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Concert Program: November 6, 7, 8 RACHMANINOFF DANCES + PETRASSI + SHOSTAKOVICH — page 31 VIOLINS OF HOPE CLEVELAND Uniting the Northeast Ohio Community through Music and Remembrance — page 8

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From the Executive Director . . . . . . . . . . . . . . . . . . . . 7 Violins of Hope Cleveland . . . . . . . . . . . . . . . . . . . . . . 8

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

2015-16 SE ASON


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


RACHMANINOFF DANCES + PETRASSI + SHOSTAKOVICH Program: November 6, 7, 8 . . . . . . . . . . . . . . . . . . 31 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 33 PETRASSI

Partita . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 SHOSTAKOVICH

Violin Concerto No. 1 . . . . . . . . . . . . . . . . . . . . . . . 37 RACHMANINOFF

Symphonic Dances . . . . . . . . . . . . . . . . . . . . . . . . . 41 Conductor: Gianandrea Noseda . . . . . . . . . . . . . . . 44 Soloist: Leonidas Kavakos . . . . . . . . . . . . . . . . . . . . . 45 NEWS Cleveland Orchestra News . . . . . . . . . . . . . . . . . . 46-51 Emeritus Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50


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.

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

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50% All unused books are recycled as part of the Orchestra’s regular business recycling program. These books are printed with EcoSmart certified inks, containing twice the vegetable-based material and one-tenth the petroleum oil content of standard inks, and producing 10% of the volatile organic compounds.

Upcoming Concerts Concert Calendar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76 Upcoming Concerts . . . . . . . . . . . . . . . . . . . . . . . . . . 78


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 November 2015 The artistry of The Cleveland Orchestra under Franz Welser-Möst’s direction was enthusiastically reported by critics and fans everywhere we played during the 2015 European Tour and Vienna Residency, October 15-31. I’ve watched and heard The Cleveland Orchestra on tour for more than a quarter century, and I can only say that this Orchestra is indeed playing better than ever. The name of Cleveland, for the thousands who attended these thirteen concerts, stands for greatness and virtuosity, and also clarity and care in presenting music as each composer imagined it. From Messiaen to Richard Strauss, to Verdi and Beethoven, The Cleveland Orchestra is increasingly recognized for its versatility across a broad range of music, for its flexibility of sound and musical presence. Simply put, as the New York Times said this past summer, “best orchestra in America.” The thousands of you who attend The Cleveland Orchestra’s concerts here at home know from your own experience that this orchestra is part of what makes Northeast Ohio great. And you know how good this orchestra is. Hearing them play here at Severance Hall and at Blossom, we experience their quality and versatility each year. It is nevertheless extraordinarily satisfying to read critics from across Europe praise the Orchestra’s artistic achievements, and realize that around the world, The Cleveland Orchestra is just as beloved as it is here at home. A sampling of commentary from the European press: “Cleveland has one of the three best concert halls in the world. . . . The orchestra has long been considered as the most European of American orchestras. Today, it is quite simply the best.” —Le Soir, October 14, 2015 (Brussels) “With this instrument, magnificent in its velvet clarity and deep, mellow sound, Welser-Möst’s subdued presentation was revealed to be a distillate of simplicity, elegance, and stylistic precision.” —Corriere Della Sera Milan, October 20, 2015 (Milan) “Long reputed to be an institution for pure virtuosity, The Cleveland Orchestra has taken on an entirely new richness of tone from these master composers. Welser-Möst presents here an orchestra that is attentive to detail.” —La Terrasse, October 20, 2015 (Paris) (Additional excerpts from reviews can be read on page 46 of this program book.) Beyond the sheer quality of their music-making, I am always impressed with the Orchestra’s dedication and focus on tour. Moving city to city, and adjusting to the different concert halls, can be challenging and wearying. But for Franz and The Cleveland Orchestra, energy and focus are never in question. As my tenure as executive director comes to an end, I have never been more proud to be associated with this great orchestra and to call this great city home.

Gary Hanson Severance Hall 2015-16


VIOLINS of HOPE CLEVELAND Facing the Holocaust in memory, music, and education — The stories of two men (and a community of partnering) bring Cleveland together through art and remembrance . . . BY BRENT L ARKIN

Brent Larkin, a Cleveland journalist for 46 years, is a retired Plain Dealer editorial page editor now serving as a contributing columnist for the newspaper.

to facing the Holocaust, some things can’t be rushed. Amnon Weinstein, an Israeli violinmaker whose parents lost hundreds of relatives in the Holocaust, learned that twenty years ago. Richard Bogomolny, past president and now chairman of The Cleveland Orchestra, learned it more recently. WHEN IT COMES

W E I N S T E I N , whose parents were so

overwhelmed by the Holocaust that they could never talk to their son about it, found himself similarly overcome when a customer came into his shop decades ago and asked Weinstein to repair the damaged violin he was holding. The customer, a Holocaust survivor, explained that


he had last used the instrument when the Nazis ordered him to play it while his fellow Jews were being led to a gas chamber. When Weinstein opened the violin, he found ashes inside, presumably from victims burned in the crematoria. Overcome with emotion, Weinstein had to put the violin aside. It would, in fact, take him years to summon the will to restore the violin, but by the time he did, in 1996, Weinstein was ready to do something even bigger. He decided he would try to find other violins played by Jews during the Holocaust and restore as many as possible to concert quality. It would be his way of giving voice to millions who had been silenced by the Holocaust, a way of paying re-

Music & Community

The Cleveland Orchestra


spects to his relatives and others who had no graves. was not quite so dramatic, but it too is worth telling. About seven years ago a friend, Israel Wiener, who lives in Israel and knows Weinstein, told Bogomolny about Weinstein’s mission. Bogomolny was instantly intrigued and wanted to find a way to bring the violins to Cleveland. Bogomolny’s background gave him


and Pinchas Zukerman, and Shlomo Mintz — have been Jewish. This group also includes violinist Bronislaw Huberman, founder of the Israel Philharmonic. But Bogomolny, too, was initially stymied. At the time, Cleveland’s cultural institutions were reeling from the economic turmoil of the Great Recession and hardly in a position to focus on little more than their own survival. If Cleveland was to give the violins a proper welcome, Bogomolny realized, it would have to wait. T H E W A I T,

a special appreciation of Weinstein’s mission. The son of a highly-trained violinist, he had grown up in a Jewish family in Cleveland at the time of the Holocaust, playing the violin seriously enough to become concertmaster of the Harvard University Orchestra while in college. He knew that, from generation to generation, from Europe to Israel to America, no instrument has evoked the hopes and heartbreaks of the Jewish people as hauntingly as the violin. He understood that it is no coincidence that so many great violinists — virtuosos including Jascha Heifetz, Isaac Stern, Itzhak Perlman Severance Hall 2015-16

it turns out, was worth every minute. When Bogomolny finally felt the timing was right to approach other community leaders a few years later, the offers to help flowed faster and more fluidly than he ever expected. The result was an unprecedented creative and financial collaboration by Cleveland organizations that has resulted this autumn in the longest and largest tribute ever assembled to honor Weinstein’s project. Beginning in September, and lasting through December, Cleveland has been hosting an extraordinary array of cultural events — including major concerts, exhibits, films, lectures, theater and dance performances, and education programs — under the rubric Violins of Hope Cleveland. The centerpiece of the programming is a collection of twenty-seven Holocaust-era instruments — 25 violins, 1 viola, and 1 cello — which Weinstein has brought to Cleveland, including one from Yad Vashem, Israel’s official Holocaust memorial, which has never before left Israel. This month’s performance at Severance Hall by the Israel Philharmonic is one

Community & Remembrance


VIOLINS of HOPE CLEVELAND of the highlights of the unprecedented effort. Members of the violin, viola, and cello sections have agreed to play on instruments restored by Weinstein. The concert, which marks the first time Israel Philharmonic music director Zubin Mehta has conducted at Severance Hall, is exactly the sort of event Weinstein had in mind when he began his restoration project, which now numbers about sixty violins. “Amnon’s view has always been that it is the playing on these instruments that matters most,” says Bogomolny. “It is the voices of those silenced by the Nazis that can only be heard by the playing, and the message is that as long as this music is heard, we realize that the Nazis, no matter how hard and how viciously they tried, could not wipe out the music and culture of the Jewish people.” In another historic performance earlier in the fall, on September 27, members of The Cleveland Orchestra under the direction of Franz Welser-Möst played on Weinstein’s violins in a concert dedicating Silver Hall at Case Western Reserve University’s newly-renovated Maltz Performing Arts Center. The concert featured Israeli virtuoso Shlomo Mintz and was held on the site of Temple-Tifereth Israel, once the spiritual home of the late Rabbi Abba Hillel Silver. Rabbi Abba Silver, father of the late Rabbi Daniel Silver, was also a leading figure in the drive to establish the state of Israel. are only one part of the diverse musical and educational efforts coordinated in tribute by the seven major Cleveland partner institutions — Case Western Reserve University, The Cleveland Orchestra, Maltz Museum of Jewish Heritage, Cleveland Institute of



Music, Jewish Federation of Cleveland, ideastream (the parent organization of Cleveland’s public television and radio stations), and the local chapter of Facing History and Ourselves. Also participating are more than a dozen affiliate institutions, including the Museum of Contemporary Art and the Cleveland Women’s Orchestra. It is the sort of grand effort that captures something about Cleveland that sometimes gets lost in all the debates about our region’s challenges and strengths — a spirit of cooperation and generosity that makes the Northeast Ohio community special. T H E C O L L A B O R A T I O N , which has re-

sulted in hundreds of events, was the brainchild of Bogomolny. But Bogomolny quickly won vital support from other community leaders, beginning with Milton and Tamar Maltz. This remarkably generous couple immediately agreed to mount a major multimedia exhibition of the violins at the Maltz Museum of Jewish Heritage in Beachwood. Dozens of other community leaders also made meaningful contributions to this project. A partial list would include Case Western Reserve University president Barbara Snyder, Jewish Federation of Cleveland president Steve Hoffman, Cleveland Institute of Music president Joel Smirnoff, and Mark Swaim-Fox, director of Facing History and Ourselves. The three-month Violins of Hope Cleveland exhibit, which features 18 of Weinstein’s violins and one from Yad Vashem, is attracting thousands of visitors — including students from Pittsburgh, Detroit, Chicago, and Columbus.

