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2015-16 SE ASON

AUTUMN SEASON

SEVERANCE HALL

October 8 ALSO SPRACH ZARATHUSTRA + MESSIAEN — page 30 October 9 VERDI SACRED PIECES + MESSIAEN — page 30 October 10 ALSO SPRACH ZARATHUSTRA + VERDI — page 30 Explorations with Franz Welser-Möst MUSICAL AND METAPHYSICAL CONNECTIONS IN STRAUSS, MESSIAEN, AND MAHLER — page 8

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TA B L E

OF

CONTENTS

THIS WEEK CLEVELAND

WEEK

ORCHESTRA

3

Upfront

PAGE

THE

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

3

ALSO SPRACH ZARATHUSTRA + VERDI + MESSIAEN Program: October 8, 9, 10 . . . . . . . . . . . . . . . . 30-31 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 33 MESSIAEN

L’Ascension . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 MESSIAEN

Couleurs de la cité céleste . . . . . . . . . . . . . . . . . . . 39 MESSIAEN

Chronochromie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 STRAUSS

Also sprach Zarathustra . . . . . . . . . . . . . . . . . . . . . 45 VERDI

Stabat Mater / Te Deum . . . . . . . . . . . . . . . . . . . . . 55 Soloist: Joela Jones . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Cleveland Orchestra Chorus . . . . . . . . . . . . . . . . . . . . . 63 NEWS Cleveland Orchestra News . . . . . . . . . . . . . . . . . . 64-77 Emeritus Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70 Violins of Hope Cleveland . . . . . . . . . . . . . . . . . . . . . 76

COVER PHOTOGRAPHY BY ROGER MASTROIANNI

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

NATIONAL ENDOWMENT FOR THE ARTS

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

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

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

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

74 79 81 82

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 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 Upcoming Concerts . . . . . . . . . . . . . . . . . . . . . . . . . 102

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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. ClevelandClassical.com 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 www.acac2015.org. Severance Hall 2015-16

From the Executive Director

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FROM THE MUSIC DIRECTOR

Interpreting NATURE through MUSIC 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

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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

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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.

PREVIOUS RECIPIENTS

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

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Distinguished Service Award

The Cleveland Orchestra


Presented to Rosemary

Klena

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

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The Cleveland Orchestra


T H E M U S I C AL ARTS ASSOCIATION

as of September 2015

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

O F F I C E R S A ND E XEC UT I VE C O MMIT T E E Dennis W. LaBarre, President Richard J. Bogomolny, Chairman The Honorable John D. Ong, Vice President Jeanette Grasselli Brown Matthew V. Crawford Alexander M. Cutler David J. Hooker Michael J. Horvitz

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

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

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

R E S I D E NT TR U S TE ES 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

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

N O N- R E S I D E NT TR US T E E S Virginia Nord Barbato (NY) Wolfgang C. Berndt (Austria) Laurel Blossom (SC)

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

Ludwig Scharinger (Austria)

T R U S TE E S E X- O F F IC I O 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

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 TE E S 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 PR E S I D E NT S D. Z. Norton 1915-21 John L. Severance 1921-36 Dudley S. Blossom 1936-38 Thomas L. Sidlo 1939-53

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

Robert F. Meyerson James S. Reid, Jr.

Ward Smith 1983-95 Richard J. Bogomolny 1995-2002, 2008-09 James D. Ireland III 2002-08

THE CLEVELAND ORCHESTRA Franz Welser-Möst, Music Director

Severance Hall 2015-16

Gary Hanson, Executive Director

Musical Arts Association

13


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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.

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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

19


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.

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About the Orchestra

The Cleveland Orchestra


1918

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

14th

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.

40,000

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.

52%

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.

4million

Likes on Facebook (as of Sep 15, 2015)

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

104,321

1931

150

concerts each year.

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

The Cleveland Orchestra performs over

THE CLEVEL AND ORCHESTRA

BY THE NUMBERS


FLĂ‚NEUR FOREVER

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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 J E N N I F E R TAY LO R

THE 2015 -16 SEASON

Severance Hall 2015-16

Music Director

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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 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.

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Music Director

The Cleveland Orchestra


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T H E

C L E V E L A N D

FRANZ WELSER-MÖST MUSIC

DIRECTOR Kelvin Smith Family Chair

FIRST VIOLINS William Preucil CONCERTMASTER

Blossom-Lee Chair

Yoko Moore

ASSISTANT CONCERTMASTER

Clara G. and George P. Bickford Chair

Peter Otto

FIRST ASSOCIATE CONCERTMASTER

Jung-Min Amy Lee

ASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith Chair

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

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

Emilio Llinas 2 James and Donna Reid Chair

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

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

CELLOS Mark Kosower* Louis D. Beaumont Chair

Richard Weiss 1 The GAR Foundation Chair

Charles Bernard 2 Helen Weil Ross Chair

Bryan Dumm Muriel and Noah Butkin Chair

Tanya Ell Thomas J. and Judith Fay Gruber Chair

Ralph Curry Brian Thornton William P. Blair III Chair

David Alan Harrell Paul Kushious Martha Baldwin BASSES Maximilian Dimoff * Clarence T. Reinberger Chair

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

Mark Atherton Thomas Sperl Henry Peyrebrune Charles Barr Memorial Chair

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


2015-16 SE ASON

O R C H E S T R A FLUTES Joshua Smith * Elizabeth M. and William C. Treuhaft Chair

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

Mary Kay Fink PICCOLO Mary Kay Fink

HORNS Michael Mayhew § Knight Foundation Chair

Jesse McCormick Robert B. Benyo Chair

Hans Clebsch Richard King Alan DeMattia

Anne M. and M. Roger Clapp Chair

TRUMPETS Michael Sachs *

OBOES Frank Rosenwein *

Jack Sutte Lyle Steelman2

Edith S. Taplin Chair

Corbin Stair Jeffrey Rathbun 2 Everett D. and Eugenia S. McCurdy Chair

Robert and Eunice Podis Weiskopf Chair

James P. and Dolores D. Storer Chair

Michael Miller

Robert Walters

CORNETS Michael Sachs *

ENGLISH HORN Robert Walters

Michael Miller

Samuel C. and Bernette K. Jaffe Chair

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

Mary Elizabeth and G. Robert Klein Chair

TROMBONES Massimo La Rosa* Gilbert W. and Louise I. Humphrey Chair Alexander and Marianna C. McAfee Chair

Shachar Israel 2

E-FLAT CLARINET Daniel McKelway

BASS TROMBONE Thomas Klaber

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

Margaret Allen Ireland Chair

Donald Miller Tom Freer Thomas Sherwood 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

Stanley L. and Eloise M. Morgan Chair

PERCUSSION Marc Damoulakis*

EUPHONIUM AND BASS TRUMPET Richard Stout

* Principal § 1 2

Associate Principal 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

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The Mikado Sally Stunkel, guest director Susan Schroeffler, music director Conservatory of Music Boesel Musical Arts Center Fynette Kulas Music Hall 49 Seminary St., Berea Friday-Saturday, November 6-7, 8 p.m. Saturday-Sunday, November 7-8, 2 p.m.

BW’s fall Gilbert & Sullivan series continues with arranged marriages, love triangles, humorous lyrics and elaborate plot twists. This year’s operetta promises all of your favorite tunes and topsy-turvy moments delivered in just over an hour. This series is presented with full costumes, streamlined sets and piano accompaniment. Arrive early to get a great seat. Tickets: $10 for adults & $5 for students at www.bw.edu/tickets or call 440-826-8070

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Serving Clevelanders since the 1930s. 216-621-7227 | www.nicola.com

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The Cleveland Orchestra


LEARNING MORE ABOUT THE MUSIC

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

Severance Hall 2015-16

Cleveland Orchestra Concert Previews are presented before every regular subscription concert, and are free to all ticketholders to that day’s performance. Previews are designed to enrich the concert-going experience for audience members of all levels of musical knowledge through a variety of interviews and through talks by local and national experts. Concert Previews are made possible by a generous endowment gift from Dorothy Humel Hovorka. October 1, 2 “Mahler’s Third: A Musical Cosmology” with Rose Breckenridge

October 8, 9, 10 “Sacred or Secular, Ancient and Modern” (Musical Works by Strauss, Messiaen, and Verdi) with Rose Breckenridge administrator and lecturer, Cleveland Orchestra Music Study Groups

November 6 FRIDAY MORNING CONCERT “Adversity — Political and Personal” (Musical Works by Shostakovich & Rachmaninoff ) with Rose Breckenridge

November 7, 8 “Partitas, Passacaglias, and Plainsong” (Musical Works by Shostakovich & Rachmaninoff ) with Timothy Cutler, professor of music theory, Cleveland Institute of Music

November 19, 20, 21 “New Works and Tunes” (Musical Works by Sartomme and Schubert)

Concert Previews

with Brett Mitchell, associate conductor of The Cleveland Orchestra in conversation with composer Richard Sartomme

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

W E L S E R - M Ö ST M U S I C

D I R E C T O R

Severance Hall

Thursday evening, October 8, 2015, at 7:30 p.m. Friday evening, October 9, 2015, at 8:00 p.m. Saturday evening, October 10, 2015, at 8:00 p.m.

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

OLIVIER MESSIAEN

2015-16 SE A SON

S E E C O N C E R T O R D E R A N D L I S T O N N E X T PA G E

L’Ascension, 4 méditations symphoniques 1. Majesté du Christ demandant sa gloire à son Père [Majesty of Christ Asking Glory from His Father] 2. Alléluias sereins d’une âme qui désire le ciel [Serene Hallelujahs of a Soul Desiring Heaven] 3. Alléluia sur la trompette, alléluia sur la cymbale [Hallelujah on the Trumpet, Hallelujah on the Cymbal] 4. Prière du Christ montant vers son Père [Christ’s Prayer Ascending to His Father]

Couleurs de la cité céleste [Colors of the Holy City] JOELA JONES, piano

OLIVIER MESSIAEN

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

GIUSEPPE VERDI (1813-1901)

from Four Sacred Pieces No. 2: Stabat Mater No. 4: Te Deum CLEVELAND ORCHESTRA CHORUS Robert Porco, director

RICHARD STRAUSS (1864-1949)

Also sprach Zarathustra, Opus 30 [Thus Spoke Zarathustra] Introduction: Sunrise — Of the Backworldsmen — Of the Great Longing — Of Joys and Passions — The Song of the Grave — Of Science and Learning — The Convalescent — The Dance-Song — Song of the Night Wanderer

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Concert Program — Week 3

The Cleveland Orchestra


CONCERTS

OCTOBER 8 —

THURSDAY

OLIVIER MESSIAEN

L’Ascension, 4 méditations symphoniques

OLIVIER MESSIAEN

Couleurs de la cité céleste INTERMISSION

RICHARD STRAUSS

OCTOBER 9 —

Also sprach Zarathustra, Opus 30

FRIDAY

OLIVIER MESSIAEN

Chronochromie [Time Color] INTERMISSION

OLIVIER MESSIAEN GIUSEPPE VERDI

Couleurs de la cité céleste from Four Sacred Pieces No. 2: Stabat Mater No. 4: Te Deum

OCTOBER 10 —

SATURDAY

RICHARD STRAUSS

Also sprach Zarathustra, Opus 30 INTERMISSION

OLIVIER MESSIAEN GIUSEPPE VERDI

Couleurs de la cité céleste from Four Sacred Pieces No. 2: Stabat Mater No. 4: Te Deum

These concerts are supported through the generosity of Squire Patton Boggs (US) LLP Cleveland’s Own Series sponsorship. The concert will end on Thursday at approximately 9:15 p.m., on Friday at about 9:45 p.m., and on Saturday at about 9:45 p.m. CLEVELAND ORCHESTRA RADIO BROADCASTS

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

Severance Hall 2015-16

Concert Program — Week 3

31


BRAVO! We are pleased to support The Cleveland Orchestra, a Cleveland institution with a global reputation for excellence.

