland Orch­estra concerts each year via programs funded by the Center for Future Audiences, through student programs and Under 18s Free ticketing — making up 20% of audiences.


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.


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The Cleveland Orchestra has introduced over 4.1 million children in Northeast Ohio to symphonic music through concerts for children since 1918.




concerts each year.

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

The Cleveland Orchestra performs over




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 fourteenth year as music director of The Cleveland Orchestra, with the future of this acclaimed partnership now extending into the next decade. In July 2015, the New York Times declared The Cleveland Orchestra to be the “best in America“ — for its virtuosity, elegance of sound, variety of color, and chamber-like musical cohesion. Widely-hailed for its artistic excellence, under Welser-Möst’s direction the Orchestra 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. 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 seventeen world and eighteen 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, MarcAndré Dalbavie, Susan Botti, Julian Anderson, Johannes Maria Staud, Jörg Widmann, Sean Shepherd, Ryan Wigglesworth, and Anthony Cheung. Franz Welser-Möst has led annual opera performances throughout his tenure in Cleveland. 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 2012 and in May 2014 led an innoP H OTO BY jennifer taylor

the 2015 -16 season

Severance Hall 2015-16

Music Director


vative made-for-Cleveland production of Leoš Janáček’s The Cunning Little Vixen at Severance Hall. He conducted performances of Richard Strauss’s Daphne in May 2015 and will present a Bartók doublebill in April 2016 featuring the collaboration of Chicago’s Joffrey Ballet.    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 opera productions at the Salzburg Festival (Strauss’s Der Rosenkavalier in 2014 and Beethoven’s Fidelio in 2015) and a tour of Scandinavia, as well as appearances at New York’s Carnegie Hall, at the Lucerne Festival, and in concert at La Scala Milan. He has conducted the Philharmonic’s celebrated annual New Year’s Day concert twice, viewed by millions worldwide.    Mr. Welser-Möst also maintains relationships with a number of other European orchestras, and the 2015-16 season includes return engagements to Munich’s Bavarian Radio Symphony Orchestra and Zurich’s Tonhalle Orchestra. He makes his longanticipated debut with Amsterdam’s Royal Concertgebouw Orchestra for two weeks of concerts this season, and conducts the Filarmonica of La Scala Milan in a televised Christmas concert. He will also conduct the Vienna Philharmonic in two weeks of subscription concerts, lead the Royal Stockholm Philharmonic in the Nobel Prize concert in Stockholm, and conduct a new production of Strauss’s Die Liebe der Danae at the 2016 Salzburg Festival.    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 and a series of critically-praised new productions, as well as performances of a wide range of other operas, particularly works by Wagner and Richard Strauss. 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. The Salzburg Festival production he conducted of Der Rosenkavalier was awarded with the Echo Klassik 2015 for “best opera recording.“ 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. 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 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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T he

C l eve l a nd

F ran z W e l ser - M ö st


D i re c t o R

FIRST VIOLINS William Preucil concertmaster

Blossom-Lee Chair

Yoko Moore

assistant concertmaster

Clara G. and George P. Bickford Chair

Peter Otto

First associate concertmaster

Jung-Min Amy Lee

Associate concertmaster

Gretchen D. and Ward Smith Chair

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

Alexandra Preucil Katherine Bormann Analisé Denise Kukelhan


Kelvin Smith Family Chair


Alfred M. and Clara T. Rankin Chair

cellos Mark Kosower*

Louis D. Beaumont Chair

Richard Weiss 1

The GAR Foundation Chair

Emilio Llinas 2

Charles Bernard 2

Eli Matthews 1

Bryan Dumm

James and Donna Reid Chair Patricia M. Kozerefski and Richard J. Bogomolny Chair

Sonja Braaten Molloy Carolyn Gadiel Warner Stephen Warner Ioana Missits Jeffrey Zehngut Vladimir Deninzon Sae Shiragami Scott Weber Kathleen Collins Beth Woodside Emma Shook Elayna Duitman Yun-Ting Lee VIOLAS Robert Vernon *

Chaillé H. and Richard B. Tullis Chair

Lynne Ramsey 1

Charles M. and Janet G. Kimball Chair

Stanley Konopka 2 Mark Jackobs

Jean Wall Bennett Chair

Arthur Klima Richard Waugh Lisa Boyko Lembi Veskimets Eliesha Nelson Joanna Patterson Zakany Patrick Connolly

The Orchestra

Helen Weil Ross Chair Muriel and Noah Butkin Chair

Tanya Ell

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

This roster lists the fulltime members of The Cleveland Orchestra. The number and seating of musicians onstage varies depending on the piece being performed.

The Cleveland Orchestra

Or c he s tra 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

horns Michael Mayhew §

percussion Marc Damoulakis*

Jesse McCormick

Donald Miller Tom Freer Thomas Sherwood

Knight Foundation Chair Robert B. Benyo Chair

Hans Clebsch Richard King Alan DeMattia TRUMPETS Michael Sachs *

Robert and Eunice Podis Weiskopf Chair

Jack Sutte Lyle Steelman2

James P. and Dolores D. Storer Chair

Corbin Stair Jeffrey Rathbun 2

Michael Miller

Robert Walters

CORNETs Michael Sachs *

english horn Robert Walters

Michael Miller

Everett D. and Eugenia S. McCurdy Chair

Samuel C. and Bernette K. Jaffe Chair

clarinets Robert Woolfrey Daniel McKelway 2

2015-16 season

Mary Elizabeth and G. Robert Klein Chair

TROMBONES Massimo La Rosa*

Gilbert W. and Louise I. Humphrey Chair

Margaret Allen Ireland Chair

keyboard instruments Joela Jones * Rudolf Serkin Chair

Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair

librarians Robert O’Brien

Joe and Marlene Toot Chair

Donald Miller Endowed chairs currently unoccupied Sidney and Doris Dworkin Chair Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Chair Sunshine Chair Robert Marcellus Chair George Szell Memorial Chair

Richard Stout

Linnea Nereim

Shachar Israel 2


E-flat clarinet Daniel McKelway

bass trombone Thomas Klaber

Robert R. and Vilma L. Kohn Chair

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 2015-16

Alexander and Marianna C. McAfee Chair

euphonium and bass trumpet Richard Stout

* Principal § Associate Principal 2

First Assistant Principal Assistant Principal

conductors Christoph von Dohnányi music director laureate

Giancarlo Guerrero tuba Yasuhito Sugiyama* Nathalie C. Spence and Nathalie S. Boswell Chair

timpani Paul Yancich *

Otto G. and Corinne T. Voss Chair

Tom Freer 2

Mr. and Mrs. Richard K. Smucker Chair

The Orchestra

principal guest conductor, cleveland orchestra miami

Brett Mitchell

associate conductor

Elizabeth Ring and William Gwinn Mather Chair

Robert Porco

director of choruses

Frances P. and Chester C. Bolton Chair



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

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T he C l eve l a nd O rchestra fran z

we l ser - m Ö st mu s i c

d i re c t o r

Severance Hall

Thursday evening, September 24, 2015, at 7:30 p.m. Friday evening, September 25, 2015, at 8:00 p.m. Saturday evening, September 26, 2015, at 8:00 p.m.

Franz Welser-Möst, conductor wolfgang

amadè mozart

2015-16 season

Symphony No. 41 (“Jupiter”) in C major, K551


1. 2. 3. 4.

Allegro vivace Andante cantabile Menuetto: Allegro — Trio Molto allegro

int er mission

richard strauss (1864-1949)

An Alpine Symphony, Opus 64

distinguished service award The Cleveland Orchestra’s Distinguished Service Award will be presented to Rosemary Klena prior to the Thursday night concert. (See pages 10-11)

These concerts are sponsored by Thompson Hine LLP,   a Cleveland Orchestra Partner in Excellence. The concert will end on Thursday at about 9:25 p.m., and on Friday and Saturday at approximately 9:50 p.m. live radio broadcast

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

Severance Hall 2015-16

Concert Program — Week 1





Magnificent Mountains & Godly Fugue

Severance Hall 2015-16

T H E T W O G R E A T W O R K S on this program are final statements by each composer in a type of piece each was well known for. In each of these symphonies, Mozart and Strauss reached new heights, metaphorically and musically. Both composers continued writing in other genres — Mozart for just two more years before his early death at age 35, and Strauss for three more decades toward aging to be a wise and wistful old man. Mozart’s Symphony No. 41, known by the nickname “Jupiter,” was his last-completed symphony. Here, in four magnificent movements, Mozart shows what his idea of an ideal symphonic piece — without a storyline — could be, filled with power, variation, and contrast, and ending in a mighty fugal movement of unsurpassed force and beauty. Richard Strauss’s An Alpine Symphony was his last orchestral tone poem, a form that helped bring him world-wide fame as a young man, and in which he continued to create a string of masterpieces well into middle age. That he actually called this one a “symphony” (and at first intended to create it as a four-movement work) does not take away from its masterful depiction of a day-long hike to the top of a mountain — complete with feelings of elation on the summit and contented accomplishment at the end of a full day. That he infused the music with additional layers of meaning and metaphor — about life’s struggles and rewards, about natural beauty in contrast to human endeavor — gives it added depth in listening and experience. —Eric Sellen

Introducing the Concert


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Everything takes off at

Symphony No. 41 (“Jupiter”) in C major, K551 composed 1788

At a Glance


Wolfgang Amadè

Mozart born January 27, 1756 Salzburg died December 5, 1791 Vienna

Severance Hall 2015-16

Mozart finished the score of this work, his last completed symphony, on August 10, 1788. The location and date of its first performance are not known. The nickname “Jupiter” (used largely in English-speaking countries) most likely comes from Johann Peter Salomon (1745-1815), the German-born violinist and impresario who brought Haydn to London (and wanted to invite Mozart as well). This symphony runs about 35 minutes in performance. Mozart scored it for flute, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani,

and strings. The Cleveland Orchestra first performed Mozart’s “Jupiter” Symphony during the 1922-23 season under founding music director Nikolai Sokoloff. It has been performed quite frequently since then, most recently at Severance Hall earlier this year, in January 2015, conducted by Franz Welser-Möst. The Cleveland Orchestra recorded this symphony in 1955 (mono) and again in 1963 (stereo) with George Szell, and in 1990 with Christoph von Dohnányi.

About the Music t h e r e h a s b e e n a l o t of speculation over the years as to

precisely what went wrong in Mozart’s life between 1785, the apex of his “golden years,” and the summer of 1788, when the last three symphonies were written. By 1788, the concert series where Mozart had presented his great piano concertos had been discontinued for a variety of reasons. Mozart had lost the audience support he had previously enjoyed. In 1786-87, he had an immense success in Prague with his operas The Marriage of Figaro and Don Giovanni (the latter was written specifically for that city), but back home in Vienna, things were going downhill financially. Mozart’s appointment to the relatively minor position of “Kammer-Kompositeur” at the imperial court did little to improve matters. Mozart’s family life was also extremely difficult. Four of his children died in infancy, three of them between 1786 and 1788. (This left Mozart and his wife, Constanze, with only one surviving child, Karl Thomas, born in 1784; a second son, Franz Xaver Wolfgang, who would become a composer, was born in 1791, the last year of Mozart’s life.) Among the further reasons that may have contributed to the deterioration of Mozart’s situation, researchers have cited the composer’s gambling habit, household mismanagement by About the Music


Constanze, and a general tendency of the Mozarts to live beyond their means. What is certain is that during the summer of 1788 Mozart started writing heart-rending letters to his friend and fellow Freemason, Michael Puchberg, imploring him for rather large sums of money. In one of these, he was asking Puchberg for “a hundred gulden until next week, when my concerts in the Casino are to begin.” Since the letter was written at the time Mozart was working on what would prove to be his last three symphonies, there is reason to believe that he intended them for concerts “in the Casino.” We don’t know exactly where “the Casino” was, but Mozart had previously played some of his piano concertos there.    The performances of Symphonies Nos. 39By the early 1800s, 41 may or may not have taken place in the fall Mozart’s C-major of 1788. Because there are no known records of symphony, the last of performances, it used to be believed that these his final three, was symphonies were never heard in concert during the composer’s lifetime. Recently, experts universally recognized have become more careful and we no longer as one of the greatest rule out a contemporary performance on the ever composed. For the basis of missing evidence. There were in fact composer, who died several opportunities for Mozart to present these symphonies both in Vienna and in Germany, in 1791, the praise where he journeyed in 1789 and again in 1790. came too late.    We may not know when or where the first performance took place, but one thing is certain: by the early 1800s the C-major symphony, the last of the three, was universally recognized as one of the greatest ever composed. It came to be known as the “Jupiter,” a nickname probably invented by Johann Peter Salomon, the famous London impresario. As musicologist Elaine Sisman writes in a book devoted to this work, most responses ranged “from admiring to adulatory, a gamut from A to A.” (For Mozart, who died in 1791, the praise unfortunately came too late.) the music

The most widely admired aspect of the work, besides its magnificent proportions and general mood of majestic serenity, was, and still is, the fugal finale — in Germany, the symphony is known under the nickname mit der Schlussfuge (“with the final fugue”). The fact that the finale should be the crown of the entire work is in itself unusual since most earlier symphonies placed the greatest empha-


About the Music

The Cleveland Orchestra

sis on the opening movement. But the symphony is revolutionary in more ways than we often realize — all four movements significantly transcend the traditional movement types from which they originated. In his seminal book on Mozart’s symphonies, Neal Zas­law invokes the world of opera for an explanation of the “Jupiter” Symphony’s first movement. In Zaslaw’s interpretation, the relationship between the opening fanfares and the closing theme is like that between a serious operatic character and a figure from comic opera. Throughout the We don’t know what movement, Mozart moves between “highwent wrong in Mozart’s life brow” and popular musical styles with asbetween 1785, the apex of tonishing ease and without the slightest his “golden years,” and incongruity. Shortly after a great dramatic outburst (with a suspenseful general rest the summer of 1788, when and an unexpected foray into the minor the last three symphonies mode), we hear a beguilingly simple folkwere written. Mozart had like closing theme. Mozart borrowed this lost the audience support theme from an aria for bass that he had written just a few months earlier, in May he had previously enjoyed 1788. The words were possibly by Lorenzo — and his personal Da Ponte, with whom Mozart collaborated economic situation was on three of his greatest operas. The aria increasingly precarious. “Un bacio di mano” (“A Hand-Kiss”), K541, was intended as an extra number for a comic opera by Pasquale Anfossi (1727-1797). The text of the aria passage Mozart used in the “Jupiter” Symphony runs as follows: “Voi siete un po’ tondo, mio caro Pompeo, le usanze del mondo andate a studiar” (“You are a bit naïve, my dear Pompeo, go study the ways of the world”). In the development section, this theme becomes the starting point for a whole series of transformations, as if the simple melody were indeed “studying the ways of the world.” The second-movement Andante cantabile opens with muted strings playing a simple musical question-and-answer phrase. We will hear the first of these phrases (the question part) again, but not the second part, which will become completely submerged under a cascade of thirty-second notes. In fact, after the simple opening, Mozart soon piles up harmonic and rhythmic complexities in what is one of his most personal and profound musical statements. Then the complexities disappear, and the Andante ends as simply and reassuringly as it began. The third-movement minuet starts with another question-andSeverance Hall 2015-16

About the Music


answer; however, this time the structure remains simple throughout. Mozart plays a fascinating game in the trio, which begins with a closing gesture, in a move that has been described as “putting the cart before the horse.” Within only a few measures, this closing gesture undergoes an astonishing number of changes as it is inverted, transposed, and harmonized in different ways. For a moment, it is even made to anticipate the four-note motif of the finale to follow. It then returns in its original form, leading into the recapitulation of the minuet. The celebrated four-note motif of the fourth-movement finale was commonplace in 18th-century contrapuntal studies, probably derived from the Gregorian hymn Lucis creator (“The Creator of Light”). It may be found in several of Mozart’s earlier works, from as early as his Symphony No. 1 written at the age of eight, or the “Credo” movement of his Missa brevis in F major (K192) written ten years later. In the “Jupiter” Symphony, Mozart used this motif to create a movement whose perfection may be part of the reason why Mozart did not write another symphony in the remaining three years of his life. The four-note motif is first presented in a simple form by the first violins, accompanied only by the seconds. A fugal elaboration soon begins, and the motif is joined by several counter-subjects. At one point, no fewer than five different motifs are heard simultaneously. To make matters even more complicated, Mozart embedded his fugue within a sonata structure. This means that there are several fugal sections, arranged in an order that follows the usual exposition-development-recapitulation scheme of sonata form. In other words, two worlds meet in this magnificent finale: the strict contrapuntal technique inherited from the Baroque and the freer, “galant” idiom of the Classical era. The seamless synthesis of those two worlds was an achievement unmatched even by Mozart. Music has never been closer to what 18th-century philosophers called the “sublime,” a term defining an experience at once powerful, uplifting, and transcendent. It is, no doubt, this sublime quality that invited the association with Jupiter, the chief of the gods in Roman mythology. —Peter Laki Copyright © Musical Arts Association

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


About the Music

The Cleveland Orchestra

An Alpine Symphony, Opus 64 composed 1911-15

At a Glance



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

Severance Hall 2015-16

Strauss contemplated writing a “mountain symphony” for many years, and drafted a plan for the work’s program as early as 1899. Some aspects of this draft evolved into An Alpine Symphony, which he began sketching in 1911. He wrote most of the work in the winter of 1914-15, after the outbreak of World War I forced him to “retire” to his country home in Garmisch, Bavaria. The completed symphony was premiered on October 28, 1915, by the Dresden Royal Orchestra conducted by the composer. This work runs about 50 minutes in performance. Strauss scored it for

4 flutes, 2 piccolos, 3 oboes, english horn, 4 bassoons, contrabassoon, 8 horns (four doubling tenor tubas), 4 trumpets, 4 trombones, 2 bass tubas, timpani (2 players), percussion (wind machine, thunder machine, glockenspiel, cymbals, bass drum, snare drum, triangle, cowbells, tam-tams), celesta, 2 harps (doubled if possible), and strings, plus an offstage brass group. The Cleveland Orchestra first performed Strauss’s An Alpine Symphony during the 1972 Blossom Music Festival. It has been presented a few times since then, most recently at concerts in January 2009 led by Franz Welser-Möst.