Community & Music

The Cleveland Orchestra

offerings were taking shape, Bogomolny realized something was missing when he approached philanthropist Morton Mandel for help from the family-funded Mandel Foundation. Mandel responded with a provocative question: How would all these wonderful events honoring the violins make a difference going forward, and not merely dissolve into warm, but fading memories? Struck by that question, leaders at CWRU approached Facing History & Ourselves, an organization dedicated to teaching the lessons of the Holocaust and other genocides, and asked if it could help develop lessons using the violins’ history to be taught on a permanent basis in high schools in Northeast Ohio. Bogomolny then met with the organization’s Mark Swain-Fox to move the project forward. Perhaps the most lasting mark of Violins of Hope Cleveland will be this educational component developed by Facing History & Ourselves. Long after the violins have left Cleveland, future generations of students here will be learning about them thanks to course materials that the Cleveland public schools and other area schools have agreed to make a permanent part of their high school curriculum. It is the sort of far-reaching legacy that Amnon Weinstein probably couldn’t have imagined when he first found the strength to confront, in the form of one battered violin, a tragedy that his parents couldn’t even talk about. But what a fitting legacy it is for Weinstein and the visionary Cleveland leaders who were able to look at a collection of violins that told tales of horror and see in them a reason for hope.


CWRU President Barbara Snyder and Milton Maltz, speaking at the opening concert of the newly-renovated Milton and Tamar Maltz Performing Arts Center at The Temple-Tifereth Israel on September 27, 2015.

Other partners jumped in enthusiastically with their own ideas. CWRU President Barbara Snyder suggested having The Cleveland Orchestra play the violins at the opening of the Maltz Center. She also launched a multi-department effort at the University to incorporate the violins into its curriculum for students and for adults taking courses through the Siegal Lifelong Learning Program. The Cleveland Institute of Music came up with an ambitious schedule of faculty and student concerts using the violins. And the Jewish Federation agreed to host an exhibit of photographs of Weinstein’s workshop taken by photographer Daniel Levin. Ideastream stepped up to broadcast the September 27 concert live on WVIZ Channel 25 and WCLV FM and to film a documentary about the entire Cleveland project. All the materials and videos used will soon be available worldwide via the ideastream and Violins of Hope Cleveland websites.

Severance Hall 2015-16

Remembrance & Learning


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The Cleveland Orchestra


as of October 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 Elisabeth Hugh, President, Blossom Friends of The Cleveland 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

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


Musical Excellence. The Cleveland Orchestra has long been committed to the pursuit of musical excellence in everything that it does. The Orchestra’s ongoing collaboration with Welser-Möst is widely-acknowledged among the best orchestra-conductor partnerships of today. Performances of standard repertoire and new works are unrivalled at home, in residencies around the globe, on tour across North America and Europe, and through recordings, telecasts, and radio and internet broadcasts. Its longstanding championship of new composers and commissioning of new works helps audiences experience music as a living language that grows and evolves with each new generation. Recent performances with Baroque specialists, recording projects of varying repertoire and in different locations, fruitful re-examinations and juxtapositions of the standard repertoire, and acclaimed collaborations in 20th- and 21st-century masterworks together enable The Cleveland Orchestra the ability to give musical performances second to none in the world. Serving the Community. Programs for students and community engagement activities have long been part of the Orchestra’s commitment to serving Cleveland and surrounding communities, and have more recently been extended to its touring and residencies. All are being created to connect people to music in the concert hall, in classrooms, and in everyday lives. Recent seasons have seen the launch of a unique “At Home” neighborhood residency program, designed to

About the Orchestra

The Cleveland Orchestra

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


bring the Orchestra and citizens together in new ways. Additionally, a new Make Music! initiative is being developed, championed by Franz Welser-Möst in advocacy for the benefits of direct participation in making music for people of all ages. Future Audiences. Standing on the shoulders of more than nine decades of presenting quality music education programs, the Orchestra made national and international headlines through the creation of its Center for Future Audiences in 2010. Established with a significant endowment gift from the Maltz Family Foundation, the Center is designed to provide ongoing funding for the Orchestra’s continuing work to develop interest in classical music among young people. The flagship “Under 18s Free” program has seen unparalleled success in increasing attendance and interest — with 20% of attendees now comprised of concertgoers age 25 and under. Innovative Programming. The Cleveland Orchestra was among the first American orchestras heard on a regular series of radio broadcasts, and its Severance Hall home was one of the first concert halls in the world built with recording and broadcasting capabilities. Today, Cleveland Orchestra concerts are presented in a variety of formats for a variety of audiences — including popular Friday night concerts (mixing onstage symphonic works with post-concert entertainment), film scores performed live by the Orchestra, collaboraSeverance Hall 2015-16

An Enduring Tradition of Community Support. The Cleveland Orchestra was born in Cleveland, created by a group of visionary citizens who believed in the power of music and aspired to having the best performances of great orchestral music possible anywhere. Generations of Clevelanders have supported this vision and enjoyed the Orchestra’s concerts. Hundreds of thousands have learned to love music through its education programs and celebrated important events with its music. While strong ticket sales cover just under half of each season’s costs, it is the generos-

About the Orchestra


ity of thousands each year that drives the Orchestra forward and sustains its extraordinary tradition of excellence onstage, in the classroom, and for the community. Evolving Greatness. The Cleveland Orchestra was founded in 1918. Over the ensuing decades, the Orchestra quickly grew from a fine regional organization to being one of the most admired symphony orchestras in the world. Seven music directors have guided and shaped the ensemble’s growth and sound: Nikolai Sokoloff, 1918-33; Artur Rodzinski, 193343; Erich Leinsdorf, 1943-46; George Szell, 1946-70; Lorin Maazel, 1972-82; Christoph von Dohnányi, 1984-2002; and Franz Welser-Möst, since 2002. The opening in 1931 of Severance Hall as the Orchestra’s permanent home, with later acoustic refinements and remodeling

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

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


About the Orchestra

The Cleveland Orchestra


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


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

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


each year

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


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


Likes on Facebook (as of Oct 30, 2015)

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




concerts each year.

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

The Cleveland Orchestra performs over




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


T H E 2 0 1 5 - 1 6 S E A S O N 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 inno-

Severance Hall 2015-16

Music Director


vative made-for-Cleveland production of Leoš Janáček’s The Cunning Little Vixen at Severance Hall. He conducted performances of Richard Strauss’s Daphne in May 2015 and will present a Bartók doublebill in April 2016 featuring the collaboration of Chicago’s Joffrey Ballet. As a guest conductor, Mr. Welser-Möst enjoys a close and productive relationship with the Vienna Philharmonic. Recent performances with the Philharmonic include critically-acclaimed opera productions at the Salzburg Festival (Strauss’s Der Rosenkavalier in 2014 and Beethoven’s Fidelio in 2015) and a tour of Scandinavia, as well as appearances at New York’s Carnegie Hall, at the Lucerne Festival, and in concert at La Scala Milan. He has conducted the Philharmonic’s celebrated annual New Year’s Day concert twice, viewed by millions worldwide. Mr. Welser-Möst also maintains relationships with a number of other European orchestras, and the 2015-16 season includes return engagements to Munich’s Bavarian Radio Symphony Orchestra and Zurich’s Tonhalle Orchestra. He makes his longanticipated debut with Amsterdam’s Royal Concertgebouw Orchestra for two weeks of concerts this season, and conducts the Filarmonica of La Scala Milan in a televised Christmas concert. He will also conduct the Vienna Philharmonic in two weeks of subscription concerts, lead the Royal Stockholm Philharmonic in the Nobel Prize concert in Stockholm, and conduct a new production of Strauss’s Die Liebe der Danae at the 2016 Salzburg Festival. From 2010 to 2014, Franz Welser-Möst served as general music director of the Vienna State Opera. His partnership with the company included an acclaimed new production of Wagner’s Ring cycle and a series of critically-praised new productions, as well as performances of a wide range of other operas, particularly works by Wagner and Richard Strauss. Prior to his years with the Vienna State Opera, Mr. Welser-Möst led the Zurich Opera across a decade-long tenure, leading more than forty new productions and culminating in three seasons as general music director (2005-08). Franz Welser-Möst’s recordings and videos have won major awards, including a Gramophone Award, Diapason d’Or, Japanese Record Academy Award, and two Grammy nominations. The Salzburg Festival production he conducted of Der Rosenkavalier was awarded with the Echo Klassik 2015 for “best opera recording.“ With The Cleveland Orchestra, he has created DVD recordings of live performances of five of Bruckner’s symphonies, and is in the midst of a new project recording major works by Brahms. For his talents and dedication, Mr. Welser-Möst has received honors that include the Vienna Philharmonic’s “Ring of Honor” for his longstanding personal and artistic relationship with the ensemble, as well as recognition from the Western Law Center for Disability Rights, honorary membership in the Vienna Singverein, appointment as an Academician of the European Academy of Yuste, a Decoration of Honor from the Republic of Austria for his artistic achievements, and the Kilenyi Medal from the Bruckner Society of America. He is the co-author of Cadences: Observations and Conversations, published in a German edition in 2007.