Local Connections. Global Influence. 44 Offices in 21 Countries squirepattonboggs.com


INTRODUCING THE CONCERTS Thursday Friday Saturday

Philosophical Sunrise & Faithful Journey

A S F R A N Z W E L S E R - M Ö S T writes on pages 8-9, this week’s musical

selections are about big things, namely our own existence and our place in the world. This weekend’s concerts feature five pieces by three composers of varying sensibilities — and rather differing views of the relationships between humanity and God, existence and the natural world. For Olivier Messiaen, every note he wrote was part of God’s creation. The Catholic faith was the most powerful force in his life, explicit in many of his works, as in the three pieces offered here. For Richard Strauss, faith was something less clear. His great work played here was inspired by Nietzsche’s book of the same title, Also sprach Zarathustra. For Nietzsche, famously, God did not exist. Giuseppina Strepponi, who became Verdi’s second wife in 1859, later wrote of her husband: “This brigand permits himself to be, I won’t say an atheist, but certainly very little of a believer.” Like Berlioz and Brahms, Verdi could compose a Requiem that carries all the conviction of faith without the Poster for Stanley Kubrick’s classic film of 1968, which famously used composer acknowledging it himself. There is some the opening music from Strauss’s evidence that Verdi moved closer to a faith at the Also sprach Zarathustra. time of the Requiem, but when the Four Sacred Pieces were written, just a few years before his death, his friend Boito wrote: “One must be very careful not to present him as a Catholic in the strictly theological sense of the word; nothing could be further from the truth.” For his own funeral, Verdi asked for “one priest, one candle, one cross.”

program note begins on

MESSIAEN - L’Ascension . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MESSIAEN - Couleurs de la cité céleste . . . . . . . . . . . . . . . . . MESSIAEN - Chronochromie . . . . . . . . . . . . . . . . . . . . . . . . . . . STRAUSS - Also sprach Zarathustra . . . . . . . . . . . . . . . . . . . VERDI - Stabat Mater and Te Deum . . . . . . . . . . . . . . . . .

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Introducing the Concerts

35 39 41 45 55

DAY OF WEEK

T T F S F T

S F S

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L’Ascension, Four Symphonic Meditations

Thursday

composed 1932-33

At a Glance

by

Olivier

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

Severance Hall 2015-16

Messiaen composed L’Ascension for orchestra in 1932-33. (In 1934, he arranged three of the four movements for organ, replacing the third movement with new music.) The first performance of the orchestral version was given in Paris in February 1935, conducted by Robert Siohan. The United States premiere took place in 1947 under the direction of Serge Koussevitzky. This work runs about 30 minutes in performance. Messiaen scored

it for 3 flutes, 2 oboes, 2 clarinets, bass clarinet, 3 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (triangle, cymbals, tambourine, bass drum), and strings. The Cleveland Orchestra first performed Messiaen’s L’Ascension in January 1948, under George Szell’s direction. The most recent performances were led by Pierre Boulez in February 2010 and Franz WelserMöst in July 2015.

About the Music S O M E C O M P O S E R S labor for years before finding their own

voice. But Olivier Messiaen, even in his earliest works, sounds like Messiaen and no one else. This is somewhat surprising when we realize that in the early 1930s Messiaen had not yet discovered the sources that so much of his later music was built upon. In L’Ascension, we find neither birdsong nor rhythms derived from the Indian raga system. Rather, we see (or hear) Messiaen’s language emerge before our very eyes (or ears) as passages influenced by his early models — chiefly Debussy and Stravinsky — begin to evolve in entirely new directions. One bedrock of Messiaen’s music was, in any case, present from the start. This was the composer’s Catholic faith, which is behind every note he composed — from his earliest works, Le banquet céleste (“The Celestial Feast”) to his last, Éclairs sur l’audelà (“Flashes of the Otherworld”). Thanks in large part to this strong religious foundation, Messiaen’s music always preserves its seriousness. This does not preclude the expression of serene, even joyful feelings, but the overall sense always remains majestic and dignified. Messiaen was only 25 when he completed L’Ascension. He had graduated from the Paris Conservatoire just three years earlier. Since 1931, he had been the organist at the Church of the Trinity in Paris, a position he would hold for the rest of his life. In his largest orchestral work to date, he reflected on the Feast

About the Music

35


of the Ascension. Here, Christ’s reunion with His Father gives cause for joy, but also for the contemplation of a deep mystery. Messiaen prefaced each movement with a quote from the Bible or the Catholic liturgy to set the tone. Movement 1. Majesty of Christ Asking for Glory from His Father. “Father, the hour has come: glorify Your Son, so that Your Son may glorify You” (John 17:1). Scored for wind instruments alone, this movement is in an extremely slow tempo and is almost entirely homophonic (all the voices play in the same rhythm much of the time). Many of the chords are still tonal — the progressions often end with perfect triads. But in many harmonies extra notes are added to the common ones to produce special sonorities that are instantly recognizable as Messiaen’s. Thanks in large part to a Movement 2. Serene Alleluias of a Soul foundation in his strong Desiring Heaven. “O God, we pray you, let us religious faith, Messiaen’s dwell in Heaven in spirit” (Mass of the Ascension). music always preserves The opening of the movement, again scored for winds alone, presents a unison melody of the its seriousness. This does same type as those Messiaen later transcribed not preclude the expresduring his ornithological field trips. It is intersion of serene, even joyful esting that long before he began the active feelings, but the overall study of birdsong, he already heard its melodic shape and rhythmic freedom in his head. This sense always remains prototype of Messiaen’s later “bird” themes majestic and dignified. is combined with murmuring string sounds; the movement ends with a recapitulation of the theme in the winds enveloped by a radiant outburst of string tremolos and harmonics. Movement 3. Alleluia on a Trumpet, Alleluia on the Cymbals. “The Lord has risen to the sound of the trumpet. . . . Nations, all clap your hands; celebrate God with cries of gladness!” (Psalm 47). This is the most traditional movement of the four. The influence of Debussy and of Messiaen’s teacher Paul Dukas is much stronger than elsewhere. (It is significant that in the organ version of L’Ascension, Messiaen replaced this movement with an entirely new piece, Transports de joie d’une âme devant la gloire du Christ qui est la sienne, “Raptures of a Soul over the Glory of Christ which is Its Own”). The movement opens with lively dance rhythms and includes a slower section that is probably closer to Ravel than anything Messiaen ever wrote. The fast tempo then resumes and the music becomes more and more excited. After a brief fanfare in a clear E-flat major, the movement ends with a conventional (but highly effective) fugato — another

36

About the Music

The Cleveland Orchestra


Messiaen rarity. Movement 4. Prayer of Christ Ascending to His Father. “Father . . . I have revealed Your name to humanity. . . . Now I am no longer in the world, but they are in the world and I come to you” (John 17: 1, 6, and 11). This movement is scored for strings only. The entire first violin section plays the top voice with mutes. The other voices are played without mutes by selected soloists from the orchestra: five second violins, five violas, and two cellos. The tempo is even slower than in the first movement; the texture is again homophonic, and the harmonies iridescent and otherworldly. The music climbs higher and higher (in keeping with the idea of Ascension) and ends on a resplendent dominant-seventh chord. According to Western musical conventions, this chord would call for resolution, but in this context, the lack of resolution is a perfect ending point for this quite extraordinary set of harmonies. —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.

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? Is the type readable. Is the layout clear? What else would you like to know about The Cleveland Orchestra? Please send your comments to Eric Sellen, Program Book Editor, by email to esellen@clevelandorchestra.com

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

Severance Hall 2015-16

About the Music

37


Joela Jones Principal Keyboard Rudolf Serkin Endowed Chair The Cleveland Orchestra

An artist of exceptional versatility, Joela Jones plays piano, harpsichord, organ, celesta, synthesizer, and accordion with The Cleveland Orchestra. She has appeared over three hundred times as soloist with the Orchestra at home and on tour, in a wide repertoire of sixty different works ranging from Bach to Bernstein. Recent appearances as piano soloist with Franz WelserMöst conducting include works by Stravinsky, Bernstein, and Messiaen. Since the renovation of Severance Hall’s Norton Memorial Organ in 2001, Ms. Jones has performed works for organ and orchestra by Barber, Poulenc, Saint-Saëns, Janáček, MacMillan, and Ives. She is also principal accompanist for the Cleveland Orchestra Chorus and for visiting vocal soloists. A native of Miami, Florida, Joela Jones began her musical studies with her parents. She also studied at Florida State University with Edward Kilenyi and the renowned Hungarian pianist and composer Ernö (Ernst von) Dohnányi. At the age of 12, she was invited to appear as soloist with the Miami Symphony Orchestra. The next year, she received a scholarship to the Eastman School of Music, where she studied with José Echaniz. While at East-

38

man, she performed frequently with the Rochester Philharmonic and the Eastman Philharmonia, and later made her New York debut at Lewisohn Stadium. Ms. Jones earned a master of music degree from the Cleveland Institute of Music, where she studied with Victor Babin and Arthur Loesser. She studied organ with Warren Berryman at the BaldwinWallace College Conservatory of Music. Ms. Jones has appeared as soloist with the orchestras of Boston, Chicago, Detroit, Houston, Philadelphia, and San Francisco, and has performed extensively in solo and chamber music recitals. She teaches classes in advanced orchestral keyboard technique at the Cleveland Institute of Music and chairs the collaborative piano department at Kent/Blossom Music. She is also coordinator of collaborative piano and chamber music at Cleveland State University, and regularly serves as coach for the pianists in the New World Symphony. Ms. Jones has recorded works by Poulenc and d’Indy with the London Symphony Orchestra. With The Cleveland Orchestra, she has recorded Janáček’s Capriccio for Left Hand with Christoph von Dohnányi and Messiaen’s La Ville d’en Haut and Sept haïkaï with Pierre Boulez. In recent years, Joela Jones released a CD of Claude Bolling’s Suite for Cello and Jazz Piano Trio with Cleveland Orchestra colleagues Richard Weiss, Maximilian Dimoff, and Donald Miller. Joela Jones is married to Richard Weiss, first assistant principal cello of The Cleveland Orchestra. They are the parents of a son, Justin Jordan.