About the Music t h e i d e a f o r a piece of music about a hike in the Alps dates to Strauss’s childhood. After taking part in a particularly adventurous day out hiking and getting lost and drenched in rain, the aspiring composer even banged out some thoughts for it on the piano. So far as we know, none of that early work survives in what the far more experienced composer wrote in An Alpine Symphony four decades later — except for the sense of adventure and some very precise details of how the day went. In today’s world, when hundreds of tourists climb Mt. Everest each year, and some trails in the Rocky Mountains see daily summer traffic more like an interstate highway at rush hour, it is important to remember the excitement that the idea of mountain climbing had for a boy of Strauss’s era. Indeed, mountain climbing was a relatively new sport in the 19th century. The Matterhorn and several other famous Alpine peaks were only first climbed in the decade surrounding Strauss’s birth in 1864. These were often accomplished with great rivalry between national expeditions and with enormous international press coverage of each success (and of each gruesome or tragic failure). In the Bavarian Alps just south of Strauss’s hometown of Munich, some peaks remained without known ascents, easily fueling and

About the Music


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Caring for those in need never goes out of style. Whether we are feeding the hungry, comforting the sick, or caring for the elderly, our Jewish values have always inspired us to act. Those same values teach us to care for the next generation. By making a legacy gift, you leave your children and grandchildren a precious inheritance and a lasting testimony to your values. Find out how you can become a member of the Jewish Federation of Cleveland’s Legacy Society by contacting Carol F. Wolf for a confidential conversation at 216-593-2805 or

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shaping a boy’s imagination with vivid ideas for later recall.    An Alpine Symphony turned out to be Strauss’s final orchestral tone poem, the genre in which he had experienced his first great successes as a composer. Although Franz Liszt had evolved the idea into its own genre, it was Strauss who raised the idea to high symphonic art. He created half a dozen masterpieces, each of which can be held up as a definitive example of the tone poem genre, including Death and Transfiguration (1889), Till Eulenspiegel (1895), Also sprach Zarathustra (1896), Ein Heldenleben (1898), and An Alpine Symphony (1915). In each, his exceptional abilities as an orchestrator allowed him to masterfully color, depict, and portray an astonishingly For Strauss, this wide range of topics, ideas, and dramatic action. work very likely came Strauss labeled An Alpine Symphony as a symto represent not just phony, in part because it grew out of a four-movement idea he sketched between 1899 and 1902. At one day’s hike, but a that time, the mountain hike idea was merely the metaphoric lifetime first movement, with more philosophical views of of successive work, nature filling out the other three (and was, in part, achievement, and a reaction by Strauss to Mahler’s massive Third Symphony, about humanity’s relationship with adventure. Musicalnature). When he completed An Alpine Symphony ly, it was clearly inmore than a decade later, however, the expedition fluenced by Strauss’s to the summit and back grew to be the entire work work writing operas — and very likely for Strauss came to represent not just one day’s hike, but a metaphoric lifetime of during the previous successive work, achievement, and adventure. decade and by his    An Alpine Symphony is written for an enormous interest in the brand orchestra, the largest that Strauss ever specified, new art of cinemaamounting to 120 players or more. It is one continuous piece of music, divided into twenty-two parts, tography and the fluid but without breaks between sections. As such, it storytelling possible is even more straightforward than his earlier tone in motion pictures. poems, and the succession of scenes in An Alpine Symphony was clearly influenced by Strauss’s work writing operas during the previous decade — and by his keen interest in the brand-new art of cinematography and the fluid storytelling possible in motion pictures. The tone poem begins and ends with night, starting in the darkness of pre-dawn, waiting in bed for the expedition to begin, and then ending, after a full day of hiking adventure, with the quietude of night, the hikers back home, resting from the Severance Hall 2015-16

About the Music


day’s exertions, contemplating everything they’ve seen. Strauss labelled the varying sections within the score:

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22.

Night Sunrise The Ascent Begins Entering the Woods Walking Along the Brook At the Waterfall Apparition On Flowery Meadows In the Mountain Pasture Wrong Path through the Thicket On the Glacier Dangerous Moments At the Summit Vision The Fog Rises The Sun is Gradually Obscured Elegy Calm before the Storm Thunder and Storm, Descent Sunset Journey’s End, Quieting Night

Typical 19th-century mountain climbing attire, as shown in Edward Wympher’s The Ascent of the Matterhorn.

It is well worth identifying the various sections as you listen to Strauss’s daylong adventure (supertitles of the title of each section are being projected for this weekend’s Cleveland Orchestra concerts), to enjoy the composer’s ability to clearly portray so many details, as well as listening for his deft execution of the transitions between sections — the brightening as night turns to day to sunrise (as sunlight slowly hits one rock and another, then lifts above the horizon and suddenly bathes the entire scene), the clattering of far-off cowbells, the horn calls of a hunting party in the distance, the thunderstorm’s approach, the ensuing wind and rain, etc., all the way back into introspective night. The sections vary in length, from several minutes to no more than twenty seconds. The transitions between are sometimes challenging to discern. But, like stopping and resting on the hike itself, it is easy to find your way again with sounds that seem more familiar. (Strauss replays some of the musical motifs as we hurry down from the mountain, drenched by the afternoon thunderstorm, clearly indicating that we are once more passing by the waterfall, the pasture, etc.) A marching or walking theme is introduced early on, which helps get us


About the Music

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up the mountain. Later on, Strauss turns this theme upside down during the descent from the mountain, reminding us that walking downhill is a different sort of exercise, requiring an altered set of steps. The Apparition (No. 7) is of an other-worldly kind, of something seen through or within the splashing water of the Waterfall (No. 6), and is based on timeless Alpine lore of watergoblins or other forest-mountain entities appearing in the mists or shadows — enhanced, of course, by a young boy’s vivid imagination (and the older Strauss’s sense of youthful wonder and merriment). The Dangerous Moments of No. 12 are clearly spelled out in the music, as slippery steps and near missteps carry us across some ice around the glacier toward the final summit. (The glacier theme music is, fittingly, a variation of the earlier Waterfall music — water in differing forms, flow-

Illustrations by Gustave Doré (1832-1883) showing two episodes from The Ascent of the Matterhorn in 1865. Mountain climbing was still a new sport in the 19th century, with many Alpine peaks recording their first successful climbs in the decades surrounding Richard Strauss’s birth in 1864. Such adventures fueled the young composer’s imagination — and eventually resulted in his Alpine Symphony five decades later. above left Edward Wympher’s party are the first climbers to reach the summit of the Matterhorn, on July 15, 1865. above right Tragedy strikes later in the day, as a rope breaks and four climbers fall to their deaths during the descent. Severance Hall 2015-16

About the Music


ing, then frozen.) The Vision (No. 14) has been the cause of much commentary and discussion over the years. Strauss stated that the preceding Summit music (No. 13) portrays the hiker’s elation and joy at reaching the top, with its exhilarating view of the surrounding valleys and peaks. The music of No. 14 transcends this, transforming the music toward very personal thoughts of tranquility and majesty. This is almost certainly a reference to events from the first successful climb to the top of the Matterhorn in 1865 — popularized through Edward Wympher’s book The Ascent of the Matterhorn, published in 1880 when Strauss was just 16 years old. The book featured illustrations based on a set of drawings by Gustave Doré that had already popularized details of the climb. Tragedy struck that famous expedition on the way down from the summit, when a rope broke and four climbers fell to their deaths. Other members of the party reported that they saw a vision of a special grouping of lines (some thought it a series of Christian crosses, which is how Doré portrayed it) within changing clouds above the mountain. In Strauss’s Alpine Symphony, the Vision at the summit takes in all of this, commenting musically on the inherent cost of any great human endeavor — whether climbing a mountain or composing a big work for symphony orchestra. Before the return of Night (No. 22) comes a section titled Ausklang in German. Difficult to translate, but meaning the vanishing of sound, or the sublimation of sound, this long section includes some additional recap or recollection of the day’s events musically, together with some organ music (perhaps from services at the village church). Blending this effortlessly into the returning night music, Strauss ably demonstrates his magical ability to portray changing mental states in music — from contemplating the day’s adventures and achievements through weariness and on into satisfying and well-deserved sleep. We are tired, yes, but today’s hiking achievements have been fully absorbed into our lives and personality, and we are ready for whatever tomorrow may bring. —Eric Sellen © 2015 Eric Sellen grew up hiking to the tops of mountains in Colorado. He currently serves as program editor for The Cleveland Orchestra and has previously held administrative positions with the symphony orchestras of Cleveland, Phoenix, and Philadelphia.


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orchestra news


New York acclaims Cleveland Orchestra at Lincoln Center Festival residency In July, Franz Welser-Möst led The Cleveland Orchestra in four performances at New York’s Lincoln Center Festival 2015. The concerts included two operain-concert presentations of Richard Strauss’s opera Daphne, plus two orchestral concerts featuring music by Beethoven, Strauss, and Messiaen. The following excerpts from reviews and commentary represent the outpouring of acclaim that these performances engendered:

“… right now The Cleveland Orchestra may be, as some have argued, the finest in America. . . . At the end of the opera, the ovations for Ms. Hangler, Mr. Schager and especially Mr. Welser-Möst and this remarkable orchestra were ecstatic.” —New York Times, July 16, 2015 “This is a score that thunders and roars, and the Clevelanders absolutely nailed it … ensemble playing was perfectly judged. The sheer musicality of the players’ work was a wonder.” —Musical, July 17, 2015 “. . . the opera poses plenty of challenges for the orchestra and the principal singers, which were handily surmounted in The Cleveland Orchestra.” —Wall Street Journal, July 20, 2015 “. . . The Cleveland Orchestra exemplifies the finest kind of effortless virtuosity, as it demonstrated on Friday night at Avery Fisher Hall during the last of three eagerly anticipated programs for this summer’s Lincoln Center Festival.” —New York Times, July 20, 2015 “The Cleveland Orchestra sounded absolutely radiant from the wispiest pianissimo to the most thundering fortissimo, and even in the iff y acoustic of Avery Fisher Hall, there was a sumptuous bloom in the tone.” —New York Observer, July 22, 2015


Cleveland Orchestra News

The Cleveland Orchestra

orchestra news Cuyahoga Arts & Culture funding up for renewal in November election On Election Day, November 3, voters have the opportunity to vote yes on Issue 8, renewing a penny-and-a-half tax per cigarette to provide public support for arts and culture organizations throughout Cuyahoga County. Approved in 2006, Issue 8 has proved to be one of the most successful initiatives in our region’s history: — The levy has contributed over $15 million each year directly to our Arts & Culture sector, providing competitive grants for operating and project support to The Cleveland Orchestra, museums and cultural institutions, small community theaters, galleries, nature centers, and many more. — In 2013 alone, levy-funded organizations, including The Cleveland Orchestra, provided over 1.4 million education experiences for kids, including more than 18,000 fieldtrips. — Since 2007, the levy has invested more than $125 million into our community, through more than 1,000 grants, awarded to more than 300 arts, culture, educational, and community organizations doing work in more than 2,300 locations countywide. —Nearly half of all events by levy-funded Arts & Cultural organizations are FREE. Among Cleveland Orchestra events supported by this tax is the annual “Star-Spangled Spectacular” concert in downtown Cleveland. Tens of thousands of community members enjoy this free event each summer. Issue 8 doesn’t raise taxes or increase prices; it simply continues the current tax on cigarettes, and continues providing critical support for the arts and culture sector for another 10 years. Any individual or organization can help raise awareness about Issue 8 by putting up yard signs or making phone calls, encouraging friends and neighbors to register to vote early, posting on social media, endorsing Issue 8, or making a donation. For more details and to get involved, please visit Cuyahoga County’s Arts & Culture sector enriches education, stimulates the economy, strengthens local neighborhoods, and contributes to Cleveland’s world-class reputation. You can help to secure continued support by voting yes on Issue 8. Severance Hall 2015-16


M.U.S.I.C.I.A.N S.A.L.U.T.E The Musical Arts Association gratefully acknowledges the artistry and dedication of all the musicians of The Cleveland Orchestra. In addition to rehearsals and concerts throughout the year, many musicians donate performance time in support of community engagement, fundraising, education, and audience development activities. We are pleased to recognize these musicians, listed below, who have volunteered for such events and presentations during the 2014-15 and 2015-16 seasons. Mark Atherton Martha Baldwin Charles Bernard Katherine Bormann Lisa Boyko Charles Carleton Patrick Connolly Ralph Curry Alan DeMattia Vladimir Deninzon Scott Dixon Elayna Duitman Bryan Dumm Mark Dumm Tanya Ell Mary Kay Fink Kim Gomez Wei-Fang Gu Scott Haigh David Alan Harrell Miho Hashizume Mark Jackobs Joela Jones Richard King Alicia Koelz Stanley Konopka Mark Kosower Paul Kushious Jung-Min Amy Lee Yun-Ting Lee Takako Masame Eli Matthews Jesse McCormick Michael Miller

Cleveland Orchestra News

Sonja Braaten Molloy Ioana Missits Eliesha Nelson Peter Otto Chul-In Park Joanna Patterson Zakany Henry Peyrebrune Alexandra Preucil Lynne Ramsey Jeffrey Rathbun Jeanne Preucil Rose Stephen Rose Frank Rosenwein Marisela Sager Jonathan Sherwin Sae Shiragami Emma Shook Joshua Smith Thomas Sperl Barrick Stees Richard Stout Jack Sutte Kevin Switalski Brian Thornton Isabel Trautwein Robert Vernon Carolyn Gadiel Warner Scott Weber Richard Weiss Beth Woodside Robert Woolfrey Derek Zadinsky Jeffrey Zehngut


Arts & Culture Works!