Music Director

The Cleveland Orchestra

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DIRECTOR Kelvin Smith Family Chair


Blossom-Lee Chair

Yoko Moore


Clara G. and George P. Bickford Chair

Peter Otto


Jung-Min Amy Lee


Gretchen D. and Ward Smith Chair

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


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



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*


* Principal § 1 2

Associate Principal First Assistant Principal Assistant Principal


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


Brett Mitchell


Elizabeth Ring and William Gwinn Mather Chair

Robert Porco


Frances P. and Chester C. Bolton Chair


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

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The Cleveland Orchestra


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

Cleveland Orchestra Concert Previews are presented before every regular subscription concert, and are free to all ticketholders to that day’s performance. Previews are designed to enrich the concert-going experience for audience members of all levels of musical knowledge through a variety of interviews and through talks by local and national experts. Concert Previews are made possible by a generous endowment gift from Dorothy Humel Hovorka. 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 “Celebrating the Greats” (Musical Works by Sartomme and Schubert) with Brett Mitchell, associate conductor of The Cleveland Orchestra in conversation with composer Richard Sartomme

November 27, 28, 29 “Fantastic Visions” (Musical Works by Rands, Debussy, and Berlioz) with Meaghan Heinrich, director of conservatory connections, Wisconsin Conservatory of Music, in conversation with composer Bernard Rands

December 3, 4, 5 “Handel’s Messiah: It’s More Than Hallelujah” with Rose Breckenridge

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Concert Previews


We are proud to partner with The Cleveland Orchestra to build audiences for the future through an annual series of BakerHostetler Guest Artists.

Photo: Daniel Regan

Photo: Jonathan Keenan

BakerHostetler is proud to present Gianandrea Noseda, conductor and Leonidas Kavakos, violin.


W E L S E R - M Ö ST M U S I C


Severance Hall

Friday morning, November 6, 2015, at 11:00 a.m. * Saturday evening, November 7, 2015, at 8:00 p.m. Sunday afternoon, November 8, 2015, at 3:00 p.m.

Gianandrea Noseda, conductor GOFFREDO PETRASSI (1904-2003)


2015-16 SE A SON

Partita (for orchestra) 1. Gagliarda 2. Ciaccona 3. Giga

Violin Concerto No. 1 * in A minor, Opus 77 1. 2. 3. 4.

Nocturne Scherzo Passacaglia Burlesca



Symphonic Dances, Opus 45 * 1. Non allegro

2. Andante con moto (Tempo di valse) 3. Lento assai — Allegro vivace

This weekend’s concerts are supported through the generosity of the BakerHostetler Guest Artist Series sponsorship. The concert will end on Saturday evening at about 9:50 p.m. and on Sunday afternoon at approximately 4:50 p.m.

The Cleveland Orchestra’s Friday Morning Concert Series is endowed by the Mary E. and F. Joseph Callahan Foundation.

* The Friday morning concert is performed without intermission and features the

works by Shostakovich and Rachmaninoff. The concert ends at about 12:20 p.m.


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 4



Dances & Dictators, Parts& Partitas


T H I S W E E K ’ S concerts offer three works (or just two on Friday morning)

from the 20th century, all composed within a short timespan in the 1930s and ’40s. All three include moments of comfortable music, styled in pleasing harmonies and clear form. But each, too, hints at — or pushes forward into — the swirling sounds of modernism that caused such excitement and concern in a century filled with wide and divergent musical experimentation. To open the evening concerts, guest conductor Gianandrea Noseda has chosen a work by Italian composer Goffredo Petrassi. His Partita for orchestra helped launch his career in 1932, and presents a unique voice based on harmonies advocated by Paul Hindemith, anchored in older musical forms and styles, including the name Partita itself. Greek violinist Leonidas Kavakos joins in for Shostakovich’s tumultuous First Violin Concerto, filled with beauty and troubling outbursts. Written in the aftermath of World War II, but kept unpublished until the next decade (following Soviet dictator Josef Stalin’s death) with a renewed thawing of the government’s controlling views on artistic values, it is a bravura work for soloist and orchestra, and a dynamic view of Shostakovich’s thrilling brand of music-making. To close the concerts, we hear one of Rachmaninoff’s last works, the Symphonic Dances of 1940. Rachmaninoff had impeccable credentials for and understanding of the Romantic symphony orchestra of the 19th century. And, despite claims to the contrary, he also experimented (albeit in limited ways) with newer 20th-century ideas. Not really meant to be danced, this work offers up a strong sense of rhythm and movement, beautifully orchestrated, magnificently proportioned and phrased for the concert hall. —Eric Sellen

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Introducing the Concerts





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

The Michelle and Richard Jeschelnig Exhibitions & Special Projects Fund

Media Sponsor:

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

Partita (for orchestra) composed 1932

At a Glance


Petrassi composed his Partita for orchestra between July and October 1932. At the urging of his teacher, he submitted it into two contests (one Italian, one French) and won both. The first performance was given on June 13, 1933, in Amsterdam, as part of the 11th Festival of the International Society of Contemporary Music, conducted by Alfredo Casella. This work runs just over 15 minutes in performance. Petrassi scored

it for 2 flutes and piccolo, 2 oboes and english horn, 2 clarinets and bass clarinet, soprano saxophone, alto saxophone, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, piano, and strings. The Cleveland Orchestra is performing this work for the first time with this weekend’s concert, but previously performed Petrassi’s Concerto for Orchestra No. 5 in 1976 under Lorin Mazel’s direction.


PETRASSI born July 16, 1904 Zagarolo, Italy died March 3, 2003 Rome

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About the Music A S A Y O U N G M A N living in Rome in the 1920s, without much schooling but with a passion for music, Petrassi took a job in a music shop. There, in his spare moments, he was allowed to play the piano in a back room. His playing caught the attention of Alessandro Bustini, who taught composition at Rome’s Conservatorio di Santa Cecilia and agreed to take him on as his student. Petrassi soon mixed with the leading group of Italian composers who were: 1.) trying to break Italy’s reputation for being solely the home of opera and, at the same time, 2.) strike forward in a modernist direction. Alfredo Casella, Ottorino Respighi, Ildebrando Pizzetti, Gian Francesco Malipiero — these, in their different ways, were the composers who pointed the way for a new Italian School. They were also quite conscious of Italy’s illustrious past in the music of the Renaissance and the Baroque. In the 1940s, Petrassi wrote four operas and for a period he was director of La Fenice opera house in Venice. But during the rest of his very long life, he concentrated on songs, choral music, chamber music, and works for orchestra. No less than nine of his works bear the title “Concerto for Orchestra,” many of them including movements that evoke the older Baroque world of Corelli or Bach. The High Priest of the neo-classic movement was then Stravinsky, but Petrassi preferred to model his early works on Paul Hindemith, with its crisp brilliance and fluent dissonance. It is certainly clear that the Partita, which inaugurated his career, About the Music


owed a considerable debt to Hindemith, while at the same time reflecting the tradition of the 17th-century suite with its three movement titles: Gagliarda, Ciaccona, and Giga. An earlier work, called Tre Cori, had caught the attention of Alfredo Casella, who so admired the Partita that he urged Petrassi to enter it for two prizes, both of which he won — one given by the Sindacato Nazionale dei Musicisti, and the other from the French Fédération Internationale des Concerts. It was then accepted for performance by the International During much of his long Society for Contemporary Music at its 1933 Feslife, Petrassi wrote songs, tival in Amsterdam. Casella conducted the first choral works, chamber performance and its success brought Petrassi’s music, and pieces for orname to international attention. For the remaining seventy years of his life, he enjoyed the dischestra. No less than nine tinction of composing and teaching as a leading of his works bear the title figure in Italian music. “Concerto for Orchestra,” The Renaissance Gagliarda took many forms, many of them including none of which have much bearing on Petrassi’s first movement, which leaps into action from movements that evoke the trumpets’ opening blast and maintains an the older Baroque world aggressive tone even without drums or percusof Corelli or Bach. sion. Winds and strings take turns at stepping center-stage, and a solo from the alto saxophone brings an authentic taste of the 1930s. The piano, too, has an important part to play. The Ciaccona is an ancient form in which a theme in the bass (this one in four separate phrases) underpins a series of variations — first four solo cellos, then full strings, then brass, then saxophone and whispering strings, and so on to a big climax and long fade-out. The final Giga is all energy and youthful panache. Partita is a remarkably sophisticated work for a composer at the outset of his career. It was dedicated to Alessandro Bustini, the composer’s first teacher. —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.



About the Music 1.855.GO.STORM

The Cleveland Orchestra

Violin Concerto No. 1 in A minor, Opus 77 composed 1945-48, revised 1955

At a Glance



SHOSTAKOVICH born September 25, 1906 St. Petersburg (later Leningrad) died August 9, 1975 Moscow

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Shostakovich wrote his first violin concerto in 1945-48, but kept the score private. He revised it slightly in 1955 (after Stalin’s death in 1953). The work was premiered on October 29, 1955, by the Leningrad Philharmonic with violinist David Oistrakh. It was originally published as Opus 99 to disguise that it had been written earlier during a period when the composer was officially under censure by the Soviet government; the original Opus 77 number was later restored. This work runs about 35 minutes in performance. Shostakovich

scored it for 3 flutes (third doubling piccolo), 3 oboes and english horn, 3 clarinets (third doubling bass clarinet), 2 bassoons and contrabassoon, 4 horns, tuba, timpani, percussion (tambourine, tam-tam, xylophone), 2 harps, celesta, and strings. The Cleveland Orchestra first presented this concerto as part of the 1984 Blossom Music Festival, conducted by Vladimir Ashkenazy, with Boris Belkin as the soloist. The most recent performances were at Severance Hall in April 2013, conducted by Franz Welser-Möst with violinist Frank Peter Zimmermann.