About the Music

The Cleveland Orchestra


Couleurs de la cité céleste [Colors of the Holy City] composed 1963

Thursday Friday Saturday

At a Glance

by

Messiaen composed Couleurs de la cité céleste [“Colors of the Holy City”] in 1963 on a commission from the Donaueschingen Festival in Germany (whose original request was for a work for three trombones and three xylophones). The first performance took place on October 17, 1964, in Donaueschingen, with the orchestra of Paris’s Domaine Musicale and pianist Yvonne Loriod,

conducted by Pierre Boulez. This work runs nearly 20 minutes in performance. Messiaen scored it for 3 clarinets, 2 horns, 4 trumpets, 4 trombones, percussion (xylophone, xylorimba, marimba, cencerros, jeu de cloches, 4 gongs, 2 tam-tams), and solo piano. The Cleveland Orchestra is presenting this work for the first time with this weekend’s concerts.

Olivier

MESSIAEN

About the Music

born December 10, 1908 Avignon, France

M E S S I A E N C O M P O S E D Couleurs de la cité céleste [“Colors of the Holy City”] just three years after Chronochromie, and for the same advanced contemporary music festival at Donaueschingen, in Germany. The instrumental group is much smaller, but its range of reference is wider, being an explicit evocation of the Holy City of Revelation. The complex organization of rhythm is again there, and so is the obsession with birdsong and the emphasis on color. There are direct references to the Book of Revelation and the inclusion of several lines of Catholic plainchant. The score carries five quotations from Revelation: 1) And there was a rainbow round about the throne [in sight like unto an emerald] (IV.3). 2) And the seven angels which had the seven trumpets prepared themselves to sound (VIII.6). 3) And to him [the star that fell from heaven to earth] was given the key of the bottomless pit (IX.I). 4) And the light of the Holy City was like unto a stone most precious, even like a jasper stone, clear as crystal (XXI.11). 5) And the foundations of the city walls were garnished with all manner of precious stones. The first foundation was jasper; the second, sapphire; the third, a chalcedony; the fourth, an emerald; the fifth, sardonyx; the sixth, sardius; the seventh, chrysolyte; the eighth, beryl; the ninth, a topaz; the tenth, a chrysoprasus; the eleventh, a jacinth; the twelfth, an amethyst (XXI.19-20).

died April 28, 1992 Paris

Severance Hall 2015-16

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Messiaen was originally asked by the director of the Donaueschingen Festival for a piece for three trombones and three xylophones. This led him to thinking about trombones as an apocalyptic sonority, which then needed a few extra instruments to provide the colors he needed, all contributing to the composer’s vision of the Holy City. The instrumental group of twenty players provides unusual combinations of color with three clarinets and ten brass in various combinations with solo piano and an array of pitched and unpitched percussion. Messiaen sometimes isolates seven brass to represent the seven angels of the Apocalypse. In the percussion, the “cencerros” is a Spanish version of the Alpine cowbells on several different pitches. Messiaen likened this work to a cathedral’s multi-hued rose window, with seven panels forming a fan of color. “The work does not end, having never truly begun. It Messiaen likened turns on itself, an endless cycle of color.” There are this work to a catheno divisions within the work’s duration of about dral’s multi-hued rose fifteen minutes — and the colors of precious stones, the variety of birdsongs, and the rhythms window, with seven panderived by applying systematic procedures to els forming a fan of color. Hindu and Greek rhythms are constantly re“The work does not end, forming themselves. There are specific passages having never truly begun. of plainchant disguised in the instrumentation and at least sixteen birds have been identified It turns on itself, an endby name, mostly from the southern hemisphere less cycle of color.” (New Zealand, Argentina, Brazil, and Venezuela). There are also some birds from Canada. The bird that interrupts the music most ferociously is the Brazilian araponga. The final Alleluia is played as a series of dense chords on the brass. Messiaen liked to relate colors to keys, the process known as synesthesia displayed also by Scriabin and certain Russian composers. Here, in Couleurs de la cité céleste, he tells us that “the brass should play red” and the woodwinds blue. The solo piano is given a prominent role, but without distinctive color, playing mostly in the upper register in dialogue with the hammered percussion and the clarinets. All the silences are of fixed duration. This is a sound-world put together with infinite precision by a master, and if we choose to listen to it without thinking about Messiaen’s personal obsessions and beliefs, the impression of a finely crafted modern orchestral work is inescapable. —Hugh Macdonald © 2015 Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis. He has written books on Beethoven, Berlioz, Bizet, and Scriabin.

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About the Music

The Cleveland Orchestra


Chronochromie

Friday

composed 1959-60

At a Glance

by

Olivier

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

Severance Hall 2015-16

Messiaen composed Chronochromie in 1959-60, on a commission from Heinrich Strobel and the Southwest German Radio Orchestra. It was premiered on October 16, 1960, at Donaueschingen, Germany, with Hans Rosbaud conducting. The first complete performance in the United States was given on March 30, 1967, by The Cleveland Orchestra at Severance Hall, led by Georges Prêtre. (The New York Philharmonic had presented two movements in 1965.) Chronochromie runs about 30 minutes in performance. Messiaen scored it for 3 flutes, piccolo,

2 oboes, english horn, 2 clarinets, E-flat clarinet, bass clarinet, 3 bassoons, 4 horns, 3 trumpets, small trumpet in D, 3 trombones, tuba, percussion (glockenspiel, xylophone, marimba, tubular bells [spanning 25 chromatic degrees], 3 gongs, suspended cymbals, Chinese cymbal, tam-tam), and strings. Since giving the U.S. premiere in 1967, The Cleveland Orchestra has performed this work a few times, in October 1978 with Lorin Maazel, in March 1993 with Pierre Boulez, and in May and July 2015 with Franz Welser-Möst.

About the Music M E S S I A E N ’ S C H R O N O C H R O M I E has been performed with

great frequency by the world’s great orchestras, and is considered by some to be the composer’s orchestral masterpiece. The work’s formal framework is taken from Greek poetry. An ode was constructed as a “Strophe” followed by an “Antistrophe,” which was supposed to balance or counter the Strophe. These were followed by an Épôde as closure. Messiaen has two Strophes and Antistrophes with their Épôde, and wraps them all with an Introduction and a final Coda. Unlike almost all his other compositions, Chronochromie makes no explicit reference to spiritual or Catholic concerns. Its basis is, instead, the interaction of time (chronos) and color (chroma). Time is represented by the 32 different possible durations (note-values) between a thirty-second note and a whole note. The composer selects the order in which these durations occur, and then creates different orders by further procedures of the same kind applied to the preceding order. This produces 36 permutations, or “interversions,” as the composer calls them. The listener might be put off by the barrage of mathematical complexity governing Messiaen’s choice of notes, but About the Music

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

the resulting sound, though certainly complex, is directly appealing and strongly characteristic. His harmony, for example, is dense but not random, and it contributes to the prevalence of sound color that Messiaen always regarded as a source of spiritual insight. The color is also, he argues, a product of the mixture of durations, a phenomenon he embodied in an earlier composition called Timbres-durées. A yet more distinctive coloring is contributed throughout the work by birdsong, an element not embodied in the title, but a pervasive presence in nearly all his music from the 1950s on. As an ornithologist, he ranked with professionals, and he devoted long weeks to studying the world’s birds in field and forest. On his travels between 1952 and 1991 (the year before his death), he filled over two hundred notebooks with notations of birdsong from all over the world — Japan, the United States, Israel, Australia, Scandinavia, New Caledonia, and from all regions of France. Chronochromie includes the song of birds from Sweden, France, Mexico, and Japan, each labeled in the score. To this end his orchestra is rich in keyboard percussion — glockenspiel, xylophone, and marimba, each requiring great virtuosity from the players. The woodwinds and upper strings are, of course, required to impersonate birds too, and even the lower instruments (bass clarinet and bassoon) croak or squawk when required. As an illustration of the density of birdsong in this work, the Introduction alone features two Swedish birds of prey, a buzzard and a sea-eagle, and some smaller Japanese birds, including a Japanese blackbird, a warbler, and a “kibitaki.” This movement also illustrates rocks (heavy chords), followed by cataracts (rushing string figures),

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and the end is signaled by a series of massive chords for the full orchestra. All seven movements are separated by short, measured silences. Strophe I features half a dozen French birds, generally delicate in texture, while the Antistrophe I begins with lurching chords before a songthrush and a lark are heard. A passage for sustained strings follows, then a slow section of loud chords. Messiaen then brings in a series of Mexican birds. Strophe II begins with a bewildering maze of birdsong in the upper registers, all from French birds, and this is followed by Antistrophe II, the longest movement, with some remarkable work in the percussion and some echoes Chronochromie is of the preceding Strophe. considered by some to The climax of Chronochromie is surely be Messiaen’s orchestral the Épôde, played by eighteen solo strings masterpiece. Unlike almost (no double basses), each playing its own birdcall. Unlike in the rest of the work, the all his other compositions, pulse is steady throughout its almost four this work makes no explicit minutes, and the unvarying texture sets reference to spiritual or up a carpet of sound that appears to have Catholic concerns. Its basis no reason ever to stop. There is a single gap in the middle when the linnet makes is, instead, the interaction a bid to be heard on its own, but the same of time (chronos) and wave of chattering noises quickly resumes. color (chroma). This is a tour de force, by any standards. The Coda returns to Japan, and recalls the rocks and cataracts heard in the Introduction. It too ends with a series of heavy (but different) chords for the full orchestra. If Messiaen made no allusion in this work to Catholic theology, we are not to suppose that it was not in his mind. The miracles of nature, like the infinite musical possibilities offered by timbre and pitch, were for him manifestations of the glory of God’s creation. His music is complex, richly overlaid with meaning, and very difficult to perform. Yet audiences have little difficulty grasping the individuality of its sonority, the sincerity of its faith, and the high craft that we demand of all great artists.