Not a tax increase. Our world-renowned arts & culture assets were at risk – until residents voted in 2006 to provide the first significant public funding. Since then, our arts & culture sector has thrived, enhancing education, providing thousands of jobs, making our neighborhoods stronger, and helping lead our resurgence. Issue 8, a renewal of the penny-and-a-half per cigarette arts & culture levy, will continue millions in funding annually to arts & culture projects and organizations in Cuyahoga County. Our public investment has benefited all of Cuyahoga County: • More opportunity for arts education and experiences for children • A stronger Arts & Culture sector that is helping improve our economy • Stronger neighborhoods anchored by successful arts & culture organizations • Northeast Ohio’s cultural treasures are protected for future generations Paid for by the Arts & Culture Action Committee, Mary Grace Staph, Treasurer, 812 Huron Rd., East, Suite 890, Cleveland, OH 44115

orchestra news


Orchestra’s next executive director appointed — André Gremillet takes reins in January André Gremillet, managing director of the Melbourne Symphony Orchestra, will succeed Gary Hanson as executive director of The Cleveland Orchestra. The appointment was announced by Dennis W. LaBarre, president of the Musical Arts Association, over the summer. At the time of his retirement, Mr. Hanson will have served the institution for more than twenty-seven years, with nearly twelve years in his current position. Gremillet will become executive director at the beginning of January; Hanson will retire in December. In making the appointment, LaBarre said, “André Gremillet has an impressive artistic background, including corporate leadership experience, and has successfully enhanced the fiscal health of two symphony orchestras. I am delighted that André has accepted our offer and I look forward to working with him to extend The Cleveland Orchestra’s strong record of achievement.” “André’s leadership qualities together with his artistic sensibilities are a great match for The Cleveland Orchestra,” stated music director Franz Welser-Möst. “I’m very enthusiastic about our choice. Combining the long-term partnership that the musicians and I already have developed, together with André’s international experience along with the extraordinary support and commitment of the Board of Trustees, will help further develop innovative and thoughtful programming as we look to our centennial in 2018 and build into the Orchestra’s second century.” “I can think of no individual better suited to take the executive reins of The Cleveland Orchestra,” stated Gary Hanson. “I’m confident that André will feel, as I do, that serving this great Orchestra is a true privilege. With his broad experience and record of achievement, André is an ideal leader to pursue ever-greater institutional goals in a time of immense change and challenge for symphony orchestras.” “The Cleveland Orchestra represents the brightest example of what a great orchestra should

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be in the 21st century,” said André Gremillet. “It is truly an honor to be appointed its next executive director and to succeed Gary Hanson, who has had a remarkable tenure. I look forward to working with the superb artists that are Franz Welser-Möst and the musicians of the Cleveland Orchestra, as well as with a Board and staff who are leaders in the orchestra world, to extend the Orchestra’s achievement in musical excellence, commitment to community, and financial strength.” André Gremillet has been managing director of the Melbourne Symphony Orchestra since November 2012. During his tenure, the MSO has deepened its engagement with the Melbourne community, resulting in a significant increase in ticket sales and fundraising, and completed a highly successful European Tour. From 2007 to 2012, Gremillet was president and CEO of the New Jersey Symphony Orchestra (NJSO), where his tenure marked a financial turnaround for the organization. Prior to joining the NJSO, Gremillet served for four years as president of the internationally-renowned pipe organ building company Casavant Frères in Québec, Canada. He is a conservatory-trained pianist, holding a master’s degree from the Mannes College of Music and an MBA from McGill University.

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.

Committed to Accessibility

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

Cleveland Orchestra News


“The reason I joined The Circle was to connect with other young professionals who have a mutual appreciation for classical music. I remember going to a Cleveland Orchestra concert through my Circle membership. I sat with a paleontologist and an architect. We spent the entire time together, and by the night’s end it felt like I’d just spent it with old friends.” —Annie Weiss


The Circle was created to offer young professionals who love music a new way to enjoy and engage with The Cleveland Orchestra.

W H AT D O I G E T ? EVERY MONTH, you get either . . . Premium Seats to a hand-selected concert (every other month) at Severance Hall or Blossom Music Center. A special Cleveland Orchestra Insider Event, giving you a unique behindthe-scenes look at one of Cleveland’s — and the world’s — cultural gems. PLUS . . . Special Networking Events, social events, volunteer opportunities, and professional development. 20% off All Other Cleveland Orchestra Classical Concerts. All for a monthly membership of $15 (1 member) or $20 (2 members).

It’s fun. It’s world-class. It’s for you. Join the Circle. It’s easy to do! Call 216-231-7558 or email For more details, visit

orchestra news W.E.L.C.O.M.E Percussionist joins Orchestra with 2015-16 season

Thomas Sherwood became the newest member of The Cleveland Orchestra at the start of the musicians’ contract year at the beginning of September. He performed the final weekend of concerts at Blossom, and continues with the new season (he has a previous performing commitment outside Cleveland the week of September 21-26). Prior to being selected by Franz Welser-Möst, Sherwood had served as principal percussion of the Atlanta Symphony Orchestra since 1999. He graduated with a bachelor of music in percussion performance from the University of Illinois at Champaign-Urbana. A student of Tom Siwe, he was the youngest recipient of the Edgard Varèse Memorial Scholarship. He earned his master of Hopewell_Orchestra_Ad_AUGUST2015.pdf



music degree from Temple University, where he studied with Alan Abel (former associate principal percussion of the Philadelphia Orchestra). Prior to joining the Atlanta Symphony Orchestra, Sherwood was a member of Miami’s New World Symphony for three seasons. Since 2008, he has been artistic director and percussionist for the contemporary music ensemble, Sonic Generator. He also created and has directed the Modern Snare Drum Competition (an annual event for students from all over the country, which has led to the creation of more than a dozen new pieces for snare drum).

Comings and goings

As a courtesy to the performers onstage and the entire audience, late-arriving patrons cannot be seated until the first break in the musical program. 8/17/15

3:32 PM









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Cleveland Orchestra News


Musicians Emeritus of




















Listed here are the living members of The Cleveland Orchestra who served more than twenty years. Appointed by and playing under four music directors, these 44 musicians collectively completed a total of 1560 years of service — representing the Orchestra’s ongoing service to music and to the greater Northeast Ohio community. Listed by instrument section and within each by retirement year, followed by years of service. FIRST VIOLIN Keiko Furiyoshi 2005 — 34 years Alvaro de Granda 2 2006 — 44 years Erich Eichhorn 2008 — 41 years Boris Chusid 2008 — 34 years Gary Tishkoff 2009 — 34 years Lev Polyakin 2 2013 — 31 years SECOND VIOLIN Richard Voldrich 2001 — 34 years Stephen Majeske * 2001 — 21 years Judy Berman 2008 — 27 years Vaclav Benkovic 2009 — 34 years VIOLA Lucien Joel 2000 — 31 years Yarden Faden 2006 — 40 years CELLO Martin Simon 1995 — 48 years Diane Mather 2 2001 — 38 years Stephen Geber * 2003 — 30 years Harvey Wolfe 2004 — 37 years Catharina Meints 2006 — 35 years Thomas Mansbacher 2014 — 37 years BASS Lawrence Angell * 1995 — 40 years Harry Barnoff 1997 — 45 years Thomas Sepulveda 2001 — 30 years Martin Flowerman 2011 — 44 years HARP Lisa Wellbaum * 2007 — 33 years FLUTE/PICCOLO William Hebert 1988 — 41 years John Rautenberg § 2005 — 44 years Martha Aarons 2 2006 — 25 years


OBOE Robert Zupnik 1977 — 31 years Elizabeth Camus 2011 — 32 years CLARINET Theodore Johnson 1995 — 36 years Thomas Peterson 2 1995 — 32 years Franklin Cohen ** 2015 — 39 years BASSOON Phillip Austin 2011 — 30 years Ronald Phillips 2 2012 — 41 years HORN Myron Bloom * 1977 — 23 years Richard Solis * 2012 — 41 years TRUMPET/CORNET Bernard Adelstein * 1983— 28 years Charles Couch 2 2002 — 30 years James Darling 2 2005 — 32 years TROMBONE Edwin Anderson 1985 — 21 years Allen Kofsky 2000 — 39 years James De Sano 2003 — 32 years PERCUSSION Joseph Adato 2006 — 44 years Richard Weiner * 2011 — 48 years LIBRARIAN Ronald Whitaker * 2008 — 33 years

** Principal Emeritus * Principal §

1 2

Associate Principal First Assistant Principal Assistant Principal


The Cleveland Orchestra

orchestra news A.R.O.U.N.D T.O.W.N Recitals and presentations

Upcoming local performances by current and retired members of The Cleveland Orchestra include: Retired Cleveland Orchestra musician Franklin Cohen (clarinet), assisted by pianist Zsolt Bognár, performs a faculty recital at the Cleveland Institute of Music’s Kulas Hall on Wednesday evening, October 21. The program begins at 8 p.m. and features works by Schubert, Schumann, Weinberg, Gershwin, Poulenc, and Mendelssohn. The recital is free P and a open to the public. On Sunday afternoon, October 25, Franklin Cohen performs in a concert of Arts Renaissance Tremont with pianists Sergei Babayan sa and Zsolt Bognár, and violist Kirsten Docter, in a program of works by Mozart and Schubert, and prog new work written expressly for Cohen by David a ne Conte. A freewill offering will be taken at the C door at Pilgrim Congregational Church (2952 West 14th Street, Cleveland).


Meet the Artist Luncheon on October 9 features chorus director Robert Porco

The Women’s Committee’s annual series of Meet the Artist luncheons begins the 2015-16 season on Friday, October 9. The day’s guest artist is Robert Porco, director of choruses for The Cleveland Orchestra. He will discuss his career and the chorus’s acclaimed history with Randy Elliot, assistant artistic administrator, and perform a short program during the event. This Meet the Artist luncheon takes place at The Country Club (2825 Lander Road, Pepper Pike). A reception begins at 11:30 a.m., with lunch following at noon, and then the program with Porco at 1 p.m. The cost is $40 for Women’s Committee members; $50 for non-members. Reservations are suggested. Please call Cleveland Orchestra Ticket Services at 216-231-1111.

THE VIOLINS OF HOPE sound again in this special Cleveland Institute of Music concert series where you will experience carefully restored instruments that survived the Holocaust. For more information visit September 28, Monday 4pm | Mixon Hall A Dialogue with Weinstein CIMAmnon Violins Hope ad and Shlomo of Mintz October 7, Wednesday 8pm | Kulas Hall CIM Faculty and guest artists October 14, Wednesday 8pm | Severance Hall Cleveland Institute of Music Orchestra and guest artists

November 20, Friday 8pm | The Temple-Tifereth Israel, Beachwood, Ohio Cavani String Quartet November 22, Sunday 4pm | Kulas Hall CIM Faculty and guest artists December 4, Friday 8pm | Kulas Hall Cavani String Quartet and guest artists

For a full list of Violins of Hope partner events, visit

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Cleveland Orchestra News



2 015

Violins of Hope A remarkable collection of instruments comes to Cleveland — witnesses to history, they sound again with resilience and hope . . .

T h e C l e v e l a n d O r c h e s t r a is among more than a half-dozen organizations from across Northeast Ohio who are partnering together this fall to present a collaborative series of events, exhibitions, education presentations and workshops, and musical performances. The program, titled Violins of Hope Cleveland, centers around a unique group of violins that bore witness to humanity’s strength in the face of incomprehensible darkness and despair during the Holocaust in Nazi Germany. Noted Israeli master violinmaker Amnon Weinstein has restored and collected a group of invaluable instruments, which will be in residence in Cleveland in fall 2015 to provide a series of unprecedented community-led educational, cultural, and personal experiences. Played before and during the Holocaust, the instruments have been painstakingly restored and serve as testaments to the resilience of the human spirit and the power of music to lift hearts in even the most horrific of circumstances. The full collection includes more than 45 Holocaust-era violins, some with the Star of David on the back and others with names and dates inscribed within the instrument. The violins have been played in concerts around the world, most recently by the Berlin Philharmonic earlier this year. “The opportunity to bring these extraordinary instruments to greater Cleveland immediately united organizations and individuals across the region,” says Richard Bogomolny, Chairman of the Musical Arts Association (the non-profit organization


Violins of Hope Cleveland

The Cleveland Orchestra

v i o l i ns o f ho p e C L E V E L A N D that operates The Cleveland Orchestra) and one of the leaders of the Violins of Hope Cleveland effort. “A profound personal story lives within each violin, and together they possess the potential to leave an indelible impact on every person who sees and hears them.” Among highlights of Violins of Hope performances and activities in Cleveland are two special concerts. On Sunday, September 27, a unique performance and live telecast takes place with The Cleveland Orchestra under the direction of music director Franz Welser-Möst, and featuring violinist Shlomo Mintz as soloist, with some of the Violins of Hope instruments being played. This special event marks the rededication of the newly-renovated Silver Hall, part of Case Western Reserve’s new Milton and Tamar Maltz Performing Arts Center at The TempleTifereth Israel. This Opening Concert on September 27 is being telecast live at 3:00 p.m. by ideastream WVIZ/PBS and simulcast on WCLV radio (104.9 FM). ideastream is also developing a half-hour documentary highlighting Northeast Ohio’s experiences with the project to be aired in February. The Opening Concert telecast will be rebroadcast on October 2 and 4. And on October 14, 2015, the Cleveland Institute of Music Orchestra presents a free community concert at Severance Hall invoking the power of music to inspire new generations and bring people together in peace. Throughout the autumn, the instruments of Violins of Hope will be featured in a major exhibition at the Maltz Museum of Jewish Heritage, running from October Severance Hall 2015-16

1 through January 3, 2016. A wide variety of education projects for students and the community are also planned. The Cleveland Orchestra’s fall education concerts for students will be centered around the Violins of Hope theme in partnership with the non-profit group Facing History and Ourselves, who will lead a broad education and engagement effort for grades 7-12 throughout the autumn in the Cleveland Metropolitan School District, the schools of the Catholic Diocese of Cleveland, and in suburban districts and private schools across Northeast Ohio. Programs, lectures, films, adult learning sessions, and performances involving faculty and students from Case Western Reserve University and the Cleveland Institute of Music are also scheduled, with additional events sponsored by a variety of community arts and cultural organizations. Thanks to the vision and generous support of a group of committed community sponsors, Violins of Hope Cleveland is being presented as a landmark project. This will be only the second time that the violins have been to North America, and the first time that they will be the centerpiece for such a broad spectrum of programming, reaching audiences throughout Northeast Ohio and beyond. For more details about the Violins of Hope project and associated activities and performances, please visit the website

Violins of Hope Cleveland


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 an ambitious fundraising campaign. The Sound for the Centennial Campaign seeks to build the Orchestra’s Endowment through cash gifts and legacy commitments, THE while also securing broad-based and increasing annual support from across Northeast CLEVELAND ORCHESTRA Ohio. The generous individuals and organizations listed on these pages have made longterm 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 September 10, 2015. GIFTS OF $5 MILLION AND MORE

The Cleveland Foundation Cuyahoga County residents through Cuyahoga Arts and Culture Mr. and Mrs. Alexander M. Cutler Nancy Fisher and Randy Lerner in loving recognition of their mother, Norma Lerner

Maltz Family Foundation Mrs. Alfred M. Rankin, Sr. Mr. and Mrs. Albert B. Ratner Anonymous


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


Ms. Beth E. Mooney Sally S.* and John C. Morley John P. Murphy Foundation David and Inez Myers Foundation The Eric & Jane Nord Family Fund Ohio Arts Council The Honorable and Mrs. John Doyle Ong The Payne Fund PNC Bank Julia and Larry Pollock 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 Mr. and Mrs. Richard K. Smucker The J. M. Smucker Company Joe and Marlene Toot Anonymous (3)

Sound for the Centennial Campaign

The Cleveland Orchestra


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

Virginia M. and Jon A. Lindseth Ms. Nancy W. McCann Medical Mutual of Ohio Nordson Corporation Foundation Parker Hannifin Corporation Charles and Ilana Horowitz Ratner Sally and Larry Sears Squire Patton Boggs (US) LLP Thompson Hine LLP Timken Foundation of Canton Ms. Ginger Warner Anonymous (2)

GIFTS OF $250,000 TO $500,000

Randall and Virginia Barbato John P. Bergren* and Sarah S. Evans The William Bingham Foundation Mr. and Mrs.* Harvey Buchanan Cliffs Natural Resources The George W. Codrington Charitable Foundation The Helen C. Cole Charitable Trust The Mary S. and David C. Corbin 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 Elizabeth B. Juliano 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 Quality Electrodynamics (QED) Mr. and Mrs. James A. Saks Hewitt and Paula Shaw The Skirball Foundation Richard and Nancy Sneed R. Thomas and Meg Harris Stanton Mr. and Mrs. Jules Vinney* David A. and Barbara Wolfort

GIFTS OF $100,000 TO $250,000

The Abington Foundation Akron Community Foundation American Greetings Corporation 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 Buyers Products Company Mary Kay DeGrandis and Edward J. Donnelly Judith and George W. Diehl George* and Becky Dunn Ernst & Young LLP Mr. Allen H. Ford Frantz Ward LLP 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. Bernie and Nancy Karr

Severance Hall 2015-16

Mr. and Mrs.* S. Lee Kohrman Kenneth M. Lapine and Rose E. Mills Dr. David and Janice Leshner Litigation Management, Inc. Jeffrey Litwiller Linda and Saul Ludwig Dr. and Mrs. Sanford E. Marovitz Mr. Thomas F. McKee The Miller Family: Sydell Miller Lauren and Steve Spilman Stacie and Jeff Halpern The Margaret Clark Morgan Foundation The Nord Family Foundation Mr. Gary A. Oatey Olympic Steel, Inc. Park-Ohio Holdings Corp. Helen Rankin Butler and Clara Rankin Williams The Reinberger Foundation Amy and Ken Rogat Audra and George Rose RPM International Inc. Mr. Larry J. Santon Raymond T. and Katherine S. Sawyer

Sound for the Centennial Campaign

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

* deceased



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Never Stop Learning! When Bob was Dean of the College at Oberlin, his office was behind these doors. Today, as an Emeritus Professor, he continues to enjoy the libraries, lectures and programs, within biking distance of his Kendal at Oberlin cottage. Cle_Orchestra_Longsworth.indd 1