About the Music I F A N Y S I N G L E T R A I T can be said to run through all of Shostakovich’s works, it is compassion. Empathy for the dispossessed and defenseless, and rage at their oppressors, animates much of his music — perhaps all of it, as many listeners hear a note of parody even in his pompous “Stalinist” film scores and cantatas. During his life, he made it plain that war and the victims of war were the subjects of many of his works, and it was an open secret that his interest in Jewish music was spurred by Russian anti-Semitism. Today, as accounts of his life and words continue to multiply, it is increasingly apparent that this often-criticized, often-rehabilitated Soviet composer considered nearly every Soviet citizen, including himself, a victim of oppression. It’s no accident that George Orwell’s nightmarish satire of totalitarianism 1984 was written in 1948, when what little information that leaked out of the Soviet Union revealed a society slipping deeper into paranoia, as the aging Stalin desperately tightened his grip on power. Since one of the dictator’s ploys was to whip up popular sentiment against Jews, Shostakovich would have been taking his life in his hands if he had so much as said in public that he was working on a song cycle called From Jewish Folk Poetry, or a violin concerto inspired by a great Russian Jewish violinist, David Oistrakh. In fact, these works weren’t About the Music


performed in public until after Stalin’s death in 1953, and even then the concerto’s opus number had to be changed from 77 to 99 to disguise its date of composition. In Russian music from Rimsky-Korsakov to Rachmaninoff and Prokofiev, imagery of the night means soft breezes, moonlight, and eroticism. Not so in this concerto’s opening Nocturne. After cellos and basses begin the work with a tortuous solo line (anticipating the repeating bass of the third movement’s passacaglia), depression and anxiety haunt the soloist’s somber monologue. The orchestral background, dark-colored and harmonically slowmoving, is painted with the deep timbres of contrabassoon, bass clarinet, and string bass; the tortuous theme appears there often, struggling with its chains. The cool, impassive sound of a celesta curls icy fingers around the violin melody at midmovement and echoes the tortuous theme at the Today, as accounts of the very end. reality of Shostakovich’s The unbearable tension of the Nocturne life and words continue finds a spasm of release in the sarcastic Scherzo. to multiply, it is increasIan MacDonald, in his book The New Shostakovich, heard in this movement “the composer, beset by fools ingly apparent that this and knaves, scorned by his inferiors, and forced to often-criticized, oftendemean himself with fatuous articles and speeches.” rehabilitated Soviet Certainly the composer’s personal motif, the notes D, E-flat, C, B (in German notation, the notes D-S-Ccomposer considered H, standing for D. Schostakowitsch) makes the first nearly every Soviet citiof many appearances in his works here, barked out, zen, including himself, loud and clear, by the soloist in the second section. a victim of oppression. The “fools and knaves” emit vulgar burps on the same deep instruments that created the oppressive atmosphere of the Nocturne. For the soloist, the fiddling style of Jewish bands in Eastern Europe alternates with phrases of deliberate banality in a witch’s brew of vitality, anguish, and fury. This music dances, but on a chain. The Passacaglia movement opens in an atmosphere of imperial Stalinist pomp, with horns and timpani pounding out menacing fanfares over the stark, angular ground bass. As in any passacaglia, the bass persists, repeating throughout the piece; here it may represent the implacable state, deaf to the eloquent pleas of the solo violin. In this context, it is a chilling moment when, at the movement’s climax, the violin itself takes up the bass theme in bare, harsh-sounding octaves. Has the composer learned to love Big Brother? The rest of the movement is one


About the Music

The Cleveland Orchestra

THE VIOLINS OF HOPE sound again in this special Cleveland Institute of Music concert series where you will experience carefully restored instruments that survived the Holocaust. For more information visit September 28, Monday 4pm | Mixon Hall A Dialogue with 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

long, disconsolate diminuendo, at the end of which the violin’s melody breaks into scattered fragments, in the manner of the funeral march in Beethoven’s “Eroica” Symphony. From his teacher Glazunov’s Violin Concerto in A minor, Shostakovich borrowed the idea of linking the last two movements by means of a meditative solo cadenza. Here the violin begins by trying on borrowed clothes — the menacing fanfare that began the Passacaglia — but soon the figuration begins to suggest the D-S-C-H motif, and folkdance rhythms invigorate the music, until the violin is shouting out the composer’s motif in slashing, impudent chords. As the cadenza reaches a peak of excitement, the orchestra bursts into a sassy dance, beginning with some klezmer-style riffs for the solo violin and clarinet. Burlesca means simply a rustic dance, but in this sparkling rondo (no more gloom from the bass instruments) there are more references than ever to Jewish scales and melodies. Revenge is sweet as the once-terrifying Passacaglia bass is handed over to xylophone and flute — and later to the soloist and to the horns — for mockery and derision.

—David Wright © 2015 David Wright lives and writes in Wellesley, Massachusetts. He previously served as program annotator for the New York Philharmonic.

Severance Hall 2015-16

About the Music


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Symphonic Dances, Opus 45 composed 1940

At a Glance



RACHMANINOFF born April 1, 1873 Semyonovo, Russia died March 28, 1943 Beverly Hills, California

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Rachmaninoff completed his Symphonic Dances on October 29, 1940. The first performance was given by the work’s dedicatees, Eugene Ormandy and the Philadelphia Orchestra, on January 3, 1941. Symphonic Dances runs about 35 minutes. Rachmaninoff scored it for piccolo, 2 flutes, 2 oboes, english horn, 2 clarinets, bass clarinet, alto saxophone, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percus-

sion (triangle, tambourine, bass drum, side drum, cymbals, tamtam, glockenspiel, xylophone, bells), piano, harp, and strings. The Cleveland Orchestra first performed Rachmaninoff’s Symphonic Dances in January 1942 under Artur Rodzinski. The most recent performances took place in August 2014, at Blossom and at Severance Hall under Johannes Debus’s direction.

About the Music I N H I S Y E A R S O F E X I L E from Russia, Rachmaninoff fought a constant battle with the arbiters of taste, both in Europe and in America, who had decided that modern music had to be . . . modern. His roots were deeply planted in the soil of Russia and in the way of life he led there, and his music had evolved within the great (but relatively recent) Russian tradition, best represented by Tchaikovsky. His technique as a composer and orchestrator was unequaled, and his imagination was never dormant, but his style had little in common with the spirit of the jazz age or the various types of neo-classicism that were coming to life in the first decades of the 20th century. It was perhaps because his Fourth Piano Concerto had been poorly received in 1927 — nor was the composer satisfied with it himself — that Rachmaninoff cast his next piano concerto as a Rhapsody (in name) and a set of variations on a theme by Paganini (in form). This worked, and the public responded enthusiastically. The same approach brought into being the Symphonic Dances — the Third Symphony had similarly been roughly handled by the press in 1936. So that, rather than a Fourth Symphony, the new work, which turned out to be Rachmaninoff’s last major composition, was cast originally as Fantastic Dances and then, acknowledging its true identity, as Symphonic Dances. Ballet was in his mind, in any case, because the great Russian choreographer Mikhail Fokine was planning a ballet using

About the Music


Kulas Series of Keyboard Conversations® with Jeffrey Siegel 28th Season 2015-2016 Presented by Cleveland State University’s Center for Arts and Innovation

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

Sunday, October 18, 2015

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

Sunday, January 10, 2016

Chopin & Grieg — A Musical Friendship.

Sunday, April 10, 2016

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

Sunday, May 1, 2016

Musical Pictures — Visually inspired, gloriously colorful works.

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

the Rhapsody on a Theme of Paganini, a plan which had Rachmaninoff’s enthusiastic support. This was premiered in 1939 without much acclaim, and a follow-up Fokine ballet on the Symphonic Dances never materialized (owing to Fokine’s death in 1942, followed by Rachmaninoff’s death a year later). Perhaps Rachmaninoff did feel this music as dance music, with the powerful stamping rhythm of the first movement echoing ballets by Stravinsky and Prokofiev, and with the fleet waltz rhythm of the second movement suggesting Ravel. The finale is more intricate and elusive, rhythmically, for behind the restless flow of sounds the composer was thinking of Russian and Western chant, the latter appearing as the Dies irae from the Latin Church’s mass, frequently cited by Rachmaninoff in his music, notably in the Paganini Rhapsody. There is also reference to the Russian chant he had already set for chorus in his All-Night Vigil of 1915. These two references emerge as intrinsic to his melodic style, deeply rooted, probably subconsciously, in the chanting of Orthodox priests that he had heard in his childhood. Melodies that move by step, or at least confined to narrow intervals, are readily related to plainchant, and such melodies abound in Rachmaninoff’s works. The great opening theme of