—Hugh Macdonald © 2015

Severance Hall 2015-16

About the Music

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PAINTING THE MODERN GARDEN

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


Also sprach Zarathustra, Opus 30

Thursday

composed 1896

Saturday

At a Glance

by

Richard

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

Severance Hall 2015-16

Strauss composed his tone poem Also sprach Zarathustra, “freely based on Friedrich Nietzsche,” in Munich between February and August 1896. The work’s premiere was led by the composer in Frankfurtam-Main, on November 27, 1896. The first performance in the United States was given in Chicago on February 4, 1897, under Theodore Thomas’s direction. This tone poem runs about 35 minutes in performance. Strauss scored it for piccolo, 3 flutes (third doubling second piccolo), 3 oboes, english horn, 2 clarinets, bass clarinet, small clarinet in E-flat,

3 bassoons, contrabassoon, 6 horns, 4 trumpets, 3 trombones, 2 bass tubas, timpani, percussion (bass drum, cymbals, triangle, bells), organ, and strings. The Cleveland Orchestra first performed Also sprach Zarathustra in December 1934, with Artur Rodzinski conducting. The most recent subscription performances at Severance Hall were led by Andrew Davis in January 2001, featuring the newly refurbished Norton Memorial Organ, and by David Robertson in March 2005, and by Jonathan Nott in November 2009.

About the Music M U S I C A L O P I N I O N in the 19th century was sharply divided on the issue of program music, of “telling stories” in music. Debates raged over whether music could, or should, express extra-musical thoughts and emotions. The champions of “absolute music,” led by the influential Viennese critic Eduard Hanslick, felt that the subject of music could be only music itself, the realization of beauty through form evolving in sound. Members of the opposing camp, inspired by the music of Berlioz and Liszt, felt that ideas coming from art, literature, and other sources could have a legitimate place in music — and that music could be used to tell stories, not just be beautiful. From our 21st-century perspective, it is easy to see the artificial nature of the division between “absolute” and “program” music. “Absolute” music is an abstraction that is almost impossible to attain; for how can a composer or a listener be expected to erect a barrier to the natural interaction of musical and extra-musical ideas? On the other hand, any “program music” that is worth its salt also has to achieve “beauty through form evolving in sound”; no extra-musical program can save a piece if it can’t stand on its feet as “absolute” music. All this being said, we must point out that extra-musical

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ideas can influence a composition in remarkable ways. For instance, Richard Strauss probably would never have come upon the famous first 20 bars of Also sprach Zarathustra [“Thus spoke Zarathustra”] — one of the most sensational openings in the symphonic literature — if he had not been thinking about the cosmic visions of Nietzsche. Yet, it is not easy to say just how Strauss’s music expresses Nietzsche or even if it does so at all. Strauss took some obvious risks by announcing the program “behind” the music — and was chastised even by critics who were otherwise sympathetic to program music. To many at the time, it was one thing to choose a historical or literary figure such as Don Juan or Till Eulenspiegel as the hero portrayed in a musical composition, and quite another to base a tone poem on a book of abstract philosophy. Also sprach Zarathustra, written by Nietzsche between 1883 and 1885, is a difficult book, one that scholars are still busy trying to understand and explain. If we expect Strauss to do full justice to the complex ideas contained in his literary model, we must admit that he failed. Even commentators don’t find the task easy, no matter how much they write or how long they speak about it. However, if we read the book ourselves and try to express our emotional reaction to it, we begin Friedrich to see what Strauss had in mind, and also that he largely NIETZSCHE (1848-1900) accomplished his ambitious goal. In his autobiographical volume, Ecce Homo, Nietzsche — who was also a trained musician and a composer — emphasized the “musical” nature of his Zarathustra. This remark was not yet published at the time Strauss composed his tone poem, but it is not hard to come to a similar conclusion simply from the unusually rich language of the book. Nietzsche’s text is full of allusions to the Bible and other ancient sources; his style is often intentionally archaic and ambiguous, and the sound of the words is at least as important as their meaning. This is no doubt what Nietzsche meant by calling his long prose poem “musical.” Friedrich Nietzsche (1848-1900) was unique among philosophers in that he cultivated a literary style that makes many of his treatises true works of art. Thus Spoke Zarathustra: A Book for Everyone and No One, straddles the fence between philosophy and fiction. In it, Severance Hall 2015-16

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Nietzsche appropriated the figure of Zarathustra (or Zoroaster, the founder of an ancient Iranian religion still practiced today) and some poetic elements from the Avesta, the holy book of the Zoroastrian religion. In its final form, however, Nietzsche’s work has little to do with ancient Persia, which appears only as a metaphor for a source of wisdom that is ancient, eternal, and, above all, non-Christian (Nietzsche was an impassioned opponent of Christianity). The book relates a spiritual journey undertaken by the solitary thinker Zarathustra, a journey whose stages encompass all human emotions and areas of endeavor. (Of the many commentaries written about Nietzsche’s original book, a good place to begin is Nietzsche’s “Zarathustra” by Kathleen Marie Higgins and published by Temple University Press. It features an informative and highly readable treatment of the book’s complex problems.) In Nietzsche’s Also Strauss was attracted to the idea of persprach Zarathustra, sonal evolution contained in Nietzsche’s book, Strauss was attracted and by the image of the solitary prophet who contemplates the world and desires to achieve to the idea of personal a mystical union with it and with God. The suevolution and by the preme goal of this evolution is the status of “suimage of the solitary perman,” so grossly distorted later by Nazism. prophet who contemplates Strauss treated Zarathustra as a typical Romantic hero comparable to other largerthe world and desires to than-life 19th-century literary characters such achieve a mystical union as Faust or Manfred. This is, of course, a muchwith it and with God. simplified (not to say watered-down) image of Zarathustra as Nietzsche conceived of him. Yet Strauss intuitively understood what aspects of the book lent themselves to musical treatment and concentrated exclusively on those aspects. Strauss’s tone poem is a single uninterrupted movement consisting of an introduction and eight sections, each corresponding to a chapter from Nietzsche’s book. Strauss selected the eight sections freely, changing even their order of sequence, so that his “plot” is completely different from Nietzsche’s. By his conscious selection process, Strauss gave his programmatic composition a purely musical, “absolute” structure that, although unorthodox, is nevertheless coherent. A grandiose introduction is followed by several episodes of contrasting character leading to the final dance-apotheosis with an ethereal, mystical coda. S T R A U S S had the opening of Zarathustra’s prologue printed in the published

score, with the intention of setting the tone for the introduction and, to some extent, the entire work: When Zarathustra was thirty years old, he left his homeland and the lake of

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his homeland and went up into the mountains. Here he enjoyed his intelligence and his solitude and did not weary of them for ten years. Finally, however, his heart was changed — and one morning he arose with the dawn, stepped before the sun, and addressed it thus: “You mighty star! What happiness would be yours if you did not have those for whom you shine? For ten years you have been coming up here to my cave: you would have been sated with your light and this path if it were not for me, my eagle, and my serpent. “But we awaited you each morning, took your overabundance from you and blessed you for it. “Behold! I am tired of my wisdom, like a bee that has gathered too much honey; I have need of outstretched hands. “I want to give and distribute gifts until the wise ones among all humanity have once again grown happy in their folly, and the poor in their wealth. “For that purpose I must descend into the deep: as you do in the evening when you go beneath the sea and bring light to the underworld, you abounding star! “I must, like you, be submerged, or ‘perish,’ as those men say to whom I wish to descend. So bless me, you calm eye, who can look upon even far too great good fortune without envy. “Bless the goblet that wants to run over, so that the river flows from it in a golden stream and bears the reflection of your rapture everywhere! “Behold! This goblet wants to become empty again, and Zarathustra wants to become a human being again.” —Thus began Zarathustra’s descent. FROM THE ANONYMOUS TRANSLATION IN THE DOVER SCORE EDITION

T H E I M A G E O F Z A R A T H U S T R A comparing himself to the rising sun

inspired the glorious opening and Introduction of the tone poem. The music expresses the cosmic dimensions of Zarathustra’s ambition with simple yet extraordinary means: a soft tremolo in the bass drum and the double bass, a long-held deep C in the organ, followed by a brief trumpet fanfare and a striking orchestral motif juxtaposing a major and a minor chord. Uniting the two aspects of Western tonality (major and minor) in the same motif, Strauss created a potent symbol of Zarathustra’s cosmic vision. (It was not without reason that Stanley Kubrick chose this stunning passage for the soundtrack to his 1968 film classic 2001: A Space Odyssey.) The introduction culminates in a massive C-major sonority of the kind usually heard only at the end of longer works rather than at the beginning. “Zarathustra’s descent” now begins. Musicologist Charles Youmans examined Strauss’s personal copy of Nietzsche’s book, in which certain significant passages are marked and Severance Hall 2015-16

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their connections to the music explicitly indicated by measure numbers from the score. Several of these quotes, taken from Youmans’s 2005 study Richard Strauss’s Orchestral Music and the German Intellectual Tradition, are included in the following discussion, interspersed with other relevant excerpts from Nietzche’s original. Von den Hinterweltlern (“Of the Backworldsmen”): Zarathustra’s journey takes him first to what Nietzsche considered the lowest point along humanity’s path toward self-realization. The literal translation of the expression Hinterweltler, a coinage of Nietzsche’s, would be “backworldsmen,” but the reference is to those captive to a primitive religious world view. The bright C major of the introduction gives way to a dark B minor; these two tonalities, distant and unrelated, are juxtaposed throughout the piece as a symbol of the duality between humanity and nature, day and night, light and darkness, Strauss treated or good and evil (maybe there is an element of the ancient Zoroastrian religion shining through Zarathustra as a here, as these dualities play a central role in typical Romantic hero that doctrine). The horns play the Gregorian comparable to other melody for “Credo in unum Deum” (“I believe in one God”; Strauss wrote the Latin words into larger-than-life literary the score lest the allusion be missed). Then a characters such as Faust fervent hymn melody scored for a sixteen-part or Manfred. Intuitively, string ensemble begins and soars to an ecstatic he understood what asclimax. In the corresponding section of his book, Nietzsche writes: “Ah, brothers, this God which I pects of the book lent created was human work and human madness, themselves to musical like all gods!”

treatment and concentrated exclusively on those parts.