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The Cleveland Orchestra


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

Cleveland Orchestra Concert Previews are presented before every regular subscription concert, and are free to all ticketholders to that day’s performance. Previews are designed to enrich the concert-going experience for audience members of all levels of musical knowledge through a variety of interviews and through talks by local and national experts. Concert Previews are made possible by a generous endowment gift from Dorothy Humel Hovorka. September 24, 25, 26 “Season Overview” with Franz Welser-Möst in conversation with Mark Williams, director of artistic planning for The Cleveland Orchestra

October 1, 2 “Mahler’s Third and the Natural World” with Rose Breckenridge administrator and lecturer, Cleveland Orchestra Music Study Groups

October 8, 9, 10 “Godly Talk: Strauss, Messiaen, and Verdi” with Rose Breckenridge administrator and lecturer, Cleveland Orchestra Music Study Groups

November 6 FRIDAY MORNING CONCERT “Russian Melody, Soviet Harmony” with Rose Breckenridge

November 7, 8 “Shostakovich and Rachmaninoff ” with Timothy Cutler, music faculty, Cleveland Institute of Music

November 19, 20, 21 “New Works and Tunes” with Brett Mitchell, associate conductor of The Cleveland Orchestra

Severance Hall 2015-16

Concert Previews


Student Appreciation October 1-2

Student attendance continues to grow at Severance Hall As The Cleveland Orchestra’s 2015-16 season gets underway, more Student Advantage Members, Frequent Fan Card holders, Student Ambassadors, and student groups are contributing to the continued success of these programs. The Orchestra’s ongoing Student Advantage Program provides opportunities for students to attend concerts at Severance Hall and Blossom through discounted ticket offers. Membership is free to join and rewards members with discounted ticket purchases. Thousands of students have already joined for this season. The Student Frequent Fan Card was introduced four years ago with great success — and continues to grow, with the number of Frequent Fan Card holders more than quadrupling since the program’s inaugural year. Priced at $50, the Fan Card offers students unlimited single tickets (one ticket per card holder) to weekly classical subscription concerts all season long. The Student Ambassador program is also growing. These young volunteers help to promote the Orchestra’s concert offerings and student programs directly on campuses across Northeast Ohio. (Call Rayna Davis at 216-231-7561 to learn more about becoming a Student Ambassador.) Also this year, a group of Student Marketing Advisors was formed to help the Orchestra incorporate student feedback and insight to programs, and give local marketing majors a chance to work closely with the Orchestra’s sales team. In addition, attendance through Student Group sales are also bringing in more and more young people to Cleveland Orchestra concerts. From as far as Toronto and Nashville, these groups make up an integral part of the overall success toward generating participation and interest among young people. All of these programs are supported by The Cleveland Orchestra’s Center for Future Audiences, through the Alexander and Sarah Cutler Fund for Student Audiences. The Center for Future Audiences was created with a $20 million lead endowment gift from the Maltz Family Foundation to develop new generations of audiences for Cleveland Orchestra concerts in Northeast Ohio.

The Cleveland Orchestra extends a special welcome to members of the Student Advantage Program.


W E L S E R - M Ö ST M U S I C


Severance Hall

Thursday evening, October 1, 2015, at 7:30 p.m. Friday evening, October 2, 2015, at 8:00 p.m.

Franz Welser-Möst, conductor GUSTAV MAHLER


2015-16 SE A SON

Symphony No. 3 Part One. 1. Kräftig, entschieden. [Forceful, decisive.] Part Two. 2. Tempo di Menuetto. Sehr mässig. [Very moderate.] 3. Comodo. Scherzando. Ohne Hast. [Without haste.] 4. Sehr langsam [Very slow], misterioso — 5. Lustig im Tempo und keck im Ausdruck — [Joyous in tempo and jaunty in expression.] 6. Langsam, ruhevoll, empfunden. [Slow, peaceful, deeply felt.] KELLEY O’CONNOR, mezzo-soprano Women of the CLEVELAND ORCHESTRA CHORUS Robert Porco, director CLEVELAND ORCHESTRA CHILDREN’S CHORUS Ann Usher, director

Thursday’s concert is sponsored by FirstMerit Bank. Kelley O’Connor’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from Eleanore T. and Joseph E. Adams. The October 1st performance is dedicated to The Honorable and Mrs. John Doyle Ong in recognition of their extraordinary generosity in support of The Cleveland Orchestra’s Annual Fund. The program is performed without intermission and will end on Thursday at about 9:15 p.m., and on Friday at approximately 9:45 p.m. RADIO BROADCAST

These concerts are being recorded for broadcast on WCLV (104.9 FM). The performance can be heard as part of regular weekly programming on WCLV on Sunday, November 15, at 4:00 p.m.

Severance Hall 2015-16

Concert Program — Week 2





Painting the Modern Garden: Monet to Matisse is co-organized by the Cleveland Museum of Art and the Royal Academy of Arts in London. In Cleveland, the exhibition is made possible by an indemnity from the Federal Council on the Arts and the Humanities.

The Michelle and Richard Jeschelnig Exhibitions & Special Projects Fund

Media Sponsor:

Chrysanthemums (detail), 1897. Claude Monet (French, 1840–1926). Oil on canvas; 130 x 89 cm. Private collection.

introducing the program

A Brief Look at a Long Symphony

f r o m i t s h u m b l e b e g i n n i n g s as an instrumental appetizer for an

opera or an oratorio, the musical genre called symphony grew in expressive and philosophical capacity through the works of Haydn, Mozart, Beethoven, Brahms, Bruckner, and Tchaikovsky (to name a few of the form’s master architects). Most historians would agree that this trend reached its zenith in the symphonies of Gustav Mahler, with their multiplicity of movements and vastness of instrumental (and often vocal) forces.    Mahler’s Third Symphony holds the distinction of being the longest of this composer’s nine symphonies, or indeed of any piece by that title in the standard repertoire. Present-day audiences, accustomed to sitting through a movie for an hour and a half, generally have no problem with the Third’s similar duration, especially since the composer has filled the work’s six movements with a wonderful variety of instrumental color and emotional expression. Composed during Mahler’s summer holidays at Lake Attersee in 1895 and 1896, the Third Symphony is rooted in that region’s spectacular Alpine scenery, which provided the inspiration for a mode of expression that strives constantly upward. As the composer succinctly put it, over the course of the work he “imagined the constantly increasing articulation of feeling, from the brooding, rigid, elementary forces of nature, to the tender creations of the human heart, which in turn reach out beyond themselves, pointing the way to God.” Mahler once summarized the first movement as “Summer marches in,” and indeed two march themes (a Mahler favorite rhythm) contend for dominance, one dirge-like, the other full of hope. In keeping with the character of this symphony, hope wins out in the end. Relief from this mighty symphonic battle comes with a delicate second movement in minuet tempo, whose piquant instrumental colors were (the composer suggested) inspired by Alpine wildflowers. The third movement is a bustle of human activity with interludes featuring a posthorn, an instrument with rustic and nostalgic connotations for an Austrian audience circa 1900, much as a train whistle would have for many Americans today. Severance Hall 2015-16

Introducing the Program


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

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We are constantly striving to make a better program book for you. Your comments and suggestions are welcome. Can you find what you are looking for? Does the commentary about the music help you enjoy the performance? Are the layout and type readable? What else would you like to know about The Cleveland Orchestra? Please send your comments to Eric Sellen, Program Book Editor, by email to

T he C l eve l a nd O rchestra


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Continuing to turn his gaze upward, Mahler closes the symphony with three linked movements that call the listener to spiritual realms. A mysterious setting of a nocturnal poem by Friedrich Nietzsche gives way to sparkling sunshine and the sound of children’s voices proclaiming salvation in a text derived from Austrian folk poetry. The closing adagio movement evokes what the composer called the “higher form of ‘quiet being’,” by transforming the symphony’s vigorous opening theme into one of those achingly tender, endless Mahler melodies that lift the listener upward and upward, through one circle after another of harmonic and orchestral color. —David Wright

Symphony No. 3 in D minor composed 1895-96

At a Glance



MAHLER born July 7, 1860 Kalischt, Bohemia (now Kalištì in the Czech Republic) died May 18, 1911 Vienna

Mahler wrote his Third Symphony over the course of two summers; movements 2 through 6 were written in 1895, the first movement in 1896. However, as early as 1893, he had sketched two musical themes that eventually found their way into the first movement. In addition, the song “Ablösung im Sommer” (“Relief in Summer”), on which the third movement was based, was written about 1890. Although movements from this symphony were performed at concerts in 1896 (movement 2) and 1897 (mvts. 2, 3, and 6), the composer conducted the premiere of the complete work on June 9, 1902, at Krefeld. This symphony runs about 95 minutes, without intermission, in performance. Mahler scored it for 4

flutes (2 doubling piccolos), 4 oboes (one doubling english horn), 3 clarinets (one doubling bass clarinet), 2 high clarinets in E flat, 4 bassoons (one doubling contrabassoon), 8 horns, 4 trumpets, posthorn, 4 trombones, contrabass tuba, timpani, percussion (glockenspiel, snare drum, triangle, tambourine, bass drum, suspended cymbals, cymbal attached to the bass drum, tamtam, birch brush), 2 harps, strings, contralto solo, women’s chorus, and children’s chorus. The Cleveland Orchestra, Chorus, and Children’s Chorus first performed Mahler’s Third Symphony in October 1969, under the direction of Louis Lane. The most recent performances were led by Franz Welser-Möst in 2012.

About the Music

i n a u g u s t 1 8 9 6 , the young conductor Bruno Walter visited

Gustav Mahler in the Carinthian Alps, shortly after the composer had completed his Third Symphony. As he later recalled, Walter Severance Hall 2015-16

About the Music


When questioned why he ended this symphony with a slow movement instead of the more usual fast finale, Mahler responded that “in fast movements . . . everything is motion, change, flow,” while a slow movement represents the “higher form of ‘quiet being’.”


stood gaping at the spectacular mountain scenery, and Mahler said to him, “No need to look! I have already composed it all!” Mahler’s eagerness to embrace in his music everything in nature, in heaven, in hell, and in the human heart can be seen as the last fling of Romantic idealism. But perhaps, given the irony and “relativity” that Mahler also keenly felt — one might even say suffered from — his artistic goals were an Einstein-like effort to make sense of the seemingly anomalous, to find a unified theory of everything. That would make Mahler very much a citizen of the 20th century.    There were no jokes about the scenery a few hours later in Walter’s visit, when the composer sat at the piano to play his new symphony for his guest. (We might think it impossible for anyone, even the composer himself, to reproduce the sound of a hundred-piece orchestra and chorus with just ten fingers on a keyboard; but Mahler’s clear, lean orchestral style, with its open counterpoint and sparing use of instrumental colors, actually translates well to the piano.) As Walter recalled forty years later in his book on Mahler, he felt an aura of greatness in the room: “Thanks to our talks, full of the overflow of the creative frenzy of his morning’s work, I was familiar with the spiritual atmosphere of the Symphony long before I knew its musical content. Yet it was a shattering experience to hear him play it at the piano. . . . This music made me feel I recognized him for the first time; his whole being seemed to breathe a mysterious affinity with the forces of nature. I had already guessed its depths, its elemental quality; now, in the range of his creativity, I felt it directly. . . . I saw him as Pan. At the same time, however — this in the last three movements — I was in contact with the longing of the human spirit to pass beyond its earthly and temporal bonds. Light streamed from him onto his work, and from his work onto him.”    Unfortunately for Mahler, not all ears were as attuned to his music then as Walter’s were. In his zeal to be understood — it was, after all, the age of Richard Strauss’s very explicit program music — Mahler made several attempts to offer literary metaphors as movement titles for this symphony, both in print and in conversations with friends. The music is quite understandable without them, and in fact Mahler suppressed them at the time of the premiere of the full symphony, which he conducted in the Rhineland town of Krefeld on June 9, 1902. (Individual movements, particularly the second, had About the Music

The Cleveland Orchestra

been performed previously in Berlin, Leipzig, and Budapest, to mixed reception.) Like many composers, Mahler did not have much patience with explanations. Later that year, he wrote to another conductor: “I have now given up for good any further commentating, analyzing, or providing any listener’s aid whatever!” Nonetheless, if we agree not to take them too literally, Mahler’s titles can give us some clues to the expressive progress of the symphony, and its philosophical underpinnings. While writing it, he used the working title Die fröhliche Wissenschaft (“The Joyful Knowledge”), after Nietzsche’s book of the same name, and added the Shakespearean subtitle “A Summer Morning’s Dream.” Individually, Mahler referred to the movements by various titles at different times; his last version, published in the program for a performance of the second movement in Berlin on November 9, 1896, reads as follows:

The symphony consists of the following six movements: Introduction: “Pan awakes.” No. 1. “Summer marches in.” (Bacchic procession.) No. 2. “What the flowers in the meadow tell me.” (Minuet.) No. 3. “What the animals in the forest tell me.” (Rondeau.) No. 4. “What man tells me.” (Alto solo.) No. 5. “What the angels tell me.” (Women’s chorus with alto solo.) No. 6 (Finale). “What love tells me.” (Adagio.)

As this scheme suggests, and the music confirms, Mahler has composed a fundamentally optimistic work, pointing ever upward. In an impatient letter trying to describe the work to a friend, he said that his titles offer “some suggestion of how I imagined the constantly increasing articulation of feeling, from the brooding, rigid, elementary forces of nature, to the tender creations of the human heart, which in turn reach out beyond themselves, pointing the way to God.” And who would begrudge Mahler an hour and a half to cover that much ground? Although this is the longest symphony in the standard repertoire — and today this is not such a test of attention as it used to be, since many movies are longer than this piece — Mahler keeps it interesting by creating six strongly characterized movements and, within each of them, much variety of expression and orchestral color. The first movement is based on two march themes, one funereal, one optimistic. Mahler was particularly attracted to marches, and to their various meanings and functions in daily life. This extensive movement comes off as a titanic, even cinematic struggle between dark and light, the former represented by a piercingly dissonant short phrase that strikes again and again in D minor and the latter by a buoyant march tune announced at the top of the movement, inhibited at first but then blossoming, and Severance Hall 2015-16

About the Music


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subjected to remarkable variations at mid-movement, in place of a more conventional development section. Mahler’s mastery of razor-sharp modern orchestration is everywhere in evidence; it is just a few steps down the road from this music to Shostakovich’s mordant wit and fury. The dirgelike D-minor theme, with its dire trombones and muffled drums, is recapitulated right where it should be in classic sonata form; the effect in this case is to suppress the lively, imaginative spirit of the development. But the irrepressible march theme sprouts again, quietly, from the cold ground, then swells inexorably, almost frighteningly, to the movement’s sudden, fierce conclusion.    The first movement by itself constitutes Part I of the symphony, after which Mahler’s score requests a long pause. The remaining five movements make up Part II.    The delicate second movement, marked Tempo di Menuetto, starts out very much like the corresponding movement of Brahms’s Second Symphony, but ventures off into exotically colored variations à la Borodin or Rimsky-Korsakov. When the texture dwindles to just a few string or wind instruments, we are especially aware of those telling touches of percussion that are Mahler’s hallmark.    The third movement is also in a moderate tempo between slow movement and scherzo, but closer to the latter. Mahler uses a “developing variation” technique with his dainty theme that stems from Brahms, but with his own repertoire of orchestral sounds and harmonic twists. The variation-interlude for a valved posthorn (a regular trumpet is occasionally substituted), repeated later in the movement, serves the purpose of a trio section for this quasi-scherzo. For a turn-of-the-century Austrian audience, the posthorn, which announced the daily arrival of the mail coach, recalled both bygone times and economic expansion, much as a train whistle does for Americans of a certain age today. Mahler’s posthorn casts a mood of nostalgia over the end of the movement, but another fierce coda for the full orchestra strongly marks the end of the first section of Part II.    The concluding three movements are a poetic cycle in themselves, performed without a break. (In an earlier version of his metaphorical titles, Mahler digressed from his evolutionary plan to explore psychic and spiritual states of human beings, calling the fourth movement “What night tells me” and the fifth Severance Hall 2015-16

About the Music

In the Third Symphony, Mahler said he “imagined the constantly increasing articulation of feeling, from the brooding, rigid, elementary forces of nature, to the tender creations of the human heart, which in turn reach out beyond themselves, pointing the way to God.”