About the Music

The Cleveland Orchestra

the Second Piano Concerto is of this kind. It is significant also that a similar theme from the First Symphony is quoted at the end of the first movement of the Symphonic Dances, played in a quiet and dignified manner and standing apart from the strong pulse of the rest of the movement. The first movement is a superb example of how to build the elements of structure from simple materials, in this case a descending triad, weaving under and over firm rhythmic support and planted deeply (with endless chromatic digressions) in the key of C minor. A dialog between oboe and clarinet puts the brakes on for the second section, which is slower, cast in a remote key, and richly melodic. Here an alto saxophone introduces Rachmaninoff’s Third one of Rachmaninoff’s endless melodies that grow Symphony had been and reshape themselves in a passionate evolution, roughly handled by the often hinting at a Russian flavor. The middle movement is a masterpiece of elpress in 1936. So that, egance in a waltz rhythm full of shifts and turns, its rather than a Fourth main tune being a plaintive melody first presented Symphony, the next work, by english horn and oboe in partnership. The orwhich turned out to be chestration is dazzling, and a muted brass fanfare punctuates the movement from time to time. Rachmaninoff’s last The third movement finale combines melmajor composition, ancholy wistfulness (in the Lento assai section) with was cast originally as rhythmic exhilaration and virtuosity in the fast secFantastic Dances and tions. The movement is a quest for its theme, which makes the initial Allegro sound fragmentary and then, in its final form, restless, with contributions from the piccolo and as Symphonic Dances. trumpet that help to form a melodic core. But this is not to be reached until after a lengthy return to the slower tempo, when the cellos press the claim of something close to the Dies irae tune. The Allegro returns for an exuberant mélange of plainchants for the full orchestra. With so much of the finale devoted to gloomy Russian introspection, not remotely suggestive of dance, the whole work comes nearer to being the Fourth Symphony he never wrote, slow movement and finale being persuasively combined. This masterly swansong was composed in quiet seclusion in the summer of 1940 when Rachmaninoff was living in Centerport, New York, in a house overlooking Long Island Sound.

—Hugh Macdonald © 2015

Severance Hall 2015-16

About the Music


Gianandrea Noseda Musical America’s 2015 Conductor of the Year, Gianandrea Noseda leads operatic and symphonic repertoire in his native Italy and around the world. He made his Cleveland Orchestra debut and most recent appearances here in February 2013. Mr. Noseda served as principal guest conductor of Russia’s Mariinsky Theater from 1997 to 2007, the year he became music director of the Teatro Regio in Turin. He leads the Orchestra and Chorus of the Teatro Regio Torino in recording projects, international tours, and residencies in Asia and Europe. He also serves as principal guest conductor of the Israel Philharmonic Orchestra, principal conductor of the Orquestra de Cadaqués, guest conductor of the Pittsburgh Symphony Orchestra, artistic director of the Stresa Festival, and laureate conductor of the BBC Philharmonic. Gianandrea Noseda regularly conducts the London Symphony Orchestra, Philadelphia Orchestra, Tokyo’s NHK Symphony, and the Vienna Symphony Orchestra, as well as performances at the Teatro alla Scala in Milan. Highlights of Mr. Noseda’s 2015 calendar year include his debuts with the Berlin Philharmonic, and at the Aix-en-Provence Easter Festival


and Salzburg Festival, a series of concerts with the European Union Youth Orchestra on tour. Since his debut with New York’s Metropolitan Opera in 2002, Mr. Noseda has led five Verdi operas there, including last season’s new production of Borodin’s Prince Igor. He has also conducted performances for the Kirov Opera and Ballet, San Francisco Opera, and the Teatro Communale di Firenze. Gianandrea Noseda’s discography features more than fifty albums, which have garnered critical acclaim and awards. His Musica Italiana recording project, which he initiated a decade ago on the Chandos label, chronicles under-appreciated Italian repertoire of the 20th century. In two projects for Deutsche Grammophon, Mr. Noseda conducted the Teatro Regio Torino Orchestra and Chorus in celebration of Verdi’s 200th birthday. Those albums also feature Anna Netrebko and Rolando Villazon. Mr. Noseda is Cavaliere Ufficiale al Merito della Repubblica Italiana for his contributions to the artistic life of Italy. Born in Milan, Gianandrea Noseda studied piano, composition, and conducting at the Giuseppe Verdi Conservatory. He later worked with conductors MyungWhun Chung, Valery Gergiev, and Donato Renzetti. For additional information, visit

Guest Conductor

The Cleveland Orchestra

Leonidas Kavakos Greek violinist Leonidas Kavakos is known for his virtuosity and musicianship. He made his Cleveland Orchestra debut in August 2000, and most recently performed here in February 2011, when he both conducted and played as soloist. Leonidas Kavakos was born into a musical family and began playing violin at age five. After taking lessons from his father, he enrolled in the Hellenic Conservatory to study with Stelios Kafantaris. He later attended masterclasses with former Cleveland Orchestra concertmaster Josef Gingold. By age 21, Mr. Kavakos had won the Jean Sibelius International Violin Competition (1985) and the Paganini and Naumburg competitions (1988). He was named Gramophone’s Artist of the Year in 2014. Leonidas Kavakos appears in concerts, chamber music, and recitals across the world. He has appeared with the major orchestras of Europe and North America, including performances as soloist with the Royal Concertgebouw Orchestra of Amsterdam, Berlin Philharmonic, Boston Symphony Orchestra, Chicago Symphony Orchestra, Cleveland Orchestra, Dresden Staatskapelle, Leipzig Gewandhaus Orchestra, London Symphony Orchestra, Los

Severance Hall 2015-16

Guest Soloist

Angeles Philharmonic, New York Philharmonic, Philadelphia Orchestra, and Vienna Philharmonic. From 2007 to 2009, Mr. Kavakos was artistic director of the Camerata Salzburg. In recent seasons, he has conducted the orchestras of Berlin, Boston, Cleveland, Rotterdam, and Stockholm, as well as the Chamber Orchestra of Europe, Maggio Musicale Fiorentino Orchestra, and the Russian State Symphony Orchestra, and appeared with the Budapest Festival and across London. For 15 years, Mr. Kavakos presented an annual chamber music festival in Athens, and curates an annual violin and chamber music masterclass. Leonidas Kavakos won the 1991 Gramophone Concerto of the Year Award for his BIS recording of both the original and final versions of Sibelius’s Violin Concerto. His discography also includes a wide repertoire on the BIS, Chandos, Delos, and ECM labels. For Sony, Mr. Kavakos recorded works by Mendelssohn and Mozart with Camerata Salzburg; his disc as conductor/soloist of Mendelssohn’s VIolin Concerto received a 2009 Echo Klassik award. Now an exclusive Decca Classics artist, he has released the complete Beethoven violin sonatas (which garnered a 2013 Echo Klassik award) and works by Brahms. Mr. Kavakos is passionate about the art of violin- and bow-making, both past and present. He plays the Abergavenny Stradivarius violin of 1724 and owns several modern violins. For more information, please visit


orchestra news


Welser-Möst and Cleveland Orchestra acclaimed throughout European Tour/Vienna Residency Franz Welser-Möst led The Cleveland Orchestra on their sixteenth international concert tour and eighth biennial Vienna Residency together, performing twelve concerts in ten cities between October 15 and 31. The tour featured performances in a number of Europe’s premier concert halls, including their debut performance at the new Philharmonie de Paris. The following excerpts are taken from from reviews and commentary about these concerts: “The Cleveland Orchestra’s sheer virtuosity, the honed precision of its interaction, and the scintillating silver gleam that was once its trademark, are still breathtaking.” —Frankfurter Allgemeine Zeitung, October 19, 2015 “From the famous theme to the most tragic or airy passages, the conductor showed his masterful skill, not leaving out any detail, and transcending each motif. The promise of a very high quality concert was kept, giving the audience the opportunity to hear one of the best American orchestras in Europe.” —Crescendo, October 15, 2015 (Brussels) “Welser-Möst’s uncommonly vivid conducting left no doubt — the interpretation was an argument that this work, as Beethoven said of his “Pastoral,” is more an expression of feeling than a painting. . . . The burst of excitement that followed gave the strings another opportunity to demonstrate their excellence.” —Luxemburger Wort, October 19, 2015 “Without a doubt, the superb Cleveland Orchestra, which prefers roundness to brilliance and never flashy virtuosity, adheres to the approach perfectly. Their Austrian director successfully avoids the trap of going overboard and shows he knows how to conduct the music, from start to finish, making a tight, unified ensemble.” —ConcertoNet, October 22, 2015 (Paris) “The strings and brass provided gleaming opulence, and Welser-Möst played the mountain guide in overdrive. Overall, as was made clear at the Konzerthaus this evening, the musicians from Cleveland can play anything.” —Westfälische Nachrichten Münster-Stadt, October 24, 2015 (Dortmund) “Conductor Franz Welser-Möst also strikes the necessary balance between attack and withdrawal, using timbre to maintain the internal tension. . . . Also key: the orchestra’s clarity and transparency are always present in service of expression. . . . It was a brilliant evening by a great orchestra.” —Der Standard, October 29, 2015 (Vienna)


Cleveland Orchestra News

The Cleveland Orchestra

orchestra news Special pre-concert discussion scheduled for concert by Israel Philharmonic at Severance Hall on November 16 Prior to the concert by the Israel Philharmonic Orchestra on Monday, November 16, a special pre-concert discussion will be presented in Reinberger Chamber Hall at Severance Hall. The presentation is titled “Violins of Hope: Journey to Cleveland” and features author James A. Grymes (Violins of Hope) in conversation with Martin Goldsmith, a well-known classical music radio host on NPR and Sirius XM, and author of The Inextinguishable Symphony and Alex’s Wake: A Voyage of Betrayal and a Journey of Remembrance. Grymes curated the “Violins of Hope Cleveland” exhibition currently on display at the Maltz Museum of Jewish ISRAEL Heritage. Goldsmith is the son PHILHARMONIC of Rosemary Goldsmith, a vioORCHESTRA list featured in the Maltz exhibition and a member of The Cleveland Orchestra, 1967-1981. Together, they will discuss the parallel journeys that Jewish musicians made from Nazi Germany to join the ranks of orchestras in the United States and around the world. The pre-concert discussion takes place beginning at 5:30 p.m., prior to the concert at 7:30 p.m. that evening. The Israel Philharmonic will be led by its music director, Zubin Mehta, in his first appearance at Severance Hall. The concert features works by Ravel and Dvořák, as well as a symphonic poem by Josef Bardanashvili. The concert is being presented locally by The Cleveland Orchestra, Maltz Family Foundation, and the Jewish Federation of Cleveland, in collaboration with American Friends of the Israel Philharmonic Orchestra. The orchestra is performing a tour across the United States with generous funding from Milton and Tamar Maltz, with national underwriting from the American Friends group.