Von der grossen Sehnsucht (“Of the Great Longing”): In this section, the organ intones another Gregorian melody (“Magnificat”) while the horns reiterate the “Credo” motif. These religious symbols are brushed aside by an energetic new theme, first played by cellos and basses and gradually taking over the entire orchestra. “O my soul, I gave you the right to say No like the storm, and to say Yes as the open heaven says Yes: calm as the light do you remain, and now walk through denying storms.” Von den Freuden — und Leidenschaften (“Of Joys and Passions”): This section, an organic continuation of the previous one, is dominated by a passionate theme in C minor, first played by violins, horns, and oboes and then by the full orchestra. Near the end, the trombones introduce a sharply profiled new theme that has long been known as the “theme of disgust (or satiety).” The label comes from Hans Merian, who in 1899 published the first analysis of Also sprach Zarathustra, applying the methods of Wagnerian commentators who had given descriptive

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names to the leitmotifs. “Once you had passions and called them evil. But now you have only your virtues: they grew out of your passions. You implanted your highest aim into the heart of those passions: then they became your virtues and joys. . . . All your passions in the end became virtues, and all your devils became angels.” Grablied (“Grave-Song”): This section contrasts with the previous one by its slower tempo and change of key. The oboe and english horn transform the “Joys and Passions” theme into a lament, amplified by an expressive violin solo that reaches a climax and then subsides. “Yonder is the grave-island, the silent island; yonder too are the graves of my youth. I will bear thither an evergreen wreath of life.” Von der Wissenschaft (“Of Science”): Zarathustra contemplates learning as a possible way of self-realization, but finds that rational knowledge in itself is unsatisfactory. Learning is symbolized by a fugue, traditionally the most “learned” of musical forms. Strauss’s fugue, started pianissimo by cellos and double basses, is made even more arcane by the complex rhythms and intricate chromaticism employed. Zarathustra’s frustration finds expression in a recall of the “Great Longing” theme, played in a fast and fiery tempo by the violins in thirds. “Such prolonged ancient fear at last becomes subtle, spiritual and intellectual — at present, I think, it is called Science.” Der Genesende (“The Convalescent”): The ponderous fugue theme is completely transformed as it receives several exciting countersubjects and is brought to a forceful C-major climax recalling the tone poem’s introduction. One might think for a moment that the piece has ended. After a moment’s silence, however, C major is followed by B minor as it has been before in this piece, and the journey continues as an energetic trumpet call cuts through a complex orchestral texture and the music becomes increasingly ecstatic. This is the longest section in the work so far, presenting a synthesis of all previous sections. Zarathustra has seen the world now and reawakens to a new state of consciousness that will be expressed in the great dance to follow. “Hardly had Zarathustra spoken these words, however, when he fell down like a dead man and remained like a dead man for a long time. But when he again came to himself, he was pale and trembling and remained lying down and for a long time would neither eat nor drink.” Das Tanzlied (“The Dance-Song”): Over the years, Strauss Severance Hall 2015-16

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has been harshly criticized for making the ecstatic dance of Zarathustra (a Persian prophet turned Nietzschean superman) as a Viennese waltz. The apparent incongruity can be explained by pointing out that the waltz, for Strauss, transcended mere local color and functioned as a universal symbol for ecstatic sensuality. Strauss used an extremely sophisticated, virtuosic orchestration (a spectacular violin solo, with divided strings, plus harp) that brings about the climax of the entire piece as something of a dance festival. “Of late did I gaze into your eye, O life! And into the unfathomable did I there seem to sink.” Das Nachtwandlerlied (“The Night-Wanderer’s Song”): At its climactic point, the dance is suddenly interrupted by the “disgust” motif, first played fortissimo and then ever softer until we reach the final stage of Zarathustra’s journey, a removal from all active emotions and an ascent into a mystical realm where “deep eternity” is embraced. The idea of “deep eternity” is taken from the poem “O Mensch, gib Acht!” (“O Man! Take heed!”) that appears in this section of Nietzsche’s book. (The same poem was set by Mahler in his Third Symphony, completed, like Strauss’s work, in 1896.) The theme of the “Great Longing” reappears with its sweet parallel thirds, before the music dissolves in a nothingness where only the work’s fundamental, irreconcilable contrast between the notes C and B remains. O Humanity! Take heed! What says deep midnight’s voice indeed? “I slept my sleep — “From deepest dream I’ve woke, and plead: — “The world is deep, “And deeper than the day could read, “Deep is its woe — “Joy — deeper still than grief can be: “Woe says: Hence! Go! “But joys all want eternity — “— Want deep, profound eternity!”

—Peter Laki

Copyright © Musical Arts Association

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About the Music

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Four Sacred Pieces: Stabat Mater / Te Deum composed 1889-97

Friday Saturday

At a Glance

by

Giuseppe

VERDI

born October 10, 1813 Le Roncole, Parma died January 27, 1901 Milan, Italy

Severance Hall 2015-16

Verdi created what is today known as his Four Sacred Pieces [“Quattro pezzi sacri”] mostly in 1895-97. The first, Ave Maria, was begun in 1889 as a compositional puzzle that he worked out at the daring of a friend. The other three — including the Stabat Mater and Te Deum being performing this weekend — were premiered together as a set in Paris on April 7, 1898, at the Opera House, conducted by Paul Taffanel. (The Ave Maria was added to the group for the first time in November 1898, in Vienna.)

These two pieces together run just over 25 minutes in performance. Verdi scored them for 3 flutes, 2 oboes, english horn, 2 clarinets, bass clarinet, 4 bassoons, 4 horns, 3 trumpets, 4 trombones, timpani, percussion (bass drum), harp, and strings, plus double chorus. Verdi’s Four Sacred Pieces were first presented by The Cleveland Orchestra in November 1969 under the direction of Robert Shaw. The most recent performances were in April 2007, led by Franz WelserMöst.

About the Music V E R D I ’ S F O U R S A C R E D P I E C E S [Quattro pezzi sacri] are the

fruit of Verdi’s incredible last years. After premiering his Requiem in 1874 and having creating two dozen operas, the composer withdrew from composition and appeared to have no intention of ever writing another note. He preferred the life of a wealthy country squire tending his fields and orchards in peace. However, he was eventually persuaded to compose one more opera, Otello, premiered in 1887. And then, almost miraculously, he wrote yet another, Falstaff, premiered in 1893 just as he was approaching his eightieth birthday. During this same period, he had also composed two short unaccompanied choral works, an Ave Maria and Laudi alla Vergine Maria, the latter on a text from Dante’s Inferno to be sung by children’s or women’s voices only. After the undisputed triumph of Falstaff, Verdi felt invigorated to the point where he composed two choral settings of traditional sacred texts, this time with full orchestra — first the Te Deum in the winter of 1895-96 and then the Stabat Mater the following winter. As the Te Deum approached completion, he told Boito (librettist of both Otello and Falstaff ) that he would set all these choral works to one side and let them “sleep without seeing the light of day. Amen.” Once again, however, he yielded to persuasion and allowed a performance to take place during About the Music

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Holy Week 1898 at the Paris Opéra. Now 84 and recently widowed, Verdi did not go himself, but sent Boito with explicit instructions about how to perform the pieces. The Ave Maria was included neither in the two Paris performances nor in the Turin premiere a month later under the baton of the young Arturo Toscanini, and perhaps was not considered a part of the set until the Vienna performance in November 1898, when these four pieces were first heard as a group. Both the Stabat Mater and Te Deum recall Verdi’s large-scale Requiem in texture and style. In all three works, Verdi never forgets that he is a dramatic composer who responds instantly to the color and emotion of words. The text of the Stabat Mater is especially vivid, evoking the sorrowing Mary beside the Cross, and veering from humility and devotion to extremes of torment and passion. It is the text that guides the course of the music, so that each section introduces a new idea in the music, and almost nothing Both the Stabat Mater is repeated. Most curious of all is the striking and Te Deum recall unison at the beginning, a long angular phrase Verdi’s large-scale that is not heard again until the very end when Requiem in texture and it comes back in a broken, almost lifeless form. The subdued tone of the piece gives way from style. In all three works, time to time to violent outbursts, including the Verdi never forgets that mention of the scourging of Jesus and later of he is a dramatic composer the crucifixion itself, and at the thoughts of the who responds instantly flames of hell. The final prayer for the glory of paradise naturally rises to a grand climax, now to the color and free of dissonance and pain. emotion of words. The Te Deum text was traditionally treated as a hymn of celebration, but Verdi took the trouble to look at a wide range of earlier settings, from Victoria in the 16th century and Purcell in the 17th. His own setting nevertheless owes nothing to other composers, for the style is wholly his own, and the masterly evocation of dramatic contrast had been at his fingertips since the opera Macbeth half a century before. There is a little more internal cohesion in the Te Deum than in the Stabat Mater, with a couple of prominent themes used more than once to bind the whole, yet Verdi still responds with remarkable vividness to individual words in the text. His intention was to break with the traditional setting, grand and jubilant from first to last: “Towards the middle,” he said, “it changes tone and expression. ‘Tu ad liberandum’ — it is Christ born of the Virgin, who opens to humanity the Kingdom of Heaven. Humanity believes in the coming of a Judge, and invokes Him in ‘Salvum fac’, and ends with a prayer, ‘Dignare Domine die isto,’ moving and sad to the point of terror. All that has nothing

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to do with victories and coronations.” He begins with a line of plainchant divided between the tenors and basses, and then the back-and-forth of hushed men’s voices is suddenly blown away by the huge triple cry of “Sanctus!” and the visionary image of God’s glory. Another total contrast repeats the “Sanctus,” now in humility. Such abrupt oppositions continue, not only between near-silence and an extreme fortissimo, but also between unison singing and complex writing for eight-part chorus, with the voices weaving in and out. Although the work ends softly, there is a convulsive paean of faith, “in te speravi,” just before the close, followed by three soft held notes on the trumpet in support of a lone soprano voice repeating that assertion of hope. Of many fine moments in between one remembers perhaps most strongly the magnificent unaccompanied double chorus of the “Salvum fac” and the hushed chords of the “Sanctus.”

—Hugh Macdonald © 2015

Stabat Mater music by Giuseppe Verdi

Stabat Mater dolorosa juxta Crucem lacrimosa, dum pendebat Filius.

The grieving mother stood beside the cross weeping where her Son was hanging.

Cuius animam gementem, contristatam et dolentem pertransivit gladius.

Through her weeping soul, compassionate and grieving, a sword passed.

O quam tristis et afflicta fuit illa benedicta, Mater Unigeniti!

O how sad and afflicted was the blessed mother of the Only-begotten!

Quae mœrebat et dolebat, pia Mater, dum videbat nati pœnas inclyti.

She who mourned and grieved, and trembled, as she witnessed the torment of her Son.

Quis est homo qui non fleret, matrem Christi si videret in tanto supplicio?

Who among us would not weep when seeing Christ’s mother in such agony?

Quis non posset contristari Christi Matrem contemplari dolentem cum Filio?

Who would not feel compassion when contemplating Christ’s mother suffering with her Son? P L E A S E T U R N P A G E Q U I E T LY

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Pro peccatis suĂŚ gentis vidit Iesum in tormentis, et flagellis subditum.

For the sins of His people she saw Jesus in torment and subjected to flogging.

Vidit suum dulcem Natum moriendo desolatum, dum emisit spiritum.

She saw her sweet Son dying, forsaken, giving up His Spirit.

Eja, Mater, fons amoris me sentire vim doloris fac, ut tecum lugeam.

O mother, fountain of love, make me feel the power of sorrow, that I may grieve with you.

Fac, ut ardeat cor meum in amando Christum Deum ut sibi complaceam.

Grant that my heart may burn in the love of Christ the Lord, that I may please Him greatly.

Sancta Mater, istud agas, crucifixi fige plagas cordi meo valide.

Holy mother, grant to me that His crucified wounds are transfixed within my heart.

Tui Nati vulnerati, tam dignati pro me pati, pœnas mecum divide.