“What the morning bells tell me.”) With this change come actual words in the music — a nightsong from Nietzsche’s Also sprach Zarathustra, set in dark hues for a low female voice, and a cheerful song about angels from Des Knaben Wunderhorn (“The Youth’s Magic Horn”), a classic collection of folk poetry that was Mahler’s touchstone for composition during these same years. The composer’s tempo indication of “Very slow, mysterious” describes the fourth movement’s rapt, hovering feeling; the music is also touched with those unexpected moments of sudden tender emotion that are another Mahler hallmark. The euphonious horns, a link to the previous movement, seem to lift the singer up, against a background of shimmering strings. More horns and strings, joined by a glockenspiel that glints like the rising sun, evoke dawn in the fifth movement. Its jaunty rhythm and bright colors of children’s and women’s voices bring a message of salvation that is all the happier because it overcomes moments of doubt and fear at mid-movement. The closing sixth-movement adagio (marked “Slow, peaceful, with feeling”) transforms the symphony’s vigorous opening theme into one of those achingly tender, endless Mahler melodies that lift the listener through one circle after another of harmonic and orchestral color. As the opening bars suggest, Beethoven is the model for adagios on this immense scale, although Mahler has a sense of dramatic timing and orchestral space that is entirely his own. Critics, of course, demanded to know why he ended his symphony with a slow movement instead of a fast finale (as if Tchaikovsky hadn’t just done so, to profound effect, in his Sixth Symphony). Mahler responded that “in fast movements . . . everything is motion, change, flow,” while a slow movement represents the “higher form of ‘quiet being’.” Although this quiet is interrupted now and then by emotions recalled from earlier movements (but not by the actual themes from those movements), all is carried upward in the rising spiral of affirmation toward a Dmajor conclusion that is as peaceful, in the inward sense, as it is fortissimo for the full orchestra. —David Wright © 2015 David Wright lives and writes in Wellesley, Massachusetts. He previously served as program annotator for the New York Philharmonic.



About the Music 1.855.GO.STORM

The Cleveland Orchestra

Mahler, in a photograph taken in 1909 in New York

The point is not to take the world’s opinion as a guiding star, but to go one’s way in life and to work unfalteringly, neither depressed by failure nor seduced by applause.  

—Gustav Mahler

Kelley O’Connor American mezzo-soprano Kelley O’Connor is considered among the most compelling performers of her generation. Since her Cleveland Orchestra debut in September 2005, she has performed with the Orchestra and Franz Welser-Möst at the 2006 Lucerne Festival, in Miami, and most recently at Severance Hall in October 2013. Ms. O’Connor has sung with major orchestras throughout North America and Europe, including those of Atlanta, Chicago, Los Angeles, New York, Philadelphia, St. Louis, St. Paul, San Francisco, Seattle, Toronto, and Washington D.C., and in Berlin, Hong Kong, London, and Zurich. She has performed at the BBC Proms, and the Berlin, Edinburgh, and Mostly Mozart festivals, and has appeared in recital at Carnegie Hall in New York. Kelley O’Connor has performed with the Boston Lyric Opera, Canadian Opera Company, Cincinnati Opera, Lyric Opera Chicago, Opera Boston, Santa Fe Opera, and the Teatro Real Madrid. She earned international acclaim for her role as Federico García Lorca in Golijov’s Ainadamar, in the world premiere in 2003 and subsequent performances, including the world premiere of the revised edition in 2005. John Adams wrote the title role of The Gospel According to the Other Mary for Ms. O’Connor, and she has sung in the opera on international stages and in concert. Other contemporary composers whose


works she performs include John Harbison, Peter Lieberson, and Steven Stucky. Ms. O’Connor’s operatic repertoire also includes Berlioz’s Béatrice and Bénédict, Janáček’s The Cunning Little Vixen, Puccini’s Madama Butterfly, Britten’s A Midsummer Night’s Dream, and Verdi’s Falstaff. Kelly O’Connor’s discography on Deutsche Grammophon includes the Grammy Award-winning Ainadamar with the Atlanta Symphony Orchestra, The Gospel According to the Other Mary with the Los Angeles Philharmonic, Beethoven’s Symphony No. 9 with Franz Welser-Möst and The Cleveland Orchestra, and Lieberson’s Neruda Songs with the Atlanta Symphony Orchestra. A California native, Kelley O’Connor earned a bachelor of music degree from the University of Southern California and a master’s degree from the University of California Los Angeles, while studying with Nina Hinson. For more information, please visit

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About the Soloist

Severance Hall 2015-16

Symphony No. 3 by Gustav Mahler

IV. Fourth Movement “Midnight Song” text from Also sprach Zarathustra by Friedrich Nietzsche (1844-1900) alt solo

alto solo

O Mensch! Gib acht! Was spricht die tiefe Mitternacht? Ich schlief! Aus tiefem Traum bin ich erwacht! Die Welt ist tief! Und tiefer, als der Tag gedacht! O Mensch! Tief! Tief ist ihr Weh! Lust tiefer noch als Herzeleid! Weh spricht: Vergeh! Doch alle Lust will Ewigkeit! Will tiefe, tiefe Ewigkeit!

Oh human, give heed! What does deep midnight say? I slept! From deepest dream I have awakened! The world is deep! And deeper than the day had thought! Oh human! Deep! Deep is its woe! Joy deeper still than heartbreak! Pain speaks: Vanish! But all joy seeks eternity, Seeks deep, deep eternity.

V. Fifth Movement Text from Des Knaben Wunderhorn poems edited by Clemens Brentano (1778-1842) and Ludwig Achim van Amim (1781-1832) children’s choir


Bimm, bamm, bimm, bamm.

Ding, dong, ding, dong.


Es sungen drei Engel   einen süssen Gesang, Mit Freuden es selig   in dem Himmel klang, Sie jauchzten fröhlich auch dabei, Dass Petrus sei von Sünden frei. Und als der Herr Jesus   zu Tische sass, Mit seinen zwölf Jüngern   das Abendmahl ass, Da sprach der Herr Jesus:

women’s choir

Three angels were singing   a sweet song; With joy it resounded   blissfully in heaven. They happily shouted with joy all together, That Peter was absolved from sin. For as Lord Jesus   sat at table, With his twelve disciples   to eat supper, So spoke Lord Jesus: P L E A S E T U R N P A G E Q U I E T LY

Severance Hall 2015-16

Mahler Three — Sung Text


“Was stehst du denn hier? Wenn ich dich anseh, so weinest du mir!“

  “Why are you standing here? When I look at you, you weep!”

alt solo

alto solo

Und sollt ich nicht weinen,   du gütiger Gott?

And should I not weep,   you kind God?


women’s choir

No, you mustn’t weep!

Du sollst ja nicht weinen! alt solo

alto solo

Ich hab übertreten   die zehn Gebot. Ich gehe und weine ja bitterlich.

I have trespassed against   the Ten Commandments. I go and weep bitterly.


women’s choir

No, you mustn’t weep!

Du sollst ja nicht weinen! alt solo

alto solo

Ach komm und erbarme dich über mich!

Ah, come and have mercy upon me!

knabenchor und frauenchor

children’s and women’s choirs

Ding, dong, ding, dong.

Bimm, bamm, bimm, bamm.

women’s choir


If you have trespassed against   the Ten Commandments, Then fall on your knees   and pray to God, Love only God forever, And you will attain   heavenly joy.

Hast du denn übertreten   die zehn Gebot, So fall auf die Knie   und bete zu Gott, Liebe nur Gott in alle Zeit, So wirst du erlangen   die himmlische Freud’.

children’s choir


Love only God! Heavenly joy   is a blessed city, Heavenly joy   that has no end.

Liebe nur Gott! Die himmlische Freud’   ist eine selige Stadt, Die himmlische Freud’,   die kein Ende mehr hat, knabenchor und frauenchor

Die himmlische Freud’ war Petro bereit’t Durch Jesum und Allen zur Seligkeit. Bimm, bamm, bimm, bamm . . .


children’s and women’s choirs

Heavenly joy was prepared for Peter By Jesus and for the salvation of all. Ding, dong, ding, dong . . .

Mahler Three — Sung Text

The Cleveland Orchestra

Cleveland Orchestra Chorus Robert Porco, Director Lisa Wong, Assistant Director

Joela Jones, Principal Accompanist

The Cleveland Orchestra Chorus is one of the few professionally-trained, all-volunteer choruses sponsored by a major American orchestra. Founded at the request of George Szell in 1952 and following in the footsteps of a number of earlier community choruses, the Cleveland Orchestra Chorus has sung in hundreds of performances at home, at Carnegie Hall, and on tour, as well as in more than a dozen recordings. Its members hail from nearly fifty Cleveland-area communities and together contribute over 15,000 volunteer hours to the Orchestra’s music-making each year. Women’s chorus — Mahler Symphony No. 3 Alexandria Albainy Emily Austin Amy Foster Babinski Kimberly Brenstuhl Lydia Chamberlin Yu-Ching Ruby Chen Brianna Clifford Barbara J. Clugh Susan Cucuzza Anna K. Dendy Carolyn Dessin Emily Engle Marilyn Eppich Amanda Evans Lisa Rubin Falkenberg Sarah Gaither Kathy Jo Gutgsell Rebecca S. Hall

Ann Marie Hardulak Lisa Hrusovsky Betty Huber Karen Hunt Sarah N. Hutchins Shannon R. Jakubczak Sarah J. Jones Hope Klassen-Kay Adrienne Leska Lucia Leszczuk Kate Macy Lisa Manning Diana Martin Danielle S. McDonald Karla McMullen Megan Meyer Mary-Francis Miller Angela Mitchell

Julie Myers-Pruchenski S. Mikhaila Noble-Pace Peggy A. Norman Jennifer Heinert O’Leary Sarah Henley Osburn Melissa B. Patton Marta Perez-Stable Lenore M. Pershing Joy M. Powell Roberta Privette Cassandra E. Rondinella Meghan Schatt Monica Schie Alanna M. Shadrake Ina Stanek-Michaelis Rachel Thibo Jane Timmons-Mitchell Martha Cochran Truby

Melissa Vandergriff Gina Ventre Sharilee Walker Laure Wasserbauer Kiko Weinroth Meredith Sorenson Whitney Mary Wilson Constance Wolfe Debra Yasinow Lynne Leutenberg Yulish

Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee Jill Harbaugh, Manager of Choruses Julie Weiner, Manager of Youth Choruses

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Severance Hall 2015-16

Cleveland Orchestra Chorus


Robert Porco

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

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

Lisa Wong

  Assistant Director of Choruses

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


Cleveland Orchestra Chorus

The Cleveland Orchestra

Cleveland Orchestra Children’s Chorus Ann Usher, Director Suzanne Walters, Assistant Director

Dianna White-Gould, Accompanist

Created in 1967, the Cleveland Orchestra Children’s Chorus is an ensemble of children in grades 6-9 who perform annually with The Cleveland Orchestra. A Preparatory Chorus, comprised of children in grades 5-8, performs twice each year with the Children’s Chorus. The members of the Children’s Chorus and of the Children’s Preparatory Chorus rehearse weekly during the school year and are selected by audition with the director (held annually in May and June). A number of Children’s Chorus graduates have continued their association as members of the Youth Chorus or Youth Orchestra or have become adult members of the Cleveland Orchestra Chorus. CHILDREN’s chorus — Mahler Symphony No. 3 Yasmin Ahuja Samantha Apanasewicz Sydney Ball Leah Benko Célina Béthoux Colin Blades-Thomas Daniel Blum Anna Buescher Brendan Burdick Alexandra Dodd Taniya Dsouza Baileigh Edelman Aidan Elliot

Megan Fowler Brigette Fuentes Alana Goldschmidt Mariana Gomez Zoe Hartz Celia J. Hawk Maria Hisey Adam Holthaus Annalise Johnson Rachel Kovatich Molly Largent Bridget Lee Daniel Lee

Narayah B. Lyles Catherine Eileen Martin Isabella Martin Genesis L. Merritt Grace Mino Nathan Niedzwiecki Amanda Ostroske Alexandra Petro Charlie Proctor Victoria Rasnick Graham Richard Simon Richard Emma Violet Rosberil

Jennifer Rowan Amanda Sachs Somiya Schirokauer Eva Shepard Taylor Sobol Anna Stenger Michael Stupecki Christina Troyer Meridith Vandall Charles C. Williams IV

Ann Usher

 Director, Cleveland Orchestra Children’s Choruses

Ann Usher has served as director of the Cleveland Orchestra Children’s Choruses since 2000. She prepares the Children’s Chorus for their appearances as part of the annual Christmas concerts, community concerts, and in the Orchestra’s performances of operas and symphonic works that call for children’s voices. Ms. Usher is director of the School of Music and a professor of music at the University of Akron, where she teaches graduate and undergraduate choral music education courses. Prior to her appointment as director, she also supervised student teachers and directed the University Singers. She previously taught choral music in the public schools, specializing in the middle school level. She has served on adjudicated committees for the Ohio Music Education Association (OMEA) and in 2014 served as director of OMEA’s inaugural All-State Children’s Chorus for fourth and fifth graders. Active as a clinician and adjudicator, Ann Usher holds a bachelor of music education degree from the University of Northern Iowa, and a master of music degree in choral conducting and a doctorate in music education from Kent State University. Severance Hall 2015-16

Cleveland Orchestra Children’s Chorus


Dreams can come true

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

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

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A Place to Be Remembered . . . The Cleveland Orchestra is entering the public phase of a major fundraising effort, the Sound for the Centennial Campaign. The campaign is focused on adding more value to our community by securing financial strength for the Orchestra’s second century. The campaign is building the Orchestra’s endowment through cash gi s and legacy commitments, while also securing broad-based and increasing annual support from across Northeast Ohio. Campaign supporters are eligible for special and unique recogni on. From concert dedica ons and program book recogni on to limited-term or permanent naming opportuni es of musician chairs. Plus unique op ons to name spaces and seats in Severance Hall or Blossom Music Center. All available only by suppor ng The Cleveland Orchestra.



You too can play a cri cal part in securing The Cleveland Orchestra’s role in making the Northeast Ohio community great. To learn more about receiving special recogni on through the Sound for the Centennial Campaign, please contact the Philanthropy & Advancement Department by calling 216-231-7558.


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The Cleveland Orchestra


Corporate Support

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

Cumulative Giving



Annual Support

gifts of $2,500 or more during the past year, as of September 5, 2015 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. PARTNERS IN EXCELLENCE $300,000 AND MORE

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

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

The John L. Severance Society recognizes the generosity of those giving $1 million or more in cumulative support. Listing as of September 2015.

$50,000 TO $99,999


BakerHostetler Eaton FirstEnergy Foundation Jones Day PNC Bank PARTNERS IN EXCELLENCE $100,000 TO $199,999

Forest City Enterprises, Inc. The Lincoln Electric Foundation Medical Mutual of Ohio Nordson Corporation Foundation Squire Patton Boggs (US) LLP Thompson Hine LLP White & Case (Miami) Dollar Bank Parker Hannifin Corporation Quality Electrodynamics (QED) voestalpine AG (Europe) Anonymous $25,000 TO $49,999 Buyers Products Company Greenberg Traurig (Miami) Litigation Management, Inc. The Lubrizol Corporation Olympic Steel, Inc. RPM International Inc.

Severance Hall 2015-16

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 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 Arthur J. Gallagher & Co. The Giant Eagle Foundation Great Lakes Brewing Company Gross Builders Hahn Loeser & Parks LLP Huntington National Bank KPMG LLP Littler Mendelson, P.C. Live Publishing Company Macy’s 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 Park-Ohio Holdings Corp. The Plain Dealer PolyOne Corporation The Prince & Izant Company The Sherwin-Williams Company Stern Advertising Agency Struktol Company of America Swagelok Company 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


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

Annual Support

gifts of $2,500 or more during the past year, as of September 5, 2015 $1 MILLION AND MORE

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

The George Gund Foundation Ohio Arts Council Timken Foundation of Canton $250,000 TO $499,999

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

The George Gund Foundation Knight Foundation (Cleveland, Miami) The Andrew W. Mellon Foundation John P. Murphy Foundation

GAR Foundation Elizabeth Ring Mather and William Gwinn Mather Fund David and Inez Myers Foundation The Kelvin and Eleanor Smith Foundation


$50,000 TO $99,999

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 support. Listing as of September 2015.

Severance Hall 2015-16

Paul M. Angell Family Foundation The George W. Codrington Charitable Foundation The Gerhard Foundation, Inc. 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

$20,000 TO $49,999 The Batchelor Foundation, Inc. (Miami) Eva L. and Joseph M. Bruening Foundation Mary E. and F. Joseph Callahan Foundation The Helen C. Cole Charitable Trust The Mary S. and David C. Corbin Foundation Mary and Dr. George L. Demetros Charitable Trust The Helen Wade Greene Charitable Trust National Endowment for the Arts The Frederick and Julia Nonneman Foundation Peacock Foundation, Inc. (Miami) The Reinberger Foundation James G. Robertson Fund of Akron Community Foundation The Sisler McFawn Foundation The Veale Foundation

$2,500 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 Elisha-Bolton Foundation The Conway Family 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 Lehner Family Foundation The G. R. Lincoln Family 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 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


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.