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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




The University of Akron is an Equal Education and Employment Institution –

orchestra news


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

Severance Hall 2015-16

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

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

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

Cleveland Orchestra News


Musicians Emeritus of




















Listed here are the living members of The Cleveland Orchestra who served more than twenty years. Appointed by and playing under four music directors, these 44 musicians collectively completed a total of 1560 years of service — representing the Orchestra’s ongoing service to music and to the greater Northeast Ohio community. Listed by instrument section and within each by retirement year, followed by years of service. FIRST VIOLIN Keiko Furiyoshi 2005 — 34 years Alvaro de Granda 2 2006 — 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



The Cleveland Orchestra

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


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.

ivaled only b

ont row seats...

levelands disncve audio ideo leader since 1954. 216-431-7300 216-431-7300

Severance Hall 2015-16

Cleveland Orchestra News

north O 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


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



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

Sound for the Centennial TH E C A M PAI G N FO R TH E C LE V EL AN D O RC H ESTR A Dennis W. LaBarre, President, Musical Arts Association Richard J. Bogomolny, MAA Chairman and Fundraising Chair Nancy W. McCann, Fundraising Vice Chair Alexander M. Cutler, Special Fundraising Beth E. Mooney, Pension Fundraising John C. Morley, Legacy Giving Hewitt B. Shaw, Annual Fund

In anticipation of The Cleveland Orchestra’s 100th anniversary in 2018, we have embarked on an ambitious fundraising campaign. The Sound for the Centennial Campaign seeks to build the Orchestra’s Endowment through cash gifts and legacy commitments, THE while also securing broad-based and increasing annual support from across Northeast CLEVELAND ORCHESTRA Ohio. The generous individuals and organizations listed on these pages have made longterm commitments of annual support, endowment funds, and legacy declarations to the Campaign. We gratefully recognize their extraordinary commitment toward the Orchestra’s future success. Your participation can make a crucial difference in helping to ensure that future generations of concertgoers experience, embrace, and enjoy performances, collaborative presentations, and education programs by The Cleveland Orchestra. To join this growing list of visionary contributors, please contact Jon Limbacher, Chief Development Officer, at 216-231-7520. Listing as of September 10, 2015. GIFTS OF $5 MILLION AND MORE

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

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


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


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

Sound for the Centennial Campaign

The Cleveland Orchestra


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

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

GIFTS OF $250,000 TO $500,000

Randall and Virginia Barbato John P. Bergren* and Sarah S. Evans The William Bingham Foundation Mr. and Mrs.* Harvey Buchanan Cliffs Natural Resources The George W. Codrington Charitable Foundation The Helen C. Cole Charitable Trust The Mary S. and David C. Corbin Foundation Mr. and Mrs. Matthew V. Crawford William and Anna Jean Cushwa Nancy and Richard Dotson Patricia Esposito Sidney E. Frank Foundation Albert I. and Norma C. Geller

The Gerhard Foundation Mary Jane Hartwell David and Nancy Hooker Mrs. Marguerite B. Humphrey James D. Ireland III* Trevor and Jennie Jones Elizabeth B. Juliano Mr. Clarence E. Klaus, Jr. Giuliana C. and John D. Koch Dr. Vilma L. Kohn* Mrs. Emma S. Lincoln Mr. and Mrs. Alex Machaskee Robert M. Maloney and Laura Goyanes Elizabeth Ring Mather and William Gwinn Mather Fund Mr. Donald W. Morrison

Margaret Fulton-Mueller National Endowment for the Arts William J. and Katherine T. O’Neill Quality Electrodynamics (QED) Mr. and Mrs. James A. Saks Hewitt and Paula Shaw The Skirball Foundation Richard and Nancy Sneed R. Thomas and Meg Harris Stanton Mr. and Mrs. Jules Vinney* David A. and Barbara Wolfort

GIFTS OF $100,000 TO $250,000

The Abington Foundation Akron Community Foundation American Greetings Corporation Mr. and Mrs. George N. Aronoff Jack L. Barnhart Fred G. and Mary W. Behm Ben and Ingrid Bowman Dr. Christopher P. Brandt and Dr. Beth Sersig Buyers Products Company Mary Kay DeGrandis and Edward J. Donnelly Judith and George W. Diehl George* and Becky Dunn Ernst & Young LLP Mr. Allen H. Ford Frantz Ward LLP Dr. Saul Genuth The Giant Eagle Foundation JoAnn and Robert Glick Hahn Loeser & Parks LLP Iris and Tom Harvie Jeff and Julia Healy The Hershey Foundation Mr. Daniel R. High Mr. and Mrs. Donald M. Jack, Jr. Bernie and Nancy Karr

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

Cumulative Giving

Annual Support


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



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


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

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

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

$50,000 TO $99,999


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

Forest City Enterprises, Inc. The Lincoln Electric Foundation Medical Mutual of Ohio Nordson Corporation Foundation Squire Patton Boggs (US) LLP Thompson Hine LLP White & Case (Miami)

Dollar Bank Parker Hannifin Corporation Quality Electrodynamics (QED) voestalpine AG (Europe) Anonymous $25,000 TO $49,999 Buyers Products Company Greenberg Traurig (Miami) Litigation Management, Inc. The Lubrizol Corporation Olympic Steel, Inc. RPM International Inc.

Severance Hall 2015-16

Corporate Annual Support

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


Conrad Tao Margaret Baxtresser Annual Piano Concert Clara I. Knight Young Artist

Wednesday I 7:30 pm I

pre-concert lecture at 6:30

November 18 EJ Thomas Hall at The University of Akron TICKETS: $25 I







Students Free

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The Cleveland 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




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


$100,000 TO $249,999

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

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


$50,000 TO $99,999

The William Bingham Foundation The George W. Codrington Charitable Foundation GAR Foundation Ann and Gordon Getty Foundation The Louise H. and David S. Ingalls Foundation Martha Holden Jennings Foundation Elizabeth Ring Mather and William Gwinn Mather Fund David and Inez Myers Foundation National Endowment for the Arts The Eric & Jane Nord Family Fund The Payne Fund The Reinberger Foundation The Sage Cleveland Foundation The John L. Severance Society recognizes the generosity of those giving $1 million or more in cumulative support. Listing as of September 2015.

Severance Hall 2015-16

Paul M. Angell Family Foundation The George W. Codrington Charitable Foundation The Gerhard Foundation, Inc. Ann and Gordon Getty Foundation The William Randolph Hearst Foundation Martha Holden Jennings Foundation Myra Tuteur Kahn Memorial Fund of The Cleveland Foundation Marlboro 2465 Foundation Miami-Dade County Department of Cultural Affairs (Miami) The Nord Family Foundation The Payne Fund The Sage Cleveland Foundation

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

$2,500 TO $19,999 The Abington Foundation Ayco Charitable Foundation The Ruth and Elmer Babin Foundation Dr. NE & JZ Berman Foundation The Bernheimer Family Fund of The Cleveland Foundation Elisha-Bolton Foundation The Conway Family Foundation The Harry K. Fox and Emma R. Fox Charitable Foundation Funding Arts Network (Miami) The Hankins Foundation The Muna & Basem Hishmeh Foundation Richard H. Holzer Memorial Foundation The Laub Foundation Victor C. Laughlin, M.D. Memorial Foundation Trust The Lehner Family Foundation The G. R. Lincoln Family Foundation Bessie Benner Metzenbaum Foundation The Margaret Clark Morgan Foundation The M. G. O’Neil Foundation Paintstone Foundation The Charles E. & Mabel M. Ritchie Memorial Foundation The Leighton A. Rosenthal Family Foundation SCH Foundation Albert G. & Olive H. Schlink Foundation Jean C. Schroeder Foundation Kenneth W. Scott Foundation Lloyd L. and Louise K. Smith Memorial Foundation The South Waite Foundation The George Garretson Wade Charitable Trust The S. K. Wellman Foundation The Welty Family Foundation Thomas H. White Foundation, a KeyBank Trust The Edward and Ruth Wilkof Foundation The Wuliger Foundation Anonymous (2)

Foundation and Government Annual Support



Individual Annual Support The Cleveland Orchestra gratefully recognizes the individuals listed here, who have provided generous gifts of cash or pledges of $2,500 or more to the Annual Fund, benefit events, tours and residencies, and special annual donations.

Lifetime Giving

Giving Societies


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


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.