Grant that His punishment so worthily suffered for me can also be shared with me.

Fac me tecum pie flere, crucifixo condolere, donec ego vixero.

Let me weep piously with you, bemoan the Crucified, for as long as I live.

Juxta Crucem tecum stare, et me tibi sociare in planctu desidero.

To stand beside the cross with you, and to join with you in mourning, this I desire.

Virgo virginum prĂŚclara, mihi iam non sis amara, fac me tecum plangere.

Chosen Virgin of virgins, don’t be bitter with me now, let me mourn with you.

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Sung Text

The Cleveland Orchestra


Fac, ut portem Christi mortem, passionis fac consortem, et plagas recolere.

Grant that I may bear Christ’s death, Let me share His torments, and the memory of His wounds.

Fac me plagis vulnerari, fac me Cruce inebriari, et cruore Filii.

Let me be wounded with distress, and through the cross, let me be fulfilled with love for your Son.

Flammis ne urar succensus, per te, Virgo, sim defensus in die iudicii.

If fire will destroy me, Virgin, through you may I be defended on the day of judgement.

Christe, cum sit hinc exire, da per Matrem me venire ad palmam victoriæ.

Christ, when I must depart this life grant that through your mother’s grace I may know the palms of victorious life.

Quando corpus morietur, fac, ut animæ donetur paradisi gloria. Amen.

When my body dies, grant that my soul will be given the glory of Paradise. Amen.

Te Deum music by Giuseppe Verdi

Te Deum laudamus: te Dominum confitemur. Te æternum Patrem omnis terra venerátur. Tibi omnes Angeli; tibi cæli et universae potestates. Tibi Cherubim et Seraphim incessabili voce proclamant: Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth. Pleni sunt cæli et terra majestatis gloriæ tuæ.

We praise you, O God: we acknowledge you to be the Lord. All the earth worships you, the Father everlasting. To you all Angels cry aloud; to you the Heavens, and all Powers, To you, Cherubim and Seraphim cry out incessantly, Holy, Holy, Holy, Lord God of Hosts. Heaven and earth are full of the Majesty of your glory.

Te gloriosus Apostolorum chorus; Te Prophetarum laudabilis numerus; Te Martyrum candidatus laudat exercitus. Te per orbem terrarum sancta confitetur Ecclesia;

You, the glorious company of the Apostles, You, the goodly fellowship of the Prophets, You, the noble army of Martyrs, You, the holy Church throughout the world confesses faith in you; P L E A S E T U R N P A G E Q U I E T LY

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CO N T I NUED FROM PRE VIOUS PAGE

Patrem immensæ majestatis, venerandum tuum verum et unicum Filium; Sanctum quoque Paraclitum Spiritum.

The Father of an infinite Majesty, your honorable, true, and only Son; Also the Holy Ghost, the Comforter.

Tu Rex gloriæ, Christe, Tu Patris sempiternus es Fílius. Tu ad liberandum suscepturus hominem, non horruisti Vírginis uterum. Tu, devicto mortis aculeo, aperuisti credentibus regna cælorum. Tu ad dexteram Dei sedes, in gloria Patris. Judex crederis esse venturus.

You are the King of Glory, O Christ, You are the everlasting Son of the Father. You, choosing to cleanse humanity, you did not abhor the Virgin’s womb. You, having overcome the sting of death, you opened the Kingdom of Heaven to all. You sit at God’s right hand, in the glory of the Father. We believe you shall come to be our Judge.

Te ergo quæsumus, tuis famulis subveni, quos pretioso sanguine redemisti. Aeterna fac cum sanctis tuis in gloria numerari.

We beseech you, help your servants, those you have redeemed with your precious blood. Number them with the Saints in glory everlasting.

Salvum fac populum tuum, Domine, et benedic hæreditati tuæ. Et rege eos, et extolle illos usque in æternum. Per singulos dies benedicimus te. Et laudamus nomen tuum in sæculum, et in sæculum sæculi. Dignare, Domine, die isto sine peccato nos custodire. Miserere nostri, Domine, miserere nostri. Fiat misericordia tua, Domine, super nos, quemadmodum speravimus in te. In te, Domine, speravi non confundar in æternum.

O Lord, save your people and bless your heritage. Govern them and lift them up forever. Day by day, we bless you; And we worship your name and in the world without end. Grant us, O Lord, this day to keep us without sin. Have mercy upon us, o Lord, have mercy. Let your mercy, O Lord, be upon us as we have placed our trust in you. In you, O Lord, I have entrusted myself, so that I may never be lost.

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Sung Text

The Cleveland Orchestra


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

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

Lisa Wong

Assistant Director of Choruses

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

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Cleveland Orchestra Chorus

The Cleveland Orchestra


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. CHORUS — VERDI’S STABAT MATER & TE DEUM SOPRANOS

ALTOS

TENORS

BASSES

Amy Foster Babinski Kimberly Brenstuhl Yu-Ching Ruby Chen Susan Cucuzza Anna K. Dendy Emily Engle Lisa Rubin Falkenberg Sarah Gaither Rebecca S. Hall Lisa Hrusovsky Shannon R. Jakubczak Sarah J. Jones Hope Klassen-Kay Adrienne Leska Kate Macy Lisa Manning Megan Meyer Angela Mitchell Julie Myers-Pruchenski S. Mikhaila Noble-Pace Jennifer Heinert O’Leary Sarah Henley Osburn Melissa B. Patton Lenore M. Pershing Joy M. Powell Roberta A. Privette Cassandra E. Rondinella Meghan Schatt Monica Schie Jane Timmons-Mitchell Melissa Vandergriff Sharilee Walker Kiko Weinroth Mary Wilson Constance Wolfe

Alexandria Albainy Emily Austin Julie A. Cajigas Lydia Chamberlin Brianna Clifford Barbara J. Clugh Carolyn Dessin Marilyn Eppich Amanda Evans Kathy Jo Gutgsell Ann Marie Hardulak Betty Huber Karen Hunt Sarah N. Hutchins Lucia Leszczuk Diana Martin Danielle S. McDonald Karla McMullen Mary-Francis Miller Peggy A. Norman Marta Perez-Stable Alanna M. Shadrake Ina Stanek-Michaelis Rachel Thibo Martha Cochran Truby Gina Ventre Laure Wasserbauer Meredith Sorenson Whitney Debra Yasinow Lynne Leutenberg Yulish

Vincent L. Briley Gerry C. Burdick Brent Chamberlin Manuel Gomez Corey Hill * Michael J. Hives Daniel M. Katz Patrick Knaubert Peter Kvidera Tod Lawrence Rohan Mandelia Daniel May, Jr. James Newby Tremaine B. Oatman Matthew Rizer John Sabol Lee Scantlebury James Storry Charles Tobias William Venable Michael Ward Steven Weems

Christopher D. Aldrich Tyler Allen Jack Blazey Sean Cahill Kevin Calavan Charles Carr Peter B. Clausen Nick Connavino Christopher Dewald Jeffrey Duber Matthew Englehart Thomas E. Evans Richard S. Falkenberg Kurtis B. Hoffman Martin Horning Joshua Jones Jason Levy Tim Manning Scott Markov Tyler Mason Roger Mennell Robert Mitchell Stephen Mitchell Tom Moormann Keith Norman Glenn Obergefell Daniel Parsley John Riehl Steven Ross Thomas Shaw Steven Skaggs James B. Snell David A. Welshhans Caleb A. Wright

Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee Jill Harbaugh, Manager of Choruses * Shari Bierman Singer Fellow

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Cleveland Orchestra Chorus

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orchestra news

THE CLEVELAND ORCHESTRA

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 America.com, 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

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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 www.acac2015.org. 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

THE CLEVELAND ORCHESTRA

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

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orchestra news

THE CLEVELAND ORCHESTRA

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.

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OBERLIN COLLEGE & CONSERVATORY

ARTIST RECITAL SERIES An Oberlin tradition since 1878, the Artist Recital Series is one of the oldest continuing concert series in the U.S. Each year, an eclectic lineup of the world’s most accomplished musicians graces the stage of historic Finney Chapel. Individual tickets and subscriptions (full season or pick 3) are available now at oberlin.edu/artsguide or by calling 800-371-0178.

CHRISTIAN TETZLAFF, VIOLIN October 30, 2015

JOHN RELYEA, BASS-BARITONE WARREN JONES, PIANO February 3, 2016

ANDRÁS SCHIFF, PIANO February 12, 2016

MASTER CLASSES WITH MARILYN HORNE February 19 & 21, 2016

MIRÓ QUARTET March 10, 2016

ROBIN EUBANKS AND THE MASS LINE BIG BAND March 13, 2016

THE CLEVELAND ORCHESTRA April 17, 2016

OBERLIN.EDU/ARTSGUIDE 800-371-0178


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

THE CLEVELAND ORCHESTRA

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.

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HB offers extensive financial aid and transportation options. For a complete list of Open Houses or to schedule a personal tour, visit www.hb.edu/openhouse.

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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 — 40 years Erich Eichhorn 2008 — 41 years Boris Chusid 2008 — 34 years Gary Tishkoff 2009 — 43 years Lev Polyakin 2 2012 — 31 years SECOND VIOLIN Richard Voldrich 2001 — 34 years Stephen Majeske * 2001 — 22 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 2001 — 38 years HORN Myron Bloom * 1977 — 23 years Richard Solis * 2012 — 41 years TRUMPET/CORNET Bernard Adelstein * 1988 — 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 — 33 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

listing as of October 2015

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Appreciation

The Cleveland Orchestra


orchestra news

THE CLEVELAND ORCHESTRA

Frank Cohen, prinicpal clarinet emeritus, performs in recitals at CIM and in Tremont

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

Retired Cleveland Orchestra musician Franklin Cohen (Principal Clarinet Emeritus), 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 and a open to the public. On Sunday afternoon, October 25, Franklin li Cohen performs in a concert of Arts Renaissance Tremont with pianists Sergei Babayan sa and an Zsolt Bognár, and violist Kirsten Docter, in ap program of works by Mozart and Schubert, and a new work written expressly for Cohen by David Conte. A freewill offering will be taken at Dav the door at Pilgrim Congregational Church (2952 th West 14th Street, Cleveland).

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 Pat Sommer at 440-338-3369.

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 cim.edu/events September 28, Monday 4pm | Mixon Hall A Dialogue with Amnon Weinstein and Shlomo 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 violinsofhopecle.org

Severance Hall 2015-16

Cleveland Orchestra News

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Student Appreciation October 1-10 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.


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.