JOHN L. SEVERANCE SOCIETY Jan and Daniel Lewis (Miami, Cleveland) Mrs. Alfred M. Rankin, Sr. $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 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 Mr. and Mrs. Richard K. Smucker 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 September 2015.


gifts during the past year, as of September 5, 2015

Individual Annual Support

The Cleveland Orchestra

Adella Prentiss Hughes Society gifts of $100,000 and more INDIVIDUAL GIFTS OF $500,000 AND MORE

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

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

George* and Becky Dunn Dr. and Mrs. Hiroyuki Fujita Dee and Jimmy Haslam David and Francie Horvitz Family Foundation (Miami) James D. Ireland III* Mr. and Mrs. Joseph P. Keithley Dr. and Mrs. Herbert Kloiber (Europe) Mr. and Mrs. Dennis W. LaBarre Mrs. Emma S. Lincoln Milton and Tamar Maltz Elizabeth F. McBride Mary M. Spencer (Miami) Ms. Ginger Warner (Cleveland, Miami) Janet* and Richard Yulman (Miami)

George Szell Society

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:

Jeanette Grasselli Brown and Glenn R. Brown Mr. and Mrs. Alexander M. Cutler Hector D. Fortun (Miami) Mrs. John A. Hadden, Jr. T. K. and Faye A. Heston Giuliana C. and John D. Koch R. Kirk Landon* and Pamela Garrison (Miami) Toby Devan Lewis Mr. and Mrs. Edward A. Lozick Robert M. Maloney and Laura Goyanes Ms. Nancy W. McCann Ms. Beth E. Mooney Sally S.* and John C. Morley Margaret Fulton-Mueller The Claudia and Steven Perles Family Foundation (Miami) Mrs. Alfred M. Rankin, Sr. Charles and Ilana Horowitz Ratner Barbara S. Robinson Sally and Larry Sears Hewitt and Paula Shaw Barbara and David Wolfort Women’s Committee of The Cleveland Orchestra Anonymous (2)

Elisabeth DeWitt Severance 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 Dr. Wolfgang Eder Mr. and Mrs. Michael J. Horvitz Elizabeth B. Juliano Mr. and Mrs. Douglas A. Kern The Honorable and Mrs. John Doyle Ong Mr. and Mrs. Alfred M. Rankin, Jr. Mr. and Mrs. Franz Welser-Möst INDIVIDUAL GIFTS OF $50,000 TO $74,999

Sheldon and Florence Anderson (Miami) Blossom Women’s Committee

Severance Hall 2015-16

Leadership Council

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 Mr. and Mrs. Jeffrey Healy Milton A. and Charlotte R. Kramer Charitable Foundation Virginia M. and Jon A. Lindseth Julia and Larry Pollock The Ralph and Luci Schey Foundation

Individual Annual Support

listings continue


THE CLEVELAN D ORCHESTRA listings continued

Rachel R. Schneider Richard and Nancy Sneed (Cleveland, Miami) R. Thomas and Meg Harris Stanton 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 JoAnn and Robert Glick Mrs. Marguerite B. Humphrey Mr. and Mrs. Donald M. Jack, Jr. Junior Committee of The Cleveland Orchestra Thomas E Lauria (Miami) Susan Morgan Martin, Patricia Morgan Kulp, and Ann Jones Morgan Mrs. Jane B. Nord William J. and Katherine T. O’Neill Mr. and Mrs. James A. Ratner Mr. and Mrs. David A. Ruckman Mr. and Mrs. James A. Saks Marc and Rennie Saltzberg Mr. Larry J. Santon Jim and Myrna Spira Paul and Suzanne Westlake

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. David J. Carpenter Mr. and Mrs. Matthew V. Crawford Jeffrey and Susan Feldman (Miami) Dr. Edward S. Godleski Mary and Jon Heider (Cleveland, Miami) Mr. and Mrs. Christopher Kelly

LEADERSHIP PATRON PROGRAM Barbara Robinson, chair Robert Gudbranson, vice chair Ronald H. Bell Henry C. Doll Judy Ernest Nicki Gudbranson Jack Harley Iris Harvie

Faye A. Heston Brinton L. Hyde David C. Lamb Larry J. Santon Raymond T. Sawyer

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

Art of Beauty Company, Inc. Marsha and Brian Bilzin (Miami) Dr. Christopher P. Brandt and Dr. Beth Sersig Dr. Ben H. and Julia Brouhard Jill and Paul Clark Mr. and Mrs. William E. Conway Mrs. Barbara Cook Peter D. and Julia Fisher Cummings (Miami) Do Unto Others Trust (Miami) Dr. and Mrs. Robert Ehrlich (Europe) Mr. Mike S. Eidson, Esq. and Dr. Margaret Eidson (Miami) Colleen and Richard Fain (Miami) Mr. Allen H. Ford Ms. Dawn M. Full Richard and Ann Gridley Gary Hanson and Barbara Klante Jack Harley and Judy Ernest Sondra and Steve Hardis David and Nancy Hooker Richard and Erica Horvitz (Cleveland, Miami) Allan V. Johnson Trevor and Jennie Jones Tati and Ezra Katz (Miami) Mr. Jeff Litwiller Mr. and Mrs. Thomas B. McGowan Mr. Thomas F. McKee Mr. and Mrs. Stanley A. Meisel Edith and Ted* Miller Lucia S. Nash Mr. Gary A. Oatey (Cleveland, Miami) Mrs. David Seidenfeld Mr. and Mrs. Oliver E. Seikel Kim Sherwin Rick, Margarita, and Steven Tonkinson (Miami) Mr. and Mrs. Daniel P. Walsh Tom and Shirley Waltermire Mr. and Mrs. Jeffrey J. Weaver Mr. and Mrs. Jeffrey M. Weiss

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.


Jonathan and Tina Kislak (Miami) Mr. and Mrs. Moshe Meidar The Miller Family Sydell Miller Lauren and Steve Spilman Stacie and Jeff Halpern 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)

Mrs. Barbara Ann Davis Robert K. Gudbranson and Joon-Li Kim Mr. and Mrs. Richard A. Manuel* Mr. and Mrs. Stephen Myers Paul A. and Anastacia L. Rose Mr. and Mrs. Alfred Umdasch (Europe) Sandy and Ted Wiese

Individual Annual Support

listings continue

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Severance Hall 2015-16

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

William Appert and Christopher Wallace (Miami) Mr. and Mrs. George N. Aronoff Mr. and Mrs. Dean Barry Drs. Nathan A. and Sosamma J. Berger Jayusia and Alan Bernstein (Miami) Laurel Blossom Mr. and Mrs. Richard L. Bowen Mr. D. McGregor Brandt, Jr. Paul and Marilyn Brentlinger* Mr. and Mrs. Marshall Brown J. C. and Helen Rankin Butler Scott Chaikin and Mary Beth Cooper Drs. Wuu-Shung and Amy Chuang Richard J. and Joanne Clark Jim and Karen Dakin Mr. and Mrs. Paul Doman 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) Mr. Isaac Fisher (Miami) Kira and Neil Flanzraich (Miami)

Sheree and Monte Friedkin (Miami) Mr. and Mrs. Richard T. Garrett Albert I. and Norma C. Geller Mr. and Mrs. Robert W. Gillespie Mr. David J. Golden Kathleen E. Hancock Michael L. Hardy Mary Jane Hartwell Mr. and Mrs. James A. Haslam II Joan and Leonard Horvitz Ruth and Pedro Jimenez (Miami) Cherie and Michael Joblove (Miami) Mrs. Elizabeth R. Koch Tim and Linda Koelz Stewart and Donna Kohl Dr. David and Janice Leshner Mr.* and Mrs. Arch. J. McCartney Mr. Donald W. Morrison Joy P. and Thomas G. Murdough, Jr. (Miami) Brian and Cindy Murphy Mr. Raymond M. Murphy Dr. Anne and Mr. Peter Neff Mr. and Mrs. William M. Osborne, Jr. Douglas and Noreen Powers Audra and George Rose

Dr. and Mrs. Ronald J. Ross Steven and Ellen 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 Mr. and Mrs. Joseph H. Serota (Miami) 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 Florence and Robert Werner (Miami) Anonymous (3)

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

Robert and Alyssa Lenhoff-Briggs Mr. and Mrs. Stanley Cohen (Miami) Ellen E. & Victor J. Cohn Supporting Foundation Henry and Mary Doll Linda and Lawrence D. Goodman (Miami) Harry and Joyce Graham Mr. Paul Greig Iris and Tom Harvie Mrs. Sandra L. Haslinger Henry R. Hatch Robin Hitchcock Hatch

Amy and Stephen Hoffman Mr. and Mrs. Brinton L. Hyde Pamela and Scott Isquick Ms. Elizabeth James Richard and Michelle Jeschelnig Joela Jones and Richard Weiss 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

Rosskamm Family Trust Drs. Michael and Judith Samuels (Miami) Patricia J. Sawvel Drs. Daniel and Ximena Sessler Bill* and Marjorie B. Shorrock Mrs. Gretchen D. Smith Dr. Gregory Videtic Robert C. Weppler Dr. and Mr. Ann Williams Anonymous (3)

Diane Lynn Collier and Robert J. Gura Marjorie Dickard Comella Corinne L. Dodero Foundation for the Arts and Sciences Mr. Kamal-Neil Dass and Ms. Teresa Larsen Mr. and Mrs. Ralph Daugstrup Mr. and Mrs. Thomas S. Davis Pete and Margaret Dobbins Mr. and Mrs. Ronald E. Dziedzicki Mr. and Mrs. Bernard H. Eckstein Dr. and Mrs. Robert Elston Mary and Oliver Emerson Ms. Karen Feth Joseph Z. and Betty Fleming (Miami) Scott A. Foerster Joan Alice Ford 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 Alfredo and Luz Maria Gutierrez (Miami) Douglas M. and Amy Halsey (Miami) Lilli and Seth Harris Clark Harvey and Holly Selvaggi Dr. Robert T. Heath and Dr. Elizabeth L. Buchanan Janet D. Heil* Anita and William Heller Thomas and Mary Holmes John and Hollis Hudak (Miami) Bob and Edith Hudson (Miami) Elisabeth Hugh


Dr. and Mrs. D. P. Agamanolis Susan S. Angell Agnes Armstrong Mrs. Elizabeth H. Augustus Mr. and Mrs. Robert H. Baker Jennifer Barlament and Ken Potsic Stephen Barrow and Janis Manley (Miami) Fred G. and Mary W. Behm Mr. and Mrs. Jules Belkin Mr. William Berger Dr. and Mrs. Eugene H. Blackstone Suzanne and Jim Blaser Dr.* and Mrs. Jerald S. Brodkey Frank and Leslie Buck Mr. and Mrs. William C. Butler Ms. Maria Cashy Dr. William and Dottie Clark Kathleen A. Coleman


Individual Annual Support

listings continue

The Cleveland Orchestra

Fine Antiques, Decorative Arts, Jewelry and Accessories for over 60 years. Come visit our galleries

28480 Chagrin Blvd., Woodmere Village, OH Mon. - Fri. 10am - 5:30pm Sat. ’til 5pm 216.839.6100

Always interested in purchasing quality antiques

A Very Surprising Place

23500 Mercantile Rd., Suite E Beachwood, OH Mon. - Sat. 10am - 5pm 216.595.0555

Fine Antiques, Decorative Arts, Jewelry and Accessories for over 60 years. Come visit our galleries. A very Surprising Place

28480 Chagrin Blvd Woodmere Village MON-FRI 10-5:30 SAT til 5 216.839.6100 23500 Mercantile Rd Suite E Beachwood, MON-SAT 10-5:00 216.595.0555


Always interested in purchasing quality antiques.

Fine Dining in Little Italy – mere minutes from Severance Hall. Nora Ristorante & Wine Bar Join us for dinner before or after the orchestra. 2181 Murray Hill Road Tuesday – Thursday & Sunday 5-10pm Friday & Saturday 5-11pm

Join us for dinner before or after the orchestra. ~ 216.721.0300 2198 Murray Hill Rd. • Cleveland, OH 44106 •

Open for lunch Tuesday ~ Friday

In the heart of Little Italy!

216-231-5977 Live music! Wednesday – Italian mandolin | Friday – solo jazz

Severance Hall 2015-16



Ms. Carole Hughes Ms. Charlotte L. Hughes Mr. David and Mrs. Dianne Hunt Mr. and Mrs. Christopher Hyland Donna L. and Robert H. Jackson Rudolf D. and Joan T. Kamper Andrew and Katherine Kartalis Milton and Donna* Katz Dr. Richard and Roberta Katzman Mr. John and Mrs. Linda Kelly Dr. and Mrs. William S. Kiser Mr. and Mrs.* S. Lee Kohrman Mr. and Mrs. Peter A. Kuhn Mr. and Mrs. Arthur J. Lafave, Jr. David C. Lamb Anthony T. and Patricia A. Lauria Ivonete Leite (Miami) Irvin and Elin Leonard Mr. Lawrence B. and Christine H. Levey Dr. Alan and Mrs. Joni Lichtin Mr. and Mrs.* Thomas A. Liederbach Mr. Jon E. Limbacher and Patricia J. Limbacher Mr. Rudolf and Mrs. Eva Linnebach Anne R. and Kenneth E. Love Robert and LaVerne* Lugibihl Elsie and Byron Lutman Mr. and Mrs.* Robert P. Madison Ms. Jennifer R. Malkin Mr. and Mrs. Morton L. Mandel Alan Markowitz M.D. and Cathy Pollard Mr. and Mrs. E. Timothy McDonel James and Virginia Meil

Mr. and Mrs. William A. Mitchell Curt and Sara Moll Georgia and Carlos Noble (Miami) Richard and Kathleen Nord Mr. Thury O’Connor Mr. Henry Ott-Hansen Mr. and Mrs. Christopher I. Page Mr. and Mrs. John S. Piety Mr. Robert Pinkert (Miami) Mr. and Mrs. Richard W. Pogue In memory of Henry Pollak Martin R. Pollock and Susan A. Gifford Dr. and Mrs. John N. Posch Ms. Rosella Puskas Drs. Raymond R. Rackley and Carmen M. Fonseca Dr. James and Lynne Rambasek Mr. and Mrs. Roger F. Rankin Brian and Patricia Ratner Ms. Deborah Read Mr. and Mrs. Robert J. Reid Mrs. Charles Ritchie Amy and Ken Rogat Dr. and Mrs. Michael Rosenberg (Miami) Mr. and Mrs. Robert C. Ruhl Mrs. Florence Brewster Rutter Bob and Ellie Scheuer David M. and Betty Schneider Linda B. Schneider Dr. and Mrs. James L. Sechler Lee and Jane Seidman 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 Bruce Smith Drs. Charles Kent Smith and Patricia Moore Smith David Kane Smith Dr. Marvin* and Mimi Sobel Mr. and Mrs. William E. Spatz George and Mary Stark Dr. and Mrs. Frank J. Staub Mr. and Mrs. Donald W. Strang, Jr. Stroud Family Trust Dr. Elizabeth Swenson Ms. Lorraine S. Szabo Mr. and Mrs. Bill Thornton Mr.* and Mrs. Robert N. Trombly Miss Kathleen Turner Robert and Marti Vagi Don and Mary Louise VanDyke Teresa Galang-Viñas and Joaquin Viñas (Miami) Mr. and Mrs. Mark Allen Weigand Mr. and Mrs. Michael R. Weil, Jr. Mr. and Mrs. Ronald E. Weinberg Dr. R. Morgan and Dr. S. Weirich (Miami) Tom and Betsy Wheeler Nancy V. and Robert L. Wilcox Bob and Kat Wollyung Anonymous (3)

Mr. and Mrs. Jerry Herschman Mr. Robert T. Hexter Dr. Keith A. and Mrs. Kathleen M. Hoover Dr. Fred A. Huepler Dr. and Mrs. Scott R. Inkley Mr. and Mrs. Richard A. Janus Barbara and Michael J. Kaplan Dr. and Mrs. Richard S. Kaufman James and Gay* Kitson Mrs. Natalie D. Kittredge Dr. Gilles* and Mrs. Malvina Klopman Mr. James Krohngold Ronald and Barbara Leirvik Dr. Edith Lerner Mary Lohman 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 David and Judith Newell Mr. and Mrs. Peter R. Osenar Dr. Lewis and Janice B. Patterson Mr. Carl Podwoski

Ms. Sylvia Profernna Mr.* and Mrs. Thomas A. Quintrell Alfonso Rey and Sheryl Latchu (Miami) Dr. Robert W. Reynolds Carol Rolf and Steven Adler Robert and Margo Roth 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. Ellen J. Skinner Mr. Richard C. Stair Mr. Taras G. Szmagala, Jr. Mr. Karl and Mrs. Carol Theil Erik Trimble Drs. Anna* and Gilbert True Margaret and Eric* Wayne Richard Wiedemer, Jr. Tony and Diane Wynshaw-Boris Marcia and Fred* Zakrajsek

Mr. and Mrs. James B. Aronoff Geraldine and Joseph Babin Mr. Mark O. Bagnall (Miami) Ms. Delphine Barrett Mr. and Mrs. Belkin

Mr. Roger G. Berk Kerrin and Peter Bermont (Miami) Barbara and Sheldon Berns John and Laura Bertsch Ms. Deborah A. Blades listings continue


Ms. Nancy A. Adams Mr. and Mrs. Robert J. Amsdell Dr. Ronald and Diane Bell Margo and Tom Bertin Howard R. and Barbara Kaye Besser Mr. and Mrs. David Bialosky Carmen Bishopric (Miami) Mr. and Mrs. Henry G. Brownell Ms. Mary R. Bynum and Mr. J. Philip Calabrese Dr. and Mrs. William E. Cappaert John Carleton (Cleveland, Miami) Mr. and Mrs. Frank H. Carpenter Mr. Owen Colligan Drs. Mark Cohen and Miriam Vishny Mr. and Mrs. David G. de Roulet Mrs. April C. Deming Peter and Kathryn Eloff Peggy and David* Fullmer Loren and Michael Garruto Dr. and Mrs. Edward C. Gelber (Miami) Dr. and Mrs. Ronald L. Gould Nancy and James Grunzweig Mr. Robert D. Hart Mary S. Hastings Hazel Helgesen* and Gary D. Helgesen INDIVIDUAL GIFTS OF $2,500 TO $3,499

Mr. and Mrs. Charles Abookire, Jr. Dr. Jacqueline Acho and Mr. John LeMay Stanley I.* and Hope S. Adelstein Mr. and Mrs.* Norman Adler Mr. and Mrs. Monte Ahuja


Individual Annual Support

The Cleveland Orchestra

Your Role . . . in The Cleveland Orchestra’s Future Generations of Clevelanders have supported the Orchestra and enjoyed its concerts. Tens of thousands have learned to love music through its education 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 presenting The Cleveland Orchestra’s season each year. To sustain its activities here in Northeast Ohio, the Orchestra has undertaken the most ambitious fundraising campaign in our history: the Sound for the Centennial Campaign. By making a donation, you can make a crucial difference in helping to ensure that future generations will continue to enjoy the Orchestra’s performances, education programs, and community activities and partnerships. To make a gift to The Cleveland Orchestra, please visit us online, or call 216-231-7562.