Individual Annual Support

The Cleveland Orchestra

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

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

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

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

George Szell Society

The Leadership Council salutes those extraordinary donors who have pledged to sustain their annual giving at the highest level for three years or more. Leadership Council donors are recognized in these Annual Support listings with the Leadership Council symbol next to their name:

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

Elisabeth DeWitt Severance Society

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

Mr. William P. Blair III Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Dr. Wolfgang Eder Mr. and Mrs. Michael J. Horvitz Elizabeth B. Juliano Mr. and Mrs. Douglas A. Kern The Honorable and Mrs. John Doyle Ong Mr. and Mrs. Alfred M. Rankin, Jr. Mr. and Mrs. Franz Welser-Möst INDIVIDUAL GIFTS OF $50,000 TO $74,999

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

Severance Hall 2015-16

Leadership Council

gifts of $25,000 and more INDIVIDUAL GIFTS OF $30,000 TO $49,999

Daniel and Trish Bell (Miami) Dr. and Mrs. Wolfgang Berndt (Europe) Mr. and Mrs. Charles P. Bolton The Brown and Kunze Foundation Judith and George W. Diehl Mr. and Mrs. Geoffrey Gund Mr. and Mrs. Jeffrey Healy Milton A. and Charlotte R. Kramer Charitable Foundation Virginia M. and Jon A. Lindseth Julia and Larry Pollock The Ralph and Luci Schey Foundation

Individual Annual Support

listings continue


THE CLEVELAN D ORCHESTRA listings continued

Rachel R. Schneider Richard and Nancy Sneed (Cleveland, Miami) R. Thomas and Meg Harris Stanton INDIVIDUAL GIFTS OF $25,000 TO $29,999

In dedication to Donald Carlin (Miami) Martha and Bruce Clinton (Miami) Robert and Jean* Conrad Mr. and Mrs. Gerald A. Conway JoAnn and Robert Glick Mrs. Marguerite B. Humphrey Mr. and Mrs. Donald M. Jack, Jr. Junior Committee of The Cleveland Orchestra Thomas E Lauria (Miami) Susan Morgan Martin, Patricia Morgan Kulp, and Ann Jones Morgan Mrs. Jane B. Nord William J. and Katherine T. O’Neill Mr. and Mrs. James A. Ratner Mr. and Mrs. David A. Ruckman Mr. and Mrs. James A. Saks Marc and Rennie Saltzberg Mr. Larry J. Santon Jim and Myrna Spira Paul and Suzanne Westlake

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

Gay Cull Addicott Mr. and Mrs. William W. Baker Randall and Virginia Barbato Mr. and Mrs. David J. Carpenter Mr. and Mrs. Matthew V. Crawford Jeffrey and Susan Feldman (Miami) Dr. Edward S. Godleski Mary and Jon Heider (Cleveland, Miami) Mr. and Mrs. Christopher Kelly

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

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

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

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

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

The Leadership Patron Program recognizes generous donors of $2,500 or more to the Orchestra’s Annual Campaign. For more information on the benefits of playing a supporting role each year, please contact Elizabeth Arnett, Manager, Leadership Giving, by calling 216-231-7522.


Jonathan and Tina Kislak (Miami) Mr. and Mrs. Moshe Meidar The Miller Family Sydell Miller Lauren and Steve Spilman Stacie and Jeff Halpern Mr. and Mrs. Donald Stelling (Europe) Gary L. Wasserman and Charles A. Kashner (Miami) The Denise G. and Norman E. Wells, Jr. Family Foundation Anonymous gift from Switzerland (Europe)

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

Individual Annual Support

listings continue

The Cleveland Orchestra

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

William Appert and Christopher Wallace (Miami) Mr. and Mrs. George N. Aronoff Mr. and Mrs. Dean Barry Drs. Nathan A. and Sosamma J. Berger Jayusia and Alan Bernstein (Miami) Laurel Blossom Mr. and Mrs. Richard L. Bowen Mr. D. McGregor Brandt, Jr. Paul and Marilyn Brentlinger* Mr. and Mrs. Marshall Brown J. C. and Helen Rankin Butler Scott Chaikin and Mary Beth Cooper Drs. Wuu-Shung and Amy Chuang Richard J. and Joanne Clark Jim and Karen Dakin Mr. and Mrs. Paul Doman Nancy and Richard Dotson Mr. and Mrs. Robert P. Duvin Mary Jo Eaton (Miami) Dr. and Mrs. Lloyd H. Ellis Jr. Mr. Brian L. Ewart and Mr. William McHenry Nelly and Mike Farra (Miami) Mr. Isaac Fisher (Miami) Kira and Neil Flanzraich (Miami)

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

Dr. and Mrs. Ronald J. Ross Steven and Ellen Ross Dr. Isobel Rutherford Raymond T. and Katherine S. Sawyer Carol* and Albert Schupp Dr. Gerard and Phyllis Seltzer and the Dr. Gerard and Phyllis Estelle Seltzer Foundation Mr. and Mrs. Joseph H. Serota (Miami) Howard Stark M.D. and Rene Rodriguez (Miami) Lois and Tom Stauffer Charles B. and Rosalyn Stuzin (Miami) Mrs. Jean H. Taber Bruce and Virginia Taylor Joseph F. Tetlak Joe and Marlene Toot Dr. Russell A. Trusso Mr. and Mrs. Fred A. Watkins Florence and Robert Werner (Miami) Anonymous (3)

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

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

Amy and Stephen Hoffman Mr. and Mrs. Brinton L. Hyde Pamela and Scott Isquick Ms. Elizabeth James Richard and Michelle Jeschelnig Joela Jones and Richard Weiss Kenneth M. Lapine and Rose E. Mills Judith and Morton Q. Levin Mr. and Mrs. Alex Machaskee Claudia Metz and Thomas Woodworth Mr. J. William and Dr. Suzanne Palmer Pannonius Foundation Nan and Bob Pfeifer

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

Diane Lynn Collier and Robert J. Gura Marjorie Dickard Comella Corinne L. Dodero Foundation for the Arts and Sciences Mr. Kamal-Neil Dass and Ms. Teresa Larsen Mr. and Mrs. Ralph Daugstrup Mr. and Mrs. Thomas S. Davis Pete and Margaret Dobbins Mr. and Mrs. Ronald E. Dziedzicki Mr. and Mrs. Bernard H. Eckstein Dr. and Mrs. Robert Elston Mary and Oliver Emerson Ms. Karen Feth Joseph Z. and Betty Fleming (Miami) Scott A. Foerster Joan Alice Ford Barbara and Peter Galvin Joy E. Garapic

Brenda and David Goldberg Mr. and Mrs. Henry J. Goodman Patti Gordon (Miami) Mr. and Mrs. Randall J. Gordon Robert N. and Nicki N. Gudbranson David and Robin Gunning Alfredo and Luz Maria Gutierrez (Miami) Douglas M. and Amy Halsey (Miami) Lilli and Seth Harris Clark Harvey and Holly Selvaggi Dr. Robert T. Heath and Dr. Elizabeth L. Buchanan Janet D. Heil* Anita and William Heller Thomas and Mary Holmes John and Hollis Hudak (Miami) Bob and Edith Hudson (Miami) Elisabeth Hugh


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


Individual Annual Support

listings continue

The Cleveland Orchestra

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Severance Hall 2015-16



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

Mr. and Mrs. William A. Mitchell Curt and Sara Moll Georgia and Carlos Noble (Miami) Richard and Kathleen Nord Mr. Thury O’Connor Mr. Henry Ott-Hansen Mr. and Mrs. Christopher I. Page Mr. and Mrs. John S. Piety Mr. Robert Pinkert (Miami) Mr. and Mrs. Richard W. Pogue In memory of Henry Pollak Martin R. Pollock and Susan A. Gifford Dr. and Mrs. John N. Posch Ms. Rosella Puskas Drs. Raymond R. Rackley and Carmen M. Fonseca Dr. James and Lynne Rambasek Mr. and Mrs. Roger F. Rankin Brian and Patricia Ratner Ms. Deborah Read Mr. and Mrs. Robert J. Reid Mrs. Charles Ritchie Amy and Ken Rogat Dr. and Mrs. Michael Rosenberg (Miami) Mr. and Mrs. Robert C. Ruhl Mrs. Florence Brewster Rutter Bob and Ellie Scheuer David M. and Betty Schneider Linda B. Schneider Dr. and Mrs. James L. Sechler Lee and Jane Seidman Mr. Eric Sellen and Mr. Ron Seidman Seven Five Fund

Ms. Marlene Sharak Mrs. Frances G. Shoolroy Naomi G. and Edwin Z. Singer Family Fund Bruce Smith Drs. Charles Kent Smith and Patricia Moore Smith David Kane Smith Dr. Marvin* and Mimi Sobel Mr. and Mrs. William E. Spatz George and Mary Stark Dr. and Mrs. Frank J. Staub Mr. and Mrs. Donald W. Strang, Jr. Stroud Family Trust Dr. Elizabeth Swenson Ms. Lorraine S. Szabo Mr. and Mrs. Bill Thornton Mr.* and Mrs. Robert N. Trombly Miss Kathleen Turner Robert and Marti Vagi Don and Mary Louise VanDyke Teresa Galang-Viñas and Joaquin Viñas (Miami) Mr. and Mrs. Mark Allen Weigand Mr. and Mrs. Michael R. Weil, Jr. Mr. and Mrs. Ronald E. Weinberg Dr. R. Morgan and Dr. S. Weirich (Miami) Tom and Betsy Wheeler Nancy V. and Robert L. Wilcox Bob and Kat Wollyung Anonymous (3)