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.

clevelandorchestra.com/100campaign


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

GIFTS OF $1 MILLION TO $5 MILLION

Art of Beauty Company, Inc. BakerHostetler Mr. William P. Blair III Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mrs. M. Roger Clapp Eaton FirstEnergy Foundation Forest City Enterprises, Inc. The George Gund Foundation 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

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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


GIFTS OF $500,000 TO $1 MILLION

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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AUTUMN

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

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Violins of Hope Cleveland

The Cleveland Orchestra


VIOLINS of HOPE CLEVELAND

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 took 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 marked the rededication of the newly-renovated Silver Hall, part of Case Western Reserve’s new Milton and Tamar Maltz Performing Arts Center at The Temple-Tifereth Israel. This Opening Concert on September 27 was telecast live by ideastream WVIZ/ PBS and simulcast on WCLV radio (104.9 FM). ideastream is also developing a halfhour documentary highlighting Northeast Ohio’s experiences with the project to be aired in February. 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 1 through January 3, 2016. A wide variety of education projects Severance Hall 2015-16

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 violinsofhopecle.org.

Violins of Hope Cleveland

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THE CLEVELAN D ORCHESTRA

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

Cumulative Giving

Annual Support

JOHN L. SEVERANCE SOCIETY

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

$5 MILLION AND MORE

KeyBank PNC Bank $1 MILLION TO $5 MILLION

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

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

PARTNERS IN EXCELLENCE $300,000 AND MORE

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

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) $50,000 TO $99,999

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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think forum 2015 – 2016 Lecture Series Continuing the legacy of Town Hall of Cleveland

NEW HOME. NOW FREE. Milton and Tamar Maltz Performing Arts Center at The Temple-Tifereth Israel at Case Western Reserve University All lectures begin at 6:00 p.m.

DANIEL MENDELSOHN Classics Scholar, Renowned Critic Thursday, October 22, 2015 MAJORA CARTER Urban Environmentalist Tuesday, December 1, 2015

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

440.720.1102 440.720.1105 440.720.1104

RANDALL LANE Editor of Forbes, Entrepreneur Wednesday, March 16, 2016 ABRAHAM VERGHESE Author, Teacher, Medical Advocate Monday, April 18, 2016 WE BELIEVE IN

Reserve tickets online by calling 216.368.6062 or going to case.edu/events/thinkforum Maltz Performing Arts Center 1855 Ansel Road

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

MEDIA PARTNER

Find out more at ideastream.org/support

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The Cleveland Orchestra


THE CLEVELAN D ORCHESTRA

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

Cumulative Giving

Annual Support

JOHN L. SEVERANCE SOCIETY

$1 MILLION AND MORE

$10 MILLION AND MORE

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

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

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

$5 MILLION TO $10 MILLION

$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

$1 MILLION TO $5 MILLION

$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

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THE CLEVELAN D ORCHESTRA

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

JOHN L. SEVERANCE SOCIETY

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

$10 MILLION AND MORE

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

Jan and Daniel Lewis (Miami, Cleveland) 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.

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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

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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.

84

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

The Cleveland Orchestra


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85


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

INDIVIDUAL GIFTS OF $5,000 TO $7,499

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

86

Individual Annual Support

listings continue

The Cleveland Orchestra


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Severance Hall 2015-16

87


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

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

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

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

88

Individual Annual Support

The Cleveland Orchestra


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

clevelandorchestra.com


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

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

90

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

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


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91


T HE

C LE V E L A N D

Administrative Staff

as of October 1, 2015

EXECUTIVE OFFICE

OPERATIONS & FACILITIES

Gary Hanson

Jennifer Barlament

EXECUTIVE DIRECTOR

Deanne Dixon INTERIM EXECUTIVE ASSISTANT

ARTISTIC ADMINISTRATION Mark Williams DIRECTOR, ARTISTIC PLANNING

Randy Elliot ASSISTANT ARTISTIC ADMINISTRATOR

Norbrian Ronase ARTISTIC COORDINATOR

Barb Bodemer DRIVER

Choruses Jill Harbaugh MANAGER

Julie Weiner MANAGER, YOUTH CHORUSES

STRATEGIC PLANNING & COMMUNITY PARTNERSHIPS Carol Lee Iott DIRECTOR, STRATEGY AND SPECIAL INITIATIVES

ORCHES T R A

GENERAL MANAGER

Cherilyn Byers ADMINISTRATIVE ASSISTANT

Orchestra Operations Julie Kim DIRECTOR

Amy Gill ORCHESTRA OPERATIONS MANAGER

Andrew Shebest ORCHESTRA OPERATIONS COORDINATOR

Orchestra Personnel Nishi Badhwar DIRECTOR

Glynis Smith Renee Pettway CLEANING PERSONS

Rolland Allen GROUNDSKEEPER

Facility Sales Bob Bellamy ACTING MANAGER, FACILITY SALES & HOSPITALITY

Concerts & Special Events Sean Lewis ACTING MANAGER, EVENT OPERATIONS

Jessica Norris ASSOCIATE MANAGER

Christine Honolke MANAGER

Marla Bentley ORCHESTRA PERSONNEL ASSISTANT

House Management Adam Clemens HOUSE MANAGER

Patricia Fernberg

Stage Joe Short

ASSOCIATE HOUSE MANAGER

STAGE MANAGER

Gil Gerity Thomas Holden John Riley Don Verba

Retail Larry Fox STORE MANAGER

Jennifer Orbash SALES ASSOCIATE

STAGEHANDS

Education & Community Programs Joan Katz Napoli DIRECTOR

Sandra Jones MANAGER, EDUCATION & FAMILY CONCERTS

Rachel Novak MANAGER, LEARNING PROGRAMS & COMMUNITY ENGAGEMENT

Sarah Lamb EDUCATION & COMMUNITY PROGRAMS COORDINATOR

Lauren Generette MANAGER, CLEVELAND ORCHESTRA YOUTH ORCHESTRA

Austin Land LIBRARIAN/ASSISTANT, CLEVELAND ORCHESTRA YOUTH ORCHESTRA

Severance Hall

FINANCE & ADMINISTRATION

Charles L谩szl贸

James E. Menger

INTERIM DIRECTOR, FACILITIES MANAGEMENT

Laura Clelland

CHIEF FINANCIAL OFFICER

Shirley Rundo ADMINISTRATIVE ASSISTANT

ADMINISTRATIVE ASSISTANT

Nina Hose ASSISTANT MANAGER, BUILDING OPERATIONS

Steve Skunta LEAD BUILDING ENGINEER

Scott Miller Robert Nock Christopher Downey Michael Evert BUILDING ENGINEERS

Finance Faith Noble CONTROLLER

Barbara S. Snyder ACCOUNTING MANAGER

Carolann Oravec PAYROLL MANAGER

Heather Walters SENIOR ACCOUNTANT

Mary Stewart-McGovern ACCOUNTING ANALYST

CLEVELAND ORCHESTRA MIAMI Montserrat Balseiro MANAGING DIRECTOR

Pratima Raju ASSOCIATE DEVELOPMENT OFFICER

Catalina Briola MIAMI MARKETING MANAGER

Bernice Mena ADMINISTRATIVE ASSISTANT

HUMAN RESOURCES Michelle Vectirelis

Shelia Baugh George Felder Michelle Williams DOOR PERSONS

Quinn Chambers Steven Washington Pauletta Hughes HALL STAFF LEADS

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

DIRECTOR

Christina Dutkovic ACCOUNTING ASSOCIATE

Information Technology David Vivino DIRECTOR

Randy Conn DATABASE ANALYST

Theresa Henderson NETWORK ADMINISTRATOR

Janet Montagino TECHNICAL SUPPORT ANALYST

Mailroom Jim Hilton SUPERVISOR

Ruth Mercer

Andrea Bernatowicz

HUMAN RESOURCES MANAGER

MAILROOM CLERK

Kim Svenson HUMAN RESOURCES ASSOCIATE

92

Administrative Staff

The Cleveland Orchestra


clevelandorchestra.com SALES & COMMUNICATIONS Ross Binnie CHIEF MARKETING OFFICER

Sales & Marketing Julie Stapf DIRECTOR

Jim Sector ASSISTANT DIRECTOR, PATRON LOYALTY

Jerry Golski SALES MANAGER

Rayna Davis MANAGER, ADVERTISING

Ryan Buckley MANAGER, DIGITAL MARKETING & WEBSITE

David Szekeres PUBLICATIONS MANAGER

Brett Della Santina GRAPHIC DESIGN & MARKETING COORDINATOR

Ticket Services Tim Gaines TICKET SERVICES MANAGER

Joan Eppich ASSOCIATE MANAGER

Mary Ellen Campbell ASSISTANT 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

Kathy Pahr MEDIA RELATIONS MANAGER

Timothy Parkinson COMMUNICATIONS ASSOCIATE

Archives Deborah Hefling ARCHIVIST

Andria Hoy ARCHIVES ASSISTANT

Program Book Eric Sellen EDITOR

PHILANTHROPY & ADVANCEMENT Jon Limbacher CHIEF DEVELOPMENT OFFICER

Margaret Gautier

Severance Hall

11001 Euclid Avenue Cleveland, OH 44106

SENIOR DEVELOPMENT ASSOCIATE

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

Elizabeth Arnett MANAGER, LEADERSHIP & INDIVIDUAL GIVING

Brian Deeds INDIVIDUAL GIVING COORDINATOR

Sarah Jessie DEVELOPMENT ASSOCIATE, LEADERSHIP GIVING AND DONOR SERVICES

Cayce Felber

Administrative Offices

216-231-7300 Ticket Office

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

216-231-7493

DEVELOPMENT ASSOCIATE, TRUSTEE GIVING

Lisa Brown DIRECTOR, DEVELOPMENT OPERATIONS

Eric Fenske DEVELOPMENT DATABASE COORDINATOR

Jessica Albright DEVELOPMENT ASSOCIATE, OPERATIONS

Leadership Giving Laurie Burman DEVELOPMENT OFFICER, LEADERSHIP

Education & Community Programs

216-231-7355 Media & Public Relations

216-231-7476 Archives

216-231-7356

Henry Peyrebrune DEVELOPMENT OFFICER, LEADERSHIP

Legacy Giving Bridget Mundy DIRECTOR, LEGACY GIVING

Jill Robinson STEWARDSHIP MANAGER

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

Corinne Finefrock MANAGER, CORPORATE GIVING

Individual Giving

216-231-7556 Corporate/Foundation Giving

216-231-7523 Legacy Giving

216-231-8006 Volunteers

216-231-7557

Em Ezell DEVELOPMENT ASSOCIATE, INSTITUTIONAL GIVING

Development Communications Bryan de Boer DEVELOPMENT OFFICER, COMMUNICATIONS

Severance Hall Rental Office

216-231-7421

Suzanne Richardson de Roulet MANAGER, DEVELOPMENT & STRATEGIC COMMUNICATIONS

Lori Cohen

Cleveland Orchestra Store

216-231-7478

COMMUNITY LEADERSHIP LIAISON

Severance Hall 2015-16

Administrative Staff

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The Cleveland Orchestra


Dreams can come true

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

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

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


11001 Euclid Avenue Cleveland, Ohio 44106

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

CLEVELANDORCHESTRA.COM

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

HAILED AS ONE OF

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

Severance Hall

The Cleveland Orchestra


11001 Euclid Avenue Cleveland, Ohio 44106 CLEVELANDORCHESTRA.COM

AT SE V E R A N C E H A LL RESTAURANT AND CONCESSION SERVICE Pre-Concert Dining: Severance Restaurant at Severance Hall is open for pre-concert dining for evening and Sunday afternoon performances, and for lunch following Friday Morning Concerts. For reservations, call 216-231-7373, or online by visiting clevelandorchestra.com/opentable. 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.