Bill* and Zeda Blau Doug and Barbara Bletcher Dr. Charles Tannenbaum & Ms. Sharon Bodine Mr. and Mrs. Richard H. Bole Mrs. Loretta Borstein Ms. Andrea L. Boyd Lisa and Ron Boyko Mr. and Mrs. David Briggs Dr. Thomas Brugger and Dr. Sandra Russ Laurie Burman Mrs. Millie L. Carlson Irad and Rebecca Carmi Leigh Carter Mr. and Mrs. James B. Chaney Dr. and Mrs. Ronald Chapnick Mr. Gregory R. Chemnitz Mr. and Mrs. Homer D. W. Chisholm Mrs. Robert A. Clark Dr. John and Mrs. Mary Clough Kenneth S. and Deborah G. Cohen Mr. Mark Corrado Dr. Dale and Susan Cowan Mr. and Mrs. Manohar Daga Mrs. Frederick F. Dannemiller Dr. Eleanor Davidson Mr. and Mrs. Edward B. Davis Jeffrey and Eileen Davis Mrs. Lois Joan Davis Dr. and Mrs. Richard C. Distad Mr. George and Mrs. Beth Downes Esther L. and Alfred M. Eich, Jr. Drs. Heidi Elliot and Yuri Novitsky Harry and Ann Farmer Mr. William and Dr. Elizabeth Fesler Mr. Paul C. Forsgren Richard J. Frey Mr. Wilbert C. Geiss, Sr. Anne and Walter Ginn Mr. and Mrs. David A. Goldfinger The Thomas J. and Judith Fay Gruber Charitable Foundation Mr. Davin and Mrs. Jo Ann Gustafson Dr. Phillip M. and Mrs. Mary Hall Mr. and Mrs. David P. Handke, Jr. Elaine Harris Green Mr. and Mrs. Donald F. Hastings Matthew D. Healy and Richard S. Agnes Mr. Loren W. Hershey Mr. and Mrs. Robert D. Hertzberg (Miami) Dr. and Mrs. Robert L. Hinnes Mr. Larry Holstein Dr. Randal N. Huff and Ms. Paulette Beech Ms. Luan K. Hutchinson Ruth F. Ihde Mrs. Carol Lee and Mr. James Iott Robert and Linda Jenkins Dr. Michael and Mrs. Deborah Joyce Mr. Peter and Mrs. Mary Joyce Mr. Stephen Judson 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 Mr. James Kish Fred* and Judith Klotzman Jacqueline and Irwin* Kott (Miami) Ellen Brad and Bart Kovac Dr. Ronald H. Krasney and Vicki Kennedy Mr. Donald N. Krosin


Eeva and Harri Kulovaara (Miami) Mr. and Mrs. John J. Lane, Jr. Mr. Gary Leidich Michael and Lois A. Lemr Dr. Stephen B. and Mrs. Lillian S. Levine Robert G. Levy Ms. Grace Lim Mrs. Idarose S. Luntz Janet A. Mann Mr. and Mrs. Raul Marmol (Miami) Dr. and Mrs. Sanford E. Marovitz Ms. Dorene Marsh Dr. Ernest and Mrs. Marian Marsolais Mr. Fredrick Martin Ms. Amanda Martinsek Mr. Julien L. McCall William C. McCoy Mr. James E. Menger Stephen and Barbara Messner Ms. Betteann Meyerson Drs. Terry E. and Sara S. Miller Jim and Laura Moll Steven and Kimberly Myers Deborah L. Neale Marshall I. Nurenberg and Joanne Klein Richard and Jolene O’Callaghan Dr. Guilherme Oliveira Mr. and Mrs. Robert D. Paddock George Parras Dr. and Mrs. Gosta Pettersson Henry Peyrebrune and Tracy Rowell Dr. Roland S. Philip and Dr. Linda M. Sandhaus Ms. Maribel Piza (Miami) Dr. Marc and Mrs. Carol Pohl Mrs. Elinor G. Polster Kathleen Pudelski David and Gloria Richards Michael Forde Ripich Mr. and Mrs. James N. Robinson II (Miami) Mr. Timothy D. Robson Ms. Linda M. Rocchi Miss Marjorie A. Rott Mr. Kevin Russell (Miami) Mrs. Elisa J. Russo Dr. Harry S. and Rita K. Rzepka Peter and Aliki Rzepka Dr. Vernon E. Sackman and Ms. Marguerite Patton Rev. Robert J. Sanson Ms. Patricia E. Say Mr. James Schutte Dr. John Sedor and Ms. Geralyn Presti Ms. Kathryn Seider Charles Seitz (Miami) Mr. and Mrs. Thomas W. Seitz Ms. Frances L. Sharp Ms. Jeanne Shatten Dr. Donald S. Sheldon Dr. and Mrs. William C. Sheldon Mr. and Mrs. Reginald Shiverick Mr. Robert Sieck Ms. Lois H. Siegel (Miami) David* and Harriet Simon Dr. and Mrs. Conrad Simpfendorfer The Shari Bierman Singer Family Grace Katherine Sipusic Robert and Barbara Slanina Sandra and Richey Smith Roy Smith Ms. Barbara Snyder

Individual Annual Support

Lucy and Dan Sondles Ms. Sharmon Sollitto Michalis and Alejandra Stavrinides (Miami) Mr. Louis Stellato Mr. and Mrs. Joseph D. Sullivan Robert and Carol Taller Ken and Martha Taylor Dr. and Mrs. Thomas A. Timko Steve and Christa Turnbull Mrs. H. Lansing Vail, Jr. Robert A. Valente Brenton Ver Ploeg (Miami) Mr. and Mrs. Les C. Vinney Dr. Michael Vogelbaum and Mrs. Judith Rosman Barbara and George von Mehren Alice & Leslie T. Webster, Jr. Mr. and Mrs.* Jerome A. Weinberger Mr. Peter and Mrs. Laurie Weinberger Richard and Mary Lynn Wills Mr. Martin Wiseman Michael H. Wolf and Antonia Rivas-Wolf Katie and Donald Woodcock Elizabeth B. Wright Rad and Patty Yates Dr. William Zelei Mr. Kal Zucker and Dr. Mary Frances Haerr Mr. Max F. Zupon Anonymous (5)

member of the Leadership Council (see first page of Annual support listings)

* 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 Orchestra’s Annual Report, which can be viewed online at CLEVELANDORCHESTRA . COM For information about how you can play a supporting role with The Cleveland Orchestra, please contact our Philanthropy & Advancement Office by calling 216-231-7558.

The Cleveland Orchestra

Never miss a note. Join the millions of people who enjoy all the sounds of life! Cleveland Hearing & Speech Center is the premier provider of audiology products and services. From hearing screenings, evaluations, and device fittings, to follow up and support, CHSC will ensure you never miss a note!

Call today for more information. 216-231-8787 CHSC is a provider of Phonak Hearing Aids Discreet, attractive, smallest-ever designs l Most advanced technology l Water-resistant l

3 3 rd s e a s o n

Join us in our journey as we begin our 2015–16 concert season.

Absolute bAroque Apollo’s Fire QuArtet rene schiffer, Karina schmitz, Kathie stewart, Joseph Gascho September 27, 2015

JAzz After dArk Jack schantz and Friends October 18, 2015

clAssicAl And beyond Greg Banaszak, Katherine DeJongh, sungeun Kim

November 8, 2015

second to none FActory seconDs BrAss trio Jack sutte, richard stout, Jesse Mccormick February 21, 2016

feAtured young Artist Jinjoo cho ~ violin March 13, 2016


one piAno, four hAnds westhuizen Duo sophié & pierre van der westhuizen April 10, 2016

“We love ideastream because we can enjoy great cultural presentations.” – Rev. Otis Moss, Jr. & Edwina Moss

concerts begin at 5:00 pm at christ church episcopal, 21 Aurora street in hudson. ticket price of $18 includes post concert reception. students admitted free. tickets may be purchased at the door on concert night.

Find out more at

Severance Hall 2015-16

ViSit MFtwr.Org FOr MOre iNFOrMAtiON.











Orchestra Personnel Rebecca Vineyard INTERIM DIRECTOR

Nishi Badhwar DIRECTOR (beginning September 28)

Christine Honolke MANAGER



Gil Gerity Thomas Holden John Riley Don Verba STAGEHANDS


as of September 2015


Education & Community Programs Joan Katz Napoli DIRECTOR








Barb Bodemer DRIVER

Choruses Jill Harbaugh MANAGER









Information Technology David Vivino DIRECTOR




Mailroom Jim Hilton SUPERVISOR

Andrea Bernatowicz MAILROOM CLERK






Building Operations Nina Hose ASSISTANT MANAGER


Scott Miller Robert Nock Christopher Downey Michael Evert BUILDING ENGINEERS

Shelia Baugh George Felder Michelle Williams DOOR PERSONS


Christina Dutkovic



Human Resources Michelle Vectirelis DIRECTOR



Steven Washington Pauletta Hughes HALL STAFF LEADS

Antonio Adamson Kervin Hinton Dwayne Johnson Jerome Kelley Darrell Simmons Dwayne Taylor HALL STAFF

Glynis Smith Renee Pettway CLEANING PERSONS



Concerts & Special Events Sean Lewis ACTING MANAGER, EVENT OPERATIONS


House Management Adam Clemens HOUSE MANAGER


Retail Larry Fox STORE MANAGER





Administrative Staff


Sales & Marketing Julie Stapf DIRECTOR







Ticket Services Tim Gaines TICKET SERVICES MANAGER



Cindy Adams Monica Berens Larry Parsons Randy Yost CUSTOMER SERVICE REPRESENTATIVES

Sharon Matovich Traci Shillace Mary Ellen Snyder TICKETING SERVICE REPRESENTATIVES

Public Relations Justin Holden DIRECTOR



Archives Deborah Hefling ARCHIVIST


Program Book Eric Sellen EDITOR



Individual Giving & Annual Fund Grace Sipusic DIRECTOR, INDIVIDUAL GIVING & MIAMI FUNDRAISING




Cayce Felber

Severance Hall

11001 Euclid Avenue Cleveland, OH 44106

Administrative Offices

216-231-7300 Ticket Office

216-231-1111 or 800-686-1141 Group Sales







Education & Community Programs

216-231-7355 Media & Public Relations

216-231-7476 Archives



Legacy Giving Bridget Mundy LEGACY GIVING OFFICER


Institutional Giving — Corporate, Foundation, and Government Support Erin Gay DIRECTOR, INSTITUTIONAL GIVING


Individual Giving

216-231-7556 Corporate/Foundation Giving


Legacy Giving

216-231-8006 Volunteers




Development Communications Bryan de Boer DEVELOPMENT OFFICER, COMMUNICATIONS


Severance Hall Rental Office


Cleveland Orchestra Store



Severance Hall 2015-16

Administrative Staff


â—‹ 4600_OAC_Ad_5x8 7/18/08 8:52 AM Page 1

1 egaP MA 25:8 80/81/7 8x5_dA_CAO_0064


The Cleveland Orchestra





Each year, thousands of Northeast Ohioans experience The Cleveland Orchestra for the first time. Whether you are a seasoned concertgoer or a first-timer, these pages give you ways to learn more or get involved with the Orchestra and to explore the joys of music further. Created to serve Northeast Ohio, The Cleveland Orchestra has a long and proud history of sharing the value and joy of music. To learn more, visit

The Cleveland Orchestra performs all varieties of music, gathering family and friends together in celebration of the power of music. The Orchestra’s music marks major milestones and honors special moments, helping to provide the soundtrack to each day and bringing your hopes and joys to life. From free community concerts at Severance Hall and in downtown Cleveland . . . to picnics on warm summer evenings at Blossom Music Center . . . From performances for crowds of students, in classrooms and auditoriums . . . to opera and ballet with the world’s best singers and dancers . . . From holiday gatherings with favorite songs . . . to the wonder of new compositions performed by music’s rising stars . . . Music inspires. It fortifies minds and electrifies spirits. It brings people together in mind, body, and soul.

Photography by roger mastroianni

Severance Hall 2015-16

Celebrating Life & Music

Get Involved




Ambassador to the World

A Focus on Young People

Changing Lives The Cleveland Orchestra is building the youngest orchestra audience in the country. Over the past five years, the number of young people attending Cleveland Orchestra concerts at Blossom and Severance Hall has more than doubled, and now makes up 20% of the audience! • Under 18s Free, the flagship program of the Orchestra’s Center for Future Audiences (created with a lead endowment gift from the Maltz Family Foundation), makes attending Orchestra concerts affordable for families. • Student Advantage and Frequent FanCard programs offer great deals for students.

The Cleveland Orchestra is one of the world’s most acclaimed and sought-after performing arts ensembles. Whether performing at home or around the world, the musicians carry Northeast Ohio’s commitment to excellence and strong sense of community with them everywhere the Orchestra performs. The ensemble’s ties to this region run deep and strong: • Two acoustically-renowned venues — Severance Hall and Blossom — anchor the Orchestra’s performance calendar and continue to shape the artistic style of the ensemble. • More than 60,000 local students participate in the Orchestra’s education programs each year. • Over 350,000 people attend Orchestra concerts in Northeast Ohio annually. • The Cleveland Orchestra serves as Cleveland’s ambassador to the world — through concerts, recordings, and broadcasts — proudly bearing the name of its hometown across the globe.

• The Circle, our new membership program for ages 21 to 40, enables young professionals to enjoy Orchestra concerts and social and networking events. • The Orchestra’s casual Friday evening concert series (Fridays@7 and Summers­ @Severance) draw new crowds to Severance Hall to experience the Orch­ estra in a context of friends and musical explorations.


Get Involved

The Cleveland Orchestra



Building Community The Cleveland Orchestra exists for and because of the vision, generosity, and dreams of the Northeast Ohio community. Each year, we seek new ways to meaningfully impact Cleveland’s citizens.


Inspiring Minds Education has been at the heart of The Cleve­land Orchestra’s community offerings since the ensemble’s founding in 1918. The arts are a core subject of school learning, vital to realizing each child’s full potential. A child’s education is incomplete unless it includes the arts, and students of all ages can experience the joy of music through the Orchestra’s varied education programs. The Orchestra’s offerings impact . . . . . . the very young, with programs including PNC Musical Rainbows and PNC Grow Up Great. . . . grade school and high school students, with programs including Learning Through Music, Family Concerts, Education Concerts, and In-School Performances.