Mr. and Mrs. Jerry Herschman Mr. Robert T. Hexter Dr. Keith A. and Mrs. Kathleen M. Hoover Dr. Fred A. Huepler Dr. and Mrs. Scott R. Inkley Mr. and Mrs. Richard A. Janus Barbara and Michael J. Kaplan Dr. and Mrs. Richard S. Kaufman James and Gay* Kitson Mrs. Natalie D. Kittredge Dr. Gilles* and Mrs. Malvina Klopman Mr. James Krohngold Ronald and Barbara Leirvik Dr. Edith Lerner Mary Lohman Herbert L. and Rhonda Marcus Martin and Lois Marcus Ms. Nancy L. Meacham Dr. Susan M. Merzweiler Bert and Marjorie Moyar Susan B. Murphy Richard B. and Jane E. Nash David and Judith Newell Mr. and Mrs. Peter R. Osenar Dr. Lewis and Janice B. Patterson Mr. Carl Podwoski

Ms. Sylvia Profernna Mr.* and Mrs. Thomas A. Quintrell Alfonso Rey and Sheryl Latchu (Miami) Dr. Robert W. Reynolds Carol Rolf and Steven Adler Robert and Margo Roth Fred Rzepka and Anne Rzepka Family Foundation Dr. and Mrs. Martin I. Saltzman Mr. Paul H. Scarbrough Ginger and Larry Shane Harry and Ilene Shapiro Mr. Richard Shirey Howard and Beth Simon Ms. Ellen J. Skinner Mr. Richard C. Stair Mr. Taras G. Szmagala, Jr. Mr. Karl and Mrs. Carol Theil Erik Trimble Drs. Anna* and Gilbert True Margaret and Eric* Wayne Richard Wiedemer, Jr. Tony and Diane Wynshaw-Boris Marcia and Fred* Zakrajsek

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

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


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

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


Individual Annual Support

The Cleveland Orchestra

Your Role . . . in The Cleveland Orchestra’s Future 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.


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


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

Individual Annual Support

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

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

* deceased



The Cleveland Orchestra is sustained through the support of thousands of generous patrons, including members of the Leadership Patron Program listed on these pages. Listings of all annual donors of $300 and more each year are published in the Orchestra’s Annual Report, which can be viewed online at CLEVELANDORCHESTRA . COM For information about how you can play a supporting role with The Cleveland Orchestra, please contact our Philanthropy & Advancement Office by calling 216-231-7558.

The Cleveland Orchestra

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Severance Hall 2015-16


11001 Euclid Avenue Cleveland, Ohio 44106



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


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

Severance Hall

The Cleveland Orchestra

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3pm, Sunday, November 22 Stravinsky: L’Histoire du soldat (The Soldier’s Tale) Premiere of new work by David Conte Members of The Cleveland Orchestra / narrator, Robert Hawkes Presented at Pilgrim Congregational Church, 2592 W. 14th St. Visit for program and season listing.

Severance Hall 2015-16

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

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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 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

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

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

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

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.


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


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 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 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

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Severance Hall 2015-16




AUTUMN SEASON Symphonic Dances


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

The Fabulous Flute

November 20 — Friday at 10:00 a.m. <18s November 21 — Saturday at 10:00 & 11:00 a.m. <18s

THE CLEVELAND ORCHESTRA Gianandrea Noseda, conductor Leonidas Kavakos, violin

with Marisela Sager, flute

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

Israel Philharmonic Orchestra November 16 — Monday at 7:30 p.m. ISRAEL PHILHARMONIC ORCHESTRA Zubin Mehta, conductor

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

Cleveland Orchestra Youth Orchestra November 22 — Sunday at 8:00 p.m.



PUTS River’s Rush BERNSTEIN Jeremiah Symphony SCHUMANN Symphony No. 3 (“Rhenish”)

BARDANASHVILI Journey to the End of the Millennium: Symphonic Poem RAVEL La Valse [The Waltz] DVOŘÁK Symphony No. 9 (“From the New World”)

Symphonie fantastique

PRE-CONCERT DISCUSSION at 5:30 p.m. Special discussion about “Violins of Hope: A Journey to Cleveland,” with author James A. Grymes in conversation with classical music radio host Martin Goldsmith.

November 27 — Friday at 11:00 a.m. <18s * November 28 — Saturday at 8:00 p.m. November 29 — Sunday at 3:00 p.m. <18s

Concert presented by The Cleveland Orchestra, Maltz Family Foundation, and Jewish Federation of Cleveland in collaboration with the American Friends of the Israel Philharmonic Orchestra.

Schubert’s Great C-major Symphony November 19 — Thursday at 7:30 p.m. November 20 — Friday at 8:00 p.m. <18s November 21 — Saturday at 8:00 p.m. THE CLEVELAND ORCHESTRA Christoph von Dohnányi, conductor Robert Vernon, viola Lynne Ramsey, viola

SMETANA Overture to The Bartered Bride SORTOMME Concerto for Two Violas on Themes from Smetana’s “From My Life” WORLD PREMIERE


SCHUBERT Symphony in C major (“The Great”), D.944 Sponsor: Squire Patton Boggs (US) LLP

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


A free Prelude Concert begins at 7:00 p.m. featuring members of the Youth Orchestra performing chamber music.

THE CLEVELAND ORCHESTRA Lionel Bringuier, conductor Robert Walters, english horn

DEBUSSY Prelude to the Afternoon of a Faun RANDS Concerto for English Horn WORLD PREMIERE


BERLIOZ Symphonie fantastique Sponsor: Squire Patton Boggs (US) LLP

Handel’s Messiah December 3 — Thursday at 7:30 p.m. December 4 — Friday at 8:00 p.m. <18s December 5 — Saturday at 8:00 p.m. THE CLEVELAND ORCHESTRA Robert Porco, conductor Yulia Van Doren, soprano Jennifer Johnson Cano, mezzo-soprano John Tessier, tenor Nathan Berg, bass-baritone Cleveland Orchestra Chamber Chorus

HANDEL Messiah Sponsor: Medical Mutual of Ohio

Concert Calendar

The Cleveland Orchestra






Back to the Future December 10 — Thursday at 7:30 p.m. THE CLEVELAND ORCHESTRA Brett Mitchell, conductor Power up your DeLorean . . . recharge your flux capacitor . . . and get ready to celebrate the 30th anniversary of an unforgettable movie classic as you’ve never seen and heard it before! Marty McFly (Michael J. Fox) finds himself transported back to 1955, where he struggles to change the destiny of his parents (Lea Thompson, Crispin Glover) and rescue an eccentric friend (Christopher Lloyd), all while trying to ensure he has a future to get back to. With Alan Silvestri’s dazzling musical score performed by The Cleveland Orchestra. Sponsor: PNC Bank


Christmas Brass Quintet

Cleveland Cl l d Orchestra O h t

December 11 — Friday at 10:00 a.m. <18s December 12 — Saturday at 11:00 a.m. <18s


with Jack Sutte, trumpet Michael Miller, trumpet Hans Clebsch, horn Richard Stout, trombone Kenneth Heinlein, tuba

For young people and their families. A special holiday edition of our popular Musical Rainbows series, featuring brass sounds of the yuletide, ringing in music for the season and the new year. With Host Maryann Nagel. Sponsor: PNC Bank

THE CLEVELAND ORCHESTRA Robert Porco, conductor Cleveland Orchestra Chorus and guest choruses


Home Alone

December 16 — Wednesday at 7:30 p.m. THE CLEVELAND ORCHESTRA Brett Mitchell, conductor A true holiday favorite, this beloved comedy classic features renowned composer John Williams’s delightful score performed live by The Cleveland Orchestra. Macaulay Culkin stars as Kevin McCallister, an 8-year-old boy accidently left behind when his family leaves for Christmas vacation, and who must defend his home against two bungling thieves. Hilarious and heart-warming, Home Alone is holiday fun for the entire family! Sponsor: PNC Bank

Celebrate the holiday season with a favorite Cleveland tradition — with The Cleveland Orchestra and Chorus in these annual offerings of music for the Christmas Season. Including sing-alongs and holiday cheer, all in the festive yuletide splendor of Severance Hall. Sponsored by Dollar Bank

Under 18s Free FOR FAMILIES


Concerts with this symbol are eligible for "Under 18s Free" ticketing. The Cleveland Orchestra is committed to developing the youngest audience of any orchestra. Our "Under 18s Free" program offers free tickets for young people attending with families (one per full-price paid adult for concerts marked with the symbol above).

Severance Hall 2015-16

Friday December 11 at 7:30 p.m. Saturday December 12 at 2:30 & 7:30 p.m. Sunday December 13 at 2:30 p.m. Thursday December 17 at 7:30 p.m. Friday December 18 at 7:30 p.m. Saturday December 19 at 2:30 & 7:30 p.m. Sunday December 20 at 2:30 & 7:30 p.m.

Concert Calendar


216-231-1111 800-686-1141 77


2015-16 SE A SON






Wednesday December 16 at 7:30 p.m.

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

The Cleveland Orchestra Brett Mitchell, conductor Cleveland Orchestra Youth Chorus


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.

A true holiday favorite, this beloved comedy classic features renowned composer John Williams’s delightful score performed live by The Cleveland Orchestra. Macaulay Culkin stars as Kevin McCallister, an 8-year-old boy accidently left behind when his family leaves for Christmas vacation, and who must defend his home against two bungling thieves. Hilarious and heart-warming, Home Alone is holiday fun for the entire family! Home Alone © 1990 Twentieth Century Fox. All rights reserved.

Sponsored by PNC Bank.

Presented by The Cleveland Orchestra, Maltz Family Foundation, and the Jewish Federation of Cleveland in collaboration with the American Friends of the Israel Philharmonic Orchestra.

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




Upcoming Concerts

The Cleveland Orchestra

The Cleveland Orchestra November 6, 7, 8 Concerts  
The Cleveland Orchestra November 6, 7, 8 Concerts  

Rachmaninoff Dances + Petrassi + Shostakovich