CLEVELAND ORCHESTRA STORE 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 clevelandorchestra.com.

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

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

RENTAL OPPORTUNITIES 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 Office at 216-2317420 or email to hallrental@clevelandorchestra.com

BE FO R E T H E CO NC E R T GARAGE PARKING AND PATRON ACCESS Pre-paid parking for the Campus Center Garage can be purchased in advance through the Ticket Office for $15 per concert. This pre-paid parking ensures you a parking space, but availability of prepaid parking passes is limited. To order pre-paid parking, call the Ticket Office 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 fills 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.

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

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

PHOTOGRAPHY AND SELFIES, VIDEO AND AUDIO RECORDING Photographs of the hall and selfies 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.

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

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

SERVICES FOR PERSONS WITH DISABILITIES Severance Hall provides special seating options for mobility-impaired persons and their companions and families. There are wheelchair- and scooter-accessible locations where patrons can remain in their wheelchairs or transfer to a concert seat. Aisle seats with removable armrests are also available for persons who wish to transfer. Tickets for wheelchair accessible and companion seating can be purchased by phone, in person, or online. As a courtesy, Severance Hall provides wheelchairs to assist patrons in going to and from their seats. Patrons can 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

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contact the House Manager at 216-231-7425 in advance if possible. Service animals are welcome at Severance Hall. Please notify the Ticket Office as you buy tickets.

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

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

CHILDREN AND FAMILIES 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 specifically 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 clevelandorchestra.com/ under18.

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

UNABLE TO USE YOUR TICKETS? Ticket holders unable to use or exchange their tickets are encouraged to notify the Ticket Office so that those tickets can be resold. Because of the demand for tickets to Cleveland Orchestra performances, “turnbacks” make seats available to other music lovers and can provide additional income to the Orchestra. If you return your tickets at least 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


The Cleveland Orchestra guide to

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25th ANNIVERSARY SEASON!

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

3pm, Sunday, October 25 Franklin Cohen (clarinet) & Friends Kirsten Docter, viola / Bronwyn Banerdt, cello Sergei Babayan, Rafael Skorka, piano

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Music of Beethoven, Conte, Mozart & Schubert Presented at Pilgrim Congregational Church, 2592 W. 14th St. Visit artconcerts.org for program and season listing.

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

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Severance Hall 2015-16

Located one block north of Historic Shaker Square, Larchmere Boulevard is Clevelandâ&#x20AC;&#x2122;s premier arts and antiques district, featuring over 40 eclectic and independent shops & services. www.Larchmere.com

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THE CLEVELAN C O N C E R T

C A L E N D A R

AUTUMN SEASON An Alpine Symphony

Also Sprach Zarathustra

September 24 â&#x20AC;&#x201D; Thursday at 7:30 p.m. September 25 â&#x20AC;&#x201D; Friday at 8:00 p.m. <18s September 26 â&#x20AC;&#x201D; Saturday at 8:00 p.m.

October 8 â&#x20AC;&#x201D; Thursday at 7:30 p.m. October 10 â&#x20AC;&#x201D; Saturday at 8:00 p.m.*

THE CLEVELAND ORCHESTRA Franz Welser-MĂśst, conductor

MOZART Symphony No. 41 (â&#x20AC;&#x153;Jupiterâ&#x20AC;?) STRAUSS An Alpine Symphony Sponsor: Thompson Hine LLP

Mahlerâ&#x20AC;&#x2122;s Third Symphony October 1 â&#x20AC;&#x201D; Thursday at 7:30 p.m. October 2 â&#x20AC;&#x201D; Friday at 8:00 p.m. <18s THE CLEVELAND ORCHESTRA Franz Welser-MĂśst, conductor Kelley Oâ&#x20AC;&#x2122;Connor, mezzo-soprano Women of the Cleveland Orchestra Chorus Cleveland Orchestra Childrenâ&#x20AC;&#x2122;s Chorus

MAHLER Symphony No. 3

A Gala Evening with RenĂŠe Fleming October 3 â&#x20AC;&#x201D; Saturday at 7:00 p.m. THE CLEVELAND ORCHESTRA Franz Welser-MĂśst, conductor RenĂŠe Fleming, soprano A once-in-a-lifetime opportunity to hear the worldâ&#x20AC;&#x2122;s most celebrated soprano with The Cleveland Orchestra. A frequent performer on the world's grandest stages, international opera superstar RenĂŠe Fleming captivates audiences with her sumptuous voice, consummate artistry, and comSHOOLQJVWDJHSUHVHQFH7KHHYHQLQJ¡VSURJUDPLVĂ&#x20AC;OOHG ZLWK9LHQQHVHĂ DLULQFOXGLQJVHOHFWLRQVIURP5LFKDUG Straussâ&#x20AC;&#x2122;s Capriccio, as well as waltzes and songs by Johann Strauss Jr. and Franz LehĂĄr. Diamond Sponsors: The Lerner Foundation, KeyBank, The Milton and Tamar Maltz Family Foundation, Dee and Jimmy Haslam

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

MESSIAEN Lâ&#x20AC;&#x2122;Ascension THURSDAY ONLY MESSIAEN Couleurs de la citĂŠ cĂŠleste 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 â&#x20AC;&#x201D; Friday at 8:00 p.m.

<18s

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

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

PNC MUSICAL RAINBOW

Powerful Percussion

October 23 â&#x20AC;&#x201D; Friday at 10:00 a.m. <18s October 24 â&#x20AC;&#x201D; Saturday at 10:00 & 11:00 a.m.

<18s

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

FAMILY CONCERT

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

October 25 â&#x20AC;&#x201D; Sunday at 3:00 p.m.

<18s

CLEVELAND INSTITUTE OF MUSIC ORCHESTRA Carl Topilow, conductor &RPHGUHVVHGLQ\RXU+DOORZHHQEHVWIRUDSURJUDPĂ&#x20AC;OOHG with magic tricks and musical treats! An afternoon of deliciously frightening fun and terrifying tales featuring the spooky sounds of orchestral favorites Saint-SaĂŤnsâ&#x20AC;&#x2122;s Danse macabre and Dukasâ&#x20AC;&#x2122;s The Sorcererâ&#x20AC;&#x2122;s Apprentice, plus favorites by John Williams from Star Wars, Superman, and Harry Potter. Supported by The Giant Eagle Foundation

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Concert Calendar

The Cleveland Orchestra


D ORCHESTRA 2015-16 SE A SON

I N

AT THE MOVIES

T H E

S P O T L I G H T

The Hunchback of Notre Dame October 30 â&#x20AC;&#x201D; Friday at 8:00 p.m. Todd Wilson, organ &HOHEUDWH+DOORZHHQZLWKWKLVFODVVLFVLOHQWĂ&#x20AC;OP 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 'DPHLQ3DULVVDFULĂ&#x20AC;FHVKLVOLIHWRVDYH(VPHUDOGD 3DWV\ Ruth Miller), a Gypsy girl who once befriended him, from the hunchbackâ&#x20AC;&#x2122;s evil master. The fully-improvised accomSDQLPHQWIHDWXUHVWKHPDJQLĂ&#x20AC;FHQWVRXQGRI6HYHUDQFH Hallâ&#x20AC;&#x2122;s mighty Norton Memorial Organ. Sponsor: PNC Bank

Symphonic Dances November 6 â&#x20AC;&#x201D; Friday at 11:00 a.m. <18s * November 7 â&#x20AC;&#x201D; Saturday at 8:00 p.m. November 8 â&#x20AC;&#x201D; Sunday at 3:00 p.m. <18s THE CLEVELAND ORCHESTRA Gianandrea Noseda, conductor Leonidas Kavakos, violin

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

FAMILY CONCERT

HALLOWEEN SPOOKTACULAR!

Sponsor: BakerHostetler

Sunday October 25

Israel Philharmonic Orchestra

Cleveland Institute of Music Orchestra Carl Topilow, conductor

November 16 â&#x20AC;&#x201D; Monday at 7:30 p.m. ISRAEL PHILHARMONIC ORCHESTRA Zubin Mehta, conductor

BARDANASHVILI -RXUQH\WRWKH(QG of the Millennium: Symphonic Poem SHOSTAKOVICH La Valse [The Waltz] DVOĹ?Ă&#x2030;K Symphony No. 9 (â&#x20AC;&#x153;From the New Worldâ&#x20AC;?) Presented by The Cleveland Orchestra in collaboration with the American Friends of the Israel Philharmonic Orchestra.

Under 18s Free FOR FAMILIES

<18s

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).

Come dressed in your Halloween best for a program filled with magic tricks and musical treats! An afternoon of deliciously frightening fun and terrifying tales featuring the spooky sounds of orchestral favorites Saint-SaĂŤnsâ&#x20AC;&#x2122;s Danse macabre and Dukasâ&#x20AC;&#x2122;s The Sorcererâ&#x20AC;&#x2122;s Apprentice, plus favorites by John Williams from Star Wars, Superman, and Harry Potter. Supported by The Giant Eagle Foundation

CLEVELAND ORCHESTRA TICKETS PHONE

216-231-1111 800-686-1141

clevelandorchestra.com Severance Hall 2015-16

Concert Calendar

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THE CLEVELAND ORCHESTRA U P C O M I N G

C O N C E R T S

2015-16 SE A SON

AT SEVERANCE HALL . . .

THE ISRAEL PHILHARMONIC

AT THE MOVIES

THE HUNCHBACK OF NOTRE DAME Friday October 30 at 8:00 p.m.

SPECIAL EVENT PRESENTATION Monday November 16 at 7:30 p.m.

NORTON MEMORIAL ORGAN Todd Wilson, organ

ISRAEL PHILHARMONIC ORCHESTRA Zubin Mehta, conductor

Celebrate Halloween with this classic silent film 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, sacrifices 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 magnificent sound of Severance Hall’s mighty Norton Memorial Organ.

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.

At the Movies Series sponsored by PNC Bank.

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.

TICKETS

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216-231-1111

clevelandorchestra.com

Upcoming Concerts

The Cleveland Orchestra


The Cleveland Orchestra October 8-10 Concerts  

Oct. 8 Also Sprach Zarathustra + Messiaen Oct. 9 Verdi Sacred Pieces + Messiaen Oct. 10 Also Sprach Zarathustra + Verdi