• Convening people at free community concerts each year in celebration of our country, our city, our culture, and our shared love of music. • Immersing the Orchestra in local commun­ities with special performances in local businesses and hotspots during our annual “At Home” neighborhood residencies. • Collaborating with celebrated arts institutions — from the Cleveland Museum of Art and PlayhouseSquare to Chicago’s Joffrey Ballet — to bring inspirational performances to the people of Northeast Ohio. • Actively partnering with local schools, neighborhoods, businesses, and state and local government to engage and serve new corners of the community through neighborhood residencies, education offerings, and free public events.

. . . college students and beyond, with programs including musician-led master­classes, in-depth explorations of musical repertoire, pre-concert musician interviews, and public discussion groups.

Severance Hall 2015-16

Get Involved




Supporting Excellence

The Cleveland Orchestra is in the midst of the Sound for the Centennial Campaign, a ten-year initiative that seeks to sustain the musical excellence and community engagement that sets this ensemble apart from every other orchestra in the world.


Get Involved The Cleveland Orchestra has been supported by many dedicated volunteers since its founding in 1918. You can make an immediate impact by getting involved. • Over 100,000 friends of The Cleveland Orchestra participate online in our news, concerts, and performances through Facebook and Twitter. • The Women’s Committee of The Cleveland Orchestra and the Blossom Women’s Committee support the Orchestra through service and fundraising. For further information, please call 216-231-7557.

Ticket sales cover less than half the cost of The Cleveland Orchestra’s concerts, education presentations, and community programs. Each year, thousands of generous people make donations large and small to sustain the Orchestra for today and for future generations. Every dollar donated enables The Cleveland Orchestra to play the world’s finest music, bringing meaningful experiences to people throughout our community — and acclaim and admiration to Northeast Ohio. To learn more, visit

• Over 400 volunteers assist concertgoers each season, as Ushers for Orchestra concerts at Severance Hall, or as Tour Guides and as Store Volunteers. For more info, please call 216-231-7425. • 300 professional and amateur vocalists volunteer their time and artistry as part of the professionally-trained Cleveland Orchestra Chorus and Blossom Festival Chorus each year. To learn more, please call 216-231-7372.


Get Involved

The Cleveland Orchestra


get involved

Learn More To learn more about how you can play an active role as a member of The Cleveland Orchestra family, visit us at Blossom or Severance Hall, attend a musical performance, or contact a member of our staff.


ACTIVE participation

Making Music The Cleveland Orchestra passionately believes in the value of active musicmaking, which teaches life lessons in teamwork, listening, collaboration, and self expression. Music is an activity to participate in directly, with your hands, voice, and spirit. • You can participate in ensembles for musicians of all ages — including the Cleveland Orchestra Chorus, Children’s Chorus, Youth Chorus, and Blossom Festival Chorus, and the Cleveland Orchestra Youth Orchestra. • Each year, the Orchestra brings people together in celebration of music and events, giving voice to music at community singalongs and during holiday performances. • We partner with local schools and businesses to teach and perform, in ensembles and as soloists, encouraging music-making across Northeast Ohio. Music has the power to inspire, to transform, to change lives. Make music part of your life, and support your school’s music programs.

Severance Hall 2015-16

Get Involved

Severance Hall

 11001 Euclid Avenue  Cleveland, OH 44106

Blossom Music Center

 1145 West Steels Corners Road  Cuyahoga Falls, OH 44223


Administrative Offices: 216-231-7300 Ticket Services: 216-231-1111 or 800-686-1141 or Group Sales: 216-231-7493  email Education & Community Programs:  phone 216-231-7355  email Orchestra Archives: 216-231-7356  email Choruses: 216-231-7372  email Volunteers: 216-231-7557  email Individual Giving: 216-231-7562  email Legacy Giving: 216-231-8006  email Corporate & Foundation Giving:  phone 216-231-7523  email Severance Hall Rental Office:  phone 216-231-7421  email


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

440.720.1102 440.720.1105 440.720.1104

The Cleveland Orchestra guide to

Fine Shops & Services 25th ANNIVERSARY SEASON!

3 pm, Sunday, October 4, 2015

Exacting craftsmanship and meticulous attention to every detail, every job. 216-952-9801

World-class performances. World-class audiences. Advertise among friends in The Cleveland Orchestra programs.


The Autana Trio Yuri Noh, piano / Rubén Rengel, violin / Anna Hurt, cello

BEETHOVEN: B flat Major Trio, Op. 97, “Archduke” | SHOSTAKOVICH: E Minor Trio No. 2, Op. 67 Presented at Pilgrim Congregational Church, 2592 W. 14th St. Visit for program and season listing.

Michael Hauser DMD MD Let’s talk. contact John Moore 216.721.4300

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

The Cleveland Orchestra

Building Audiences for the Future . . . Today! The Cleveland Orchestra is committed to developing interest in classical music among young people. To demonstrate our success, we are working to have the youngest audience of any orchestra. With the help of generous contributors, the Orch­estra has expanded its discounted ticket offerings through several new programs. In recent years, student attendance has nearly doubled, now representing over 20% of those at Cleveland Orchestra concerts. Since inaugurating these programs in 2011, over 155,000 young people have participated. U n d e r 1 8 s F REE F OR FAM i LIES

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

In the past four seasons, The Cleveland Orchestra’s Student Advantage Mem-

Severance Hall 2015-16

bers, Frequent Fan Card holders, Student Ambassadors, and special offers for student groups attending together have been responsible for bringing more high school and college age students to Severance Hall and Blossom than ever before. The Orchestra’s ongoing Student Advantage Program provides opportunities for students to attend concerts at Severance Hall and Blossom through discounted ticket offers. Membership is free to join and rewards members with discounted ticket purchases. A record 7,500 students joined in the past year. A new Student Frequent Fan Card is available in conjunction with Student Advantage membership, offering unlimited single tickets (one per Fan Card holder) all season long. All of these programs are supported by The Cleveland Orchestra’s Center for Future Audiences and the Alexander and Sarah Cutler Fund for Student Audiences. The Center for Future Audiences was created with a $20 million lead endowment gift from the Maltz Family Foundation to develop new generations of audiences for Cleveland Orchestra concerts in Northeast Ohio.

Building Future Audiences


11001 Euclid Avenue Cleveland, Ohio 44106


c l eve l a ndo r c he s t r a . c om

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

11001 Euclid Avenue Cleveland, Ohio 44106 CLEVELANDORCHESTRA.COM


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 online by visiting Intermission & Pre-Concert: Concession service of beverages and light refreshments is available before most concerts and at intermissions at a variety of lobby locations. Post-Concert Dining: Severance Restaurant is open after most evening concerts with à la carte dining, desserts, full bar service, and coffee. For Friday Morning Concerts, a post-concert luncheon service is offered.


A variety of items relating to The Cleveland Orchestra — including logo apparel, DVD and compact disc recordings, and gifts — are available for purchase at the Cleveland Orchestra Store before and after concerts and during intermissions. The Store is also open Tuesday through Friday from 11 a.m. to 6 p.m. 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 oor.


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


Severance Hall, a Cleveland landmark and home of the world-renowned Cleveland Orches-

Severance Hall 2015-16

Guest Information

tra, 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 Ofce at 216-2317420 or email to


Pre-paid parking for the Campus Center Garage can be purchased in advance through the Ticket Ofce for $15 per concert. This pre-paid parking ensures you a parking space, but availability of prepaid parking passes is limited. To order pre-paid parking, call the Ticket Ofce at 216-231-1111. Parking can be purchased (cash only) for the at-door price of $11 per vehicle when space in the Campus Center Garage permits. However, the garage often lls up and only ticket holders with prepaid parking passes are ensured a parking space. Parking is also available in several lots within 1-2 blocks of Severance Hall. Visit the Orchestra’s website for more information and details.


Due to limited parking availability for Friday Matinee performances, patrons are strongly encouraged to take advantage of these convenient off-site parking and round-trip bus options: Shuttle bus service from Cleveland Heights is available from the parking lot at Cedar Hill Baptist Church (12601 Cedar Road). The roundtrip service rate is $5 per person. Suburban round-trip bus transportation is availble from four locations: Beachwood Place, Crocker Park, Brecksville, and Akron’s Summit Mall. The round-trip service rate is $15 per person per concert, and is provided with support from the Women’s Committee of The Cleveland Orchestra.


Concert Preview talks and presentations begin one hour prior to most regular Cleveland Orchestra concerts at Severance Hall.



Complimentary coat check is available for concertgoers. The main coat check is located on the street level midway along each gallery on the ground oor.


Photographs of the hall and seles to share with others can be taken when the performance is not in progress. However, audio recording, photography, and videography are prohibited during performances at Severance Hall. And, as courtesy to others, please turn off any phone or device that makes noise or emits light.


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


Performances at Severance Hall start at the time designated on the ticket. In deference to the comfort and listening pleasure of the audience, late-arriving patrons will not be seated while music is being performed. Latecomers are asked to wait quietly until the rst 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 make arrangement by calling the House Manager in advance at 216-231-7425. Infrared Assistive Listening Devices are available from a Head Usher or the House Manager for most performances. 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 Ofce as you buy tickets.


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


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


Regardless of age, each person must have a ticket and be able to sit quietly in a seat throughout the performance. Cleveland Orchestra subscription concerts are not recommended for children under the age of 8. However, there are several age-appropriate series designed specically for children and youth, including: Musical Rainbows (recommended for children 3 to 6 years old) and Family Concerts (for ages 7 and older). Our Under 18s Free ticket program is designed to encourage families to attend together. For more details, visit under18.


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 ve days prior to a performance. There will be no service charge for the ve-day advance ticket exchanges. If a ticket exchange is requested within 5 days of the performance, there is a $10 service charge per concert. Visit for details and blackout dates.


Ticket holders unable to use or exchange their tickets are encouraged to notify the Ticket Ofce 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 two hours before the concert, the value of each ticket can be a tax-deductible contribution. Patrons who turn back tickets receive a cumulative donation acknowledgement at the end of each calendar year.

Guest Information

The Cleveland Orchestra


and elegant

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 Cleveland’s most outstanding architectural landmarks will provide you and your guests with an event to be remembered fondly for years to come. Marigold’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




AUTUMN SEASON An Alpine Symphony

Also Sprach Zarathustra

THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor

THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Joela Jones, piano Cleveland Orchestra Chorus

September 24 — Thursday at 7:30 p.m. September 25 — Friday at 7:00 p.m. <18s September 26 — Saturday at 8:00 p.m. MOZART Symphony No. 41 (“Jupiter”) STRAUSS An Alpine Symphony Sponsor: Thompson Hine LLP

Mahler’s Third Symphony October 1 — Thursday at 7:30 p.m. October 2 — Friday at 8:00 p.m. <18s

THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Kelley O’Connor, mezzo-soprano Women of the Cleveland Orchestra Chorus Cleveland Orchestra Children’s Chorus

MAHLER Symphony No. 3

A Gala Evening with Renée Fleming

October 3 — Saturday at 7:00 p.m. THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Renée Fleming, soprano A once-in-a-lifetime opportunity to hear the world’s most celebrated soprano with The Cleveland Orchestra. A frequent performer on the world's grandest stages, international opera superstar Renée Fleming captivates audiences with her sumptuous voice, consummate artistry, and compelling stage presence. The evening’s program is lled with Viennese air, including selections from Richard Strauss’s Capriccio, as well as waltzes and songs by Johann Strauss Jr. and Franz Lehár. Diamond Sponsors: The Lerner Foundation, KeyBank, The Milton and Tamar Maltz Family Foundation, Dee and Jimmy Haslam

October 8 — Thursday at 7:30 p.m. October 10 — Saturday at 8:00 p.m.

MESSIAEN L’Ascension THURSDAY ONLY MESSIAEN Couleurs de la cité céleste STRAUSS Also Sprach Zarathustra VERDI Stabat Mater and Te Deum (from Sacred Pieces) SATURDAY ONLY Sponsor: Squire Patton Boggs (US) LLP

Verdi Sacred Pieces

October 9 — Friday at 7:00 p.m.


THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Joela Jones, piano Cleveland Orchestra Chorus

MESSIAEN Chronochromie MESSIAEN Couleurs de la cité céleste VERDI Stabat Mater and Te Deum (from Sacred Pieces) Sponsor: Squire Patton Boggs (US) LLP


Powerful Percussion

October 23 — Friday at 10:00 a.m. <18s October 24 — Saturday at 10:00 & 11:00 a.m.


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


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

October 25 — Sunday at 3:00 p.m.


CLEVELAND INSTITUTE OF MUSIC ORCHESTRA Carl Topilow, conductor Come dressed in your Halloween best for a program lled with magic tricks and musical treats! An afternoon of deliciously frightening fun and terrifying tales featuring the spooky sounds of orchestral favorites Saint-Saëns’s Danse macabre and Dukas’s The Sorcerer’s Apprentice, plus favorites by John Williams from Star Wars, Superman, and Harry Potter. Supported by The Giant Eagle Foundation


Concert Calendar

The Cleveland Orchestra






The Hunchback of Notre Dame October 30 — Friday at 8:00 p.m. Todd Wilson, organ Celebrate Halloween with this classic silent lm from 1923 . . . with the accompaniment played live by acclaimed organist Todd Wilson. Quasimodo (Lon Chaney Sr.), the deformed bell ringer of the Cathedral of Notre Dame in Paris, sacrices his life to save Esmeralda (Patsy Ruth Miller), a Gypsy girl who once befriended him, from the hunchback’s evil master. The fully-improvised accompaniment features the magnicent sound of Severance Hall’s mighty Norton Memorial Organ. Sponsor: PNC Bank

Live Telecast

Symphonic Dances


November 6 — Friday at 11:00 a.m. <18s * November 7 — Saturday at 8:00 p.m. November 8 — Sunday at 3:00 p.m. <18s

Sunday September 27 Live broadcast begins at 3:00 p.m.

THE CLEVELAND ORCHESTRA Gianandrea Noseda, conductor Leonida Kavakos, violin

THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Shlomo Mintz, violin Thomas Hampson, baritone Cleveland Orchestra Chorus

PETRASSI Partita * SHOSTAKOVICH Violin Concerto No. 1 RACHMANINOFF Symphonic Dances * not part of Friday Morning Concert

A special and unique concert marking the opening of the first phase of the Milton and Tamar Maltz Performing Arts Center at The Temple–Tifereth Israel, presented as the Opening Concert of a unique community collaboration titled Violins of Hope Cleveland. The concert showcases the newly-renovated Silver Hall and includes performances on a select set of extraordinary instruments.

Sponsor: BakerHostetler

Israel Philharmonic Orchestra November 16 — Monday at 7:30 p.m.


BARDANASHVILI A Journey to the End of the Millennium SHOSTAKOVICH La Valse [The Waltz] DVOŘÁK Symphony No. 9 (“From the New World”) Presented by The Cleveland Orchestra in collaboration with the American Friends of the Israel Philharmonic Orchestra.

Under 18s Free FOR FAMILIES

Presented by Case Western Reserve University.


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).

The concert will be rebroadcast on: Friday, October 2 beginning at 9 p.m. Sunday, October 4 beginning at 3 p.m.


216-231-1111 800-686-1141 Severance Hall 2015-16

Concert Calendar




2015-16 SE A SON




An Evening with RENÉE FLEMING

SPECIAL EVENT PRESENTATION Monday November 16 at 8:00 p.m.

Saturday October 3 at 7:00 p.m.


THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Renée Fleming, soprano

A once-in-a-lifetime opportunity to hear the world’s most celebrated soprano with The Cleveland Orchestra. International opera superstar Renée Fleming captivates audiences with her sumptuous voice, consummate artistry, and compelling stage presence. Conducted by Music Director Franz Welser-Möst for this special Severance Hall concert, the evening’s program is filled with Viennese flair, including selections from Richard Strauss’s Capriccio, as well as waltzes and songs by Johann Strauss Jr. and Franz Lehár. Diamond Sponsors: The Lerner Foundation, KeyBank, The Milton and Tamar Maltz Family Foundation, Dee and Jimmy Haslam

One of Israel’s oldest and most influential cultural institutions, the Israel Philharmonic was founded on the eve of World War II, when the Polish star violinist Bronislaw Huberman auditioned leading Jewish musicians across Europe and procured them lifesaving jobs. When the nation of Israel was founded in 1948, the Palestine Symphony became the Israel Philharmonic Orchestra, the country’s national orchestra. Today, this ensemble is an eloquent voice for peace, as well as Israel’s cultural ambassador. Don’t miss this highlyanticipated Severance Hall performance. Presented by The Cleveland Orchestra and Musical Arts Association in partnership with the American Friends of the Israel Philharmonic Orchestra.

See also the concert calendar listing on previous pages, 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 Sept. 24-26, Oct. 1-2 Concerts  
The Cleveland Orchestra Sept. 24-26, Oct. 1-2 Concerts  

Sept. 24-26 An Alpine Symphony/Oct. 1-2 Mahler's Third Symphony